Swan Lake
No VAT will be charged on the hammer price, but VA… Read more Swan Lake (Le Lac des Cygnes) A ballet in four acts based on motives found in J.K.A Musäus' 'Der geraubte Schleier (The Stolen Veil)'. The central character, Princess Odette is turned into a swan by the magician Rothbart. At midnight she and her companions regain their human form for a few hours. On one such occasion she is met by Prince Siegfried who falls in love with her and swears to rescue her. At a ball in the castle Siegfreid is expected to choose his bride; the knight Rothbart appears with his daughter Odile in the form of a Black Swan, so that she looks exactly like Odette. She bewitches Siegfried, who becomes betrothed to her; Odette then appears. Siegfreid now recognizes that he has broken his oath and he rushes off to the lake, where Odette and her companions are mourning their fate. Siegfried acknowledges his faithlessness and is forgiven by her. Rothbart then conjures up a storm and the two lovers are drowned. (H. Koegler. op. cit. p.400)
Swan Lake

Details
Swan Lake
Production: Première - December 18th, 1952, Royal Opera House, Covent Garden, London; First danced with Nureyev - December 12th, 1962; also The Royal Ballet Touring Company, 1965 production - Fonteyn danced with Nureyev in this production 1966-1968; The Royal Ballet revised production, 1971 - Fonteyn danced with Nureyev in this production 1971-1973; and in various galas
Music: Piotr Ilich Tchaikovsky
Choreography: Mariuis Petipa and Lev Ivanov, with additional choreography by Frederick Ashton and Rudolf Nureyev
Designer: Leslie Hurry
Character: Odette, Act II

A tutu, the boned bodice of white silk, decorated with silver gilt braid in a stylised feather motif, embellished with white swans' feathers and faceted rhinestones, the skirt of white stiffened tulle similarly embroidered with silver gilt braid, feathers and opalescent and faceted rhinestones in a stylised swan's wing motif, with Royal Opera House, Covent Garden printed label inscribed in black ballpoint pen with details: Production:Swan Lake, Act:II, Character: Odette, Name: Fonteyn; accompanied by three corresponding photographs, one by David Daniel and another by Beverley Gallegos of Fonteyn dancing with Nureyev, the former in New York, circa late 1960s, the latter at the Graham Gala, Iris Theatre, New York, June 19th, 1975; and another of Fonteyn taking a curtain call, largest -- 14x11in. (35.5x28cm.) (5)
Literature
FONTEYN, Margot Autobiography, London: W.H.Allen, 1975, p.70
KOEGLER, Horst The Concise Oxford Dictionary of Ballet, London: Oxford University Press, 1982, p.400
MONEY, Keith Fonteyn - The Making Of A Legend, London: William Collins Sons & Co. Ltd. 1973, pp.34,58-9
MONEY, Keith The Art of Margot Fonteyn, London: Michael Joseph Ltd. 1965
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Lot Essay

On December 16th, 1935, at the age of sixteen, Margot Fonteyn danced the role of Odette for the first time in Le Lac des Cygnes. Two years later, on December 21st, 1937 she danced the dual role of Odette Odile for the first time. In her autobiography, Fonteyn wrote of her initial fear of dancing the three acts of Swan Lake...'.Odette/Odile is a formidable role, climaxed by the virtuoso feat of thirty-two consecutive fouetté turns on one leg without touching the floor with the other. Some dancers can do dozens of these turns with ease...I have always found them difficult, and frightening...How I worked and worked on this demanding ballet, and what a drama it was for the entire company, wondering how I would get through it...somehow or other I did it, never guessing that almost exactly thirty-five years were to pass before my obstinate nature would give up the battle with the fouetté turns in my last few performances of 'Swan Lake'..

In an interview with Keith Money, Fonteyn said of dancing Swan Lake ...the steps alone are so extraordinarily difficult. If one succeeds in doing a performance of Swan Lake even fairly well, then one probably derives a greater satisfaction from that than from any other work one might do.. In the words of Money: ..If Swan Lake is the Everest of classical dancing, then Fonteyn has seen the view from the summit.

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