The 1860s also saw the rivalry between Saint-Léon and Petipa and when the rivalry was at its peak, it was considered by the Directorate of the Saint Petersburg Imperial Theatres to transfer Petipa to Moscow permanently. Many Saint Petersburg dancers continued a long practice of guest appearing in Moscow. The Ballet Master at the time was Arthur Saint-Léon and many of his works were produced and staged in both cities, but in Moscow, the stagings were done by Saint-Léon’s team rather than the choreographer himself. There was also the fact that at the time, the contract of the Ballet Master of the Saint Petersburg Imperial Ballet made him responsible for both the Moscow and Saint Petersburg companies. Another reason for the ballet company’s unsatisfactory status was that the dancers, especially the c orps de ballet, were undistinguished and although Blasis has been credited for bringing a higher level of execution among the dancers, in the end, he was unable to revitalise the company. From 1861 to 1864, the great Italian Ballet Master Carlo Blasis served as Ballet Master at the Imperial Bolshoi Theatre, where he produced three ballets, several separate pas and wrote a book. In the 1860s, however, things began to improve for the arts in Moscow. The ballet company did not match the high level status of its Saint Petersburg counterpart, partly due to a lack of financial assistance, but overall because it lacked artistic directorship and had been without a resident Ballet Master for some years. Although it had its own theatre, the Imperial Bolshoi Theatre, the city had no symphony orchestra of professional standards, only military bands and local dance orchestras, who would provide the musical accompaniment for the popular masquerade balls and could be added to the Bolshoi ensemble. At that time, however, and probably much to Tchaikovsky’s disappointment, the artistry in Moscow was not what it was in Saint Petersburg. Following his graduation from the Saint Petersburg Conservatoire in 1865, Tchaikovsky moved to Moscow where he was given his first employment as a teacher in Russia’s second conservatoire by Nikolai Rubenstein. Swan Lake was the first ballet by Peter Ilyich Tchaikovsky. With no other option, Siegfried and Odette throw themselves into the lake and are united for eternity in the afterlife. But all hope vanishes when Siegfried is tricked into pledging his love to the Evil Genie’s daughter, Odile, disguised by magic as Odette. When Prince Siegfried discovers the lake, he falls in love with Odette and there is at last hope that the spell will be broken. Imperial Mariinsky Theatre, Saint Petersburgīased on a German legend, the beautiful Princess Odette has been enchanted by an evil genie in a spell that leaves her a woman by night and a swan by day. Libretto by Vladimir Begichev, edited by Modeste Tchaikovskyĭécor by Ivan Andreyev (Act 1, scene 1), Mikhail Bocharov (Act 1, scene 2, Act 3, Apotheosis) and Heinrich Levogt (Act 2) Ballet fantastique in three acts and four scenes
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