Swan Lake Tickets

Bolshoi Theatre, Moscow, Russia

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Available Dates: 3 - 5 Jul, 2025 (4 events)

Important Info

Type: Ballet

City: Moscow, Russia

Duration: 2h 40min with 1 interval

Acts: 2

Intervals: 1

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

Can I choose my seats?

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

Choose the date to see the peformers

Creators

Composer: Pyotr Tchaikovsky

Lighting Designer: Mikhail Sokolov

Designer: Simon Virsaladze

Choreography: Yury Grigorovich

Librettist: Yury Grigorovich

Overview

The Bolshoi Theatre has a very special relationship with Swan Lake and it is not fortuitous that it is this work that often starts off the Ballet Company’s foreign tours. For Swan Lake was born within the walls of the Theatre; it was here on February 20, 1877 that its first performance took place. It has to be admitted that the production (the choreographer was Vatslav Reisinger) was not a great success, though it was to remain in the Theater’s repertory for about six years. And there was no way it could have been a success: for this was the first time ever that music of such symphonic scale, psychological and emotional depth, had been written for ballet. The great Tchaikovsky was ahead of his times.

Success came to the ballet later on – with the 1895 Petersburg production by Marius Petipa and Lev Ivanov. It is this version, with its poetic Swan scene and brilliant pas de deux of Odile and the Prince, that is acknowledged to be a masterpiece of classical ballet. But even here the choreography failed to give full expres¬sion to the composer’s conception, the depth of his music. And for this reason the world’s most popular ballet has, paradoxical¬ly, undergone an infinite number of reproductions, versions, re¬arrangements. The development of ballet dictated the develop¬ment of Swan Lake.

Swan Lake was virtually a permanent fixture in the Bolshoi Theatre repertory, yet it underwent more editing than any other ballet. Alexander Gorsky alone mounted several productions of the work. And, for a later revival, the famous dancer and teacher, Asaf Messerer, did a new act four. But for all that Swan Lake refused to reveal its secrets.

And then, in 1969, a production appeared which remains to this day the closest to Tchaikovsky’s conception. It was by Yuri Grigorovich, with sets by designer Simon Virsaladze. In the hands of this talented master, the naive plot was reworked into the confession of a young man who is seeking his ideal and tormented by a troubled inner life. Rothbart too was made more important: in Grigorovich’s libretto he is called an Evil Genius. From a secondary character he is transformed into a metaphorically symbolic personage representing malicious fate, perhaps, or the dark side of the Prince’s soul, or some mystical phantom. Grigorovich also returned to the ballet Tchaikovsky’s tragic ending. As a result, The Ministry of Culture, Ekaterina Furtseva, put a ban on the production. The choreographer was forced to do a second version leaving out several of his innovations. Yet, even so, Grigorovich managed to retain the over¬all spirit of his conception. The role of Odette-Odile was cre¬ated by the unique Natalia Bessmertnova.

The years passed and, in the new millennium, ‘the hour of tri¬umph’, as they used to say in times gone by, struck: the pre¬miere of a new version of the ballet by Grigorovich was held at the Bolshoi Theatre, combining both the discoveries of this outstanding choreographer’s previous versions and his new innovations. In the Swan Lake of the third millenium, Yuri Grigorovich’s fantasy and fragments of original choreography by Ivanov, Petipa and Gorsky, which have been carefully pre¬served by him, are harmonically interwoven.

Swan Lake was virtually a permanent fixture in the Bolshoi Theatre repertory, yet it underwent more editing than any other ballet.

In 1969 a production appeared which remains to this day the closest to Tchaikovsky’s conception. It was by Yuri Grigorovich, with sets by designer Simon Virsaladze. In the hands of this talented master, the naive plot was reworked into the confession of a young man who is seeking his ideal and tormented by a troubled inner life. Rothbart too was made more important: in Grigorovich’s libretto he is called an Evil Genius. From a secondary character he is transformed into a metaphorically symbolic personage representing malicious fate, perhaps, or the dark side of the Prince’s soul, or some mystical phantom. Grigorovich also returned to the ballet Tchaikovsky’s tragic ending. As a result, The Ministry of Culture, Ekaterina Furtseva, put a ban on the production. The choreographer was forced to do a second version leaving out several of his innovations. Yet, even so, Grigorovich managed to retain the over all spirit of his conception. The role of Odette-Odile was cre¬ated by the unique Natalia Bessmertnova.

History

Premiere of this production: 04 March 1877, Bolshoi Theatre, Moscow

Swan Lake is a ballet composed by Pyotr Ilyich Tchaikovsky in 1875–76. Despite its initial failure, it is now one of the most popular of all ballets. Swan Lake is the ballet which embodies the soul of Russian art. The combination of brilliant music and choreography creates a special kind of magic; what the great 20th century choreographer George Balanchine had in mind when he famously said, “One should call every ballet Swan Lake because then people would come.”

Synopsis

Act l

Scene 1
In an old German castle, the birthday of Prince Siegfried is being celebrated; today he comes of age. He is congratulated by his mother, the Princess Mother, friends and courtiers. In a majestic ceremony, Siegfried is made a knight. From this day on a sense of duty, valor willbe the guiding principles in his life.

The last toasts are pronounced in his honor, young girls, his contemporaries, try to attract his attention, but Siegfried is overcome by emotions of a different order. He dreams of a pure, ideal love. The festivities draw to an end, the guests depart, leaving the prince alone with his thoughts in the gathering dusk. Night falls. Siegfried is conscious of the presence of a shadow at his side, it is as if some mysterious force is beckoning to him. It is the Evil Genius, or Fate itself, who has come to reveal some perturbing secrets to the Prince. Submitting to the powerful pull of his invisible companion’s presence and fullof anxious foreboding, Siegfried succumbs to the ideal world of his dreams...

Scene 2
Lured by the Evil Genius, Siegfried finds himself on the banks of a mysterious lake. In the shimmering patches of moonlight on the water, visions of bewitched swan maidens rise up before him. Siegfried catches sight of Odette, the most beautiful of the maidens.He is spell-bound, deeply struck by her beauty. At long last, he has found his romantic ideal of love. He swears to Odette that he will love her foreverand be faithful to her.

Act II

Scene 3
Prospective brides-to-be are arriving at the Princess Mother’s castle. The Prince must chose one of them to be his wife. But Siegfried can thinkof nothing but Odette and his meeting of her. He dances in an offhand way with the well-born maidens. Not one of them can compare to his ideal.

Suddenly, a mysterious knight arrives at the ball accompanied by a ravishingly beautiful young girl and a suite of black swans. It is the Evil Genius and Odile, Odette’s double. Struck by their resemblance, Siegfried hurries towards Odile. The Evil Genius is putting the Prince’s sentiments to the test. Siegfried is enchantedby the perfidious Odile who manages to disarm him of all his doubts. He announces Odile to be his chosen bride. At this very moment, the throne room is plungedin darkness and a vision of the beautiful Odette appears before the assembled company.
Siegfried realizes that he has become a plaything in the hands of Fate. Hoping to atone for his betrayal, he rushes in despair after the receding image of the white swan.

Scene 4
Night-time. A deep gloom overhangs the lake. Odette brings the tragic news; the Prince has broken his vow of faithfulness to her.Siegfried’s conscience is deeply troubled; he hurries towards Odette begging for her forgiveness. Odette forgives the youth but she is no longer mistress of her own fate.

The Evil Genius summons up a storm which disperses, plays havoc with, the heroes of our tale, making it impossible for them to unite. Made weak by his single combat with Fate, Siegfried tries in vain to hold on to the vanish image. As dawn breaks, he finds himself alone on the empty banks of the lake of his dreams.

Swan Lake is generally presented in either four acts, four scenes (primarily outside Russia and Eastern Europe) or three acts, four scenes (primarily in Russia and Eastern Europe). The biggest difference of productions all over the world is that the ending, originally tragic, is now sometimes altered to a happy ending.

Prologue
Some productions include a prologue that shows how Odette first meets Rothbart, who turns Odette into a swan.

Act 1

A magnificent park before a palace

[Scène: Allegro giusto] Prince Siegfried is celebrating his birthday with his tutor, friends and peasants [Waltz]. The revelries are interrupted by Siegfried's mother, the Queen [Scène: Allegro moderato], who is concerned about her son's carefree lifestyle. She tells him that he must choose a bride at the royal ball the following evening (some productions include the presentation of some possible candidates). Siegfried is upset that he cannot marry for love. His friend Benno and the tutor try to lift his troubled mood. As evening falls [Sujet], Benno sees a flock of swans flying overhead and suggests they go on a hunt [Finale I]. Siegfried and his friends take their crossbows and set off in pursuit of the swans.

Act 2

A lakeside clearing in a forest by the ruins of a chapel. A moonlit night.

The "Valse des cygnes" from act 2 of the Ivanov/Petipa edition of Swan Lake
Siegfried has become separated from his friends. He arrives at the lakeside clearing, just as a flock of swans land [Scène. Moderato]. He aims his crossbow [Scène. Allegro moderato], but freezes when one of them transforms into a beautiful maiden, Odette [Scène. Moderato]. At first, she is terrified of Siegfried. When he promises not to harm her, she explains she and her companions are victims of a spell cast by the evil owl-like sorcerer Rothbart. By day they are turned into swans and only at night, by the side of the enchanted lake – created from the tears of Odette's mother – do they return to human form. The spell can only be broken if one who has never loved before swears to love Odette forever. Rothbart suddenly appears [Scène. Allegro vivo]. Siegfried threatens to kill him but Odette intercedes – if Rothbart dies before the spell is broken, it can never be undone.

As Rothbart disappears, the swan maidens fill the clearing [Scène: Allegro, Moderato assai quasi andante]. Siegfried breaks his crossbow, and sets about winning Odette's trust as the two fall in love. But as dawn arrives, the evil spell draws Odette and her companions back to the lake and they are turned into swans again.

Act 3

An opulent hall in the palace

Guests arrive at the palace for a costume ball. Six princesses are presented to the prince [Entrance of the Guests and Waltz], as candidates for marriage. Rothbart arrives in disguise [Scène: Allegro, Allegro giusto] with his daughter, Odile, who is transformed to look like Odette. Though the princesses try to attract the prince with their dances [Pas de six], Siegfried has eyes only for Odile. [Scène: Allegro, Tempo di valse, Allegro vivo] Odette appears (usually at the castle window) and attempts to warn Siegfried, but he does not see her. He then proclaims to the court that he will marry "Odette" (Odile) before Rothbart shows him a magical vision of Odette. Grief-stricken and realizing his mistake, Siegfried hurries back to the lake.

Act 4

By the lakeside

Odette is distraught. The swan-maidens try to comfort her. Siegfried returns to the lake and makes a passionate apology. She forgives him, but his betrayal cannot be undone. Rather than remain a swan forever, Odette chooses to die. Siegfried chooses to die with her and they leap into the lake. This breaks Rothbart's spell over the swan maidens, causing him to lose his power over them and he dies. In an apotheosis, the swan maidens watch as Siegfried and Odette ascend into the Heavens together, forever united in love.

Venue Info

Bolshoi Theatre - Moscow
Teatralnaya Square 1

The Bolshoi Theatre is a historic theatre in Moscow, Russia, originally designed by architect Joseph Bové, which holds ballet and opera performances. Before the October Revolution it was a part of the Imperial Theatres of the Russian Empire along with Maly Theatre (Small Theatre) in Moscow and a few theatres in Saint Petersburg (Hermitage Theatre, Bolshoi (Kamenny) Theatre, later Mariinsky Theatre and others).

The Bolshoi Ballet and Bolshoi Opera are amongst the oldest and most renowned ballet and opera companies in the world. It is by far the world's biggest ballet company, with more than 200 dancers. The theatre is the parent company of The Bolshoi Ballet Academy, a world-famous leading school of ballet. It has a branch at the Bolshoi Theater School in Joinville, Brazil.

The main building of the theatre, rebuilt and renovated several times during its history, is a landmark of Moscow and Russia (its iconic neoclassical façade is depicted on the Russian 100-ruble banknote). On 28 October 2011, the Bolshoi re-opened after an extensive six-year renovation. The official cost of the renovation is 21 billion rubles ($688 million). However, other Russian authorities and other people connected to it claimed much more public money was spent. The renovation included restoring acoustics to the original quality (which had been lost during the Soviet Era), as well as restoring the original Imperial decor of the Bolshoi.

The company was founded on 28 March [O.S. 17 March] 1776, when Catherine II granted Prince Peter Ouroussoff a licence to organise theatrical performances, balls and other forms of entertainment. Ouroussoff set up the theatre in collaboration with English tightrope walker Michael Maddox. Initially, it held performances in a private home, but it acquired the Petrovka Theatre and on 30 December 1780, it began producing plays and operas, thus establishing what would become the Bolshoi Theatre. Fire destroyed the Petrovka Theatre on 8 October 1805, and the New Arbat Imperial Theatre replaced it on 13 April 1808, however it also succumbed to fire during the French invasion of Moscow in 1812.

The first instance of the theatre was built between 1821 and 1824, designed and supervised to completion by architect Joseph Bové based upon an initial competition-winning design created by Petersburg-based Russian architect Andrei Mikhailov that was deemed too costly to complete. Bové also concurrently designed the nearby Maly Theatre and the surrounding Theater Square, The new building opened on 18 January 1825 as the Bolshoi Petrovsky Theatre with a performance of Fernando Sor's ballet, Cendrillon. Initially, it presented only Russian works, but foreign composers entered the repertoire around 1840.