In the same year, the opera The Voyevoda was well received, and even the group known as “The Five” — Russian nationalist composers who were not particularly appreciative of Tchaikovsky’s cosmopolitan musical style — welcomed it. In 1869, Tchaikovsky completed the overture Romeo and Juliet, a work that delicately adapted sonata form to the dramatic structure of Shakespeare. Nikolai Rubinstein successfully conducted the piece, and it became the first of Tchaikovsky’s works to enter the international classical repertoire.

In March 1871, Tchaikovsky’s String Quartet No. 1 was successfully performed at the Moscow Noble Assembly Hall, and in April 1872, he completed another opera titled The Oprichnik. He spent the summer at his sister’s estate in Ukraine, where he completed his Symphony No. 2 in C minor, later known as the Little Russian Symphony. This symphony was completed later that year, and The Oprichnik was staged at the Mariinsky Theatre in Saint Petersburg in April 1874. Although the opera’s premiere was successful, critics were generally unsatisfied, and eventually, Tchaikovsky himself agreed with their assessment. His next opera, Vakula the Smith (1874), which was later revised as Cherevichki (1885; The Little Shoes), also met with a similar reception. In his early operas, Tchaikovsky struggled to balance creative passion with critical evaluation of his works.

At the end of 1874, Tchaikovsky completed his Piano Concerto No. 1 in B-flat minor, a work that, despite initial rejection by Rubinstein, went on to gain worldwide fame. The concerto was successfully premiered in Boston in October 1875, with Hans von Bülow as the soloist. During the summer of 1875, Tchaikovsky completed his Symphony No. 3 in D major, which was soon well received in Russia.

In late 1875, Tchaikovsky left Russia and traveled to Europe. During this journey, a performance of Georges Bizet’s opera Carmen at the Opéra-Comique in Paris left a profound impression on him. In contrast, Tchaikovsky was not particularly moved when he attended Richard Wagner’s Ring Cycle in Bayreuth, Germany, in the summer of 1876. In November 1876, he completed work on the symphonic fantasy Francesca da Rimini, a piece with which he was especially satisfied. That same year, Tchaikovsky also completed Swan Lake, the first of his famous ballet trilogy. However, the ballet’s premiere on February 20, 1877, was not very successful due to poor staging and choreography, and it was soon removed from the performance program.

At the beginning of 1885, weary of his eventful life, Tchaikovsky settled in a rural house near Klin, in the outskirts of Moscow. There, he maintained a disciplined daily routine that included reading, walking in the forest, composing in the mornings and evenings, and playing the piano with friends at night. In January 1887, he overcame his long-standing fear of conducting and led a performance of Cherevichki. Later that December, he embarked on his first European concert tour as a conductor, visiting cities such as Leipzig, Berlin, Prague, Hamburg, Paris, and London, where he received warm receptions. In 1889, he successfully completed a second European tour. Between October 1888 and August 1889, Tchaikovsky finished his second ballet, The Sleeping Beauty.

In the winter of 1890, he stayed in Florence and devoted all his focus to composing The Queen of Spades, his third opera based on a work by Pushkin. Written in just 44 days, it became one of his most significant works. That same year, Nadezhda von Meck, Tchaikovsky’s patron, announced that due to financial troubles, she could no longer support him, and their long-standing correspondence came to an end — an event that deeply saddened Tchaikovsky.

In the spring of 1891, Tchaikovsky traveled to the United States at the invitation to participate in the opening ceremonies of Carnegie Hall, where he conducted successful concerts in New York, Baltimore, and Philadelphia. After returning to Russia, he composed two major stage works: the one-act opera Iolanta (1891) and the two-act ballet The Nutcracker (1892). In February 1893, he began work on his Symphony No. 6, known as the Pathétique, which became a masterpiece and one of his most famous works. He dedicated it to his nephew Vladimir Davydov, for whom he had deep affection.

Tchaikovsky’s international reputation was solidified through his successful tours in Europe and America, and in June 1893, he was awarded an honorary doctorate by the University of Cambridge. On October 16 of that same year, he conducted the premiere of his new symphony in Saint Petersburg. Although reception was mixed, Tchaikovsky remained convinced of the work’s artistic value. On October 21, he suddenly fell ill and contracted cholera, which was then spreading in Saint Petersburg. Despite medical efforts, Tchaikovsky died four days later from complications of the illness. Rumors of his possible suicide circulated among his contemporaries and resurfaced in the late 20th century through some biographers, though no definitive evidence has ever confirmed this theory.

In the 20th century, much of the criticism of Tchaikovsky was unjust. During his lifetime, Russian musicians criticized him for not giving enough attention to musical nationalism. However, in the Soviet Union, he became an official symbol, and criticism of him was not tolerated. In the West, he was often judged based on his personal inclinations, and his works were mistakenly interpreted as reflections of his “abnormality.” This misreading was a result of projecting modern perceptions of homosexuality onto the past. In the early 21st century, the full publication of Tchaikovsky’s letters and diaries corrected this distorted image. The documents revealed that he had managed to adapt to the social realities of his time, and contrary to what some theorists had claimed, there were no signs of abnormality or hidden messages in his works.

The ballet Swan Lake, which was first performed in 1877 by the relatively unknown choreographer Václav Reisinger at the Bolshoi Theatre in Moscow, as previously mentioned, did not receive much acclaim and was even considered a failure. However, the outstanding and historic staging of the work by Marius Petipa and Lev Ivanov at the Mariinsky Theatre in Saint Petersburg on January 15, 1895, brought it global popularity. This version became the standard for future productions of Swan Lake and helped the ballet gain worldwide fame. In this performance, the dual role of Odette/Odile was played by Pierina Legnani, who displayed extraordinary technique and lyricism. The famous fouetté movement—32 consecutive turns on pointe—which was added for the first time to the “Black Swan” coda in the third act, became one of the most iconic moments in the history of ballet.

In the 20th century, Swan Lake gained worldwide popularity. Russian artists included it in their touring programs, especially Anna Pavlova, who greatly contributed to its promotion. In 1911, a performance of the ballet in London by the Ballets Russes under the direction of Sergei Diaghilev brought it even broader popularity. This version inspired the first complete performance of Swan Lake by the English National Ballet with Alicia Markova and Anton Dolin in 1949.

The music of Swan Lake, composed by Pyotr Ilyich Tchaikovsky, has become as renowned as the ballet’s choreography and is considered a classical masterpiece. This music includes a wide range of emotions—from gentle, dreamlike melodies to energetic national dances. Tchaikovsky’s genius in this score is particularly evident in his musical portrayal of the characters: from the delicacy and tenderness of the swans, to the seductiveness of Odile, and the cunning of Rothbart.

Although Tchaikovsky had a personal interest in the Swan Lake project, he accepted the commission also due to financial need. However, after the initial failure of the work and the lack of reception from critics and dancers (who found the music overly challenging), he avoided ballet music for quite some time.

In Swan Lake, Tchaikovsky and the choreographers, using a dramatic and artistic structure, present a narrative of love, betrayal, and redemption. Performed in four acts, the work is one of the masterpieces of classical ballet and is regarded as a supreme symbol of ballet art due to its emotional and beautiful combination of dance and music.

Act I

The first act begins with a celebration at the palace in honor of Prince Siegfried’s birthday. The Queen presents Siegfried with a crossbow and encourages him to go hunting, while also reminding him that he must soon choose a wife—an idea that sets Siegfried deep in thought. During the celebration, he notices a flock of swans and decides to follow them.

Act II

Takes Siegfried to the edge of a mysterious lake, enchanted by the evil sorcerer Rothbart. Siegfried discovers that the swans are actually young women who have been placed under a spell by Rothbart, and can only return to human form at night. Odette, the Swan Queen, captures the prince’s heart, and he professes his eternal love to her. However, Rothbart, through his scheming, separates them.

Act III

Returns us to the palace, where princesses from distant lands have been invited as potential brides for Siegfried. However, Siegfried remains indifferent to them, still in love with Odette. Here, Rothbart, in a deceitful plan, introduces his daughter Odile, disguised as Odette. Siegfried is deceived and dances with Odile, mistakenly declaring his love for her. When Rothbart reveals Odile’s true identity, Siegfried realizes that he has unknowingly betrayed Odette.

Act IV

Takes us back to the lake, where Siegfried begs Odette for forgiveness, and she eventually forgives him. In this act, a battle between the forces of good and evil unfolds, and the love between Siegfried and Odette ultimately breaks Rothbart’s spell. The swans are freed from their enchantment, and Rothbart is defeated. The final curtain falls with the dawn and the eternal union of Siegfried and Odette—leaving their love as an everlasting symbol of triumph over evil.

Now we must wait to see how the Tehran Symphony Orchestra and Maziar Younesi will interpret this timeless work of Tchaikovsky for lovers of classical music. A performance that could turn into an unforgettable experience and once again revive the emotion and magic of Swan Lake in Iran’s artistic scene. It is hoped that this concert will be a fresh step toward the revival of great classical works and the introduction of their value to new generations of enthusiasts.