The Philadelphia Ballet will return to the stage of the historic Academy of Music, Broad and Locust Streets in Center City, March 6-16, with a full production of Peter Ilych Tchaikovsky’s “Swan Lake.” 

 “Swan Lake” premiered March 4, 1877, in a production by the Russian Imperial Ballet at the Bolshoi Theater in Moscow. The original choreography was by Julius Reisinger. Although the production couldn’t be considered one of the greatest flops in ballet history, it was not the resounding triumph it is considered today. As a result, “Swan Lake” was revived in 1895 by the Maryinsky Theater of St. Petersburg with new choreography by Marius Petipa and Lev Ivanov.

 Company Artistic Director Angel Corella, a former principal dancer with New York City’s American Ballet Theater, has based his new choreography on that of Petipa.

 Corella has said, “’Swan Lake’ is one of the most iconic ballets in the world, cherished for its timeless story, Tchaikovsky’s breathtaking score, and its unparalleled technical demands. The dual role of Odette/Odile is one of the most challenging and emotionally rich performances a ballerina can undertake, requiring incredible artistry, precision and stamina. 

 “Equally remarkable is the corps de ballet,” he continued. “Their synchronized movements and strength are the backbone of this production. It’s a masterpiece that continues to captivate audiences and that tests the limits of what we can achieve as dancers and artists.”

 “Swan Lake” is one of three ballet scores composed by Tchaikovsky (1840-1893), all of which have continued to hold their place in the standard repertoire of ballet companies all over the world. The other two are the Christmastime favorite, “The Nutcracker,” and “The Sleeping Beauty.” If it weren’t for “The Nutcracker,” most American ballet companies would go out of business. Its receipts during the holiday season often pay the bills throughout the remainder of the entire calendar year.

 Only one other major composer has achieved the stature of having produced three great ballet scores: Igor Stravinsky (1882-1971). It was in the early years of the 20th century that Sergei Diaghilev commissioned Stravinsky to compose “The Firebird,” “Petrushka” and “The Rite of Spring” for his Ballets Russes. 

 The scores continue to hold their place in the symphonic repertoire of every major orchestra in the world, but they are rarely seen on the stage as fully mounted ballets, whereas Tchaikovsky’s mighty trio have remained audience favorites for a century and a half.

 For ticket information visit philadelphiaballet.org.  

 Haydn with the Chamber Orchestra

 David Hayes conducted the Chamber Orchestra of Philadelphia in a program entitled “The Best of Haydn.” The program was given two performances in the Kimmel Center’s Perelman Theater: Friday evening, Feb. 14, and Sunday afternoon, Feb. 16. I attended the latter and the house was packed.

 The roster of works boasted two major scores by Franz Joseph Haydn (1732-1809), the true “inventor” of the Viennese classical style. His Symphony No. 64 in A major (“Tempora mutantur”) opened the concert while his Cello Concerto No. 1 in C major brought it to a close. The soloist in the Concerto was Tommy Mesa. He was also heard in Jessie Montgomery’s “Divided” for cello & orchestra. Filling out the menu was the commissioned world premiere of Evan Williams’ Passacaglia for Strings and Piano, featuring Luke Housner, an accomplished accompanist on staff at the Academy of Vocal Arts.

 Although I found Williams’ Passacaglia to be little more than television background music without the benefit of the show itself, Montgomery’s “Divided” both impressed and won me over. Its sonic battle between the soloist and the “tutti” (the ensemble) displayed remarkable command over thematic development, rhythmic vitality and clarity of texture during even the densest of contrapuntal sections.

 Mesa gave it a rendition that was riveting and convincing, which equally describes his reading of Haydn’s First Cello Concerto. Even though I might quibble with the extent to which he gave free rein to his basically romantic musical personality, he projected his interpretation with consistent artistry. 

 Conductor Hayes accompanied him efficaciously in both scores and led an exemplary performance of Haydn’s Symphony No. 64. His interpretation and the playing of the members of the Chamber Orchestra of Philadelphia made the case for continuing to program works from the 18th century by ensembles that play on modern instruments rather than to consign these foundational scores to groups that only use reconstructions of the instruments played when the music was originally composed. Surely there’s room for both.

For ticket information for the remainder of the Chamber Orchestra’s season, visit chamberorchestra.org or call 215-545-1739.

You can contact NOTEWORTHY at Michael-caruso@comcast.net .