Estonian's Swan lake is in 2 acts and was premiered in 2002. Choreography by Tiit Harm.
There is a prologue giving Siegfried's premonition of the Swan and Rothbart in his tower to the musical opening themes and makes more sense than just listening to the music facing a curtain. The court scenes are pretty and Siegfried himself dnces in the pas de quatre. Siegfried is generally rather dreamy but Julija Gurvica, who was a guest from Latvian National Ballet in Riga was a technical revelation.
The swans appear on a sort of lake high up, a bit like an aquaduck version of an aqueduct. The stage is fairly small and getting 22 swans in unison is no mean achievement and big swans are very tall. Rothbart is more part of the dancing action and doesnt just flap his wings.
The second act is intersting in that the princesses do individual dances rather than a long piece and the set has a gothic mirror over the whole width giving some depth to the stage. While the national dances were not particularly eventful, Gurvica showed good character change and real brilliance in her fouettes with doubles in which the second turn is a straight leg like a male dancer. I cant say I'd seen that before.
But she gets no rest and has to return as a white swan. Rothbart is forced back to the tower in defeat but Siegfried is pushed down in a triangular swan formation. He doesnt and cant jump into the lake and dies in the middle of the stage at the end. So he seems to get the worst of all worlds - he frees the curse but is separated from Odette.

Kameeliadaam 12 April; Tallinn
Marguerite - Marina Antonova
Armand - Guy Albouy
Duval - Sergei Fedossejev

Premiered in 2006 with choreography by Tiit Harm. The music is by Listz and the selection includes music familiar from Mayerling. Both principals were guests who had spent time in Germany and Portugal. The set was very clever using the long depth of stage with a walkway to an end projected kaleidoscope which changed from camelias to a spiders' web (representing previous lovers), a ballroom or a river scene. It could also be used to show action indicated by events on the main stage - Marguerite reading a letter about a duel.
The story is familiar and starts with Armand at the auction recalling his life through the deceased's effects.
The choreography suits an older dancer and is not too taxing for the most part but there are two emotionally charged pas de deux at the end of each act which keep the story flowing without hysterionics. The lighting was noticeably problematic.

Estonia has a good company of about 60 dancers and are strong on the acting and story telling. While the dancing is more uneven the style seems a bit more reserved like the people in general. The stage does exert some limtations as well. Nevertheless the quality of Julija Gurvica in Swan Lake was of the highest order. Tallinn is very accessible these days, you can buy tickets at a small surcharge from Operas Abroad and when the best seats cost less than £20 it is well worth a short visit. The Opera House has been restored from its Soviet leanings, the refreshment facilities would shame places in London and it has a thumping good orchestra.