Swan Lake

Four years ago, I saw Swan Lake for the first time- it was that which inspired me to dance. The Russian State Ballet of Siberia this year toured the UK again, and I went to see Swan Lake, with my beloved grandad, who loves Tchaikovsky's music but had never seen a ballet.

Flicking through the programme, I was pleased to see that some of the Principals I had seen before, particularly Ekaterina Bulgatova and Margherita Noisik, were still with the company; Anna Aulle, however, is now a principal with the Stanislavsky Ballet.

Another thing that caught my eye was the photograph, of the company's headquarters in Siberia.

What is it, about that overture, that makes it so indescribably beautiful?! As it wanders and meanders its way through a million emotions- slowly building, like a volcano of passion, such that the air hovers still for a second, then, in a dynamic explosion that makes every atom of our being shiver with awe, it reaches its breathtaking crescendo.

And the curtain rises.

The lavish court scenes were danced with joy, the luxurious backdrop and costumes setting the scene perfectly. One thing I found interesting was how, in the male dancers' pirouettes, they articulated their feet slowly and deliberately through the tendu to 2nd, then *bam!* the foot hit a plie in 4th and the dancer effortlessly executed five or six flawless turns. However, their 4th in the demi plie was very, very open- it was as if he was in 2nd, but with one foot where it would be in 4th with the alignment of 2nd! Very flashy!

The Director of the Company, Sergei Bobrov, seemed to have edited the original choreography; after the Goblet Dance, the lights dimmed; Seigfried was poised in 2nd arabesque; was this the transition to the lake scene? Indeed, the spotlight that guided Seigfried through the opening steps of his solo seemed to shine like moonlight.... Von Rothbart, with the wings of a black raven in place of his usual sweeping cape, entered, to dance a duet with Seigfried- although neither character acknowledged or seemed to notice the other, and their movements were mostly contrasting, with some perfect moments of poised unison and grace. 

Then, Von Rothbart disappeared, and the court scene continued- although the villagers pas de trois was omitted. Interestingly, at the end of the court scene, the lights dimmed and Rothbart appeared again- as before, he did not interact with Seigfried as such, seeming to imply that, instead of going to the lake to hunt as in the traditional version, Seigfried was instead drawn to the lake by the black raven Rothbart.

I knew every step of the Swans entrance, having studied it in three masterclasses over the last few years!! Interestingly, in the temps leves in arabesque, the swans inclined their heads towards their arm, creating the shape of a swan nuzzling its wings, but sacrificing the purity of line that would usually be seen in arabesque- I couldn't quite work out whether I liked this new interpretation of the swans' mannerisms or not!

The Cygnets pas de quatre was sublime; they danced as if their minds and bodies worked as one, in immaculate synchrony, with precise entrechats and neatly articulated echappes.

In the second half, the National dances seemed to take longer than in other productions; I couldn't quite identify which nationalities were presented, but I particularly enjoyed the mazurka, and the vivacious Spanish princess solo.

Then, Odile entered, to deliver a spectacular solo which rivalled that of Miko Fogarty- the coda had not thirty-two, but thirty six fouettes, with doubles and triples effortlessly thrown in. 

The Prince's coda had the same music as Odile's, but at half the speed, as his jetes en tournant and ménage seemed to hover, suspended in the air.

As the Prince swore his undying love mistakenly to Odile, the lights glowed red- he realised his awful mistake, and rushed to the lake, where Odette and her swans grieved his infidelity. 

Seigfried battled Von Rothbart into the lake, and both were engulfed by its icy waters- however, this cathartic scene was disappointingly staged- the billowing 'lake' seemed to be a single blue sheet, beneath which Seigfried and Rothbart both noticeably exited to the wings- perhaps more material would've concealed their exit.

The final scene was phenomenal though; the orchestra were incredible; their music seemed to show Odette's grief as much as the movement did; at the curtain calls, I did wonder if it was acceptable to cheer or give a standing ovation!!!!