Georgy Gusev acted well as the Jester, although fell out of a tour en l'air early into the first act, nonetheless later redeeming himself with a precise series of 32 turns a la seconde. Darting impishly around Kristina Kretova during her elegant pas de trois solo, Grigorovich's choreography gave a delightfully mischievous dynamic and entertainment quality to Gusev's Jester, without making the characterisation excessively hyperbolic.
The elaborate set, designed by Simon Virsaladze, depicted the Prince's castle as a gothic, dark haunt, rather more reminiscent of an eerie dungeon than a ballroom! Despite this, the costumes emanated colour; an apt red and black catsuit for the Jester, (a breath of fresh air compared to the unfortunate Christmas turkey style leggings worn by the Jester in a UK company!!); yellow dresses for the Prince's friends, and dazzling white tunic with tights for the Prince, adorned with an excellently gleaming diamond neckline.
Seigfried- having strayed from his party for no apparent reason, without being given a crossbow- found himself beside an eerie lake, seemingly drawn to it by the omnipotent Von Rothbart, portrayed eloquently by Mikhail Kryuchkov.
As in the Russian State Ballet's interpretation of Swan Lake, Von Rothbart and Prince Seigfried danced alongside each other, to Tchaikovsky's iconic, haunting Swan Theme. Both dancers demonstrated soaring ballon in their jumps, matched with an undeniable stage presence.
The corps of Swans, however, lacked unity, seemingly under rehearsed and over tired, with a distinct sense of imprecision- which was not helped by a violin inconveniently squawking a note during the Big Swans dance!
Anna Nikulina's Odette was both frantic and vulnerable, with long, willowy arms and lightening speed courus. She appeared to lack connection with Skortsov in the White Swan pas de deux, although executed neat pirouettes, with a lyrical sense of yearning in her solo, most evident in her sustained piques to arabesque.
The Cygnets seemed somewhat clumpy; their coupes travelling across the stage were devoid of any precision, although they did manage to synchronise their heads.
Skortsov's act 2 mime, swearing his eternal fidelity to Nikulina's Odette, felt poignant and genuine, shadowed by Von Rothbart's imposing silhouette, a symbol of eternal sorrow for the wretched lovers.
In Act 3, Daria Bochkova displayed sophisticated flair as the Spanish Bride, with a dynamic saut de basque and stylish grand jetes. Her costume, however, of a white tulle dress embellished with black diamantes, bore little resemblance to traditional Spanish dress!
Nikulina could clearly be seen walking behind the large gauze depicting a Royal crest in preparation for her entrance as Odile- her entrance was nonetheless spellbinding, with razor sharp piques, and a cohort of three Black Swans, making her seem more birdlike than feminine.
Nikulina easily entranced Skortsov in the Black Swan Pas; he showed pleasing ballon and clean tours en l'air in his solo, although seemed uncomfortable dancing virtuosic pirouettes, battling to complete more than four rotations. Skortsov gave an immaculate coda, whilst Nikulina struggled with her fouettes-exhausted, she struggled to conceal the difficulty of the movement.
By Act 4, the Swans had gained some sense of unity and musicality, whilst Nikulina showed a beautiful poised quality in her upper body. Black swans continued to infiltrate the corps, a symbol of Rothbart's unyielding power, which ultimately killed Odette in an emotive catharsis, leaving Seigfried to grieve, alone by the lake.
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