‘Swan
Lake’ is widely considered to be the greatest romantic ballet, ironically so, since it was initially considered a failure when premiered 1877; the music having
been thought to be too complex for the genre. The complex score is one of
reasons that this ballet has been open to so many interpretations down the
years, together with a powerful, romantic story and dynamic characters. The
dramatic intensity of Tchaikovsky is given full reign in a work which includes
many set pieces for showcasing both the soloist dancers and the full
complement of around eighteen or so ballerinas. The Russian State Ballet of
Siberia took full advantage of this broad canvas to deliver a remarkably varied
and engaging production, aided by an impressively animated backdrop. This was an
extremely accessible production of a key work in a genre often viewed as an
acquired taste.
With a full cast of almost thirty performers
(and at times almost the whole ensemble on stage together), the Sheffield
Lyceum was just large enough to accommodate the most sophisticated and
expansive routines without looking cramped. With dancers coming on stage from
various directions quickly to form precise geometric formations, the overall effect
was truly spectacular, the main company variously melting into the wings as
solo performers took centre stage or allowing for additional small groups of
dancers.
The
constantly changing choreography meant the audience never had chance to get
over-used to any single performance and every change was seamlessly made with perfect
precision and timing.
Swan Lake is performed over four acts and a respective back screen was given for each section. For the most part,
aside from a gentle ripple across the lake or flame torches on a palace wall,
the effect was of a static painting, avoiding distractions from the dancing,
which required and deserved one's full attention. However, effective animations were
included at key moments, greatly enhancing the drama on stage as well as
helping to tell the story. A highpoint was a storm on the lake that was truly
spectacular.
The costuming was excellent. Naturally,
there were plenty of white tutu costumes, later alongside black tutu outfits
used with powerfully contrasting effect. However, the palace scenes allowed for
a plethora of vibrant colours and highly detailed garments, including long
dresses and various styles of national dress as different nationalities arrived
at court. The magisterial atmosphere of the palace scenes presented an image in
stark contrast to the blacks and white of the wild, mountain lakeside sections,
greatly enhancing the dramatic effect.
Special mention must be made of the presentation
of emotions aside from the graceful and dexterous dance movements. There were
genuine expressions of pain and anguish on the faces of the main performers at
key moments in the story. It is surely no coincidence that the daintiness of
‘The Nutcracker’ score finds its way into advertising chocolate bars or that
the heavy melodramatic mood of ‘Romeo And Juliet’ has been used to sell trendy
clothing. Wherever ‘Swan Lake’ finds its way into film and TV (as it has
several times), it is to convey feelings of genuine drama and tension and these
emotions were certainly brought over by the cast of this production.
As both a sheer dramatic spectacle and a
celebration of the zenith of physical movement and interpretation, this Russian
presentation of ‘Swan Lake’ was quite outstanding and the performers and the musicians
alike did full justice to the music of one of their greatest compatriots. This
was a truly splendid experience and a superb testament to the many varied
aspects of the genre of ballet at its most magnificent.
Reviewer - John Waterhouse
on - 11.1.22
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