Company: The Kirov Ballet
Venue: The Mariinsky Theatre
Choreography: Marius Petipa & Lev Ivanov
Composer: Pyotr Ilyich Tchaikovsky
Principal Dancers: Yulia Makhalina, Igor Zelensky, Yuri Fateyev, Eldar Aliyev
As the curtains open, the music triumphantly swells and the dancers enter the stage brimming with a combination of energy and elegance. Prince Siegfried danced by Igor Zelensky is celebrating his Birthday. Yuri Fateyev effortlessly leaps across the stage balancing technique and whimsy as he portrays the Court Jester. Fateyev’s costume is delightful. The stage is decorated with a beautiful pastel backdrop complete with a castle surrounded by foliage. The artists of the Kirov possess wonderful musicality and strong lines. One of the highlights of Act 1 Scene 1 is the pas de trois danced by Igor Zelensky as Prince Siegfried, Larissa Lezhina and Veronika Ivanova as the Prince’s friends. Throughout the pas de trois Zelensky, Lezhina and Ivanova sustain each lift with strength and transition into smooth pirouettes with ease. As the pas de trois comes to a close the action shifts to the Prince’s Tutor Vladimir Silakov whom has just awoken from a brief nap. Lezhina and Ivanova invite the sleepy Tutor to dance. After a comedic display between the Court Jester and the Tutor, Lezhina and Ivanova finally begin their pas de trois with the Tutor. The stage is filled with dancers. Each artist committed to his or her role within the scene. Court Jester Fateyev steals the spotlight with his multiple pirouettes and spot on musicality. As the festivities die down a pensive Prince Siegfried returns to the stage.
Act 1 Scene 2 is set beside a lake, the lighting is much darker and the backdrop depicts cloudy skies. Swans gently glide across the calm lake water. Crossbow in hand Prince Siegfried explores the surrounding area; he is alone on stage until an evil magician with a sinister swanlike appearance makes his entrance. Rothbart danced by Eldar Aliyev captures the audience with a series of tight chaines turns and flowing port de bras, his costume includes a set of wings accented with silver and white. Prince Siegfried takes his time in search of his first target, at this point Rothbart slinks off stage. With a white swan in his sights, Prince Siegfried aims his weapon proudly.
Just as Prince Siegfried lowers his weapon to shoot he is taken aback by the beautiful Yulia Makahlina whom arrives on stage in a pure white tutu and feather crown. Yulia Makahlina dances the role of Odette. The choreography seamlessly interprets the accents of the music which are now picking up speed. You can feel the sadness in Yulia Makahlina’s dancing; it carries through each step and gesture. Just as the interaction between the Prince and Odette has begun it is interrupted by the evil magician Rothbart. Rothbart chases Odette away and calls upon a bevy of white swans that join the scene. The corps de ballet is synchronized and powerful. Prince Siegfried briefly searches the stage for Odette, his heart heavy. The corps de ballet continues executing precise lines, intricate foot work and when necessary holding completely still in impeccable straight lines. Odette and Prince Siegfried meet once again dancing together in a gorgeous pas de deux. Yulia Makahlina seizes the opportunity to demonstrate touching artistry and exquisite technique by moving through tight fifth positions and rolling through her feet as she rises en pointe. Act 1 Scene 2 features several splendid dancers including Natalia Pavlova, Elvira Krylova, Maya Baturina and Veronika Ivanova as the classic four cygnets. The dance of the four cygnets displays exceptional coordination in addition to finesse. Another notable sequence is Natalia Makahlina’s solo with superb extensions and performed with spirit. Scene 2 draws to a close as the evil magician Rothbart commands the attention of the swans.
Odettte retreats as well as the bevy of swans. Prince Siegfried reaches out for Odette whom has left the stage. The lights fade and the current draws shut.
Act 2 opens to reveal the ballroom of Prince Siegfried’s palace. The backdrop and props are very intricate. Statutes, bricks, balconies and a throne are all part of the set. The Court Jester returns. Yuri Fateyev playfully dances amongst the ladies of the court. Fateyev takes center stage and continues his fast paced and vigorous dancing. As the Court Jester dances the energy on stage picks up. Yuri Fateyev springs high off of the ground and lands gently. The Princess Reagent (Prince Siegfried’s Mother) portrayed by Angelina Kashirina regally steps down from her decorated throne and motions toward the ladies of the court. The Princess Reagent presents several prospective brides for her son to choose from. The ladies of the court have long and flowing gowns and dance with large cream colored fans. Prince Siegfried dances with the first set of prospective princesses, clearly he is still thinking of Odette. The Court Jester presents flowers to the Princess Reagent to give Prince Siegfried. Prince Siegfried is expected to give the flowers to one of the ladies of the court. Igor Zelensky does such a convincing job of acting, he is very committed to his role and you can certainly feel him thinking of Odette throughout the scene. Zelensky never breaks character, he is very consistent. Prince Siegfried cannot bring himself to give the flowers to one of the potential brides, so he gives them back to the Court Jester. Suddenly trumpets flair. The lights darken momentarily as the evil magician Rothbart makes his grand entrance with a black swan by the name of Odile. Yulia Makahlina also dances the role of Odile, she rushes to the stage in a pitch black feathery tutu and matching crown. Rothbart is sporting a vibrant black and red cape that dramatically follows his fast por de bras. Prince Siegfried seems to recognize Odile, believing she may be the charming Odette he met earlier. Just as Odile enters she exits the stage with Prince Siegfried following close behind her. Rothbart introduces himself to the Princess Reagent and takes a seat next to her at the throne as the Spanish dance begins.
Danced by Yelena Sherstynyova, Natalya Kopyseva, Vladimir Kolesnikov and Maxim Piskevich the Spanish dance includes intense back bends, artistic flair and striking costumes. The fan work is delicate yet powerful. Next the Neapolitan dance commences with fabulous timing and tambourine work executed by Irina Guseva and Andrei Garbuz. The divertissements continue with Galina Zakrutina and Andrei Yakovlev in the passionate Hungarian Dance also known as Czardas. The final divertissement is the Mazurka complete with delightful white boots and majestic white and gold costumes accented in red for both the men and women. In one word the Mazurka is simply charming to watch. The Mazurka costumes are by far one of my favorite costumes in the entire production for they are extremely detailed and balanced in color and length. The music quickly transitions and out comes Odile and Prince Siegfried to dance a pas de deux. Rothbart closely watches the interaction between Odile and Prince Siegfried and as he moves the lights dim. The chemistry between Zelensky and Makahlina is tangible; you can feel the connection as the pas de deux unfolds across the stage. As the pas de deux continues our attention turns to a window in which Odette is revealed, frantically moving through bourrées. Makhalina is feisty in her interpretation of Odile, she definitely transforms her energy to dance the role of Odile. Zelensky performs a solid solo with multiple pirouettes. Makahlina’s solo is sharp and includes fast chaines, tight bourrées and high extensions. The coda is dynamic and Makahlina executes a clean thirty two fouettes, impressive and inspiring. At the close of the pas de deux Prince Siegfried is now ready to present the flowers to his new love, Odile. Prince Siegfried hands the flowers to Odile and Rothbart asks the Prince to declare his love for Odile. As the Prince declares his love openly the lights darken, thunder and lightning flash over the backdrop and the window with Odette is in view for the whole court to see. Odette once again dances in despair. Prince Siegfried appears devastated and runs off stage. The Princess Reagent cannot believe what has happened and holds her hand to her head as does the Jester. The curtains crash closed.
We return to the lake for Act 3. The backdrop is foggy with a hint of pink and red in the sky. The swans seem solemn, almost overcome with sadness. Both white and black swans fill the stage. The stage is melancholy. The choreography is delicate and pensive. Odette flies into the scene followed by Rothbart. The music is now tumultuous and the thunder and lightning briefly return as Rothbart strides about and dances with Odette. Prince Siegfried rushes to the lake seeking Odette, he finds her. Prince Siegfried and Odette once again dance together reunited at last. The pas de deux slowly draws to a close with poise and grace. Rothbart makes his presence known once again, wings flapping wildly and separating Prince Siegfried and Odette. As the Prince and Rothbart struggle back and forth Odette makes her way to the ground, she is weak and tired. Prince Siegfried manages to break Rothbart’s wing which conquers the evil magician once and for all. Eldar Aliyev does an excellent job in artistry thrashing about as his character suffers the consequence of his actions. Prince Siegfried recovers Odette from her rest. The ballet ends with a triumphant Prince Siegfried clutching Odette close to his heart. A touching moment shared between Zelensky and Makahlina.
There is something I find hauntingly beautiful about Swan Lake. The music, the choreography will linger in my mind always. From the first time I watched the full length ballet as a child to this day I continue to hold Swan Lake as one of my favorite classic ballets. The Kirov Ballet presented an impeccable display of technical prowess and artistic depth from corps de ballet to principal artists. Swan Lake provides artistic enrichment for audiences of all ages, a must see for any student of classical ballet.
It is wonderful to watch the artists of the Kirov Ballet execute technique very precisely as it is inspiration to continue striving for better alignment, strong feet that do not roll from forcing turn out and cultivating greater experience and artistry in each and every class.
