This is a glorious new production, the first new version of SWAN LAKE for 30 years for the Royal Ballet, replacing the 1987 Antony Dowell/ Yolanda Sonnabend production. It is visually spectacular and magnificently danced – an enthralling, gripping production by Liam Scarlett that transfers wonderfully from stage to screen .
The Royal Ballet’s new production sticks to the traditional story of this much loved ballet classic with its central themes of love and betrayal: of Prince Siegfried falling in love with Odette, a Princess transformed into a swan by the evil sorcerer Von Rothbart, before being tricked into swearing to marry Rothbart’s daughter, Odile.
Like most productions today, it also reverentially references the Marius Petipa and Lev Ivanov’s 1895 version. But that 1895 version has been reworked and reconstructed in many different ways, so much so that any idea of complete authenticity to the ‘original’ are rather immaterial. The expected ‘set pieces’ ( eg the Black Swan pas de deux) have been retained. Here, the lakeside Act 2 has mostly been left untouched, while Acts I and IV have been deftly reworked with a new waltz for Act 1 and three new national dances in Act 3 where Ashton’s Neapolitan dance has been kept.
All leading to the dramatic , anguished denoument. In Scarlett’s intricate, symmetrical, elegant choreography the corps de ballet of swans was sensational – as the swans they breathed and moved in undulating unison in the rigidly controlled patterns, sometimes unfolding like flowers, combining speed and softness and the waltzes as courtiers in Acts1 and 3 precisely defined. The pas de trois in Act1 is now for Benno (Siegfried’s best friend) and his sisters.
The orchestra under dynamic maestro Koen Kessels gave a thoughtful, inspired rendition of Tchaikovsky’s iconic score (and there were close ups of the orchestra during the overture and the start of Acts 3 and 4 for music fans ).
The production is set in Germany in the 1890’s. Act 1 is a palace lawn surrounded by cedar trees fading to the shadowy lakeside – all complimented by David Finn’s atmospheric lighting . Macfarlane’s setting for the act III court ball is dazzling – a heavy Baroque riot of marble, gilding, and painted ceilings, and a huge staircase , impressively overwhelming. His costumes flow with delicately sculptured weight, with the swans in tutus not long skirts. ( One quibble I have is that you could see the skin coloured covering additions to the swan costumes. And I did not like the Neapolitan princess’ costume – most unflattering.) However the Queen Mother’s ( Elizabeth McGorian’s ) glittering black spider inspired dress for Act1 was AMAZING .
Now for the leads :
Marianela Nuñez in the dual role of Odette/Odile was glorious. As Odette she is fragile yet strong, full of fluid, commanding technique, with a long singing ‘line’ and wonderful port des bras. She is coolly elegant and commanding. We see her hesitant to trust Siegfried but eventually she does. The Act 1 first pas de deux was magnificent. In Act 3 as Odile she was warm and smiling , teasing and inviting Siegfried and laughing at leading him to disaster. When she and von Rothbart appear in Act 3 it becomes obvious they are aiming for a palace coup d’etat. In Act 4 Nunez subtly radiates reproach, regret and devotion in her interactions with Siegfried.
As Siegfried Vadim Muntgarov was astounding with jaw dropping technique. Refined and elegant, he is trapped in oppressive formality and romantic loneliness in life at the palace, but is not without friends. His dancing blends patrician feline fluidity and dazzling grandeur with attentive partnering. Their partnership had an aching intensity. The Black Swan pas de deux in Act 3 stopped the show and had the Royal Opera House audience screaming.
Bennett Gartside as Von Rothbart in human form as the Chancellor/Advisor is tall, quiet and somewhat sinister. Totally in black he is perhaps vampire like or possibly like Professor Snape – coldly elegant and commanding. In owl form at the lake his costume has marvellous tattered wings and wears scary Davros like makeup . We see his ambition and greed at the end of Act 3 when he seizes the crown from the Queen Mother and all descends into chaos.
The four national dances in Act 3 were exciting but in some ways exactly what Fokine was ranting about over a century ago. The princesses that Siegfried had to choose from wore tutus while their entourage , who performed the national dances, wore full length national costumes. Siegfried was polite but uninterested. The Spanish dance in red and black was fake flashy Flamenco, the Hungarian were imposing in grey/blue and gold with spectacular gold headdresses for the women, the Neapolitan was a breathless colourful and exuberant pas de deux (Marcelina Sambe and Meaghan Grace Hinki ) and the mazurka was stately and impressive in heavy furs .
Alexander Campbell as Benno was splendid, showing off his impressive balon, soft landings and excellent turns in his multiple entrechats.
There was notable solo work from the ensemble too , with a starry supporting cast: from Alexander Campbell( as Benno) and Francesca Hayward and Akane Takada (as Seigfried’s sisters) in the Act I pas de trois; and from Claire Calvert’s leading Swan and the cygnets for the famous pas de quatre in Act 2 for example .
A most moving , sumptuous and tremendously danced production .
The Royal Ballet’s SWAN LAKE as choreographed by Liam Scarlett screens at selected Event cinemas July 21 -25.
Running time – allow three and a half hours with two intervals. Includes backstage ‘the making of ‘ this new production and interviews etc.
