Bolshoi Ballet: Swan Lake, Royal Opera House, 2016

[Jan McNulty]

Anna, I was posting at the same time!

[godots_arrived]

To add my impressions, took me a while to regain my senses to write something hopefully moderately coherent. For me Olga Smirnova's Swan Lake was the true revelation of the season. There have been many fine ballerinas sparkling in this role, but no one with her ability to reach down to the deepest levels of my soul to stir up lasting emotions. 

 

At her Swan Lake, as the white act was beginning there was a palpable sensation that the very air in the theater thickened. What an astonishing artistic performance it was! Her white swan was of the vulnerable, quivering kind, a precious fragile bird desperate to free herself from the trap into which cruel fate captured her. I almost wanted to scream out in anguish: "Is there no one here that would protect this dear little creature, protect her from all the evil that is threatening her, give her some comfort, give some hope for calm and deliverance???!!!! How could there be such cruelty in the world, is there really no hope?" And right at that very moment, Odette looked at the Prince, and a glimmer of hope passed across her face. It was faint, unsure hope, but one that she felt to hold so dear, as she felt there would be nothing else ever to save her from her doom.

 

The white adagio to me was one of the most incredible things I have ever seen, a true masterpiece that completely absorbed and enveloped all of me. It was strange: sometimes it felt like an out of body experience, sometimes it felt like I became the Prince standing in front of Odette, infatuated by her image and her story, at other times I felt like my self melted away in this ocean of music and beauty. I forgot that I was in a theater, I forgot that I was in a ballet performance, to me it was no longer dancing, but a beautiful wistful symphony, a sorrowful poem, a tale of unhappy destiny of heart break and sadness. It was as if I was hearing verses accompanying Tchaikovsky's yearning score. At that moment the white swan on stage became a living image of a human soul - incorporeal, yet still so real in its feeling, its longing, its pain. To me it was not a performance, it was an experience that reached out to the deepest layers of my soul as if someone gripped me by my very heart.

 

Her Odile was a sparkling jewel at a high society party, beautiful for the sight to behold, a gorgeous and seductive statuette, full of deception and vice inside. Invoked thoughts of Tolstoy's Helene Kuragina, wonder whether she actually served as the inspiration for the Odile character. Incredible how an artist can create two such different roles within the same performance, separated by a mere 30 minutes!

 

Unlike some other viewers or critics, I thought the finale was powerful and moving, at least the way it was done by the performers that night, as heart wrenching as it was, especially when the Evil Genius brutally murders Odette by snapping her back, it was as if my heart snapped along with it. And as the final applause was raging all around me, I could barely move or breath, overwhelmed by tears and grief, awestruck with the emotional intensity of that performance.

 

Totally agree with everything (except your thoughts on the finale but my problems with that related to the music -- or lack of it -- rather than the drama.) For me, too, (and as I have said before) Smirnova has also been the revelation of the season. Her swan endures in the memory; it's what I instantly recall when I think back on the last month and I doubt I could have articulated why that is so as well as you have.

 

I will say, slightly changing the subject, that musical performance of Swan Lake did really pain me. There were problems of intonation in the brass throughout the performance. And the White Swan violin solo was sugar-coated in unnecessary (almost vulgar) vibrato. A swan, surely, is a reflection of icy elegance?...the music speaks for itself and the dance interprets it. Turning the solo into a crude, heart-tugging, crowd-pleasing folk song detracts from the essence of Odile's character and insults the audience by implying they couldn't work it out without an explicit push from the chair. It doesn't enhance it. You don't represent a swan with schmaltz. Well, that's how I saw it anyway.

 

But Smirnova? Utterly fantastic.

[godots_arrived]

Janet - won't reply in detail but I think you're taking my thoughts literally rather than generally. I simply meant that if, somehow, a "class" of people (say, those in first class seats) suddenly and visibly demanded something, they would more likely get it than those in economy class. I also wasn't trying to say everyone at the stage door is an "autograph hunter." I just used that as a convenient catch-all term to cover the general mood.  Anyway, you may be right (about equal treatment.) Opinions are what they are!

Edited August 10, 2016 by godots_arrived

[godots_arrived]

No, you are not out of order. Can everyone try to stick to the topic, please.

 

Does the topic include the issues at the stage door that someone raised and which has started a sub-discussion or is the topic related only to the performance itself? Please clarify!

[taxi4ballet]

A swan, surely, is a reflection of icy elegance?...

Yes, and possibly just the faintest tinge of an undercurrent of power, strength and 'don't mess with me' menace

[Anna C]

Does the topic include the issues at the stage door that someone raised and which has started a sub-discussion or is the topic related only to the performance itself? Please clarify!

The performance itself. There is a separate thread about going to the stage door.

[godots_arrived]

The performance itself. There is a separate thread about going to the stage door.

 

Thanks, Anna. Well, at least there is one offense on this board that I can't be blamed for :-)

[VickyPage]

Hi Vicky Page (cool name by the way!) you were the young lady with the family going back to Oxford, weren't you? I was the lady who told you about Alina coming out once to sign autographs still dressed as a swan! Nice to meet you, young lady. If nothing else, I got to finally meet some balletco members last night, so something good came of it

 

I am going to briefly continue to be off topic (yes, I am genuinely sorry) in order to reply to this politely. Yes, I loved your story about Alina! She is just so sweet. It was amazing to meet you. I have to say, even if it was a slightly bitter end to my Bolshoi tour (I'm not going to Corsaire), it was lovely to meet you and swanprincess. 

(I really don't want to make a thing about this, godots_arrived, but there were people at the stage door in black tie. I doubt that the reason for the fracas was that we didn't look posh enough. And I'm not going to get into the 'to stage door or not to stage door' argument, because cavycapers and swanprincess have already responded so eloquently.)

 

To get on to the actual performance - 

I thought Denis Rodkin was slightly worse than on 29th; maybe he was still suffering from the slight injury/illness that knocked him out on Friday, or maybe I was slightly more tired and less forgiving. The princesses in Act III have really become the highlight of the Bolshoi's Swan Lake for me (which I am fortunately used to by now, so I don't need to rant about the production), especially Tikhomirova, who I think the ROH audience has really got to know on this tour. She was the only princess to get applause when she appeared on stage. Zakharova's acting was a tiny bit flaky in Act II, but when she was acting, it was really beautiful, and her technique was exquisite. Despite a stunning Odile, she did have some problems with the fouettes, and very sensibly elected to finish in fourth, rather than fifth, so as to cover a slight stumble. I could also see perfectly from the upper slips that she travelled a lot less than Smirnova, who also stumbled a bit out of the fouettes as well. 

I think this time round I would say I chose my Swan Lakes well. I thought Smirnova was a fantastic Odette, and Zakharova a magnificent Odile. 

[godots_arrived]

(I really don't want to make a thing about this, godots_arrived, but there were people at the stage door in black tie. I doubt that the reason for the fracas was that we didn't look posh enough. And I'm not going to get into the 'to stage door or not to stage door' argument, because cavycapers and swanprincess have already responded so eloquently.)

 

 

Vicky it isn't a big thing. Why do you think this is personal? I couldn't care less about what happens at the stage door. Myself, I don't even go there most of the time. It's simply that someone raised the topic and I threw out a response. That's all. I might be right and I might be wrong in my response/opinion but it's not life and death...it's not even an argument. I only commented further subsequently to clarify what I had meant so I wouldn't be misunderstood...not to defend what I'd said. I don't even feel strongly about stage door protocol myself.

[Jan McNulty]

Vicky it isn't a big thing. Why do you think this is personal? I couldn't care less about what happens at the stage door. Myself, I don't even go there most of the time. It's simply that someone raised the topic and I threw out a response. That's all. I might be right and I might be wrong in my response/opinion but it's not life and death...it's not even an argument. I only commented further subsequently to clarify what I had meant so I wouldn't be misunderstood...not to defend what I'd said. I don't even feel strongly about stage door protocol myself.

 

 

If it isn't a big thing why keep responding?  Please do not respond to this question, I really don't want an answer.

 

Please let's get back on topic.  

[alison]

ElenaF, welcome to the forum, and thank you for your very moving review.

[Jamesrhblack]

No. I meant that if the stage door was regularly frequented by expensive seat-holders (half of whom are interested in the social occasion rather than the dance) then I suspect the stage door staff would soon improve their social skills. Or be told to.

 

With respect, I dislike the assumption that just because people are able to seat in the more expensive seats their interest is essentially social. Cultural awareness isn't restricted to those on a tight budget and those of us who are lucky enough to be able to afford to sit in the lower parts of the house are through our higher ticket prices subsidising the cheaper tickets.

[godots_arrived]

James -- fair enough. I agree that I resorted to cliche. While there's a reason cliches exist, your point is taken. Also, I've had enough controversy :-)

 

Anyway, on another subject and somewhat back to Swan Lake (and FoP,) when I wonder, is a review best written? Immediately after a performance when the experience is still fresh (which is when I wrote my first post about Swan Lake) or a day or two later when, perhaps, the ballet has had a chance to "settle" in the mind? Or even later, after that, by which time your thoughts may have matured. Or perhaps time has misled you into tempering or over-colouring your initial reaction.

 

I say this with my responses to the Bolshoi season in mind. Ten days or so later, Smirnova's Odette/Odile has grown in my memory and while not mitigating some of my earlier criticisms about the performance as a whole, has made them seem less important in the end. Were I to write the review today, I would probably focus more on her compelling interpretation and execution of the role because, it turns out, a). It really was that good, and b It has (for me) to be the transcendent experience of the run. It really lives in the memory, something I perhaps did not expect it to on the night.

 

Conversely, my somewhat more negative (although I did love the dancing as a series of "parts") review of FoP would not change five days later. Alexandrova didn't move me that night and this sense has not abated with time. She's a great dancer and her performance was as technically polished as they come but separation has not palliated what I think I saw on the night.

 

Do others go through this process of evolving thoughts about performances or do you leave the theatre with a fixed and unchanging view of what you've seen? As the end of the Bolshoi run approaches, do you think now as you did then? Should we keep updating review threads over a long period aware that how our thoughts evolve is as interesting and valuable as our first perceptions? Is a really great performance only one that stands the test of time?  All grist for the mill...

Edited August 10, 2016 by godots_arrived

[Jan McNulty]

Great post! Currently on train so can't type well on move but will try and chip in tomorrow!

[alison]

"Do others go through this process of evolving thoughts about performances or do you leave the theatre with a fixed and unchanging view of what you've seen? As the end of the Bolshoi run approaches, do you think now as you did then? Should we keep updating review threads over a long period aware that how our thoughts evolve is as interesting and valuable as our first perceptions? Is a really great performance only one that stands the test of time? All grist for the mill..."

 

A very good question, godots_arrived. I would hope that none of our opinions are so set in stone that they can't change upon further consideration. Some performances do need more "digestion" than others, shall we say? And then there's always the possibility that other people's readings of a performance may influence your own: whether it be posters on a forum, critics or friends and acquaintances. Of those groups, there are some people I know I don't usually see eye-to-eye with anyway, so if their appreciation of something is significantly different from my own it doesn't worry me unduly, but on the other hand there are others I usually do see eye-to-eye with, so when I don't I tend to examine my own reaction more closely. Plus anyone may put down a point of view which, although perhaps different from my own, I may appreciate on further consideration. For example, there was a recent Proms performance which I didn't like at all, but, having read other people's reactions to it on another forum, if I were to listen to it again in the light of those reactions I might be persuaded to alter my initial stance. I'm pretty certain that on a number of occasions on this forum - and its predecessor - I've posted "Actually, now that I look at it again ..."-type posts later on in a run (or even well after it), and may even on occasions have metaphorically put my hand up and admitted "Okay, I was completely wrong about this"

[taxi4ballet]

I rarely see a performance more than once (unless dd is performing) and I generally come away with a series of 'snapshot' images in my brain which tend to stay there. 

 

It is sometimes quite disconcerting to then read reviews (I know far too little to post an in-depth review myself) which seem to completely contradict what I thought I saw...

[Don Q Fan]

I think memories evolve over time and - I saw all 4 Don Qs but still feel the Alexandrova/Lantratov was the best.  I am pleased to hear that Swan Lake with Smirnova/Chudin was the best of Smirnova's run - I'm not really surprised they are often partnered together so maybe this is the best partnership for Smirnova and it showed in her latest performance?  I wonder now about what they would have made of DonQ!!

Edited August 10, 2016 by Don Q Fan

[Indigo]

... those of us who are lucky enough to be able to afford to sit in the lower parts of the house are through our higher ticket prices subsidising the cheaper tickets.

 

Just wondering about ticket prices & out of genuine interest. From various things I've read, my impression is that the higher ticket prices for opera / ballet tend to reflect the true costs of running an opera house such as the ROH (complete with opera chorus & ballet companies, plus orchestra) & the considerable costs involved in staging productions. With Arts Council funding, sponsorship, donations / other fundraising enabling the number of more affordable ticket prices? 

 

 

.... Anyway, on another subject and somewhat back to Swan Lake (and FoP,) when I wonder, is a review best written? Immediately after a performance when the experience is still fresh (which is when I wrote my first post about Swan Lake) or a day or two later when, perhaps, the ballet has had a chance to "settle" in the mind? Or even later, after that, by which time your thoughts may have matured. Or perhaps time has misled you into tempering or over-colouring your initial reaction.

 

... Do others go through this process of evolving thoughts about performances or do you leave the theatre with a fixed and unchanging view of what you've seen? As the end of the Bolshoi run approaches, do you think now as you did then? Should we keep updating review threads over a long period aware that how our thoughts evolve is as interesting and valuable as our first perceptions? Is a really great performance only one that stands the test of time?  All grist for the mill...

 

That is an interesting question. Over recent years, some performances have sent me rushing to this forum to share my excitement & enjoyment, or to read other poster's thoughts. Other performances have been the type that really make me think, so I wouldn't want to write a review or post straight away - I need time to assemble my thoughts. I may gain a greater understanding or appreciation after a period of reflection, from acquiring further information, or considering other viewpoints. Though I think my emotional response at the time of the actual performance remains unchanged. Which links back to an earlier discussion point on a thread (can't remember which). 

 

I'm also finding that Smirnova's Odette / Odile stays in the memory. Though I think it helped that I'd seen two Bolshoi Swan Lakes on the Saturday & had formulated my opinion of the ballet itself before Monday evening. So I was able to focus on the dancers & their interpretation / performance & appreciate at the time just how good Smirnova & Lantratov were on Monday night.

 

There are so many variables which can affect how a performance is viewed both during & after. But I'm finding that as I see more ballet, opera & theatre, I am aware of how my thoughts & critical appreciation (if that's the right word) are evolving.

[Timmie]

...The princesses in Act III have really become the highlight of the Bolshoi's Swan Lake for me...

 

I have to agree with you here VickyPage. I think that the Bolshoi National Dances and the Dance of the Princesses are my favourite in any Swan Lake I have seen. It would be improved if the Neapolitan Dance's tambourines had bells though .

[swanprincess]

I have to agree with you here VickyPage. I think that the Bolshoi National Dances and the Dance of the Princesses are my favourite in any Swan Lake I have seen. It would be improved if the Neapolitan Dance's tambourines had bells though .

Yes, bells definitely needed on the tambourines!!!!

[taxi4ballet]

Yes, bells definitely needed on the tambourines!!!!

Yes, absolutely!

[Ellie]

I think it's a lovely photo of Zakharova. She looks like a serene, natural woman.

I too think that she looks lovely, especially bearing in mind the physical and emotional toll that such a performance takes. I'm sure that she just wanted to get home and collapse, but understand that the people waiting at the stage door (for quite a while) were doing so as admirers and fans, many of whom had travelled a long way to see her. It's a tricky one...

[cavycapers]

I don't think it is a tricky problem. As I said, if they don't want to be bothered, they just need to ask to be left alone, and I for one would accept it. Wouldn't you? Also, I honestly cannot believe that there aren't other exits from the ROH even with the work being done. Where do all the people who work there leave from? Plus, it was hardly a mob, about 40 people, many in pairs, nothing like the hords of screaming fans Nureyev faced. I have seen dancers come out and obviously really enjoy it; the lovely Alina Cojocaru came out still dressed as a swan to have photos taken and sign autographs and chat, so it was obviously her choice. To say it's best not to do it would deny them their pleasure. But whenever a dancer has come out and appeared to want to go home quickly, people respect that.

Edited August 10, 2016 by cavycapers

[nickwellings]

I saw both Ms Zakharova and Ms Smirnova's swans. I was expecting a serene, noble performance from the former, and got one. Almost too serene, rather detached I felt. 

 

Smirnova however was legitimately dazzling. When I say I dislike the production, I just mean I have gripes with some cuts and the ending for instance. Even so, Smirnova and the wonderful Semyon Chudin danced what was perhaps the greatest Swan Lake I have yet seen. And it was mainly due to Ms Smirnova. A friend had raved to me about her, after her appearance last time at ROH. I am so glad I listened to him. I have written slightly more about her and the night at my blog. Needless to say when I see her name down to dance, I will try and see her, however I can.

[sybarite2015@]

I’ll start with an unashamed apology that this is most definitely a fan-boy write up. I didn’t go to see Swan Lake last night, I went to see Svetlana Zakharova (for the first time). She was fabulous, I’d love to be able to describe her the way Bruce Wall would but I don’t have the words. Every movement, every pose was sumptuous, her arms truly rippled, her face was expressive. Sinuous as a snake are the words that sprang to mind when watching her – not terribly flattering words though .

 

I was sitting in the front left hand corner of the OS and what I hadn’t really appreciated beforehand is that a lot of SL is Odette (and others) moving from back right across the stage to front left – this meant they were coming straight at me, loved it  .

 

Anna Tikhomirova has clearly become an ROH favourite with a ripple of applause when she came on stage as the Spanish Bride (only Zakharova and Tikhomirova got this ‘appearance’ applause).

 

All the Brides were good with Yulia Stepanova as the Russian Bride as my favourite. (Any Russian bride would be my favourite, I love that Russian Bride music).

 

Svetlana Zakharova’s black swan was wickedly delightful (fashion note: no black feathers for SZ, just a lovely little crown). I had to count and she did exactly 32 perfect fouettes – ever the perfectionist.

 

I’ve seen three Bolshoi SLs this time round and none of them moved me emotionally which tells me this is not a good version of SL (I think we knew that). Zakharova came the closest in the first white act when her facial portrayal of Odette and her little shudders and ripples told of her sorrow and the sadness to come – but I couldn’t stop grinning  because I was enjoying  Zakharova so much that I forgot Odette.

 

Rodkin/Belyakov/Lopatin were tremendous to watch as Siegfried/Evil Genius/Fool. The interplay between Prince Siegfried and the Evil Genius is probably the best ‘new’ thing in this SL version but it is nowhere near enough to make it a good SL.

Timmie, I couldn't have put it better. After 5 years of trying I finally got to see SZ and she was every bit perfect as I'd imagined and seen on YT videos and in the cinema broadcasts. I was in the OS in row B also in the corner...great Swan Lake (I also saw Smirnova's but I think SZ was better. )

[James]

I saw Tuesday's performance of the Bolshoi Swan Lake and thought the dancing was stupendous. Olga Smirnova richly deserves all the superlatives that have been heaped upon her.  She clearly has a close rapport with Semyon Chudin - evident from the impromptu embrace they were captured in when the curtain rose on one of the (many) curtain calls – and it showed in their effortless command of the choreography in their duets.

 

For me, the Grigorovich production has a lot going for it – not just the medieval setting and the extra dancing for the Prince and "the Evil Genius" (Mikhail Kryuchkov in cracking form in what I think may have been only his second performance in the role), but in his treatment – with one glaring exception – of the score.

 

The interpolations from various piano works that featured in the 1895 revision, have all been expunged, so, in that sense the score is closer to that of the 1877 original.  I particularly like the way Grigorovich has restored parts of the abandoned Act III Pas de six to provide for the arrival of a retinue of black swans with Odile, an exultant solo for the Rothbart character, and a new variation for Odile in the Black Swan pdd. And we got the Russian Dance, danced on Tuesday with a sweet delicacy (but soundless claps) by Yulia Stepanova.

 

Along with everyone else, I can't understand why Grigorovich had to massacre the finale music . Still, I like the concept – Odette destroyed by the Prince's betrayal – in fact, the ending reminded me of Keats' ballad "La belle dame sans merci":-

 

"O what can ail thee, knight-at-arms,

Alone and palely loitering?

The sedge has withered from the lake,

And no birds sing."

 

Incidentally, I went back to my programme for the Royal Ballet Swan Lake and note that the Rothbart character is actually described in the cast list as "An Evil Spirit, later Von Rothbart".

 

James

[Bruce Wall]

Have enjoyed reading people's comments on the Bolshoi Swan Lake.  Thanks to all who have brought this thread back to its subject line. 

 

Agreeing with others above I felt that the National Dances were the highlight of Grigorovich's production, particularly the Dance of the Russian Bride.  I very much appreciated the lightness of its appeal and the benefit it sourced from the choreographic glories that are to be unearthed in Russian folk dances.  Anna Tikhomirova shone in the Spanish Dance on the two occasions I was lucky enough to see her (much as she had done on the previous tour .. and much as she has in everything we have been lucky enough to see her in this time around).  I also was particularly taken with Diana Kosyreva in the Neapolitan Dance on Tuesday evening.  Indeed, Kosyreva was a Bride as musically precise and fetchingly radiant there as she had been as Cupid in the Rinaldo and Armida divertisement in FofP at the Saturday matinee the week previous.  I very much hope to see more of her in the future.  

 

I also liked the introductory sequence for Odile and her attending black swans as it serves as an effective vehicle to set up the relationship between Siegfried and Odile prior to the Black Swan PDD and is topped off with that rich solo of furious and defining magnitude for the Evil Genius.  (Of all who danced that latter role I felt that Tsvirko exhibited the greatest depth in his vivid ferocity.)  Smirnova emboldened this element in a wonderfully enticing manner, enriched by warming flashes from her stunning almond-like eyes in the direction of Chudin's always elegant Siegfried.  Indeed, in many ways Smirnova reminded me of Karen Kain of yore - and certainly I mean that as a sincere and significant compliment.  I would also like to note that Zakarova danced a truly thrilling BS variation.  Of that there can be no question.  She was dazzling in the cut of its every turn.  For me that was the shinning focal and high point of her contribution on Monday ... or at least it is the one that sticks currently in my memory.  Sadly I did not find huge rapport between SZ and DR as a principal pair but in no way could that be said of OS and SC.  The ardor of their mutual pledge was molton.   You could feel the vehemence of their devotion flame.  

Edited August 11, 2016 by Bruce Wall

[nickwellings]

I saw Tuesday's performance of the Bolshoi Swan Lake and thought the dancing was stupendous. Olga Smirnova richly deserves all the superlatives that have been heaped upon her.  She clearly has a close rapport with Semyon Chudin - evident from the impromptu embrace they were captured in when the curtain rose on one of the (many) curtain calls – and it showed in their effortless command of the choreography in their duets.

 

For me, the Grigorovich production has a lot going for it – not just the medieval setting and the extra dancing for the Prince and "the Evil Genius" (Mikhail Kryuchkov in cracking form in what I think may have been only his second performance in the role), but in his treatment – with one glaring exception – of the score.

 

The interpolations from various piano works that featured in the 1895 revision, have all been expunged, so, in that sense the score is closer to that of the 1877 original.  I particularly like the way Grigorovich has restored parts of the abandoned Act III Pas de six to provide for the arrival of a retinue of black swans with Odile, an exultant solo for the Rothbart character, and a new variation for Odile in the Black Swan pdd. And we got the Russian Dance, danced on Tuesday with a sweet delicacy (but soundless claps) by Yulia Stepanova.

 

Along with everyone else, I can't understand why Grigorovich had to massacre the finale music . Still, I like the concept – Odette destroyed by the Prince's betrayal – in fact, the ending reminded me of Keats' ballad "La belle dame sans merci":-

 

"O what can ail thee, knight-at-arms,

Alone and palely loitering?

The sedge has withered from the lake,

And no birds sing."

 

Incidentally, I went back to my programme for the Royal Ballet Swan Lake and note that the Rothbart character is actually described in the cast list as "An Evil Spirit, later Von Rothbart".

 

James

 

Lovely post, James, and so interesting to read about the versions of the score. I am minded to return to Wiley and read up. Would you recommend a programme, by the way? I am tempted to get one. I only regret that on Tuesday "Evil Genius" rather fumbled the final moments with Odette. I had seen the same with Krysanova, and she was almost, so it appeared, snapped in two, to die squalid and crumpled, a shell. No wonder Siegfried's despair there. On Tuesday Evil Genius fumbled the crucial preparatory lift I think, and she sort of slithered into a heap. Not as dramatic, sadly. (PS: so nice to see a fellow Suffolk-based ballet-goer!)

 

I agree with you Bruce, the variation for genius is actually quite thrilling! One of the Geniuses (horrible usage, apologies, but Belyakov, I think?) was splendid in mirroring Rodkin's jetes and tours. One could just about see the conceit of the evil double working. 

 

And Bruce, I too felt the same wonder at the rapport they shared. It was a blessing and a privilege to witness. I was astounded that they made the production work.

 

A lasting memory for me too, is of Daria Kholkova. The three big swans at every night I saw seemed slightly mismatched, at odds with the supernaturally precise corps.

 

I must mention the fantastic phrasing and control from (Sophia Belyaeva, I think, on oboe) of the main motifs. I have never heard it so beautifully played as when I heard it on July 30th. Just wonderful.

[James]

Lovely post, James, and so interesting to read about the versions of the score. I am minded to return to Wiley and read up. Would you recommend a programme, by the way? I am tempted to get one. I only regret that on Tuesday "Evil Genius" rather fumbled the final moments with Odette. I had seen the same with Krysanova, and she was almost, so it appeared, snapped in two, to die squalid and crumpled, a shell. No wonder Siegfried's despair there. On Tuesday Evil Genius fumbled the crucial preparatory lift I think, and she sort of slithered into a heap. Not as dramatic, sadly. (PS: so nice to see a fellow Suffolk-based ballet-goer!)

 

I agree with you Bruce, the variation for genius is actually quite thrilling! One of the Geniuses (horrible usage, apologies, but Belyakov, I think?) was splendid in mirroring Rodkin's jetes and tours. One could just about see the conceit of the evil double working. 

 

And Bruce, I too felt the same wonder at the rapport they shared. It was a blessing and a privilege to witness. I was astounded that they made the production work.

 

A lasting memory for me too, is of Daria Kholkova. The three big swans at every night I saw seemed slightly mismatched, at odds with the supernaturally precise corps.

 

I must mention the fantastic phrasing and control from (Sophia Belyaeva, I think, on oboe) of the main motifs. I have never heard it so beautifully played as when I heard it on July 30th. Just wonderful.

Thank you, Nick. I wouldn't recommend buying a programme particularly. I wasn't going to, then I changed my mind, and think now I needn't have bothered. The video replaying in my head is the best souvenir. Lovely photo of Smirnova and Chudin on the front cover, though.

 

James

[swanprincess]

Does anyone know who designed the costumes for swan lake? On the cast sheet it says designs by Simon Virsaladze; does that include both set and costume?

[alison]

I believe so.

[Ellie]

I don't think it is a tricky problem. As I said, if they don't want to be bothered, they just need to ask to be left alone, and I for one would accept it. Wouldn't you? Also, I honestly cannot believe that there aren't other exits from the ROH even with the work being done. Where do all the people who work there leave from? Plus, it was hardly a mob, about 40 people, many in pairs, nothing like the hords of screaming fans Nureyev faced. I have seen dancers come out and obviously really enjoy it; the lovely Alina Cojocaru came out still dressed as a swan to have photos taken and sign autographs and chat, so it was obviously her choice. To say it's best not to do it would deny them their pleasure. But whenever a dancer has come out and appeared to want to go home quickly, people respect that.

Cavycapers, I completely understand your point of view (and I'll try and keep this brief, or else we may be told off by the mods for going off topic ) I'm not an ROH regular and have no idea of the alternate 'escape routes' available to dancers and staff. Of course I would understand if a dancer would prefer to be left alone, but perhaps they also don't want to be seen as rude and prefer to wait it out in their ice bath for their legs to come to in the hope the fans will disperse a bit. Whether this is right or wrong is of course debatable and of course every dancer is different. I think that it's wonderful that dancers (eg Alina) appear at the stage door in costume ready to sign autographs and take pictures....but everyone is different. x

[Buddy]

It's been a pleasure to read all the enthusiastic Swan Lake reviews. Thank you. This would have been the one series that I would have crossed the Atlantic to see.

 

In particular. the comments about Olga Smirnova have been most exciting. I actually saw her for the first time in London at the performance of stars in honour of Galina Ulanova. She was still in school, but the word was spreading. She was indeed exceptional.

 

Two summers ago in NYC I saw her perform two Swan Lakes. I thought that they were absolutely wonderful. From what I’ve been reading here she’s progressed even further. I think that she could become one of the greatest ballerinas of all times.

 

For me, Swan Lake is the epitome of ballet. I try to see as many major Swan Lake series as I can. I once saw seven Mariinsky performances in a row in California.

 

The White Swan duet, for me, sets the standard for all of ballet. I’ve seen many more Mariinsky Swan Lakes than Bolshoi ones and this duet generally says it all. Interesting at the NYC series featuring Svetlana Zakharova and Olga Smirnova (I saw them both twice) something different caught my attention. It was the portrayal. For the first time I actually focused on the character at least as much as the exceptional dancing. Both these remarkable ballerinas carried my interest throughout because of the aura of their portrayals. Generally my interest revolves solely around the spell of the White Swan duet.

 

So maybe this says something about the difference between the two companies, but not all. I was in Moscow for the first time in April. Whether it was because the artists were on their own stage or something else, they were by far the best that I’ve ever seen them—the entire company. Also, any clear differences became much less evident or important. Having just been a staunch Mariinsky fan, I now value them both equally.

 

The Bolshoi is perhaps more noteworthy for it theatrical prowess, but the aura that I prize so much at the Mariinsky was also there. It may have had something to do with the lead ballerinas. These were La Bayadere performances featuring Svetlana Zakharova (once a Mariinsky principal), Anna Nikulina, an absolutely lovely dancer, and Ekaterina Krysanova, also a remarkably dreamlike dancer as well as a technically and dramatically exciting one.

 

One of the loose classifications that I have is Lyrical and Expressionist. For the moment I see Olga Smirnova as more of an Expressionist, although will her Vaganova underpinning I’m convinced that she can do most anything.

 

Of all the Swan Lakes I’ve seen I consider the one by the Mariinsky’s Ulyana Lopatkina to be perhaps the finest. It was certainly a Lyrical masterpiece, but there was also a theatrical prowess that blurs categorisation.

 

I’ve seen many Veronika Part (ABT, once Mariinsky) Swan Lakes and they come the closest to Olga Smirnova in Expressionism. I consider Veronika Part’s Swan Lakes to be the finest after Ulyana Lopatkina’s. Her expression is different from Olga Smirnova’s in being perhaps more subtle, more hard to define. She creates universes.

 

As the Lyrical counterpart to Olga Smirnova, of their generation, I would cite Oxana Skorik (Mariinsky). She is definitely a more subtle affair. Hers is an ethereal beauty. Since they both come from a Mariinsky background they continue to make a fascinating comparison.

Edited August 12, 2016 by Buddy