Works by Pyotr Tchaikovsky (1840–1893) were an important milestone in the history and development of ballet. Essentially, it was Tchaikovsky who made ballet a fully-fledged musical and drama genre and released music from its role as illustration to choreography. The composer worked mostly in the rigid frame of ballet dramaturgy. The music of all his ballets is adaptive, choreographic, objective and, at the same time, it has the power of generalization that gives symphonic features to a theatrical piece.

The fairy tale about Sleeping Beauty is known in several adaptations. Two of them became classics – by the Brothers Grimm and by Charles Perrault. Tchaikovsky’s ballet was written to a libretto by Ivan Vsevolozhsky and the great choreographer Marius Petipa based on Perrault’s version. The premiere took place in 1890 at the Mariinsky Theatre. An abundance of splendid character dances, complete music characteristics of the protagonists and the beauty of each number blend in The Sleeping Beauty with the wonderful quality that the prominent musicologist and composer Boris Asafiev called “wholeness of music-and-choreographic performance”.

The Russian Classical Ballet offers the Petipa version adapted by Valentin Grischenko.

“Talent and loyalty to the classical traditions of Russian ballet” is the artistic motto of the company. Its main goal is twofold: on the one hand the company seeks to preserve the classical traditions of Russian ballet and, on the other hand, it looks for new, more contemporary forms of the choreographic art and explores new directions and possibilities of choreography.

The basis of the company's repertoire includes masterpieces of classical ballet such as Adam’s Giselle, Prokofiev’s Romeo and Juliet and Cinderella, Minkus’ Don Quixote, Bizet-Shchedrin’s Suite Carmen to mention but a few. A special page of the repertoire is Tchaikovsky’s three

ballets – Swan Lake, The Nutcracker and The Sleeping Beauty.

Today the company has over 40 ballet dancers. They are graduates of the best choreographic schools in Russia and the former USSR, namely in Moscow, Leningrad-St. Petersburg, Perm, Novosibirsk, Kiev to mention a few.

The artistic director of the company, Valentin Grischenko believes that ballet is not just a show, but an art demanding special sensitivity from both the performer and the spectator. In preserving the traditions of Russian classical ballet, the theatre makes a contribution to the development of this art all over the world.

Act I

Scene 1: The Park of a Castle 

Prince Siegfried and his friends are celebrating his coming of age at a private party. The guests drink to his health and the jester entertains them with his antics. The Prince is warned that his mother, the Princess Regent, is approaching. 
She is displeased with her son’s behaviour and she presents him with a crossbow. After the Princess has gone, the partying begins anew. 
Twilight falls. The guests depart and the Prince is left alone in the park. High above, Siegfried catches sight of a flock of white swans and the vision stirs the hunter’s urge in him. 
Seizing his bow, the Prince makes his way off into the heart of the forest. 

Scene 2: A Lake in the Forest in the Middle of the Night 
White swans are swimming near the shore; they are beautiful young maidens who have been transformed by the evil magician von Rothbart. Only at night can they assume human form and the only power on earth which can break this evil spell is devoted love. 
Siegfried appears. He sees one of the white birds come to shore and draws his bow to shoot it. The bird suddenly turns into a beautiful woman – it is Odette, Queen of the swan-maidens. Odette’s beauty enthrals the Prince and he tries to capture her. She, however, is afraid of the evil magician and, as she avoids Siegfried, she disappears in the midst of the swan-maidens. Siegfried runs after Odette and vows eternal love and fidelity to her. 
Odette’s heart responds in the same way to Siegfried’s passionate love. 
Dawn breaks. Odette bids Siegfried a tender farewell and the white swans glide slowly away across the lake.

Act II

Scene 3: A Ball at the Castle 
Siegfried must choose a bride from among the well-bred maidens who have been invited, but he remains indifferent to them all because he has given his heart to Odette. Only at his mother’s insistence does he dance with any of the prospective brides. 
He must, however, choose one of them, and as a token of his love, he must give his chosen bride a bouquet. As he faces this dilemma, however, a fanfare of trumpets heralds the arrival of new guests – the magician von Rothbart and Odile, his daughter. The Prince is struck by her resemblance to Odette. 
Von Rothbart wants the Prince to fall in love with Odile so that he will break his vow of eternal love and fidelity; Odette will then remain in the sorcerer’s power forever. It is for this reason that he has given his own daughter Odette’s form and features. Odile seduces Siegfried, who is fascinated by her charm. He announces to his mother that the beautiful Odile is his choice. The wicked magician is jubilant. 
Suddenly Siegfried sees a vision of the true swan-maiden outside the castle window and realises that he has been deceived into breaking his vow. In despair, he rushes to the lake to find his beloved Odette.

Act III 

Scene 4: The Lakeside, at Night 
The swan-maidens stand dejected and sad. Odette has told them what has happened. 
Siegfried rushes in. He begs Odette to forgive him and he professes his undying love for her, but the enraged sorcerer summons the black swans and commands them to separate Odette and Siegfried. Siegfried grapples with the sorcerer. Fearless in the encounter, he breaks von Rothbart’s wing. The sorcerer collapses, his power gone, and he dies. Love has broken the evil spell. The sun rises and shines radiantly on the Prince and Odette, and on the maidens whom Siegfried has rescued.