Cina Espejord’s A Tale About Swan Lake is an enchanting retelling of the great ballet. She has created a story interwoven with Nordic folklore, subtly changing the traditional characters we know so well, to make them more relatable while keeping the fairytale magic. The narrative is clearly told through dance and Tchaikovsky’s score is taken to new and interesting places. It ticks all the boxes as an introduction to ballet for young audiences while offering a version that adult lovers of the work can thoroughly enjoy.
Grete Sofie Borud Nybakken as Odette, gave the afternoon a stellar lead. A loving and friendly village girl, she became a mysterious, beautiful swan maiden, her long limbs and lyrical grace creating the sweeping lines. She embodied the complex nature of Odette, bridging the gap between the human and the supernatural worlds and always dancing magnificently. Linus Authen, was a delightful young Siegfried, with Joakim Visnes taking the sibling devotion into maturity. However it is Erik Murzagaliyev, as Nøkken, who charms Odette. The two men, well matched with finely honed technique and strong characterisation, battle to keep her in their respective worlds.
The iconic Oslo Opera House is probably the most child-friendly on the planet. That afternoon it was hosting a sing-along, the foyer strewn with cushions and carpets to welcome little people and their parents. Simultaneously on the smaller Stage 2, there were young students from the NNB School dancing in the opening village scene and having enormous fun in high flying lifts hoisted up by dancers from the Norwegian National Ballet and the young company, NNB2.
Espejord follows Tchaikovsky’s musical structure. The first act is a village festival leading to the lake. The second act, another festive scene and finally back to the lake. For the swans, she makes imaginative use of Ivanov’s choreography. Some of Odette’s traditional moves are shared by the solo swans and the well-known pas de deux becomes a dramatic pas de trois. Ivanov’s exquisite choreography is there but now shared as Odette divides her love between Siegfried and Nøkken.
Espejord's Odette is lured to the lake by a water sprite, Nøkken, a popular figure in Norwegian folklore. He is often depicted, as in the ballet, as a handsome man who seduces young women. His character is enigmatic but not overtly malevolent and is interpreted in a dual role of Nøkken, the dancer and the on stage violin player, Terje Tønnesen. In this manner Espejord finds an effective way of keeping a dark edge of danger and excitement, while avoiding a harsh black/white binary.
Odette’s adoring brother Siegfried never ceases to search for her and one day finds her among the swans. He brings her home, but she is now too much a creature of the water world and begs to return. Her homecoming warrants great festivities and Tchaikovsky’s music gives the boost. Odette, nervous and disorientated, is welcomed by her parents. Espejord creates a scene of high balletic comedy to the Pas de Fiancée’s music as three male suitors compete for Odette’s favours. Leonardo Basilio, Patrick Blomberg and Martin Dauchez prove pushier than any of Petipa’s well mannered, hopeful ladies as they show off in spectacular leaps, rudely pushing their rivals aside but all to no avail.
Nøkken appears and the villagers are spellbound as he joins with Odette and Siegfried, changing the Black Swan pas de deux into a pas de trois in a brilliant piece of staging. Odette, now in a scarlet dress, is given a multi-faceted interpretation blurring the boundaries between Odette/Odile, the village girl and the swan, torn between love in a magical sphere and human affection in her old home.
The violin traditionally holds hints of the demonic and Tønnesen’s playing of Tchaikovsky’s music for the standard Prince’s solo in Act 3, worked a treat. He accompanies both Visnes and Murzagaliyev as they alternate phrases or dance together attempting to win Odette’s attention, bringing colour and excitement to the variation.
Returning to the lake Odette still in her red dress with loose hair is surrounded by her swan sisters but when Nøkken appears she allows him to wrap her in his cloak. Siegfried tries to persuade her to return but to no avail. A gauze drops leaving Odette in the magic world and the final picture is of the boy Siegfried with his lantern searching for his lost sister.
Her parents have strong dance roles which Elise Nøkling-Eide as Mother and Simon Regourd as Father, delivered very successfully. Four solo swans, Isabelle Boyd, Astrid Lyngstad, Johanne Wien Pedersen and Julie Petanova added quality to the small corps of twelve swans. The villagers, too get plenty of dance opportunities and the pace never slackens.
This is not a production where dancers stand around in elaborate costumes. It is small scale and designed with imagination to the fore. Costumes by multi-talented dancer Martin Dauchez, are attractive, everyday apparel with swan dresses based on white leotards, the skirts of soft, full frills cleverly shaped to bird wings. Katja Ebbel's set design of moving flats of watery patterns creates a mysterious space with little fuss, and a simple cut-out silhouette of houses became a backdrop for the village. It’s a production that will enchant young and old for years to come.
Maggie's trip was sponsored by Norwegian National Opera and Ballet
