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The impossible love between a human prince and a swan princess, tragic fates, the constant opposition between imagination and reality: these are the core elements of Tchaikovsky’s Swan Lake. Profoundly classical, Valery Kovtun’s version for the Ballet of the National Opera of Ukraine is an homage to Tchaikovsky’s talent, but also to Marius Petipa’s timeless heritage. As in the original libretto, this Swan Lake ends with the two main character’s death, drowned into the lake’s tears. But evil is overpowered by love, and in the final apotheosis, Odette and Siegfried are forever united in a world of perfect harmony. A first-class company, the Ballet Company of the National Opera of Ukraine has toured all around the world: from the United States to Europe and Asia. Thanks to its rich classical heritage, the Company has managed to win the hearts of its audience thanks to its amazing technique and artistic maestria, and as in every good dance company, the whole is equal to the sum of its parts. The Company has also, over the years, established itself as a unique talent pool, that has nurtured first class dancers such as Iana Salenko (Staatsballet Berlin), Alina Cojocaru (Royal Ballet), Maxim Beloserkovsky and Irina Dvorovenko (American Ballet Theater); and the young gifted dancers that make the Ballet’s reputation ensure the preservation of the classical heritage of this historical and world-renowned company.

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Classical Music

Bringing together again, for the first time since their premiere, Tchaikovsky's opera Iolanta and ballet The Nutcracker, was the audacious challenge that Russian stage director Dmitri Tcherniakov accepted for the Palais Garnier in Paris in March 2016 : a revolutionary production, which was to become one of the key events of the Paris Opera season. With great intelligence, Tcherniakov renews the dialogue between the two masterpieces, and reveals their common origins. He thus reminds us that both Iolanta and The Nutcracker are first and foremost initiatory journeys, in which the heroes experience love and loss, fortune and misfortune. In doing so, Dmitri Tcherniakov, with the collaboration of contemporary choreographers Sidi Larbi Cherkaoui, Edouard Lock and Arthur Pita, goes as far as to completely disregard the magical extravaganzas that Marius Petipa associated to The Nutcracker, and radically turns the dream into a nightmare dominated by despair and loneliness. To insure the continuity and a sense of dramatic consistency between the opera and the ballet, Tcherniakov skillfully modulates the space provided by the Palais Garnier. A solution that also enables him to question the very nature of both theater and illusion, as well as their specular relationship with the reality they try to make us forget. Bulgarian soprano Sonya Yoncheva delivers a flamboyant interpretation of the blind princess Iolanta, and shares the stage with Polish tenor Arnold Rutkowski and Ukrainian bass Alexander Tsymbalyuk. The internationally renowned French conductor Alain Altinoglu joins forces with the Paris Opera Orchestra and Chorus, while the Paris Opera Ballet, among which Marion Barbeau- a radiant Marie - and the Etoiles St�phane Bullion and Alice Renavand, revives the most popular ballet of all time.

TCHAIKOVSKY: Liturgy of St. John Chrysostom, Op. 41

TCHAIKOVSKY: Symphony No. 5 / Marche slave (Slavonic March)

TCHAIKOVSKY: Sleeping Beauty / GLAZUNOV: The Seasons

1991 release. Tchaikovsky Festival performed by the Royal Philharmonic Orchestra, Adrian Leaper conducting. Recorded at Watford Town Hall, London, January 7-10, 1991. "A welcome package"- Fanfare.

TCHAIKOVSKY: Suites No. 3 and No. 4, 'Mozartiana'

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music