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Swan Lake

Swan Lake (Лебеди́ное о́зеро ), Op. 20, is a ballet composed by Russian composer Pyotr Ilyich Tchaikovsky in 1875–76. Despite its initial failure, it is now one of the most popular of all ballets.

The scenario, initially in two acts, was fashioned from Russian and German folk tales and tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse. The choreographer of the original production was Julius Reisinger (Václav Reisinger). The ballet was premiered by the Bolshoi Ballet on 4 March 1877 at the Bolshoi Theatre in Moscow. Although it is presented in many different versions, most ballet companies base their stagings both choreographically and musically on the 1895 revival of Marius Petipa and Lev Ivanov, first staged for the Imperial Ballet on 15 January 1895, at the Mariinsky Theatre in St. Petersburg. For this revival, Tchaikovsky's score was revised by the St. Petersburg Imperial Theatre's chief conductor and composer Riccardo Drigo.

Origins of the ballet
There is no evidence to prove who wrote the original libretto, or where the idea for the plot came from. Russian and German folk tales have been proposed as possible sources, including "The Stolen Veil" by Johann Karl August Musäus, but both those tales differ significantly from the ballet.

One theory is that the original choreographer, Julius Reisinger, who was a Bohemian (and therefore likely to be familiar with "The Stolen Veil"), created the story. Another theory is that it was written by Vladimir Petrovich Begichev, director of the Moscow Imperial Theatres at the time, possibly with Vasily Geltser, danseur of the Moscow Imperial Bolshoi Theatre (a surviving copy of the libretto bears his name). Since the first published libretto does not correspond with Tchaikovsky's music in many places, one theory is that the first published version was written by a journalist after viewing initial rehearsals (new opera and ballet productions were always reported in the newspapers, along with their respective scenarios).

Some contemporaries of Tchaikovsky recalled the composer taking great interest in the life story of Bavarian King Ludwig II, whose life had supposedly been marked by the sign of Swan and could have been the prototype of the dreamer Prince Siegfried.

Begichev commissioned the score of Swan Lake from Tchaikovsky in May 1875 for 800 rubles. Tchaikovsky worked with only a basic outline from Julius Reisinger of the requirements for each dance. Unlike the instructions for the scores of The Sleeping Beauty and The Nutcracker, none of the original written instruction was thought to have survived. Most of what scholars knew about information such as choreography came from gossip and reviews of the performance. However, rehearsal notes dating as early as 1876 have been recently discovered in the Institute for Art Studies in Moscow, revealing more information about what the original 1877 production may have looked like.

Tchaikovsky's influences
From around the time of the turn of the 19th century until the beginning of the 1890s, scores for ballets were almost always written by composers known as "specialists" who were highly skilled at scoring the light, decorative, melodious, and rhythmically clear music that was at that time in vogue for ballet. Tchaikovsky studied the music of "specialists" such as the Italian Cesare Pugni and the Austrian Ludwig Minkus, before setting to work on Swan Lake.

Tchaikovsky had a rather negative opinion of the "specialist" ballet music until he studied it in detail, being impressed by the nearly limitless variety of infectious melodies their scores contained. Tchaikovsky most admired the ballet music of such composers as Léo Delibes, Adolphe Adam, and later, Riccardo Drigo. He would later write to his protégé, the composer Sergei Taneyev, "I listened to the Delibes ballet Sylvia ... what charm, what elegance, what wealth of melody, rhythm, and harmony. I was ashamed, for if I had known of this music then, I would not have written Swan Lake." Tchaikovsky most admired Adam's 1844 score for Giselle, which used the Leitmotif technique: associating certain themes with certain characters or moods, a technique he would use in Swan Lake and, later, The Sleeping Beauty.

Tchaikovsky drew on previous compositions for his Swan Lake score. According to two of Tchaikovsky's relatives – his nephew Yuri Lvovich Davydov and his niece Anna Meck-Davydova – the composer had earlier created a little ballet called The Lake of the Swans at their home in 1871. This ballet included the famous Leitmotif, the "Swan's Theme" or "Song of the Swans". He also made use of material from The Voyevoda, an opera he had abandoned in 1868. Another number which included a theme from The Voyevoda was the Entr'acte of the fourth scene and the opening of the Finale (Act IV, No. 29). The Grand adage (a.k.a. the "Love Duet") from the second scene of Swan Lake was fashioned from the final love duet from his opera Undina, abandoned in 1873.

By April 1876 the score was complete, and rehearsals began. Soon Reisinger began setting certain numbers aside that he dubbed "undanceable". Reisinger even began choreographing dances to other composers' music, but Tchaikovsky protested and his pieces were reinstated. Although the two artists were required to collaborate, each seemed to prefer working as independently of the other as possible. At times, Tchaikovsky actually ended up turning to Alina Bryullova, a family acquaintance, for advice on how he should write music for ballet; she later recalled that due to her lack of expertise she "could give him practically no advice."

Composition process
Tchaikovsky's excitement with Swan Lake is evident from the speed with which he composed: commissioned in the spring of 1875, the piece was created within one year. His letters to Sergei Taneyev from August 1875 indicate, however, that it was not only his excitement that compelled him to create it so quickly but his wish to finish it as soon as possible, so as to allow him to start on an opera. Respectively, he created scores of the first three numbers of the ballet, then the orchestration in the fall and winter, and was still struggling with the instrumentation in the spring. By April 1876, the work was complete. Tchaikovsky's mention of a draft suggests the presence of some sort of abstract but no such draft has ever been seen. Tchaikovsky wrote various letters to friends expressing his longstanding desire to work with this type of music, and his excitement concerning his current stimulating, albeit laborious task.

Performance history

Moscow première (world première)
 * Date: 4 March (OS 20 February) 1877
 * Place: Bolshoi Theatre, Moscow
 * Balletmaster: Julius Reisinger
 * Conductor: Stepan Ryabov
 * Scene Designers: Karl Valts (acts 2 & 4), Ivan Shangin (act 1), Karl Groppius (act 3)

St. Petersburg première
 * Date: 27 January 1895
 * Place: Mariinsky Theatre, St. Petersburg
 * Balletmaster: Marius Petipa (acts 1 & 3), Lev Ivanov (acts 2 & 4)
 * Conductor: Riccardo Drigo
 * Scene Designers: Ivan Andreyev, Mikhail Bocharov, Henrich Levogt
 * Costume Designer: Yevgeni Ponomaryov

Other notable productions
 * 1880 and 1882, Moscow, Bolshoi Theatre, staged by Joseph Hansen after Reisinger, conductor and designers as in première
 * 1901, Moscow, Bolshoi Theatre, staged by Aleksandr Gorsky, conducted by Andrey Arends, scenes by Aleksandr Golovin (act 1), Konstantin Korovin (acts 2 & 4), N. Klodt (act 3)
 * 1911, London, Ballets Russes, Sergei Diaghilev production, choreography by Michel Fokine after Petipa–Ivanov, scenes by Golovin and Korovin

Original interpreters

Original production of 1877
The première on 4 March 1877 was given as a benefit performance for the ballerina Pelageya Karpakova (also known as Polina Karpakova), who performed the role of Odette, with première danseur Victor Gillert as Prince Siegfried. Karpakova may also have danced the part Odile, although it is believed the ballet originally called for two different dancers. It is now common practice for the same ballerina to dance both Odette and Odile.

The Russian ballerina Anna Sobeshchanskaya was originally cast as Odette, but was replaced when a governing official in Moscow complained about her, claiming she had accepted jewelry from him, only to then marry a fellow danseur and sell the pieces for cash.

The première was not well received. Though there were a few critics who recognised the virtues of the score, most considered it to be far too complicated for ballet. It was labelled "too noisy, too 'Wagnerian' and too symphonic." The critics also thought Reisinger's choreography was "unimaginative and altogether unmemorable." The German origins of the story were "treated with suspicion while the tale itself was regarded as 'stupid' with unpronounceable surnames for its characters." Karpakova was a secondary soloist and "not particularly convincing." "The poverty of the production, meaning the décor and costumes, the absence of outstanding performers, the Balletmaster's weakness of imagination, and, finally, the orchestra ... all of this together permitted (Tchaikovsky) with good reason to cast the blame for the failure on others."

- Modest Tchaikovsky, brother of the composer Yet the fact remains (and is too often omitted in accounts of this initial production) that this staging survived for six years with a total of 41 performances – many more than several other ballets from the repertoire of this theatre.

Tchaikovsky pas de deux 1877
On 26 April 1877, Anna Sobeshchanskaya made her début as Odette/Odile in Swan Lake, and from the start, she was completely dissatisfied with the ballet. Sobeshchanskaya asked Marius Petipa—Premier Maître de Ballet of the St. Petersburg Imperial Theatres—to choreograph a pas de deux to replace the pas de six in the third act (for a ballerina to request a supplemental pas or variation was standard practice in 19th-century ballet, and often these "custom-made" dances were the legal property of the ballerina they were composed for).

Petipa created the pas de deux to music by Ludwig Minkus, ballet composer to the St Petersburg Imperial Theatres. The piece was a standard pas de deux classique consisting of a short entrée, the grand adage, a variation for each dancer individually, and a coda.

Tchaikovsky was angered by this change, stating that whether the ballet was good or bad, he alone should be held responsible for its music. He agreed to compose a new pas de deux, but soon a problem arose: Sobeshchanskaya wanted to retain Petipa's choreography. Tchaikovsky agreed to compose a pas de deux that would match to such a degree, the ballerina would not even be required to rehearse. Sobeshchanskaya was so pleased with Tchaikovsky's new music, she requested he compose an additional variation, which he did.

Until 1953 this pas de deux was thought to be lost, until a repétiteur score was accidentally found in the archives of the Moscow Bolshoi Theatre, among orchestral parts for Alexander Gorsky's revival of Le Corsaire (Gorsky had included the piece in his version of Le Corsaire staged in 1912). In 1960 George Balanchine choreographed a pas de deux to this music for Violette Verdy and Conrad Ludlow, performed at the City Center of Music and Drama in New York City as Tschaikovsky Pas de Deux, as it is still known and performed today.

Subsequent productions 1879–1894
Julius Reisinger's successor as balletmaster was Joseph Peter Hansen. Hansen made considerable efforts to salvage Swan Lake and on 13 January 1880 he presented a new production of the ballet for his own benefit performance. The part of Odette/Odile was danced by Evdokia Kalmykova, a student of the Moscow Imperial Ballet School, with Alfred Bekefi as Prince Siegfried. This production was better received than the original, but by no means a great success. Hansen presented another version of Swan Lake on 28 October 1882, again with Kalmykova as Odette/Odile. For this production Hansen arranged a Grand Pas for the ballroom scene which he titled La Cosmopolitana. This was taken from the European section of the Grand Pas d'action known as The Allegory of the Continents from Marius Petipa's 1875 ballet The Bandits to the music of Ludwig Minkus. Hansen's version of Swan Lake was given only four times, the final performance being on 2 January 1883, and soon the ballet was dropped from the repertory altogether.

In all, Swan Lake was performed 41 times between its première and the final performance of 1883 – a rather lengthy run for a ballet that was so poorly received upon its première. Hansen became Balletmaster to the Alhambra Theatre in London and on 1 December 1884 he presented a one-act ballet titled The Swans, which was inspired by the second scene of Swan Lake. The music was composed by the Alhambra Theatre's chef d'orchestre Georges Jacoby.

The second scene of Swan Lake was then presented on 21 February in Prague by the Ballet of the National Theatre in a version mounted by the Balletmaster August Berger. The ballet was given during two concerts which were conducted by Tchaikovsky. The composer noted in his diary that he experienced "a moment of absolute happiness" when the ballet was performed. Berger's production followed the 1877 libretto, though the names of Prince Siegfried and Benno were changed to Jaroslav and Zdeňek, with the rôle of Benno danced by a female dancer en travestie. The rôle of Prince Siegfried was danced by Berger himself with the ballerina Giulietta Paltriniera-Bergrova as Odette. Berger's production was only given eight performances and was even planned for production at the Fantasia Garden in Moscow in 1893, but it never materialised.

Petipa–Ivanov–Drigo revival of 1895

During the late 1880s and early 1890s, Petipa and Vsevolozhsky discussed with Tchaikovsky the possibility of reviving Swan Lake. However, Tchaikovsky died on 6 November 1893, just when plans to revive Swan Lake were beginning to come to fruition. It remains uncertain whether Tchaikovsky was prepared to revise the music for this revival. Whatever the case, as a result of Tchaikovsky's death, Riccardo Drigo revised the score, after receiving approval from Tchaikovsky's younger brother, Modest. There are major differences between Drigo's and Tchaikovsky's scores. Today, it is Drigo's revision, and not Tchaikovsky's original score of 1877, that most ballet companies use. In February 1894, two memorial concerts planned by Vsevolozhsky were given in honor of Tchaikovsky. The production included the second act of Swan Lake, choreographed by Lev Ivanov, Second Balletmaster to the Imperial Ballet. The turnout for the revival concert was not as great as anticipated due to the mixed program as well as higher-than-usual ticket prices, leaving the theater hall half-empty. Despite the small audience, Ivanov's choreography for the memorial concert was unanimously praised by critics, and audiences received the concert with praise.

The revival of Swan Lake was planned for Pierina Legnani's benefit performance in the 1894–1895 season. The death of Tsar Alexander III on 1 November 1894 and the ensuing period of official mourning brought all ballet performances and rehearsals to a close for some time, and as a result all efforts could be concentrated on the pre-production of the full revival of Swan Lake. Ivanov and Petipa collaborated on the production, with Ivanov retaining his dances for the second act while choreographing the fourth, with Petipa staging the first and third acts.

Modest Tchaikovsky was called upon to make changes to the ballet's libretto, including the character of Odette changing from a fairy swan-maiden into a cursed mortal woman, the ballet's villain changing from Odette's stepmother to the magician von Rothbart, and the ballet's finale: instead of the lovers simply drowning at the hand of Odette's stepmother as in the original 1877 scenario, Odette dies by drowning herself, with Prince Siegfried choosing to die as well, rather than live without her, and soon the lovers' spirits are reunited in an apotheosis. Aside from the revision of the libretto the ballet was changed from four acts to three—with act 2 becoming act 1, scene 2.

All was ready by the beginning of 1895 and the ballet had its première on 27 January. Pierina Legnani danced Odette/Odile, with Pavel Gerdt as Prince Siegfried, Alexei Bulgakov as Rothbart, and Alexander Oblakov as Benno. Most of the reviews in the St. Petersburg newspapers were positive.

Unlike the première of The Sleeping Beauty, Swan Lake did not dominate the repertory of the Mariinsky Theatre in its first season. It was given only sixteen performances between the première and the 1895–1896 season, and was not performed at all in 1897. Even more surprising, the ballet was performed only four times in 1898 and 1899. The ballet belonged solely to Legnani until she left St. Petersburg for her native Italy in 1901. After her departure, the ballet was taken over by Mathilde Kschessinskaya, who was as much celebrated in the rôle as was her Italian predecessor.

Later productions

Throughout the performance history of Swan Lake, the 1895 edition has served as the version on which most stagings have been based. Nearly every balletmaster or choreographer who has re-staged Swan Lake has made modifications to the ballet's scenario, while still maintaining much of the traditional choreography for the dances, which is regarded as virtually sacrosanct. Likewise, over time the rôle of Siegfried has become more prominent, due largely to the evolution of ballet technique.

In 1922, Finnish National Ballet was the first European company that staged a complete production of the ballet. By the time Swan Lake premiered in Helsinki in 1922, it had only ever been performed by Russian and Czech ballet groups, and only visiting Russian ballet groups had brought it to Western Europe.

In 1940, the San Francisco Ballet became the first American company to stage a complete production of Swan Lake. The enormously successful production starred Lew Christensen as Prince Siegfried, Jacqueline Martin as Odette, and Janet Reed as Odile. Willam Christensen based his choreography on the Petipa–Ivanov production, turning to San Francisco's large population of Russian émigrés, headed by Princess and Prince Vasili Alexandrovich of Russia, to help him ensure that the production succeeded in its goal of preserving Russian culture in San Francisco.

Several notable productions have diverged from the original and its 1895 revival:
 * In 1967, Erik Bruhn produced and danced in a new Swan Lake for the National Ballet of Canada, with striking largely black and white designs by Desmond Healey. Although substantial portions of the Petipa-Ivanov choreography were retained, Bruhn's alterations were musical as well as choreographic. Most controversially, he recast Von Rothbart as the malevolent Black Queen, adding psychological emphasis to the Prince's difficult relationships with women, his domineering mother included.
 * Illusions Like "Swan Lake" 1976: John Neumeier, Hamburg Ballet. Neumeier interpolated the story of Ludwig II of Bavaria into the Swan Lake plot, via Ludwig's fascination with swans. Much of the original score was used with additional Tchaikovsky material and the choreography combined the familiar Petipa/Ivanov material with new dances and scenes by Neumeier. The ballet finishes with Ludwig's death by drowning while confined to an asylum, set to the dramatic music for the act 3 conclusion. With the theme of the unhappy royal being forced into heterosexual marriage for reasons of state and also the cross reference to the personal lives of actual royalty, this work anticipated both Bourne's and Murphy's interpretation. Illusions Like "Swan Lake"  remains in the repertoire of major German ballet companies.
 * Matthew Bourne's Swan Lake departed from the traditional ballet by replacing the female corps de ballet with male dancers and a plot focused on the psychological pressures of modern royalty on a prince struggling with his sexuality and a distant mother. It has been performed on extended tours in Greece, Israel, Turkey, Australia, Italy, Japan, Korea, Russia, France, Germany, the Netherlands, the United States, and Ireland in addition to the United Kingdom, and has won over thirty international awards to date.
 * The 2000 American Ballet Theatre version (taped for television in 2005), rather than having the curtain down as the slow introduction is played, used this music to accompany a new prologue in which the audience is shown how Rothbart first transforms Odette into a swan. This prologue is similar to Vladimir Burmeister's production of Swan Lake (firstly staged in Stanislavsky Theatre in Moscow, 1953) but has some differences. Rothbart in this production is played by two dancers; one appears as a handsome young man who is easily able to lure Odette in the new prologue, and the other dancer is covered in sinister "monster makeup" which reveals the magician's true self. (In the film Black Swan, Natalie Portman, as Nina, dreams this in the film's opening sequence). About half-an-hour of the complete score is omitted from this production.
 * Graeme Murphy's Swan Lake was first performed in 2002, and was loosely based on the breakdown of the marriage of Lady Diana to Prince Charles and his relationship with Camilla Parker Bowles. It combined the roles of Rothbart and Odile into that of a Baroness, and the focus of the story is a love triangle.
 * In 2010, Black Swan, a film starring Natalie Portman and Mila Kunis, contained sequences from Swan Lake.
 * In 2010, South African choreographer and ballet dancer Dada Masilo, remade Tchaikovsky's classic. Her version was a mix of classic ballet and African dance. She also made a plot twist by presenting Odile (the black swan) as a gay male swan rather than a female swan.
 * A Swan Lake, choreographed by Alexander Ekman and composed by Mikael Karlsson, was created for the Norwegian National Ballet. The first act is part dance part theatre, about the original production of Swan Lake, which features two stage actors and a soprano. In the second act, the stage is filled in 5000 litres of water, and features the conflict between White Swan and Black Swan.

Instrumentation
Swan Lake is scored for the typical late 19th-century large orchestra:

 * Strings: violins I and II; violas, violoncellos; double basses, harp
 * Woodwinds: piccolo; 2 flutes; 2 oboes; 2 clarinets in B♭, A and C; 2 bassoons
 * Brass: 4 French horns in F; 2 cornets in A and B♭; 2 trumpets in F, D, and E; 3 trombones (2 tenor, 1 bass); tuba
 * Percussion: timpani; snare drum; cymbals; bass drum; triangle; tambourine; castanets; tam-tam; glockenspiel; chimes

Roles

 * Princess Odette (the Swan Queen, the White Swan, the Swan Princess), a beautiful princess, who has been transformed into a white swan
 * Prince Siegfried, a handsome Prince who falls in love with Odette
 * Baron Von Rothbart, an evil sorcerer, who has enchanted Odette
 * Odile (the Black Swan), Rothbart's daughter
 * Benno von Sommerstern, the Prince's friend
 * The Queen, Prince Siegfried's mother
 * Wolfgang, his tutor
 * Baron von Stein
 * The Baroness, his wife
 * Freiherr von Schwarzfels
 * His wife
 * A herald
 * A footman
 * Court gentlemen and ladies, friends of the prince, heralds, guests, pages, villagers, servants, swans, cygnets

Variations to characters
By 1895, Benno von Sommerstern had become just "Benno", and Odette "Queen of the Swans". Also Baron von Stein, his wife, and Freiherr von Schwarzfels and his wife were no longer identified on the program. The sovereign or ruling Princess is often rendered "Queen Mother".

The character of Rothbart (sometimes spelled Rotbart) has been open to many interpretations. The reason for his curse upon Odette is unknown; several versions, including two feature films, have suggested reasons, but none is typically explained by the ballet. He is rarely portrayed in human form, except in act 3. He is usually shown as an owl-like creature. In most productions, the couple's sacrifice results in his destruction. However, there are versions in which he is triumphant. Yury Grigorovich's version, which has been danced for several decades by the Bolshoi Ballet, is noted for including both endings: Rothbart was defeated in the original 1969 version, in line with Soviet-era expectations of an upbeat conclusion, but in the 2001 revision, Rothbart plays a wicked game of fate with Siegfried, which he wins at the end, causing Siegfried to lose everything. In the second American Ballet Theatre production of Swan Lake, he is portrayed by two dancers: a young, handsome one who lures Odette to her doom in the prologue, and a reptilian creature. In this version, the lovers' suicide inspires the rest of Rothbart's imprisoned swans to turn on him and overcome his spell.

Odile, Rothbart's daughter usually wears jet black (though in the 1895 production, she did not), and appears only in act 3. In most modern productions, she is portrayed as Odette's exact double (though the resemblance is because of Rothbart's magic), and therefore Siegfried cannot be blamed for believing her to be Odette. There is a suggestion that in the original production, Odette and Odile were danced by two different ballerinas. This is also the case in some avant garde productions.

Synopsis
Swan Lake is generally presented in either four acts, four scenes (primarily outside Russia and Eastern Europe) or three acts, four scenes (primarily in Russia and Eastern Europe). The biggest difference of productions all over the world is that the ending, originally tragic, is now sometimes altered to a happy ending.

Prologue
Some productions include a prologue that shows how Odette first meets Rothbart, who turns Odette into a swan.

Act 1
A magnificent park before a palace

[Scène: Allegro giusto] Prince Siegfried is celebrating his birthday with his tutor, friends, and peasants [Waltz]. The revelries are interrupted by his mother, the Queen [Scène: Allegro moderato], who is concerned about his carefree lifestyle. She tells him that he must choose a bride at the royal ball the following evening (some productions include the presentation of some possible candidates). He is upset that he cannot marry for love. His friend, Benno, and the tutor try to lift his troubled mood. As evening falls [Sujet], Benno sees a flock of swans flying overhead and suggests they go on a hunt [Finale I]. Siegfried and his friends take their crossbows and set off in pursuit of the swans.

Act 2
''A lakeside clearing in a forest by the ruins of a chapel. A moonlit night.''

Siegfried has become separated from his friends. He arrives at the lakeside clearing, just as a flock of swans land [Scène. Moderato]. He aims his crossbow [Scène. Allegro moderato], but freezes when one of them transforms into a beautiful maiden named Odette [Scène. Moderato]. At first, she is terrified of him. When he promises not to harm her, she explains that she and her companions are victims of a spell cast by the evil owl-like sorcerer named Rothbart. By day they are turned into swans and only at night, by the side of the enchanted lake – created from the tears of Odette's mother – do they return to human form. The spell can only be broken if one who has never loved before swears to love Odette forever. Rothbart suddenly appears [Scène. Allegro vivo]. Siegfried threatens to kill him but Odette intercedes – if he dies before the spell is broken, it can never be undone.

As Rothbart disappears, the swan maidens fill the clearing [Scène: Allegro, Moderato assai quasi andante]. Siegfried breaks his crossbow, and sets about winning Odette's trust as they fall in love. But as dawn arrives, the evil spell draws Odette and her companions back to the lake and they are turned into swans again.

Act 3
An opulent hall in the palace

Guests arrive at the palace for a costume ball. Six princesses are presented to the prince [Entrance of the Guests and Waltz], as candidates for marriage. Rothbart arrives in disguise [Scène: Allegro, Allegro giusto] with his daughter, Odile, who is transformed to look like Odette. Though the princesses try to attract Siegfried with their dances [Pas de six], he has eyes only for Odile. [Scène: Allegro, Tempo di valse, Allegro vivo] Odette appears at the castle window and attempts to warn him, but he does not see her. He then proclaims to the court that he will marry Odile before Rothbart shows him a magical vision of Odette. Grief-stricken and realizing his mistake (he vowed only to love Odette), he hurries back to the lake.

Act 4
By the lakeside

Odette is distraught. The swan maidens try to comfort her. Siegfried returns to the lake and makes a passionate apology. She forgives him, but his betrayal cannot be undone. Rather than remain a swan forever, she chooses to die. He chooses to die with her and they leap into the lake, where they will stay together forever. This breaks Rothbart's spell over the swan maidens, causing him to lose his power over them and he dies. In an apotheosis, they, who transform back into regular maidens, watch as Siegfried and Odette ascend into the Heavens together, forever united in love.

1877 libretto synopsis
Act 1

Prince Siegfried, his friends, and a group of peasants are celebrating his coming of age. His mother arrives to inform him she wishes for him to marry soon so she may make sure he does not disgrace their family line by his marriage. She has organized a ball where he is to choose his bride from among the daughters of the nobility. After the celebration, he and his friend, Benno, spot a flock of flying swans and decide to hunt them.

Act 2

Siegfried and Benno track the swans to a lake, but they vanish. A woman wearing a crown appears and meets them. She tells them her name is Odette and she was one of the swans they were hunting. She tells them her story: her mother, a good fairy, had married a knight, but she died and he remarried. Odette's stepmother is a witch who wanted to kill her, but her grandfather saved her. He had cried so much over her mother's death, he created the lake with his tears. She and her companions live in it with him, and can transform themselves into swans whenever they wish. Her stepmother still wants to kill her and stalks her in the form of an owl, but she has a crown which protects her from harm. When she gets married, her stepmother will lose the power to harm her. Siegfried falls in love with her but she fears her stepmother will ruin their happiness.

Act 3

Several young noblewomen dance at Siegfried's ball, but he refuses to marry any of them. Baron von Rothbart and his daughter, Odile, arrive. Siegfried thinks Odile looks like Odette, but Benno does not agree. He dances with her as he grows more and more enamored of her, and eventually agrees to marry her. At that moment, Rothbart transforms into a demon, Odile laughs, and a white swan wearing a crown appears in the window. Siegfried runs out of the castle.

Act 4

In tears, Odette tells her friends Siegfried did not keep his vow of love. Seeing him coming, they leave and urge her to go with them, but she wants to see him one last time. A storm begins. He enters and begs her for forgiveness. She refuses and attempts to leave. He snatches the crown from her head and throws it in the lake, saying, "Willing or unwilling, you will always remain with me!" The owl flies overhead, carrying the crown away. "What have you done? I am dying!" Odette says, and falls into his arms. The lake rises from the storm and drowns them. The storm quiets, and a group of swans appears on the lake.

Alternative endings
Many different endings exist, ranging from romantic to tragic.

 * In 1950, Konstantin Sergeyev staged a new Swan Lake for the Mariinsky Ballet (then the Kirov) after Petipa and Ivanov, but included some bits of Vaganova and Gorsky. Under the Soviet regime, the tragic ending was replaced with a happy one, so in the Mariinsky and Bolshoi versions, Odette and Siegfried lived happily ever after.
 * In the version danced today by the Mariinsky Ballet, the ending is one of a "happily ever after" in which Siegfried fights Rothbart and tears off his wing, killing him. Odette is restored to human form and she and Siegfried are happily united. This version has often been used by Russian and Chinese ballet companies.
 * In the 1966 version Rudolf Nureyev choreographed for the Vienna State Ballet, Rothbart takes Odette away and leaves Siegfried to drown in the storm he created, leaving Odette in captivity.
 * In the 1986 version Rudolf Nureyev choreographed for the Paris Opera Ballet, Rothbart fights with Siegfried, who is overcome and dies, leaving Rothbart to take Odette triumphantly up to the Heavens.
 * In the 1988 Dutch National Ballet production, choreographed by Rudi van Dantzig, Siegfried realized he cannot save Odette from the curse, so he drowns himself. His friend, Alexander, finds his body and carries him.
 * In the 1988 version of the London Festival Ballet, Odette dies in Siegfried's arms, who carries her to the lake, where they both drown themselves. This breaks the curse and they are united in death.
 * Although the 1969 Bolshoi Ballet production by Yury Grigorovich contained a happy ending similar to the Mariinsky Ballet version, the 2001 revision changed the ending to a tragic one. Siegfried is defeated in a confrontation with the Evil Genius, who seizes Odette and takes her away to parts unknown before the lovers can unite, and Siegfried is left by himself at the lake. The major-key rendition of the main leitmotif and the remainder of the Apotheosis (retained in the 1969 production) are replaced with a modified, transposed repeat of the Introduction followed by the final few bars of No. 10/No. 14, closing the ballet on a downer.
 * In a version which has an ending very close to the 1895 Mariinsky revival, danced by American Ballet Theatre starting in 2000 (with a video recording published in 2005), Siegfried's mistaken pledge of fidelity to Odile consigns Odette to remain a swan forever. After realizing her last moment of humanity is at hand, Odette throws herself into the lake, killing herself. Siegfried follows her to his death. This act of sacrifice and love breaks Rothbart's power, and he is destroyed. In the final tableau, the lovers are seen rising together to Heaven in apotheosis.
 * In a version danced by New York City Ballet in 2006 (with choreography by Peter Martins after Lev Ivanov, Marius Petipa, and George Balanchine), Siegfried's declaration he wishes to marry Odile constitutes a betrayal that condemns Odette to remain a swan forever. She is called away into swan form, and Siegfried is left alone in grief as the curtain falls.
 * In the 2006 version by Stanton Welch for Houston Ballet, also based upon Petipa and Ivanov, the last scene has Siegfried attempting to kill Rothbart with his crossbow, but he misses and hits Odette instead. She falls, Rothbart's spell now broken, and regains human form. Siegfried embraces her as she dies, then carries her body into the lake, where he also drowns himself.
 * In the 2006 version by Michael Pink for Milwaukee Ballet, Rothbart stabs Odette before Siegfried's eyes. Odette mortally wounded, is carried to the lake by Siegfried where they drown themselves. Their love defeats both Rothbart and Odile. As in the 1895 Mariinsky revival, the apotheosis reveals the lovers reunited in death.
 * In a version danced by San Francisco Ballet in 2009, Siegfried and Odette throw themselves into the lake, as in the 1895 Mariinsky revival, and Rothbart is destroyed. Two swans, implied to be the lovers, are then seen flying past the Moon.
 * In a version danced by National Ballet of Canada in 2010, Odette forgives Siegfried for his betrayal and the promise of reconciliation shines momentarily before Rothbart summons forth a violent storm. He and Siegfried struggle. When the storm subsides, Odette is left alone to mourn the dead Siegfried.
 * In the 2012 version performed at Blackpool Grand Theatre by the Russian State Ballet of Siberia Siegfried drags Rothbart into the lake and they both drown. Odette is left as a swan.
 * In the 2015 English National Ballet version My First Swan Lake, specifically recreated for young children, the power of Siegfried and Odette's love enables the other swans to rise up and defeat Rothbart, who falls to his death. This breaks the curse, and Siegfried and Odette live happily ever after. This is like the Mariinsky Ballet's "Happily ever after" endings. In a new production in 2018, Odile helps Siegfried and Odette in the end. Rothbart, who is Odile's brother in this production, is forgiven and he gives up his evil power. Odette and Siegfried live happily ever after and stay friends with Rothbart and Odile.
 * In Hübbe and Schandorff's 2015 and 2016 Royal Danish Ballet production, Siegfried is forced by Rothbart to marry Odile, after condemning Odette to her curse as a swan forever by mistakenly professing his love to Odile.
 * In the 2018 Royal Ballet version, Siegfried rescues Odette from the lake, but she turns out to be dead, even though the spell is broken.

Structure
Tchaikovsky's original score (including additions for the original 1877 production), which differs from the score as revised by Riccardo Drigo for the revival of Petipa and Ivanov that is still used by most ballet companies, corresponds to this layout. The titles for each number are from the original published score. Some of the numbers are titled simply as musical indications, those that are not are translated from their original French titles.

Act 1

 * Introduction: Moderato assai – Allegro non-troppo – Tempo I

 * No. 1 Scène: Allegro giusto
 * No. 2 Waltz: Tempo di valse
 * No. 3 Scène: Allegro moderato
 * No. 4 Pas de trois
 * 1. Intrada (or Entrée): Allegro
 * 2. Andante sostenuto
 * 3. Allegro semplice, Presto
 * 4. Moderato
 * 5. Allegro
 * 6. Coda: Allegro vivace
 * No. 5 Pas de deux for Two Merry-makers (later fashioned into the Black Swan Pas de Deux)
 * 1. Tempo di valse ma non troppo vivo, quasi moderato
 * 2. Andante – Allegro
 * 3. Tempo di valse
 * 4. Coda: Allegro molto vivace
 * No. 6 Pas d'action: Andantino quasi moderato – Allegro
 * No. 7 Sujet (Introduction to the Dance with Goblets)
 * No. 8 Dance with Goblets: Tempo di polacca
 * No. 9 Finale: Sujet, Andante

Act 2

 * No. 10 Scène: Moderato
 * No. 11 Scène: Allegro moderato, Moderato, Allegro vivo
 * No. 12 Scène: Allegro, Moderato assai quasi andante
 * No. 13 Dances of the Swans
 * 1. Tempo di valse
 * 2. Moderato assai
 * 3. Tempo di valse
 * 4. Allegro moderato (later the famous Dance of the Little Swans)
 * 5. Pas d'action: Andante, Andante non-troppo, Allegro (material borrowed from Undina)
 * 6. Tempo di valse
 * 7. Coda: Allegro vivo
 * No. 14 Scène: Moderato

Act 3

 * No. 15 Scène: March – Allegro giusto
 * No. 16 Ballabile: Dance of the Corps de Ballet and the Dwarves: Moderato assai, Allegro vivo
 * No. 17 Entrance of the Guests and Waltz: Allegro, Tempo di valse
 * No. 18 Scène: Allegro, Allegro giusto
 * No. 19 Pas de six
 * 1. Intrada (or Entrée): Moderato assai
 * 2. Variation 1: Allegro
 * 3. Variation 2: Andante con moto (likely used as an adage after the Intrada but either composed inadvertently or published after the first variation)
 * 4. Variation 3: Moderato
 * 5. Variation 4: Allegro
 * 6. Variation 5: Moderato, Allegro semplice
 * 7. Grand Coda: Allegro molto

 * Appendix I – Pas de deux pour Mme. Anna Sobeshchanskaya (from the original music by Ludwig Minkus and later choreographed by George Balanchine as the Tchaikovsky Pas de deux)
 * # Intrada: Moderato – Andante
 * # Variation 1: Allegro moderato
 * # Variation 2: Allegro
 * # Coda: Allegro molto vivace
 * No. 20 Hungarian Dance: Czardas – Moderato assai, Allegro moderato, Vivace
 * Appendix II – No. 20a Danse russe pour Mlle. Pelageya Karpakova: Moderato, Andante semplice, Allegro vivo, Presto
 * No. 21 Danse Espagnole: Allegro non-troppo (Tempo di bolero)
 * No. 22 Danse Napolitaine: Allegro moderato, Andantino quasi moderato, Presto
 * No. 23 Mazurka: Tempo di mazurka
 * No. 24 Scène: Allegro, Tempo di valse, Allegro vivo
 * No. 24 Scène: Allegro, Tempo di valse, Allegro vivo

Act 4

 * No. 25 Entr'acte: Moderato
 * No. 26 Scène: Allegro non-troppo
 * No. 27 Dance of the Little Swans: Moderato
 * No. 28 Scène: Allegro agitato, Molto meno mosso, Allegro vivace
 * No. 29 Scène finale: Andante, Allegro, Alla breve, Moderato e maestoso, Moderato

Live-action film

 * The opening credits for the first sound version of Dracula (1931) starring Bela Lugosi includes a modified version of the Swan Theme from act 2. The same piece was later used for the credits of The Mummy (1932) as well as Murders in the Rue Morgue (1932) and is often used as a backing track for the silent film, Phantom of the Opera (1925).
 * The film I Was an Adventuress (1940) includes a long sequence from the ballet.
 * The documentary World Assembly of Youth features the New York City Ballet performing Black Swan at Cornell University in Ithaca, New York on August 1951
 * The plot of the 1965 British comedy film The Intelligence Men reaches its climax at a performance of the ballet, with an assassination attempt on the ballerina portraying Odette.
 * The 1966 American political thriller film Torn Curtain directed by Alfred Hitchcock and starring Paul Newman and Julie Andrews contains a scene from the ballet Swan Lake. The lead couple of the film, played by Newman and Andrews, are escaping from East Berlin during the Cold War and attend a performance of the ballet as part of their escape plan. They are spotted and reported to the police by the lead ballerina (Tamara Toumanova) during the ballet performance. Their dramatic escape from the theatre during the ballet is a high point of the film.
 * In 1968–69, the Kirov Ballet along with Lenfilm studios produced a filmed version of the ballet starring Yelena Yevteyeva as Odette.
 * In the film Funny Girl (1968), Barbra Streisand, playing Fanny Brice, dances in a comedic spoof of Swan Lake.
 * In the film A Woman Under The Influence (1974), Gena Rowlands, Mabel Longhetti dances in the garden with her children to Swan Lake and later hums the melody.
 * The ballet is central to the plot of Étoile (1989).
 * In Brain Donors (1992), the three main characters try and succeed in sabotaging a fictional production of the ballet.
 * Darren Aronofsky's Black Swan (2010) focuses on two characters from Swan Lake-the Princess Odette, sometimes called the White Swan, and her evil duplicate, the witch Odile (the Black Swan), and takes its inspiration from the ballet's story, although it does not literally follow it. Clint Mansell's score contains music from the ballet, with more elaborate restructuring to fit the horror tone of the film.
 * In Of Gods and Men (2011), the climactic Swan Lake music is played at the monks' Last Supper-reminiscent dinner.
 * In the film T-34, music from Swan Lake could be heard while the main characters test-drive a captured T-34 for the Germans and pulling off ballet-style moves with the tank.
 * As of August 2020, a live-action adaptation of the ballet is being produced by Mandeville Films, written by Olivier Award-winning playwright Jessica Swale and starring Felicity Jones with Universal Pictures set to distribute.
 * The end of the ballet is in the film The Courier (2020).
 * The ballet is referenced in the film Fast X (2023) by Jason Momoa's character Dante.

Animated theatrical and direct-to-video productions

 * Swan Lake (1981) is a feature-length anime produced by the Japanese company Toei Animation and directed by Koro Yabuki. The adaptation uses Tchaikovsky's score and remains relatively faithful to the story. Two separate English dubs were made, one featuring regular voice actors, and one using celebrities as the main principals (Pam Dawber as Odette, Christopher Atkins as Siegfried, David Hemmings as Rothbart, and Kay Lenz as Odille). The second dub was recorded at Golden Sync Studios and aired on American Movie Classics in December 1990 and The Disney Channel in January 1994. It was presently distributed in the United States by The Samuel Goldwyn Company. It was also distributed in France and the United Kingdom by Rouge Citron Production.
 * Swan Lake (1994) is a 28-minute traditional two-dimensional animation narrated by Dudley Moore. It is one of five animations in the Storyteller's Classics series. Like the 1981 version, it also uses Tchaikovsky's music throughout and is quite faithful to the original story. What sets it apart is the climactic scene, in which the prince swims across the lagoon towards Rothbart's castle to rescue Odette, who is being held prisoner there. Rothbart points his finger at the prince and zaps him to turn him into a duck – but then, the narrator declares, "Sometimes, even magic can go very, very wrong." After a moment, the duck turns into an eagle and flies into Rothbart's castle, where the prince resumes his human form and engages Rothbart in battle. This animation was produced by Madman Movies for Castle Communications. The director was Chris Randall, the producer was Bob Burrows, the production co-ordinator was Lesley Evans and the executive producers were Terry Shand and Geoff Kempin. The music was performed by the Moscow State Orchestra. It was shown on TVOntario in December 1997 and was distributed on home video in North America by Castle Vision International, Orion Home Video and J.L. Bowerbank & Associates.
 * The Swan Princess (1994) is a Nest Entertainment film based on the Swan Lake story. It stays fairly close to the original story, but does contain many differences. For example, instead of the Swan Maidens, we have the addition of sidekicks Puffin the puffin, Speed the tortoise, and Jean-Bob the frog. Several of the characters are renamed – Prince Derek instead of Siegfried, his friend Bromley instead of Benno and his tutor Rogers instead of Wolfgang; Derek's mother is named Queen Uberta. Another difference is Odette and Derek knowing each other from when they were children, which introduces us to Odette's father, King William and explains how and why Odette is kidnapped by Rothbart. The character Odile is replaced by an old hag (unnamed in this movie, but known as Bridget in the sequels), as Rothbart's sidekick until the end. Also, this version contains a happy ending, allowing both Odette and Derek to survive as humans once Rothbart is defeated. It has eleven sequels, The Swan Princess: Escape from Castle Mountain (1997), The Swan Princess: The Mystery of the Enchanted Kingdom (1998), The Swan Princess: Christmas (2012), The Swan Princess: A Royal Family Tale (2014), The Swan Princess: Princess Tomorrow, Pirate Today (2016), The Swan Princess: Royally Undercover (2017), The Swan Princess: A Royal MyZtery  (2018), The Swan Princess: Kingdom of Music (2019), The Swan Princess: A Royal Wedding (2020), The Swan Princess: A Fairytale is Born (2023), and The Swan Princess: Far Longer than Forever (2023) which deviate even further from the ballet. None of the films contain Tchaikovsky's music.
 * Barbie of Swan Lake (2003) is a direct-to-video children's movie featuring Tchaikovsky's music and motion capture from the New York City Ballet and based on the Swan Lake story. In this version, Odette is not a princess by birth, but a baker's daughter; instead of being kidnapped by Rothbart and taken to the lake against her will, she discovers the Enchanted Forest when she willingly follows a unicorn there. She is also made into a more dominant heroine in this version, as she is declared as the one who is destined to save the forest from Rothbart's clutches when she frees a magic crystal. Another difference is the addition of new characters, such as Rothbart's cousin the Fairy Queen, Lila the unicorn, Erasmus the troll, and the Fairy Queen's fairies and elves, who have also been turned into animals by Rothbart. These fairies and elves replace the Swan Maidens from the ballet. It is also the Fairy Queen's magic that allows Odette to return to her human form at night, not Rothbart's spell. Other changes include renaming the Prince Daniel and a happy ending, instead of the ballet's tragic ending. Like the 1877 production, Odette wears a magic crown that protects her.
 * Barbie in the Pink Shoes (2013) features an adaptation of Swan Lake amongst its many fairytales.

Computer/video games

 * The 1988 NES video game Final Fantasy II used a minor portion of Swan Lake just before fighting the Lamia Queen boss. In the WonderSwan Color and later versions the portion is longer.
 * The 1990 LucasArts adventure game Loom used a major portion of the Swan Lake suite for its audio track, as well as incorporating a major swan theme into the storyline. It otherwise bore no resemblance to the original ballet.
 * The 1991 DMA Design puzzle game Lemmings used "Dance of the Little Swans" in its soundtrack.
 * The 1993 Treasure platform game McDonald's Treasure Land Adventure uses a portion of Swan Lake as background music for one of its levels.
 * The 2008 Nintendo DS game Imagine Ballet Star contains a shortened version of Swan Lake. The main character, who is directly controlled by the player of the game, dances to three shortened musical pieces from Swan Lake. Two of the pieces are solos and the third piece is a pas de deux.
 * The 2009 SEGA video game Mario & Sonic at the Olympic Winter Games includes Swan Lake in its figure skating competition.
 * The 2015 game Five Nights at Freddy's 3 contains a music box version of a piece from Swan Lake.
 * The 2016 Blizzard Entertainment game Overwatch contains two unlockable costumes for the character Widowmaker based on Odette and Odile.
 * The 2020 Nintendo Switch game Paper Mario: The Origami King features a comedic ballet production of the song, as well as a punk remix.
 * The 2022 game Signalis contains a cassette tape the player can find that plays a section of Swan Lake.
 * The 2023 rhythm game Just Dance 2024 Edition features a remix of the song.

Dance

 * The Swedish dancer/choreographer Fredrik Rydman has produced a modern dance/street dance interpretation of the ballet entitled Swan Lake Reloaded. It depicts the "swans" as heroin addict prostitutes who are kept in place by Rothbart, their pimp. The production's music uses themes and melodies from Tchaikovsky's score and incorporates them into hip-hop and techno tunes.

Literature

 * Amiri & Odette (2009) is a verse retelling by Walter Dean Myers with illustrations by Javaka Steptoe. Myers sets the story in the Swan Lake Projects of a large city. Amiri is a basketball-playing "Prince of the Night", a champion of the asphalt courts in the park. Odette belongs to Big Red, a dealer, a power on the streets.
 * The Black Swan (1999) is a fantasy novel written by Mercedes Lackey that re-imagines the original story and focuses heavily on Odile. Rothbart's daughter is a sorceress in her own right who comes to sympathise with Odette.
 * The Sorcerer's Daughter (2003) is a fantasy novel by Irina Izmailova, a retelling of the ballet's plot. The boyish and careless Siegfried consciously prefers the gentle, equally childlike Odile, while the stern and proud Odette is from the very beginning attracted to Rothbart (who later turns out to be the kingdom's rightful monarch in hiding).
 * Swan Lake (1989) is a children's novel written by Mark Helprin and illustrated by Chris Van Allsburg, which re-creates the original story as a tale about political strife in an unnamed Eastern European country. In it, Odette becomes a princess hidden from birth by the puppetmaster (and eventually usurper) behind the throne, with the story being retold to her child.

Music

 * Japanese instrumental rock group Takeshi Terauchi & Bunnys recorded this on their 1967 album, Let's Go Unmei.
 * Belgian band Wallace Collection quote from Act 2 Scene 10 in their track "Daydream" (1969).
 * British ska band Madness featured a ska version in 1979 on their debut album One Step Beyond...
 * South Korean group Shinhwa re-imagines the main theme into a hip-hop k-pop song "T.O.P. (Twinkling of Paradise)" (1999)
 * Los Angeles group Sweetbox uses the main theme for the chorus of their song "Superstar" from the 2001 album Classified.
 * German singer Jeanette Biedermann uses the Swan Lake melody structure for her 2001 single release "How It's Got To Be".
 * Spanish symphonic metal band Dark Moor borrows elements on the song "Swan Lake", the first track of their 2009 album Autumnal.
 * A reggae version of the Swan Lake ballet appears on the 2017 album Classical Made Modern 3.
 * Canadian metal band The Agonist has made an a cappella version of act 2's "Scène. Moderato", which is included in their second studio album, Lullabies for the Dormant Mind.
 * Beyoncé uses the ballet's famous theme in her "visual album" Lemonade, a reference that underscores the film's meditation on infidelity.
 * Scott Hamilton - Tenor Saxophone. Jazz interpretation - Scott Hamilton CLASSICS
 * X Japan uses a short excerpt of it in "Silent Jealousy".

Musicals/opera

 * Odette – The Dark Side of Swan Lake, a musical written by Alexander S. Bermange and Murray Woodfield, was staged at the Bridewell Theatre, London in October 2007.
 * In Radio City Christmas Spectacular, The Rockettes do a short homage to Swan Lake during the performance of the "Twelve Days of Christmas (Rock and Dance Version)", with the line "Seven Swans A-Swimming".
 * Billy Elliot the Musical incorporates the most famous section of Matthew Bourne's Swan Lake in a dance number, in which the main character dances while shadowed by his future, adult self.
 * The musical Anastasia includes a scene in which several of the main characters attend a performance of Swan Lake in Paris near the show's climax. The four characters sing about their inner conflicts and desires as Tchaikovsky's score blends into the musical's melodies, the dancers onstage representing both the ballet's characters and the thoughts of each singer in turn.
 * The top of the third act of the opera The Abduction of Figaro (1984) includes a parody of Swan Lake where Odile is portrayed as a Carmen Miranda character.

Television

 * During the era of the Soviet Union, Soviet state television preempted large announcements with video recordings of Swan Lake on four infamous occasions. In 1982 state television broadcast recordings following the death of Leonid Brezhnev. In 1984 recordings preempted the announcement of the death of Yuri Andropov. In 1985, recordings preempted the announcement of the death of General Secretary Konstantin Chernenko. The final and most oft-cited instance of the use of Swan Lake in this context was during the August 1991 Soviet coup attempt leading up to the dissolution of the Soviet Union.
 * When independent Russian news channel TV Rain was forced to shut down due to censorship laws caused by the 2022 Russian invasion of Ukraine, the station chose to end its final newscast with Swan Lake in a reference to its use in 1991.
 * Princess Tutu (2002) is an anime television series whose heroine, Duck, wears a costume reminiscent of Odette's. She is a duck transformed by a writer into a girl (rather than the other way around), while her antagonist, Rue, dressed as Odile, is a girl who had been raised to believe she is a raven. Other characters include Mytho in the role of Siegfried, who is even referred to by this name towards the end of the second act, and Drosselmeyer playing in the role of Rothbart. The score of Swan Lake, along with that of The Nutcracker, is used throughout, as is, occasionally, the Petipa choreography, most notably in episode 13, where Duck dances the climactic pas de deux alone, complete with failed lifts and catches.
 * In the second season of the anime Kaleido Star, a circus adaptation of Swan Lake becomes one of the Kaleido Stage's most important and successful shows. Main character Sora Naegino plays Princess Odette, with characters Leon Oswald as Prince Siegfried and May Wong as Odile.
 * In episode 213 of The Muppet Show, Rudolf Nureyev performs Swine Lake with a giant ballerina pig.
 * In episode 105 of Cagney and Lacey, Det. Chris Cagney went to this with her boyfriend and hated it so that she fell asleep in the second act.
 * Swan Lake was heard in two episodes of the Playhouse Disney series Little Einsteins: "Quincy and the Magic Instruments" and "The Blue Footed Boobey Bird Ballet".
 * In the Tiny Toon Adventures episode Loon Lake, Babs Bunny helps out Shirley the Loon after she was ridiculed by a group of snobbish swans in ballet class while preparing for a performance of Swan Lake.
 * In Dexter's Laboratory episode, Deedeemensional, Dexter, in order to deliver an important message to his future self, was forced to dance Swan Lake with Dee Dee and her future self.
 * The Beavis and Butt-Head episode "A Very Special Episode" uses the same arrangement used in Dracula and The Mummy while Beavis is feeding the bird he saved.
 * In the animated children's show Wonder Pets, Linny, Tuck and Ming-Ming help encourage a baby swan to dance in his own way. The music of Swan Lake is used.
 * A close arrangement of the waltz from act 1 appears in episodes 16, 23 and 78 of My Little Pony: Friendship Is Magic, "Sonic Rainboom", "The Cutie Mark Chronicles" and "Simple Ways".
 * In one of the Shimmer and Shine episodes called "The Great Ballet". Swan Lake was seen in this episode.
 * In one of the Madagascar: A Little Wild episodes called "Hippo Lake". It has a bunch of Swan Lake references from this episode.

Symbolism
In the 2020s, Swan Lake became a symbol of protest in Russia. The symbolism dates to the failed Soviet coup of 1991. On August 19 of that year, as tanks rolled into Moscow, state television aired the entire ballet on loop. Communist hardliners then announced that they had seized control of the country from Mikhail Gorbachev, whom they had arrested. Boris Yeltsin responded by climbing on a tank in central Moscow and urging citizens to turn out in protest. For three days, thousands of protesters stood off the army, after which the coup leaders relented. Within four months, the Soviet Union was gone.

In 1991, there was a tradition of interrupting regular programming by airing the ballet on loop when the government was in crisis: it happened with the death of Leonid Brezhnev in 1982, while a successor was selected, and again with the deaths of Yuri Andropov in 1984 and Konstantin Chernenko in 1985. Swan Lake thus became "a sign of political instability and upheaval."

After the 2022 Russian invasion of Ukraine, public opposition to the war was made illegal. Swan Lake became a coded symbol of protest against the war or the Putin regime. Graffiti of the "Dance of the Cygnets" appeared in Russian cities, and when the independent Russian news outlet TV Rain signed off for the last time, due to government pressure over its coverage of the war, it ended with a clip from Swan Lake. It has become "a sign that we are waiting for Putin to die." Putin has not established a successor, meaning that "there's always the risk that Tchaikovsky's swans may dance again."

title: Swan Lake


text:
Talk:Black Madonna

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 30 January 2019 and 10 May 2019. Further details are available on the course page. Student editor(s): Lvcongo.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 15:53, 16 January 2022 (UTC)

Sinai Icon
I'm confused as to how the Sinai icon in the examples section depicts a Black Madonna. — Preceding unsigned comment added by 74.109.240.60 (talk) 19:15, 29 July 2020 (UTC)

Untitled
Huh? Danny

 * I'll try to NPOV it. I will probably be too gentle in editing it, but maybe someone more harsh can come after me :-) -- Cimon Avaro on a pogo-stick 02:07 27 Jul 2003 (UTC)

Gosh this is silly. Just to start with, using the term "Madonna" for a statue outside Italy (the examples listed are French and Polish) is kind of -- uhh -- obtuse. Thus I don't even think this is worth revising with the universally accepted opinion of art historians and museum professionals (the people who actually look at the surfaces of these things with microscopes) that the color is discoloring due to age. Oh, well. Wikipedia offends me badly enough again that I wonder why I bothered to come back. And the Michelangelo stuff! Look at a good picture, people. The bandeau across her chest has the text from Luke (I think) -- definitely not the Magdalen. Oh, well -- what are you going to do with people who (a)prefer esoteric interpretation and (b) can his "edit this page'? --Michael Tinkler, former contributor.

I agree with the others. If the discolouration is in fact the "theory which is widely accepted among musuem curators", then Wikipedia should present this as a likely theory and the most prominent one, not blithely ascribe it to "historical racism". In fact, the whole article could do with a rewrite by somebody with knowledge in this area. (Hint to the above poster: you too can hit the "edit this page" link!) Aaaanyway. I have marked it POV. --Spudtater 22:35, 13 Jun 2005 (UTC)
 * Changed my mind. I'll start on it myself. --Spudtater 22:49, 13 Jun 2005 (UTC)
 * Gah! If there were any sources I could trust, this would be a lot easier! --Spudtater 23:04, 13 Jun 2005 (UTC)

Removal of content
Please don't remove whole chunks of the text just because you personally disagree with the hypotheses expressed therein. If you have enough knowledge to make an educated decision that a hypothesis is nonsense, then please share your reasoning with us by adding that to the text, not removing the original hypothesis. Thank you. --Spudtater 23:52, 31 October 2005 (UTC)

Black Madonnas and contemporary culture
What sort of information could we put in here about contemporary culture(s) and Black Madonnas? In the novel The Secret Life of Bees by Sue Monk Kidd, one features prominently as the icon at the center of a small African-American religious community. I'm wondering if there's any "real life" analogues to that, which would fit into this article. The Literate Engineer 22:24, 24 Jun 2005 (UTC)

"African by Nature" link
The "African by Nature" site and many of its links are clearly biased and Afrocentric, and are contradicted by the article and the other links. Specifically, it/they explicitly call(s) the black madonnas "African" (the page from which it plagiarizes actually says "historically, alabaster-white madonnas are far newer than their black counterparts," (emphasis mine) not "African" ), claim(s) Jesus was "black", and makes inflammatory suggestions (e.g. the site's definition of "denial") seen elsewhere in the history of this article. Some of the silent contributors of this article undeniably have an ethnocentric agenda and their contributions aren't encyclopedic. This link seems just to be permitted residue of the formerly rampant racist vandalism of this article. I know other contributors have seen this link and left it there (Spudtater, et al ), so I ask why it has remained untouched. Because it proclaims many inaccuracies, it doesn't belong here, so I'm removing it until someone explains its validity. The favorable links found on this site should be posted separately. --Jugbo 23:52, 6 January 2006 (UTC)

IS IT SO HARD TO BELIEVE THAT THE REASON HER SKIN IS DEPICTED AS DARK OR BLACK IS BECAUSE SHE WAS A BLACK WOMAN? Thousands of years ago they did not have the say race issues that we do now. So painting her black was due to seeing black skin. The original artist probably had very little experience with African features so her features came out European looking. However, there are many Africans with "European" features without being European. Over the years it seems as if Blacks are being written out of religious history. One needs only to pick up the Bible to read about Black history. Nita 4:30 pm July 11, 2006 CST

Personally, I favour the theory that she was a Semite, not black. It's a bit more probable considering the geography involved. Black people have plenty of well-documented stuff to be proud of. No need to push a marginal theory like that; it simply weakens the case for the real stuff by confusing the issue. Rhialto 08:32, 4 November 2006 (UTC)

 * Are Black and Semite mutually exclusive? vap (talk) 07:11, 11 December 2023 (UTC)

Just removed : "Most religions are plagiarized from the indigenous people of Africa and culture. The people of ancien Kemet translates to [The Black Land/The Black People] ancient Ethiopia and Nubia.". This is unsubstantial (most religions??), and also ungrammatical. Riyadi (talk) 23:28, 31 May 2009 (UTC)

Rewrite 25 Feb 2006
Hi everyone - I saw the call for help with this and had a go at improving it. Though I'm not an expert, I felt I had enough knowledge to make a difference. It has been more difficult than I expected - and I had to put a lot of effort into trying to represent different points of view fairly.

I hope to add to the "further reading" list and and the external links soon.

I didn't keep the text about the Madonna at Częstochowa because she has her own page, and it is controversial to say that particular icon is older than any other Black Madonna. (The tradition of having been painted by Luke the Evangelist applies to several Italian Madonnas too.)

One day I may work at building up a list of Black Madonnas. Anyone who's interested in doing that could find these links useful. http://www.udayton.edu/mary/resources/blackm/blackm.html and http://de.wikipedia.org/wiki/Schwarze_Madonna

Please excuse any lapses in WikiP style or etiquette. I'm trying but I'm new here. :) HJMG 22:27, 25 February 2006 (UTC)

PS Other thoughts:

It would be good if the page had a picture of a really dark black Black Madonna like these: http://www.sabbatarian.com/SubPage/BlackMadonnas.html

Fleur-de-lys
This could be misleading if it sounds like a name for the painting. Except on Wikipedia copy sites, I can only find it used as a description of the pattern on the robes in this painting. HJMG 09:52, 2 March 2006 (UTC)

Earth Mary?
 "(Note certain "earth-Mary" toponyms, thus one Erdmarishusen in S Germany.)"  I don't remember reading about this before and can't find any reliable sources for it. Can anyone help? Should this statement be with the best-known theories in the theory section or in a footnote? Even in a footnote it would need a source. --HJMG 22:43, 4 September 2006 (UTC)

 *  (Note certain "earth-Mary" toponyms, thus one Erdmarishusen...ref>Cited thus in medieval documents from AD 816 onward, now Erdmannhausen (near Marbach). It has to be said that no black madonna is known from that town today.</ref... in S Germany.)  I've put this here on the talk page for discussion and/or until a source is found. --HJMG 20:28, 12 September 2006 (UTC)

19th C Fundamentalist Protestant Anti-Catholicism?
I am surprised by a recent contribution suggesting this has influenced modern writers on the Black Madonnas. Without any source for this opinion, I am unhappy about leaving it in the article. Does anyone know more about a link between Hislop's ideas and modern writers who suggest "pagan" echoes in images of Black Madonnas? --HJMG 11:08, 14 November 2006 (UTC)

 * I've cut this since no-one has offered any verification. --HJMG 14:10, 5 December 2006 (UTC)

Neutrality
I challenge the neutrality of this article. Its shows no scholarship and instead shows a bias on the part of several non-Christian authors who wish to super-impose their ideas onto this articles. This is not an article about the occult and Isis, it is a Christian History that is being lost here. —Preceding unsigned comment added by 75.40.63.192 (talk) 15:59, 11 December 2008 (UTC)

FWIW, I'd like to throw the idea that true neutrality implies that Christian History is as deserving of impartial documentation (regardless of our own beliefs) as is Egyptian Mythology and the history of the fascination of the occult. To put it another way: articles about the occult, Isis and Christ deserve the same scientific rigour and neutrality; Christian History deserves to be preserved, just like Egyptian Mythology and any other human-made mythologies and/or systems of belief. — Preceding unsigned comment added by 85.240.170.24 (talk) 12:29, 4 August 2017 (UTC)

Edit 10/01/09
I added a POV tag on the grounds that this article presents fringe theories as mainstream historical consensus and even, in places, as established fact. Furthermore, none of the claims are properly sourced. I began revising the article by deleting the section on Our Lady of Guadalupe on the following grounds: "Non-white" is not a synonym for "black", and therefore the image does not belong in this article; "1212" is not an anagram for "Isis"; there is no citation for the implicit claim that the date was abbreviated 12/12 in 16th century Mexico; there is no evidence that St. Juan Diego was even aware of the existence of Egyptian mythology, much less its content; there is no citation for the claim that Notre Dame de Paris (which was built in the 12th century) was constructed on the site of a (presumably long-destroyed) temple of Isis; and the history of Notre Dame de Paris is irrelevant to the history of the purported Marian apparitions at Guadalupe in any event. Much of the article seems taken up with these kinds of claims, hopefully I'll have time to do more work later. DennisAreopagus (talk) 02:24, 2 October 2009 (UTC)

Further revised article, eliminated most of the repetition, added qualifiers to more clearly delineate pseudo-historical claims. Now I know I need to begin the citation process, but in my defense, the article had NO footnotes when I got here. Now it has one, which is infinitely more than zero. Oh, and I eliminated a reference to "lil wayne's wife". DennisAreopagus (talk) 05:33, 2 October 2009 (UTC)

--Why?--

Why is it that articles representing information that challenges the acceptable delusion of white skin for all religious figures always cause the most ignorant, uneducated energies to emerge and be heard as authorities on topics that alarm them due to an innate self hatered that if they were to remotely read, travel and actually visit some of these places mention in this article and question why? do various European cultures pay homage to these most perfect, beautiful, ancient and black statutes for centuries? I'm willing to bet when their truth is revealed this would still alarmed these closed minded individuals to insanity. Genetic testing has shown how race actually has no place in humanity, ethnicity fools many by the outward appearances of skin color and many are not what they think they are either racially. But I bet you this with the coming earth changes survival of the fittest will be much challenged without the right skin protection. So lets try to embrace more realities than to refute them based on internal conflicts that can not be resolved here on this website. PIJ 11/9/10 —Preceding unsigned comment added by 173.130.19.82 (talk) 07:52, 9 November 2010 (UTC)

Isis
Some scholars of comparative religion, particularly those with Afrocentrist, feminist, or neo-pagan backgrounds, have suggested that Black Madonnas are descendants of pre-Christian mother or earth goddesses (Moss, Benko), often highlighting Isis as the key ancestor-goddess

I realise that this section being included does not equal an endorsement of it, but perhaps some further explanation? My main objection is that Isis was NEVER depicted as looking even remotely black in ancient Egyptian art, but rather as white, yellow, or light reddish-brown, the standard colors used for female skin. However, given that I've read about people who claim Nefertiti's famous bust was altered or even an outright forgery by archaeologists with a White supremacist agenda, I suppose anything's possible. PenitentWhaler (talk) 18:29, 1 May 2011 (UTC)

Additional Info a/b Mary / Jesus Line of Descent and black skin
in regard to the coloring of the MARY line TO includes black, which comes down to today from well known intermarriages from the lines claimed and accurate known to be children of Jesus with all royal families of Europe and from them to many other Europeans, two points - some claim that Mary Magdalene the wife of Jesus and so mother of his children, had a black father; but otherwise, that is unknown and unproven but perhaps also the line from Mary also had rather than black, otherwise, dark complexion as in either event, the lines to today from these Jesus descended lines, have the repeating feature , like a marker, that every so often a person will appear who is very dark with very dark irises and so many times is then referred as the devil as William Conquerors grandfather.... and these darker persons, have no connection whatsoever to intermarriages to blacks ... q.v. all those lines ,  SOH Sr, AO 0   24.186.56.245 (talk) @@@  —Preceding undated comment added 21:27, 1 August 2012 (UTC)

Copyright problem removed
Prior content in this article duplicated one or more previously published sources. The material was copied from: http://djaloki.wordpress.com/2008/04/09/vodou-surviving-the-empire/. Copied or closely paraphrased material has been rewritten or removed and must not be restored, unless it is duly released under a compatible license. (For more information, please see "using copyrighted works from others" if you are not the copyright holder of this material, or "donating copyrighted materials" if you are.) For legal reasons, we cannot accept copyrighted text or images borrowed from other web sites or published material; such additions will be deleted. Contributors may use copyrighted publications as a source of information, but not as a source of sentences or phrases. Accordingly, the material may be rewritten, but only if it does not infringe on the copyright of the original or plagiarize from that source. Please see our guideline on non-free text for how to properly implement limited quotations of copyrighted text. Wikipedia takes copyright violations very seriously, and persistent violators will be blocked from editing. While we appreciate contributions, we must require all contributors to understand and comply with these policies. Thank you. 80.222.247.103 (talk) 20:53, 7 August 2012 (UTC)

Black Madonna portrays Mary Magdalen as Jesus' Wife and Mother of his Child
"There is an esoteric theory that Jesus and Mary Magdalen were married and that she was pregnant at the time of his crucifixion on 7.4.783 AUC /April 7, 30 AD. (ref>Holy Blood, Holy Grail by Michael Baigent, Richard Leigh, and Henry Lincoln (Dell, 1983)/ref). She flew persecution to Alexandria and had a daughter Sarah. App. 12 years later, MM and her daughter arrived by boat at the south of France (ref>The Woman With The Alabaster Jar by Margaret Starbird (Bear & Co., 1993), p 61 /ref). The Black Madonnas (which are primarily found in France) encode this esoteric information." - Pythagoras 66.229.179.242 (talk) 23:08, 16 February 2013 (UTC) — Preceding unsigned comment added by 66.229.179.242 (talk) 23:03, 16 February 2013 (UTC)

 * I was going to move the section re Mary Magdalene to the Talk page, but found it already here. Baiget et al's hypothesis re the marriage of Jesus and Magdalene is well known, as is the fact that Starbird wrote her book after having read theirs. The threshold question for this article however, is not whether this is true, but does either book specifically discuss Black Madonnas? Mannanan51 (talk) 22:06, 9 March 2013 (UTC)Mannanan51

Ethiopian and Nubian Icons
Although not considered "black madonnas" under the European medieval definition (which itself is only a 19th century hypothesis) there are countless examples of Nubian and Ethiopian depictions of Mary as dark skinned. I'm wondering if anyone here has any opinion on a mention of examples of such depictions.Trinacrialucente (talk) 06:20, 8 January 2016 (UTC)

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Nossa Senhora da Nazaré
Heads-up - there appears to be a mix-up in the Portugal section. The links reference Nazaré (Portugal) and Igreja de Nossa Senhora da Nazaré (Luanda, Angola) as though they were both IN Portugal. Angola was a Portuguese colony, yes, but not since 1975 - so the Igreja can't really be said to be in Portugal territory. Not to mention the mix-up - the way it's written, it implies that the Igreja de Nossa Senhora da Nazaré is geographically in Portugal... then it links to a page that says it's in Angola. — Preceding unsigned comment added by 85.240.170.24 (talk) 08:44, 4 August 2017 (UTC)

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"Notre-Dame la Blanche"
I see that "Notre-Dame de Pilar" at Chartres is not included in the list of so-called "Black Madonnas" in the article, so this won't be grounds for editing the article, but I wanted to capture a piece of information about that figure. Benjamin Ramm, FRSA, writing in the New York Times (Sept. 1, 2017) wrote "To illustrate the complexity of the controversy, it should be noted that the statue ("Notre-Dame de Pilar") was commissioned as a copy of a much-admired earlier Madonna. Her name? 'Notre-Dame la Blanche' — 'Our Lady the White One'." "A Controversial Restoration That Wipes Away the Past" That information lends weight against the criticisms of the restoration that removed the darkened surface as supposedly "whitewashing" the figure. It also suggests that it's possible that in other instances, figures that are popularly considered to be "black" are likewise simply discolored from age and environmental degradation. Bricology (talk) 08:34, 13 May 2019 (UTC)

Inclusion criteria for this page - Rainbow Madonna
A brief blurb was removed using rather non-inclusive language. Many of the items on this list have rather scant sourcing (or even no sourcing at all). The Rainbow Madonna (which is a black Madonna with a rainbow halo) has been covered extensively in international media and would seem WP:DUE for this page in light of other images listed. Do we have a clear criteria for inclusion ? Icewhiz (talk) 07:10, 26 August 2019 (UTC)

Mention of Egypt as main place yet no church is listed.
I suggest either removing egypt or bringing evidence if any black Madonna there 88.147.37.191 (talk) 22:48, 14 December 2022 (UTC)

Mention of Ethiopia
AFAIK, the earliest surviving Ethiopian religious icons date to the 13th century at the earliest; much of the oldest art has been destroyed in warfare over the centuries. Probably it would be more accurate to say no icons date earlier than the 14th century. (Under Dawit I & Zara Yaqob mariology experienced a major flourishing.) So unless someone can cite a specific example of an Ethiopian icon dating before the Zagwe dynasty, this country should also be removed.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Black Madonna


text:
List of British painters

undefined The following is a list of notable English and British painters (in chronological order).

Born 16th century

 * George Gower (c. 1540–1596)
 * Nicolas Hilliard (1547–1619)
 * Sir Nathaniel Bacon (1585–1627)
 * Cornelis Janssens van Ceulen (1593–1661)
 * Sir Anthony van Dyck (1599–1641) – born in Antwerp; Principal Painter in Ordinary to the King
 * William Larkin (1580–1619)

Born 17th century

 * Emmanuel de Critz (1608–1665)
 * William Dobson (1610–1646)
 * John Michael Wright (1617–1694)
 * Peter Lely (1618–1680) – Principal Painter in Ordinary to Charles II (1661)
 * Oliver de Critz (1626–1651)
 * Henry Gibbs (1630/1–1713)
 * Edward Bower (fl. 1635–1667)
 * Henry Cooke (1642–1700)
 * Sir Godfrey Kneller (1646–1723)
 * John Riley, or Ryley (1646–1691)
 * Marmaduke Cradock (1660–1716)
 * Sir James Thornhill (1675–1734)
 * Edward Byng (c. 1676–1753)
 * Peter Monamy (1681–1749)
 * John Wootton (1682–1764)
 * Isaac Whood (1689–1752)
 * Joseph Highmore (1692–1780)
 * John Vanderbank (1694–1739)
 * William Hogarth (1697–1764)

Born 18th century

 * Thomas Hudson (1701–1779)
 * Mary Hoare (1744–1820)
 * William Hoare (c. 1707–1792)
 * Francis Hayman (1708–1776)
 * Sir William Beechey (1753–1839)
 * John Shackleton (1714–1767) – Principal Painter in Ordinary to George II and George III
 * Richard Wilson (1714–1782)
 * William Keable (1714–1774)
 * Charles Brooking (1723–1759)
 * Sir Joshua Reynolds (1723–1792) – Principal Painter in Ordinary to the King
 * George Stubbs (1724–1806)
 * Thomas Gainsborough (1727–1788)
 * Sawrey Gilpin (1733–1807)
 * Johann Zoffany (1733–1810) – born in Frankfurt
 * Peter Perez Burdett (c. 1734–1793)
 * George Romney (1734–1802)
 * Joseph Wright of Derby (1734–1797)
 * Jeremiah Meyer (1735–1789) –  born in Tübingen
 * Richard Wright (1735–c.1775)
 * Amos Green (1735–1807)
 * Mary Benwell (1739–after 1800)
 * John Hamilton Mortimer (1740–1779)
 * Henry Fuseli (1741–1825) – born in Zürich
 * Matthew William Peters (1742–1814)
 * Mary Moser (1744–1819)
 * William Hodges (1744–1797)
 * Henry Walton (1746–1813)
 * William Tate (1747–1806)
 * Richard Morton Paye (1751–1820)
 * Joseph Barney (1753–1832)
 * Charles Lewis (1753–1795) – still life painter
 * Maria Bell (1755–1825)
 * Prince Hoare the Younger (1755–1834) – painter and dramatist
 * Philip (or Philippe) Jean (1755–1802) – of Jersey
 * Thomas Stothard (1755–1834)
 * Henry Bone (1755–1834)
 * William Blake (1757–1827)
 * George William Sartorius (1759–1828)
 * Lemuel Francis Abbott (1760–1803)
 * Sir Thomas Lawrence (1760–1830) – Principal Painter in Ordinary to the King
 * George Augustus Wallis (1761–1847)
 * George Morland (1763–1804)
 * Samuel Drummond (1766–1844)
 * John Crome (1768–1821)
 * Thomas Barker (1769–1847)
 * James Ward (1769–1859)
 * William Armfield Hobday (1771–1831)
 * Edward Bird (1772–1819)
 * Charles Henry Schwanfelder (1774–1837)
 * Thomas Girtin (1775–1802)
 * Joseph Mallord William Turner (1775–1851)
 * John Constable (1776–1837)
 * John Jackson (1778–1831)
 * John Varley (1778–1842)
 * William John Huggins (1781–1845), marine painter
 * Richard Barrett Davis (1782–1854)
 * John Sell Cotman (1782–1842)
 * David Cox (1783–1859)
 * Sir David Wilkie (1785–1841) – Principal Painter in Ordinary to the King
 * Caroline Maria Applebee (c. 1785–1854)
 * Benjamin Haydon (1786–1846)
 * William Mulready (1786–1863)
 * William Etty (1787–1849)
 * John Martin (1789–1854)
 * William Linton (1791–1876)
 * Sir George Hayter (1792–1871) – Principal Painter in Ordinary to the Queen
 * Margaret Sarah Carpenter (1793–1872)
 * Francis Danby (1793–1861)
 * Charles Robert Leslie (1794–1859)
 * Sir William Charles Ross (1794–1860)
 * Henry Collen (1797–1879)
 * Paul Delaroche (1797–1856)
 * Joseph Stannard (1797–1830)
 * Frederick Richard Lee (1798–1879)
 * Thomas Witlam Atkinson (1799–1861)
 * Samuel Atkins, marine painter

Born 1800–1824

 * John Hayter (1800–1895)
 * Thomas Webster (1800–1886)
 * James Digman Wingfield (1800-1872)
 * Sir Edwin Henry Landseer (1802–1873)
 * Thomas Sidney Cooper (1803–1902)
 * John Scarlett Davis (1804–1845)
 * Edwin Wilkins Field (1804–1871)
 * William Knight Keeling (1807–1886)
 * George Armfield (1808–1893)
 * Thomas Baker (1809–1864)
 * William Edward Frost (1810–1877)
 * James Peel (1811-1906)
 * Henry Dawson (1811–1878)
 * Ebenezer Colls (1812–1887)
 * Richard Barnett Spencer (1812–1897)
 * Thomas Musgrave Joy (1812–1866)
 * Edmund John Niemann (1813–1876)
 * Harry Hall (c. 1814–1882)
 * John Absolon (1815–1895)
 * James Francis Danby (1816–1875)
 * Augustus Egg (1816–1863)
 * Edward Matthew Ward (1816–1879)
 * Henry Mark Anthony (1817–1886)
 * Branwell Brontë (1817–1848)
 * Richard Dadd (1817–1886)
 * Thomas Danby (1817–1886)
 * John Callcott Horsley (1817–1903)
 * John Phillip (1817–1867)
 * George Frederic Watts (1817–1904)
 * Margaret Backhouse (1818–1888)
 * Louisa Beresford (1818–1891)
 * John Anster Fitzgerald (c. 1819–1906)
 * William Powell Frith (1819–1909)
 * James Sant (1820–1916)
 * Ford Madox Brown (1821–1893)
 * Charles Elder (1821–1851)
 * Sir Joseph Noel Paton (1821–1901)
 * James Smetham (1821–1889)
 * Thomas Holroyd (1821–1904)
 * Lefevre James Cranstone (1822–1893)
 * Frederick Goodall (1822–1904)
 * George Hardy (1822–1909)
 * William Simpson (1823–1899)
 * William Shakespeare Burton (1824–1916)
 * Martha Darley Mutrie (1824–1885)
 * Frances Emilia Crofton (1822–1910)

Born 1825–1849

 * Eleanor Vere Boyle (1825–1916)
 * Annie Feray Mutrie (1826–1893)
 * David Cooke Gibson (1827–1856)
 * Frederick Daniel Hardy (1827–1911)
 * William Holman Hunt (1827–1910)
 * John Wharlton Bunney (1828–1882)
 * George Bernard O'Neill (1828–1917)
 * Dante Gabriel Rossetti (1828–1882)
 * Anna Blunden (1829–1915)
 * John Bagnold Burgess (1829–1897)
 * John Finnie (1829–1907)
 * Edwin Long (1829–1890)
 * John Everett Millais (1829–1896)
 * John Samuel Raven (1829–1877)
 * Lord Frederick Leighton (1830–1896)
 * Helen Mabel Trevor (1831–1900)
 * Arthur Hughes (1832–1915)
 * Louise Rayner (1832–1924)
 * Henrietta Ward (1832–1924)
 * George Henry Boughton (1833–1905)
 * Edward Burne-Jones (1833–1898)
 * Benjamin Williams Leader (1833–1921)
 * Frederic Shields (1833–1911)
 * William Morris (1834–1896)
 * Emily Mary Osborn (1834–1913)
 * Sir Lawrence Alma-Tadema (1836–1912) – born in Dronrijp
 * John Atkinson Grimshaw (1836–1893)
 * Walter Field (1837–1901)
 * Charles Stuart (1838–1907)
 * Walter Goodman (1838–1912)
 * Horatio Joseph Lucas (1839-1873)
 * Charles Edward Perugini (1839–1918)
 * Kate Perugini (1839–1929)
 * John Clayton Adams (1840–1906)
 * Philip Augustus Barnard (1840–1884)
 * Albert Joseph Moore (1841–1893)
 * Edith Martineau (1842–1909)
 * Edwin Ellis (1842–1895)
 * Sydney Prior Hall (1842–1922)
 * Thomas Bush Hardy (1842–1897) – marine painter
 * Clara Montalba (1842–1929)
 * Herbert William Weekes (c. 1842–unknown)
 * Louise Jopling (1843–1933)
 * Bernard Walter Evans (1843–1922)
 * Isabel Dacre (1844–1933)
 * Tristram Ellis (1844–1922)
 * Augustus Edwin Mulready (1844–1904)
 * Frances C. Fairman (1839–1923)
 * Marie Spartali Stillman (1844–1927)
 * Annie Swynnerton (1844–1933)
 * Edith Gittins (1845–1910)
 * Louisa Starr (1845–1909)

 * Edith Corbet (1846–1920)
 * Walter Greaves (1846–1930)
 * Kate Greenaway (1846–1901)
 * William Biscombe Gardner (1847–1919)
 * Ellis Rowan (1847–1922)
 * Helen Allingham (1848–1926)
 * Helen Thornycroft (1848–1937)
 * John William Waterhouse (1849–1917)
 * John Reinhard Weguelin (1849–1927)
 * William Thornley (fl. 1858–1898)

Born 1850–1874

 * Walter Daniel Batley (1850–1936)
 * John Collier (1850–1934)

 * Edward Robert Hughes (1851–1914)
 * Laura Alma-Tadema (1852–1909)

 * George Clausen (1852–1944)
 * Alfred Richard Gurrey, Sr. (1852–1944)
 * Charles Napier Kennedy (1852–1898)
 * Walter Langley (1852–1922)
 * Frank Bernard Dicksee (1853–1928)
 * Edmund Blair Leighton (1853–1922)
 * Alfred Robert Quinton (1853–1934)
 * Mary Henrietta Dering Curtois (1854–1929)
 * Caroline Gotch (1854–1945)
 * Frank Markham Skipworth (1854–1929)
 * George Paice (1854–1925)
 * Edward Wilkins Waite (1854–1924)
 * Sara Page (1855–1943)
 * Marianne Stokes (1855–1927)

 * Alfred Wallis (1855–1942)
 * Evelyn De Morgan (1855–1919)
 * Robert C. Barnfield (1856–1893)
 * Jane Mary Dealy, Lady Lewis (1856–1939)
 * Alice Hirschberg (1856–1913)
 * Joseph Vickers de Ville (1856–1925)

 * William Wells Quatremain (1857–1930)
 * William Stott-of-Oldham (1857–1900)
 * Arthur Melville (1858–1904)
 * Henry Scott Tuke (1858–1929)
 * George Henry (1858–1943)
 * Elizabeth Armstrong Forbes (1859–1912)

 * Henrietta Rae (1859–1928)
 * Charles W. Bartlett (1860–1940)
 * Lewis Charles Powles (1860–1942)
 * Christabel Cockerell (1863–1951)
 * Margaret Bernadine Hall (1863–1910)
 * George Phoenix (1863–1935)
 * Arthur Wardle (1864–1949)
 * Arthur Lowe (1865–1940)
 * John Guille Millais (1865–1931)
 * Louise Pickard (1865–1928)
 * Charles Spencelayh (1865–1958)
 * Milly Childers (1866–1922)
 * Mary Davis, Lady Davis (1866–1941)
 * Helen Thomas Dranga (1866–1940)
 * Roger Fry (1866–1934)
 * Helen Beatrix Potter (1866–1943)
 * Anna Alma-Tadema (1867–1943) – born in Brussels
 * Frank Brangwyn (1867–1956) – born in Bruges
 * Percy Robertson (1868–1934)
 * Ursula Wood (1868–1925)
 * Mary Baylis Barnard (1870–1946)
 * Mary McEvoy (1870–1941)
 * Aubrey Vincent Beardsley (1872–1898)
 * Eleanor Fortescue-Brickdale (1872–1945)
 * William Heath Robinson (1872–1944)
 * Henry Keyworth Raine (1872–1932)
 * Alexander Scott (1872–1932)
 * William Nicholson (1872–1949)
 * Louie Burrell (1873–1971)
 * Amy Drucker (1873–1951)
 * Arthur Miles Moss (1873-1948)
 * Edmund Hodgson Smart (1873–1942)
 * Isabel Codrington (1874–1943)

Born 1875–1899

 * Arthur Henry Knighton-Hammond (1875–1970)
 * Madge Oliver (1875–1924)
 * Sophie Atkinson (1876–1972)
 * Winifred Austen (1876–1964)
 * Isobelle Ann Dods-Withers (1876–1939)
 * Gwen John (1876–1939)

 * Frank Cadogan Cowper (1877–1958)
 * Laura Knight (1877–1970)
 * Frank Montague Moore (1877–1967)
 * Walter Ernest Webster (1877–1959)
 * Hilda Annetta Walker (1877–1960)
 * Eliza Mary Burgess (1878–1961)
 * May Louise Greville Cooksey (1878–1943)
 * Augustus John (1878–1961)
 * Vanessa Bell (1879–1961)
 * Gertrude Harvey (1879–1966)
 * John Hodgson Lobley (1879–1954)
 * Anna Airy (1882–1964)
 * Gladys Kathleen Bell (1882–1965)
 * Teresa Copnall (1882–1972)
 * Helen Edwards (1882–1963)
 * Richard Howard Penton (1882–1960)
 * Eleanor Hughes (1882–1952)
 * Averil Burleigh (1883–1949)
 * Montague Birrell Black 1884-1964)
 * John Currie (1884–1914)
 * Wyndham Lewis (1884–1957)
 * Louisa Puller (1884–1963)
 * Hilary Dulcie Cobbett (1885–1976)
 * Duncan Grant (1885–1978)
 * Esther Blaikie MacKinnon (1885–1934)
 * Evelyn Abelson (1886–1967)
 * Mary Jewels (1886–1977)
 * James Ardern Grant (1887–1973)
 * Laurence Stephen Lowry (1887–1976)
 * Archibald Eliot Haswell Miller (1887–1979)
 * Elizabeth Polunin (1887–1950)
 * Stanley Royle (1888–1961)
 * Paul Cranfield Smyth (1888–1963)
 * Margaret Lindsay Williams (1888–1960)
 * Nora Cundell (1889–1948)
 * Paul Nash (1889–1946)
 * Cedric Morris (1889–1982)
 * Marlow Moss (1889-1958)
 * Sir Henry Rushbury (1889–1968)
 * Ruth Simpson (1889–1964)
 * David Bomberg (1890-1957)
 * Olive Mudie-Cooke (1890–1925)
 * Leon Underwood (1890–1975)
 * Grace English (1891–1956)
 * Stanley Spencer (1891–1959)
 * Dora Carrington (1893–1932)
 * Orovida Camille Pissarro (1893–1968)
 * Cowan Dobson (1894–1980)
 * Kaff Gerrard (1894–1970)
 * Meredith Frampton (1894–1984)
 * Ben Nicholson (1894–1982)
 * Cicely Mary Barker (1895–1973)
 * Henry George Hoyland (1895-1947)
 * Harry Bateman (1896–1976)
 * George Bissill (1896–1973)
 * Leila Faithfull (1896–1994)
 * Billie Waters (1896–1979)
 * Dorothy Coke (1897–1979)
 * Hans Feibusch (1898–1998) – born in Frankfurt, resided in England 1934–1998
 * Winifred Knights (1899–1947)
 * Rose Henriques (1889–1972)
 * Francis Helps (1890–1972)

Unknown year, born 19th century

 * Edward Pritchett (fl. 1828–1864)

 * Florence Claxton (fl. 1840–1879)
 * Sara Macgregor (d. 1919)

Born 1900–1949

 * George Lambourn (1900–1977)
 * Elsie Dalton Hewland (1901–1979)
 * John Mansbridge (1901–1981)
 * Marjorie May Bacon (1902–1988)
 * Marjorie Frances Bruford (1902–1958)
 * Frank Barrington Craig (1902–1951)
 * John Melville (1902–1986)
 * Thomas Symington Halliday (1902–1998)
 * John Piper (1903–1992)
 * Eric Ravilious (1903–1942)
 * Ceri Richards (1903–1971)
 * Graham Sutherland (1903–1980)
 * Mary Adshead (1904–1995)
 * Celia Frances Bedford (1904–1959)
 * Helen Binyon (1904–1979)
 * George Fisher Gilmour (1904–1984)
 * J. Edward Smith (1905–1986)
 * Griselda Allan (1905–1987)
 * Eliot Hodgkin (1905–1987)
 * Cecil Kennedy (1905–1997)
 * Emmy Bridgwater (1906–1999)
 * Patrick Hall (1906–1992)
 * Edgar Hubert (1906–1985)
 * Clifford Ellis (1907–1985)
 * Frank Egginton (1908–1990)
 * Isobel Heath (1908–1989)
 * Thomas Carr (1909–1999)
 * Mildred Eldridge (1909–1991)
 * Geoffrey Tibble (1909–1952)
 * Francis Bacon (1909–1992)
 * Peter Rose Pulham (1910–1956)
 * Isabel Alexander (1910–1996)
 * John Bensusan-Butt (1911–1997)
 * John Kingsley Cook (1911–1994)
 * Anthony Devas (1911–1958)
 * Gwen Barnard (1912–1988)
 * Fay Pomerance (1912–2001)
 * Raymond Teague Cowern (1913–1986)
 * Leonard Appelbee (1914–2000)
 * John Bridgeman (1914–2004)
 * Sylvia Molloy (1914–2008)
 * Doris Blair (born 1915)
 * Terry Frost (1915–2003)
 * William Gear (1915–1997)
 * Eileen Aldridge (1916–1990)
 * Leonora Carrington (1917–2011)
 * Michael Kidner (1917–2009)
 * Mary Audsley (1919–2008)
 * Eden Box (1919–1988)
 * Francis Davison (1919–1984)
 * Colin Hayes (1919–2003)
 * Heinz Koppel (1919–1980) – born in Berlin; lived in Liverpool
 * Patrick Heron (1920–1999)
 * John Christoforou (1921–2014)
 * John Craxton (1922–2009)
 * Richard Hamilton (1922–2011)
 * Lucian Freud (1922–2011)
 * Pamela Ascherson (1923–2010)
 * Paul Bird (1923–1993)
 * Peter Folkes (1923–2019)
 * Martin Froy (1926–2017)
 * Ann Thetis Blacker (1927–2006)
 * Peter Brook (1927–2009)
 * John Plumb (1927–2008)
 * Patrick Swift (1927–1983) – born in Ireland
 * John Copnall (1928–2007)
 * Elizabeth Jane Lloyd (1928–1995)
 * Adrian Morris (1929–2004)
 * Gillian Ayres (1930–2018)
 * Mardi Barrie (1930–2004)
 * Robyn Denny (1930–2014)
 * Eva Frankfurther (1930–1959) – born in Germany
 * Martin Bradley (1931–2023)
 * Ken Messer (1931–2018)
 * Bridget Riley (born 1931)
 * Peter Blake (born 1932)
 * Howard Hodgkin (1932–2017)
 * Moira Huntly (born 1932)
 * Norman Douglas Hutchinson (1932–2010)
 * Marc Vaux (born 1932)
 * Alexander Goudie (1933–2004)
 * John Hoyland (1934–2011)
 * Jeremy Moon (1934–1973)
 * Ivor Davies (born 1935)
 * Ken Kiff (1935–2001)
 * Patrick Caulfield (1936–2005)
 * Timothy Behrens (1937–2017)
 * David Hockney (born 1937)
 * Tess Jaray (born 1937)
 * Bryan Organ (born 1935)
 * Margot Perryman (born 1938)
 * William Tillyer (born 1938)
 * Mario Dubsky (1939–1985)
 * John Wonnacott (born 1940)
 * Robert Lenkiewicz (1941–2002)
 * Sheila Mullen (born 1942)
 * Osi Rhys Osmond (1943–2015)
 * Lindsay Bartholomew (born 1944)
 * Claire Dalby (born 1944)
 * Bruce McLean (born 1944)
 * Jonathon Coudrille (born 1945)
 * P. J. Crook (born 1945)
 * Ali Omar Ermes (born 1945)
 * David Imms (born 1945)
 * Sean Scully (born 1945) – born in Dublin; studied in London and Newcastle; lives and works abroad.
 * Timothy Hyman (born 1946)
 * Tony Foster (born 1946)
 * Edward Kelly (born 1946)
 * John Virtue (born 1947)
 * Howard J. Morgan (1949–2020)
 * Terance James Bond (1946–2023)

Born 1950–1999

 * Cherryl Fountain (born 1950)
 * Roy Petley (born 1951)
 * Chinwe Chukwuogo-Roy MBE (1952-2012)
 * Brian Clarke (born 1953)
 * Jeremy Henderson (born 1952)
 * Deirdre Hyde (born 1953)
 * Charlotte Verity (born 1954)
 * Vivien Blackett (born 1955)
 * Peter Edwards (born 1955)
 * Nicholas Hely Hutchinson (born 1955)
 * Jo Self (born 1956)
 * Panayiotis Kalorkoti (born 1957)
 * John O'Carroll (born 1958)
 * Peter Doig (born 1959)
 * Claudette Johnson (born 1959)
 * David Leapman (born 1959)
 * Ian Davenport (born 1960)
 * Nick Fudge (born 1960)
 * Keith Piper (born 1960)
 * Sonia Boyce (born 1962)
 * Gary Hume (born 1962)
 * Tod Hanson (born 1963)
 * Guy Denning (born 1965)
 * Damien Hirst (born 1965)
 * George Shaw (born 1966)
 * Chris Ofili (born 1968)
 * Chantal Joffe (born 1969)
 * Justin Mortimer (born 1970)
 * Banksy (born c. 1974)
 * Tom Palin (born 1974)
 * Stuart Pearson Wright (born 1975)
 * Idris Khan (born 1978)
 * Kate Groobey (born 1979)
 * David Wightman (born 1980)
 * Seb Toussaint (born 1988)

Unknown year, born 20th century

 * Freya Douglas-Morris
 * Charles Harris

title: List of British painters