Photo credit: Clive Booth
Now approaching its 150th birthday, Swan Lake is the ultimate gateway ballet, the first one seen by many who go on to become lifetime fans of the form. It exists in many versions, whether traditional or transformed, but at heart, it is one of the great romantic ballets, with its familiar music, iconic choreography and potential for spectacle.
The Birmingham Royal Ballet production of Swan Lake was created in 1981 by Peter Wright (100 this year) and the late Galina Samsova. It is traditional, sumptuous and beautifully danced, especially by the corps de ballet. The moment when they rise from their hiding place on the misty lake provokes the usual gasp from the audience, even though most of them had probably seen the production before. The Royal Ballet Sinfonia (conducted by Paul Murphy) play the familiar score superbly, and manage to sound as though they had not done so many times before.
Philip Prowse designs the production and his traditional setting is more than effective, but his costumes are stunning. The informative programme mentions that many of the courtier costumes have to be stored in skips rather than on hangars, for which they are too heavy. The use of layering of different colours comes into its own for the national dances, especially by the men. The detail in the narrative of this version is particularly clear, even including a dark glimpse of the funeral cortege for the late King during the opening moments.
On press night, Yu Kurihara plays Odette/Odile. In this version, one performer dances both parts, although Odile is the disguised daughter of Rothbart. Clever doubling and the use of a gauze backcloth ensures that the story is clear. Kurihara is more than up to the role, dashing off the technical demands with verve and style. She has remarkably eloquent hands and arms, and her audience contact as Odile cleverly contrasted the character with the more reserved and secretive Odette.
Opposite her as Prince Siegfried was Yasiel Hodelín. We were left in no doubt about his lack of interest in the three Princesses offered to him as potential brides, and this was a well-acted performance throughout, almost a sullen teenager rather than the usual noble Prince. Both central performers were popular with the audience, and it is good to see young performers being given roles on press night. Riku Ito also made his mark as a Benno who soared across the stage and Daria Stanciulescu was a stately Queen, not a large role but one in which she made sure we understood her intentions. Also in a character role was company repetiteur Jonathan Payn as a very traditional and pyro-assisted von Rothbart. His was the only costume that disappointed, with no cloak to swirl and a helmet that seemed very much of its time. The three princesses and their various followers made much of their opportunities in Act III, with some appropriate interaction between the rivals for the Prince’s hand.
Ballet is both of today and for all time; it entertains by recreating past successes as well as reinventing pieces for today, and there is a place for both. Birmingham Royal Ballet’s version of Swan Lake is a magnificent example of traditional romantic ballet, and will go on entertaining audiences for many years to come.
**** Four stars
Reviewed by: Chris Abbott
BRB’s Swan Lake plays at Sadler’s Wells until 31 Oct, with further info here.
