The story of Swan Lake is a timeless one of enchantment, of good versus evil, of betrayal, and of the tension between the individual and society. Many traditional stories from around the world feature women under a spell that makes them take the form of a bird sometimes and a human sometimes. In this case, the women are transformed into swans by the sorcerer von Rothbart, and Swan Queen Odette and Prince Siegfried fall in love. Siegfried is supposed to marry a suitable princess to form a political alliance, but refuses. Von Rothbart and his daughter Odile trick Siegfried into betraying Odette and swearing his love for Odile, and disaster follows.
Swan Lake’s popularity may partly be a primal response to the ancient and enduring symbolism of the white swan. This large, fierce, strikingly beautiful bird belongs to the elements of both air and water, and has powerful religious, mythical and magical associations. In ancient Northern European cultures, for example, swans were revered as harbingers of spring when they returned from warmer countries.
The Australian Ballet’s current production of Swan Lake revives and refreshes the company’s 1977 version by former Artistic Director Anne Woolliams, which has always been a favourite with audiences and performers. For the company’s 60th anniversary, the vision of current Artistic Director David Hallberg is to bring back this classical ballet, free from complex overlays of reinterpretation, and to establish a signature production that will be in the repertoire far into the future. He has described the process as tweaking and sharpening, and working with the dancers to find individuality in their interpretations.
The result has fulfilled Hallberg’s intention of showcasing the beauty of untrammelled classical ballet, with clearly articulated technique, precision and piercing emotion. Benedicte Bemet as Odette/Odile and Joseph Caley as Prince Siegfried were outstanding and beautifully matched. Bemet melted the heart as Odette, with her fluid arms and extension of the upper body expressing sadness and yearning. Her balances were very strong and she floated into her turns. She and the orchestra mirrored each other in a spellbinding blend of movement and music, subtly using rubato. As Odile, Bemet was bold and strong, toying with Siegfried and luring him to betray Odette. Her gaze was challenging, and she moved with attack, whipping out her fouettés with single and double turns.
Caley’s Siegfried was princely, but also showed the character’s discontent and vulnerability, and his love for Odette. Caley is not a flashy dancer, but technically impressive, almost nonchalantly performing multiple turns, flawless tours en l’air and soaring jetés, and partnering strongly and securely.
Headed by Lead Swans Valerie Tereshchenko and Rina Nemoto, the swans were other-worldly, wheeling and flocking into their precise formations with magical effect. Collectively, their powerful presence is the keystone of the ballet.
Jarryd Madden was suitably evil as the magician-tyrant von Rothbart, and smoulderingly elegant in his knee breeches and coat in the ball scene. Marcus Morelli made the most of his role as the jester, fleet, nimble and irreverent. The fast, intricate and exuberant peasant dances in Act 1 were exhilarating. Other highlights were the Act 1 pas de six and, of course, the appealing cygnets, as well as the character dances for Siegfried’s prospective brides and escorts. Former Principal Dana Stephensen was a haughty Queen Mother, breaking down into despair over Siegfried’s downfall. Paul Boyd, a former Queensland Ballet Principal, was a pompously dignified Chamberlain.
How lucky the audiences and the dancers are to have the Queensland Symphony Orchestra playing Tchaikovsky’s wonderful music for this ballet. The rich, expressive sound and exquisite solos – particularly for violin, oboe, flute, and harp – are reason enough to go to a performance. It was a pity that the conductor was not brought onto the stage at the end for the curtain calls and a full acknowledgment of the orchestra.
Costume designer Mara Blumenfeld and the company’s wardrobe department have created exquisite, shimmering tutus for the swans, richly coloured 18th century style costumes for the courtiers, and less elaborate, subtly coloured ones for the peasants.
The new sets, designed by Daniel Ostling, are uncluttered, and complemented by the lighting design of T.J. Gerckens. Key elements are the royal castle exterior; a backdrop with silhouetted and stylised bare trees and a blue-turquoise stylised lake; a ballroom bounded by tall arched windows and grand columns; and finally, a black backdrop, mist hovering at the top, and a blacker peak faintly visible. The peak has an odd pointed tip, like a pixie hat.
This first night was the first time The Australian Ballet has performed in Brisbane since 2019, and the audience was wildly enthusiastic, frequently applauding the dancers and musicians – except after Odette and Siegfried’s final heartrending pas de deux, when the theatre was absolutely silent.
I was unsure exactly how the story ends. Odette submits to von Rothbart, and Siegfried throws himself into the lake. It seems Odette has sacrificed herself for him, but to no avail. However, the programme synopsis says that Siegfried’s sacrifice destroys von Rothbart, breaking his spell. Did I miss some crucial action?
Minor production quibbles aside, this was one of the best nights I have ever had at the ballet, and the performances were superb. Let’s hope The Australian Ballet can make it back to Brisbane soon.
