Review Summary: The first audiences for Swan Lake would have had a surprise even as they settled themselves into their seats, for instead of the conventional overture, Tchaikovsky wrote a short outline of the most emotional drama in ballet history.
The opening melody is the first Swan theme, and presently there sounds beneath it one of the descending scales that mark the whole invention. The movement, brief as it is, serves to call attention both to the serious nature of the drama and to some of the musical techniques that will be called upon to express it. It all starts in a magnificent park, with a castle visible in the background, Prince Siegfried and his friends are seated drinking. A crowd of peasants comes to congratulate the Prince on his birthday, and they entertain him with their dances. These are light in nature and set within a more ambitious musical structure. By settling this, one of the most famous waltzes in history, in the "action" key of A, Tchaikovsky confirms its role as organic, connected to the birthday celebrations and the Prince's need to choose a wife. Then Prince Siegfried's mother arrives to enjoin marriage upon him; he is aware, that this means an end to his carefree life. The Princess's fanfares interrupt the young people's merry-making, turning their light triplets into something more serious, this is abandoned for a shortened version of the opening music when she has left. The second divertissement, for two of the merrymakers, consists of two waltzes separated by a contrasting movement. The tutor Wolfgang, drunk, lurches into an awkward dance. His dignified theme gradually falls into disarray and then collapses, the others take his theme up in a new form for a general dance. It is growing dark. One of the guests proposes that the last dance shall be with their goblets in their hands. This is followed by a brilliant polonaise, anchored to E major though with suggestions of menace in the chromatic inflections and in the pulls to flat keys. A flight of swans appears. The Prince suggests a hunt. A new "Swan-maiden" melody appears, and this main theme is developed into a powerful B major climax, ending Act One on an ominous note.
Act Two starts with Siegfried and his friends watching the swans as they cross a moonlit lake. As the hunters take aim, the swans become beautiful girls, their leader is Princess Odette, bewitched by the evil Rothbart. Only a marriage vow contracted in the face of death can break the spell. Rothbart appears and menaces Siegfried. This is the most elaborately narrative section of the score so far, deriving its form from the detail of the action. Though having the function of a divertissement in an act of narrative, this is an essential part of the plot and the lyrical center of the act as Siegfried and Odette declare their love. It is therefore quite closely organized, as a Rondo with an A major waltz as the theme. There follow a substantial pas d'action. This satisfies the need for a Grand Adagio in the convention of contemporary Russian ballet, but its musical substance gives it greater expressive weight than was then normal. Then there is a reprise of the Waltz and a Coda that takes the form of a general dance. Finally, Act Two ends with a reprise of No.10, during which the swans make their exit and, as dawn breaks, Rothbart exerts his power over Odette and draws her away from a despairing Siegfried. The swans then reappear on the lake.
Act Three begins at the ballroom of the castle, the guests are admitted, followed by the Princess and Siegfried. The Master of Ceremonies orders the revels to commence. In contrast to the principal dance, with full orchestra, the dwarfs' dance is scored, with neat oddity, for woodwind and horns answered by pizzicato. The guests include six eligible Princesses. There is a double introduction to the waltz before it finally gets underway. After all of this, Siegfried refuses to choose a bride: but when Rothbart enters with Odile in the disguise of Odette, he welcomes her. The waltz music is modified into 4/4 and Odile's arrival is like an open statement of the theme, with the harsh scoring of the swan theme suggesting her outward resemblance to Odette. Besides this, variations for the visiting Princesses are introduced, as well as an Intrada, five variations, and a coda, skillfully designed by Tchaikovsky so that the occasion for a divertissement is also brought structurally into the drama as each Princess is brought forward as a candidate for Siegfried's choice Finally, the Princess is pleased that Siegfried accepts Odile. He announces their marriage. But the hall darkens, Rothbart turns into an owl and flies screeching. The Act ends very abruptly, enabling Tchaikovsky to emphasize the irony between the easy pleasure of the dances and the sudden horror that has interrupted them.
Act Four is the deeply anticipated final as Odette's friends await her return by the lake. Odette, heartbroken at Siegfried's apparent desertion, rushes into the arms of her friends, Siegfried pursues her through a rising storm. This is the most emotional climax of the four Acts. The Prince begs Odette's forgiveness, but she dies of grief in his arms. The waters rise and engulf the lovers, and as the surface calms, the swans are seen gliding across the lake. The swan theme achieves a triumphant B major climax but it is perhaps the enigmatic open B that provides the true ending of this famous tragedy.
