Love will loom large on stage this coming January when the National Theatre presents dance aficionados with two classic tales of l‘amour: enduring ballet favorites, Carmen and Swan Lake.

In Causa Carmen, internationally acclaimed choreographer Mats Ek applies his magic touch to his rendition of George Bizet’s masterpiece. The story of the eponymous free-loving and fickle Gypsy needs very little introduction, but at the hands of the Swedish dance director, Carmen is imbued with visual and character motifs that make this contemporary production a departure from what audiences may be familiar with.

Based on French author Prosper Mérimée’s 1845 novella of the same name, Bizet’s opera debuted in 1875 and was an instant flop. Critics and audiences were scandalized by the story of a woman whose approach to love was brazen and masculine. Carmen loved ‘em and then left ‘em, without regret. Passion was her drug; fidelity was irrelevant. Facing sure death at the hands of a scorned lover, she remained defiant—yoked to no one but her own desires—and declared: “Carmen will always be free!”

By the 20th century, the opera’s liberal subject matter found footing in a receptive era; consequently, various adaptations made their way to the world of dance, including ballet. Most freely combined elements from Mérimée’s novella and motifs from Bizet’s opera. Many also updated the basic story, selected specific acts, introduced or eliminated secondary characters. Famous adaptations included French choreographer Roland Petit’s 1949 production at the Princes Theatre in London; the 1980 television adaptation with Mikhail Baryshnikov.

In the 1970s, Carmen was also often staged in the Czech Republic, with the most notable production belonging to director Petr Wajgl and choreographer Miroslav Kůra who staged the ballet under the title Passion. It premiered at the Smetana Theatre (now Prague State Opera) in 1976.

Now Mats Ek brings his Carmen to Prague, and audiences can expect a memorable adaptation. Ek has carved a successful career out of subverting classic stories—going beyond their often saccharine surfaces to mine their depths for new meaning. His Carmen is no run-of-the-mill tramp; she’s a sly, cigar-chomping man-eater—with surprising vulnerabilities. One should expect no less from a master storyteller who fashioned Sleeping Beauty into a heroin addict and dispatched Giselle off to a lunatic asylum. What he does with Causa Carmen will be mind bending.

Swan Lake, Pyotr Tchaikovsky‘s story of young lovers thwarted by the machinations of an evil sorcerer, but eventually persevering, is a perennial audience darling. Millions worldwide have been enchanted by the tale of Odette and Siegfried, a young princess turned into a swan by a wizard, and the prince who falls in love with her. The smitten Siegfried plans to marry Odette, but the wizard, Von Rothbart recognizes an opportunity to control the young man and instead summons Odile, a black swan who resembles Odette. Siegfried declares his love for the wrong woman, leaving Odette devastated. When the deception is discovered, the prince begs Odette‘s forgiveness; Von Rothbart is vanquished, and his spell over the swan princess, broken. The lovers are free to be together ever after.

Despite populist adulation, in the chronicles of music and dance criticism, Swan Lake was considered the least masterful and successful of the three ballets Tchaikovsky created in his short life. (The other two were Sleeping Beauty and The Nutcracker.) After it premiered in Moscow in 1877, critics panned it as “an absolute fiasco“, “a premiere flop“, and worse. Tchaikovsky and his choreographer, Czech native Václav Reisinger, were cited for their poor creative imagination monotonous themes and melodies. The show did not move critics resoundingly until halfway through the 20th century, almost seven decades later.

Following the Moscow premiere, Swan Lake was often modified to suit the artistic interpretations of other directors and choreographers, and the preferences of prima ballerinas such as Anna Sobeshchanskaya. (Sobeschchanskaya demanded a new pas de deux be choreographed by ballet master Marius Petipa.) Character substitutions were made (an evil stepmother in the place of Von Rothbart); endings were altered and the ballet was sometimes performed in fragments. Before his death, Tchaikovsky in a fit of depression, had resorted to calling his creation “Swan Junk”.

The 20th century saw the return to the musical aesthetic and traditional choreography of Tchaikovsky’s original production. Today, while directors still take liberties with the tale’s scenario the score and choreography almost always remain untouched. Likewise, under the skilled guidance of renowned Danish dancer and choreographer Kenneth Greve, the National Theatre’s production in January will be a refresh that respects Swan Lake‘s legacy as it highlights the direction of classical dance in contemporary times.

Audiences will also witness a homecoming, of sorts, of one of their own. Ballet art has a strong tradition in the Czech Republic—many top dancing talents have been groomed here and have gone on to achieve international acclaim. Home-grown star (and a Prague native) Lukas Slavicky returns in the lead role to the house where it all started for him. Read more about Slavicky in the following interview.

Who doesn’t know by now that love can be deadly as well as transformative? But with Causa Carmen and Swan Lake at the National Theatre in January these life truths will be worth paying to watch more than once.