Swan Lake is the world’s most popular ballet and it comes in many guises. Rudolph Nureyev’s version created in 1984 for the Paris Opera celebrated the increased proficiency of the male ballet dancer in a production that features more in quantity and quality for the men at all levels. The plot, always a tricky one for this ballet, is less well served. That this is simply Siegfried’s imagining is probably the best get-out clause. Fortunately there remains a wealth of dance to enjoy.
With Royal Swedish Ballet, it was a treat to watch two 19-year-old dancers, Maya Schonbrun and Darrion Sellman making their debuts in the lead roles. Schonbrun is an exceptional talent. She captured the two characters giving both Odette and Odile distinct, well-rounded interpretations; no mean feat, even for a seasoned ballerina. Technically her Odile was first rate. Her musicality and dramatic focus never faltered and she executed a faultless series of fouettés. Her Odette displayed the iconic arched back and sweep of neckline for a swan queen, beautiful classical line and effortless balance. Schonbrun is a joy to watch and a name we’ll be hearing more of.
Sellman, also blessed with elegant line and a rock-solid technique proved a strong confident partner. This production where Siegfried has so little agency, is a challenge. He dozes in a chair while his courtly friends are celebrating his birthday, then reluctantly joins the dance. It is only after a fine interpretation of his first solo that we feel his presence. On the plus side, he gets a great deal more dance: a finely phrased and controlled lyrical solo in the transition to the lakeside and, unusually, a solo in the second act. Somewhat overwhelmed by Odile’s power in Act 3, he nevertheless gave an outstanding solo with exuberant leaps and turns in the coda.
Rothbart, played with authority by Calum Lowden, is a troubling character. Listed as Tutor, he nevertheless wears elaborate costumes and spends much time keeping order in the court. An interesting development is his intrusion in the Black Swan pas de deux. He carries Odile across the stage in her split jeté, teasingly out of reach for Siegfried and stands between them, supporting both, as she stretches into a high developpé before joining them together in the final pose. He also has a short solo, slotted in just before the coda where it made good musical sense.
This is a ballet about swans and the flock are a force of nature, immaculate in their musicality and precision, and dancing with total commitment. Act 2 is much in the traditional mould but Act 4 shows some of Nureyev’s best choreography in swirling patterns. Sadly, the choreography of the final pas de deux does not match up, despite the passionate performance by the young couple and a tragic ending. The performance was enhanced by the conducting of Philippe Béran who gets the best from orchestra and dancers and makes Tchaikovsky’s well-loved melodies come alive and sound fresh-minted.
The scenography by Ezio Frigerio is surprisingly minimal. The austere opening salon transforms to a lake with a panel opening to reveal something more like a painting on the wall than a watery landscape. Then for Act 3 we slip back in time to a medieval court. However, it all fits the illusion of a dream.
Franca Squarciapino’s costumes are gloriously extravagant in generous metres of subtly shaded pastel chiffon. They accentuate the flow of the movement, especially visible in the swirl of candy pink skirts for the waltz of the six potential brides. The costumes for the national dances, elaborately embroidered, complement the choreography which is more ballet than folk and they are danced with vigour and flair. I particularly enjoyed Nadja Sellrup’s spirited lead in the Czardas, while the Mazurka becomes a virtuosic display of male dancing. In a sparkling Pas de Trois, Celine Urquhart’s warmth and beautifully shaded épaulement were a delight.
This is a production that gives opportunities for the whole company. The opening scene, danced by a large ensemble, features challenging choreography and the company were on excellent form. The public are flocking in, with every performance sold out, marking a high point for the Royal Swedish Ballet.
