LAC from Swan Lake

The audience often remembers the ballet Swan Lake for its second act, a true monument of the classical repertoire strongly identifiable for its completely white choreography and the legendary score by Pëtr Il'ič Čajkovskij.

The plot of the opera itself seems to have ‘vanished’ within it. From this point of view, the second act of Swan Lake can be considered one of the first examples of abstract ballet, a work to be contemplated without paying attention to the plot and what it intends to tell. The spectator is therefore not asked to analyze, but only to enjoy the pure aesthetics of the Lake and the beauty of a movement that is sufficient in itself. Jean-Christophe Maillot's LAC once again places the narrative at the center of the opera. In Swan Lake everything is dark, complicated, full of hidden meanings: the suggestion of the swan has deep and ancient roots that start from Greek, Nordic and Russian myths, which over time have always made it a fascinating hybrid being.

In his creation Maillot chooses to return to the past, to the torments of history that is directly linked to our childhood fears, to night terrors. These experiences buried deep in our memory are here awakened and inserted into a family context in which the hatred of adults prevails over the benevolence of parents. The passage from the animal to the human state runs through the entire work and questions us about our own nature. We are convinced that we are different from animals because of our ability to make choices.

Program and cast

ARTISTS

Conductor: Garrett Keast

Choreography: Jean-Christophe Maillott

Sets: Ernest Pignon-Ernest

Costumes: Philippe Guillotel

Lights: Jean-Christophe Maillott e Samuel Thery

Dramaturgy: Jean Rouaud

Les Ballets de Monte-Carlo

Maggio Musicale Fiorentino Orchestra