The Royal Ballet: New Swan Lake Production, Summer 2018

[Scheherezade]

I am with both sides on the Benno conundrum and this isn't a cop-out since, on the one hand, I welcome the opportunity that the expanded Benno role provides and I agree about the narrative continuity in utilising Benno and Siegfried's sisters but what I would also like is an additionally expanded role for Siegfried. Doesn't the ENB version, for instance, give Siegfried a long, moody solo right at the beginning and why, in any event, can't the RB version do something along these lines? Not only would it explain, right from the outset, the prince's state of mind, but it would also give the current, rather splendid crop of male principals the chance to show us what they can do.

[Douglas Allen]

Scheherezade, I so agree with you. At present the Benno character in this production has more solo work than Siegfried, which seems a little strange. An additional piece for Siegfried in Act I is really rather necessary - not unlike the solo introduced into the Royal's version by Nureyev and performed by them until the Dowell production. If Scarlett didn't/couldn't use the Nureyev version then there are masses of unused Swan Lake music to use for his own version. Perhaps the revival will give him a chance to introduce this to his production.

[Scheherezade]

2 hours ago, Douglas Allen said:

Scheherezade, I so agree with you. At present the Benno character in this production has more solo work than Siegfried, which seems a little strange. An additional piece for Siegfried in Act I is really rather necessary - not unlike the solo introduced into the Royal's version by Nureyev and performed by them until the Dowell production. If Scarlett didn't/couldn't use the Nureyev version then there are masses of unused Swan Lake music to use for his own version. Perhaps the revival will give him a chance to introduce this to his production.

 

I really hope so, Douglas!

[Sim]

2 hours ago, Douglas Allen said:

Scheherezade, I so agree with you. At present the Benno character in this production has more solo work than Siegfried, which seems a little strange. An additional piece for Siegfried in Act I is really rather necessary - not unlike the solo introduced into the Royal's version by Nureyev and performed by them until the Dowell production. If Scarlett didn't/couldn't use the Nureyev version then there are masses of unused Swan Lake music to use for his own version. Perhaps the revival will give him a chance to introduce this to his production.

Siegfried does have a similar solo at the end of Act 1, which as I mentioned above is reinstated after having been strangely omitted in the Dowell version.  Is there somewhere else an additional one could go in Act 1?  

[Scheherezade]

3 minutes ago, Sim said:

Siegfried does have a similar solo at the end of Act 1, which as I mentioned above is reinstated after having been strangely omitted in the Dowell version.  Is there somewhere else an additional one could go in Act 1?  

 

I really do think that Siegfried needs more involvement early in act 1 otherwise Benno becomes the pivot rather than providing support.

[Beryl H]

I miss the solo that Nureyev danced, although I think it goes back to an earlier production by Sergeyev (not sure which one), but I did notice last night that Liam Scarlett has created a beautiful short solo for the Prince towards the end of the act.

[Sim]

8 minutes ago, Scheherezade said:

 

I really do think that Siegfried needs more involvement early in act 1 otherwise Benno becomes the pivot rather than providing support.

Perhaps....but I am struggling to see how, in the context of this narrative.  If Siegfried is attending a party and is surrounded by people, and has made clear that he is not in the mood to join in the dancing, the first opportunity he has to really convey his feelings through full dance is when he is finally left alone.  Then he can ponder his situation.  We do know through mime and acting that he clearly does not want to get married, nor does he want to become king yet.  

[Scheherezade]

I would happily settle for the Nureyev option. And why can't Siegfried illustrate his wistfulness and dissatisfaction before the party gets into its swing? We now have an explanation for Odette's transformation by way of prologue so why not Siegfried too?

[Sim]

He certainly could, but they would probably have to move the music around.  They certainly wouldn't be the first to do that.  But even if you move his solo from the end of Act 1 to the beginning, it still wouldn't give him more dancing than Benno has in Act 1.  But then, Siegfried has more dancing than Benno does in all the other acts (although the dancing takes the form of partnering rather than solo work, except in Act 3), so I don't think it's too unbalanced towards Benno when looking at the whole ballet.  

[Springbourne3]

This is the Siegfried Act 1 solo danced by Nureyev that I remember (not sure if it was Sergeyev’s production either) - it’s beautiful anyway.

 

 

[bridiem]

46 minutes ago, Sim said:

He certainly could, but they would probably have to move the music around.  They certainly wouldn't be the first to do that.  But even if you move his solo from the end of Act 1 to the beginning, it still wouldn't give him more dancing than Benno has in Act 1.  But then, Siegfried has more dancing than Benno does in all the other acts (although the dancing takes the form of partnering rather than solo work, except in Act 3), so I don't think it's too unbalanced towards Benno when looking at the whole ballet.  

 

That's true, Sim; but I do think it's a bit problematic in terms of Act 1, especially when you have a very charismatic Benno (e.g. Campbell on first night! Though since his prince was Muntagirov there was no real danger of the prince being outshone by anyone). I like the solo where it is, though, so I'm torn about this.

[Sim]

I also like the solo where it is....even if only because it is a seamless link and flow into Act 2, without the magic having to be broken by the curtain falling for a scene change!

[LinMM]

Thanks Springbourne 3 for that Nureyev solo....really love that and the music

I missed the first ten mins or so the other day and there was Campbell dancing his heart out. I thought oh maybe Campbell did play Siegfried after all and then caught sight of the dark clad Muntagirov on the side of the stage .....and remembered Benno....and his enlarged role. Everyone was on top form in this everyone seemingly perfectly cast and particularly nice to see that pas de trois with Hayward Takada and Campbell. Muntagirov and Nunez go without saying unsurpassed in these roles this year I would think looking at the standard here ....though didn't see all casts originally. 

However I did again feel that in the "Black" Act the Princesses don't really get enough to do and their solos didn't seem differentiated enough to me .....though the character dances were all really good to watch. 

I didn't mind the ending so much this time round .....though still prefer the off in the sky together version! 

Thanks for the casting somebody posted above I can now identify a dancer that I couldn't when I watched : Fernando Montano ....thought he was quite good am assuming he's fairly newish to RB? 

[bangorballetboy]

2 minutes ago, LinMM said:

Thanks for the casting somebody posted above I can now identify a dancer that I couldn't when I watched : Fernando Montano ....thought he was quite good am assuming he's fairly newish to RB? 

 

Joined the company in 2006.

[Sim]

And is on sabbatical this season.

[LinMM]

Well I have missed him then!  What's that saying .....you win some and lose some ...sorry Fernando ....but you looked good in this recording anyway!! Recorded for posterity! 

[Jeannette]

Belated reaction to having seen the cinemacast here in the US, in midsummer, which was the same performance as on television in the UK a few days ago.

 

Divine cast, especially Vadim (line, technique, emotion), with a slew of great Soloists! Wonderful energy & precision from the corps.  I can understand how everyone is so happy to finally have a new and more traditionally-designed production of SL.  Scarlett’s staging is mostly felicitous. My only critique: I was a fan of R.J. Wiley’s historical touches to the old Dowell production, such as the incorporation of child swans in the 2nd scene, so I’m sad to have lost these...BUT those bits can now be enjoyed in Ratmanski’s reconstruction for Zurich (soon to Miami), so no tears need be shed.

Edited December 27, 2018 by Jeannette

[Melody]

Just saw it on YouTube. I really liked it, particularly the attempts to give context to the national dances in Act 3 - looked as though some thought had gone into the storyline, although I'm still not sure about the ending, with Siegfried surviving. I felt a bit sorry for whichever princess he ended up marrying, having lost the love of his life through what he was always going to believe was his fault.

 

The dancing was wonderful; Muntagirov and Nunez are such a joy to watch, and I thought the corps did a great job too. I was a bit distracted by Marianela's tutu not seeming to fit properly - I must say I liked the old Odette tutus better, and it would have helped a lot if her tutu didn't keep rucking up during the partnering. I also wondered about the expense of all those black swan tutus for thirty seconds in Act 3 - I quite liked the addition of the black swans to Act 4 in the old production because it showed how things had changed after the events of Act 3. Just having those black swans appear briefly in Act 3 and then disappear didn't seem to make sense.

 

 

Edited January 3, 2019 by Melody

[alison]

27 minutes ago, Melody said:

I also wondered about the expense of all those black swan tutus for thirty seconds in Act 3 - I quite liked the addition of the black swans to Act 4 in the old production because it showed how things had changed after the events of Act 3. Just having those black swans appear briefly in Act 3 and then disappear didn't seem to make sense.

 

Me too   

[Coated]

I love the black Swan invasion - worth every penny IMHO

[Lizbie1]

I’ll go a step further and say I loved the black tutus because they were only on stage for 30 seconds.

 

After all the greige underwear we’ve been treated to over the last decade, a bit of extravagance was very welcome.

[Fonty]

On 03/01/2019 at 16:55, Melody said:

Just saw it on YouTube. I really liked it, particularly the attempts to give context to the national dances in Act 3 - looked as though some thought had gone into the storyline, although I'm still not sure about the ending, with Siegfried surviving. I felt a bit sorry for whichever princess he ended up marrying, having lost the love of his life through what he was always going to believe was his fault.

 

 

Oh, you've spoilt the ending now. 🙂 I haven't watched my recording yet.

 

Seriously, though, I have never liked any production that doesn't show Odette  and Siegfried united in some way at the end.  Otherwise, I am left feeling that the whole thing was a bit of a waste of time. 

[JohnS]

I’ve managed to see Swan Lake without too many interruptions for coughing and I have to say the more I see the production, the more I like it.  I’ll look forward to the video release and hopefully some extras.

 

There are three major criticisms of the production which a number of people have voiced - too much Benno, too little of Siegfried in Act 1, and the ending.  There has also been some questioning of VR’s double role, although not since the television broadcast, and comment that more dancing for the four princesses would have been welcomed.  

 

The minor points first.  Could the four princesses have more to do when presiding over three ‘national’ dances?  I’d certainly welcome more engagement.  What’s good enough for Siegfried’s sisters should be good enough for the other princesses.  I find Von Rothbart an impressive character, well drawn out and giving another significant role.  I very much admire Liam Scarlett’s narrative grip in Swan Lake (but then I like a great deal of Frankenstein and Sweet Violets). 

 

The first two major criticisms are interrelated as Benno certainly is much more prominent than Siegfried in Act 1 but I thought it might be easier to say something about each in turn.

 

I have to say I find Benno an attractive, substantial part and I like very much how Benno and Siegfried’s two sisters present such fabulous dancing in Acts 1 and 3.  I’m delighted the cinema cast was so strong and it’s great that this cast has been recorded for posterity.  As well as the two Pas de Trois Benno plays an important role as Siegfried’s friend and moves the action on, explaining the narrative etc.  So I for one am very pleased with how Scarlett creates a stronger role for Benno than in some productions and do love the set piece PDTs.

 

In Act 1 there is a lot of criticism that we see so little of Siegfried and rather than him being on stage all the time (as Scarlett suggested would be the case as it’s focus is very much Siegfried’s Swan Lake), he absents himself for quite some time.  But I think it’s worth asking what do we learn about Siegfried before his solo which not only leads seamlessly from Act 1 to Act 2 but gives us the first full opportunity to understand his character and motivation.  Up to that point we see him as a Prince, reluctant to assume his responsibilities, pushed by his mother to choose his princess but more interested in hunting and something other than the stultified life awaiting him at Court (which we later learn is love).  But we also see him at ease in Court, knowing how to behave and interact with all, excelling in his dancing when he chooses to dance, but clearly not relishing the prospect of taking on the Crown Prince’s mantle at all.  I don’t see how Siegfried’s melancholia and striving for that something beyond the Court’s stuffiness can be introduced earlier without it compromising the thrust of Act 1.  There’d be too many changes of pace and dynamic, too much stop/start.  I think Scarlett handles the dramatic pace really well and Siegfried’s solo linking Acts 1 and 2 to me gives every opportunity for the audience to understand Siegfried’s motivation and sets up Act 2 beautifully.  Could it be a little longer?  I’d be happy if it were but it works well in my opinion.

 

As regards the ending, a number of posters very strongly express their views that they prefer Siegfried and Odette to be united in love beyond death.  And bridiem posts most eloquently and persuasively about ENB’s Swan Lake and its apotheosis with Odette and Siegfried united in love beyond death.  While I find Scarlett’s ending very moving and very much in line with his stated Siegfried focus, I recognise it’s very difficult to persuade those who take the traditional counter view that Swan Lake needs that apotheosis (like Tristan and Isolde).  I can’t for one moment think Scarlett would radically change his ending but I’d suggest that Scarlett does give us an alternative ending which is profoundly moving if in a different way.  My one observation is that the ending seems rushed and Odette’s spirit can be missed and indeed is not visible from certain parts of the theatre.  The cinema relay almost missed Odette on high as the focus is on Siegfried distraught, tenderly carrying Odette’s body retrieved from the lake front stage.  I wondered if in editing the television broadcast, there might have been opportunity to show Odette’s spirit for slightly longer but I didn’t think there was any appreciable change.  We did see the wider angled view by which time Odette’s spirit was already visible and the camera then cut to close up.  I think the wider angled view for longer would be more preferable.  In the summer when there was much debate about the ending I rather liked the idea of Siegfried recognising Odette’s spirit in some way, at least drawing attention to her spirit but, quite understandably, his concern is with protecting her body.  But (if we’re quick and our seats allow for an unobstructed view) we do see Odette’s spirit and we may think in time Siegfried will recognise that he too can ‘see’ Odette on high looking to him, caring that he remembers her and that he looks after the things she loved, most importantly himself.  He can take on his Crown Prince responsibilities, including marrying a suitable princess who he will love.

 

I find that reconciliation deeply satisfying and genuinely touching and for me more so than the ‘united in death’ apotheosis but I do appreciate that others will see things very differently.  Does the music allow for such an interpretation?  In Tristan, it seems to me the music demands Isolde’s death (as does the entire drama) and I’m not at all persuaded by some recent productions which provide a different or ambiguous ending.  But in Swan Lake the music to me is life affirming, triumphal, good overcoming evil.  Von Rothbart is defeated, the swans are returned to human form.  I like to think Odette’s (and Siegfried’s) love triumphs but that allows for a number of interpretations - united in love and both living, united in love after death, or as Scarlett chooses, Odette dying but her spirit released and we trust offering Siegfried the solace that (in time) he will find enabling.  We’ve already seen in Scarlett’s fabulous Act 4 PDD that Odette recognises that she has to die and I read it also as Odette giving Siegfried her blessing.  So I find Scarlett’s Swan Lake profoundly moving and fully in tune with the music.  Whilst also moved by other traditional endings, I’d just ask people to consider whether other interpretations can also be life affirming.  I certainly found the run of Swan Lakes fabulous, a theatrical tour de force certainly putting me through the emotional wringer, and am delighted there will be a DVD.

 

[bridiem]

31 minutes ago, JohnS said:

I find that reconciliation deeply satisfying and genuinely touching and for me more so than the ‘united in death’ apotheosis but I do appreciate that others will see things very differently.  Does the music allow for such an interpretation?  In Tristan, it seems to me the music demands Isolde’s death (as does the entire drama) and I’m not at all persuaded by some recent productions which provide a different or ambiguous ending.  But in Swan Lake the music to me is life affirming, triumphal, good overcoming evil.  Von Rothbart is defeated, the swans are returned to human form.  I like to think Odette’s (and Siegfried’s) love triumphs but that allows for a number of interpretations - united in love and both living, united in love after death, or as Scarlett chooses, Odette dying but her spirit released and we trust offering Siegfried the solace that (in time) he will find enabling.  We’ve already seen in Scarlett’s fabulous Act 4 PDD that Odette recognises that she has to die and I read it also as Odette giving Siegfried her blessing.  So I find Scarlett’s Swan Lake profoundly moving and fully in tune with the music.  Whilst also moved by other traditional endings, I’d just ask people to consider whether other interpretations can also be life affirming.  I certainly found the run of Swan Lakes fabulous, a theatrical tour de force certainly putting me through the emotional wringer, and am delighted there will be a DVD.

 

 

Thanks for your really interesting post, JohnS. I do agree with most of what you say, and I agree that Scarlett's Swan Lake is a theatrical tour de force and very moving. But (as you know!) I don't find the ending 'fully in tune with the music' or even 'life affirming' because although Von Rothbart is defeated the triumph is only partial, not complete. As far as I remember we just see Siegfried walking towards us, holding the dead body of Princess Odette. (I recorded this on Christmas Day but haven't watched it yet - I hope to do so soon!). There's no indication (as you say) that he sees her spirit, or that he will ever find consolation. So for me it's a bleak ending on which we have to impose a more positive spin (if we wish to do so). But I don't deny that it is very moving. (I don't think I've seen a production where they end up united in love and living; that would obviously be rather more cheerful, but temperamentally I prefer the sacrificial death bringing the ultimate union. But that's just me!!).

Edited January 5, 2019 by bridiem
Bracket added

[zxDaveM]

yes, have him dive into the lake too, then have both their spirits emerging at the top of the rock, in a nice balletic pose of union (joy?). No corpse carrying required...

[Rob S]

If you are going to have an ending with two Odettes on stage I think they need to be swapped. The spirit of Odette on the rock should be the uncursed, long dressed version, the dead body should be the one in the tutu and swan headgear.   

[Fonty]

I've seen so many different versions of Swan Lake, I can't remember how the last production ended.  Did they both get united in death in that one?  I've seen excerpts of the one where Siegfried dies and Odette remains under the spell.  No idea how long ago that was, though. 

 

  

 

 

 

[bridiem]

4 minutes ago, Fonty said:

I've seen so many different versions of Swan Lake, I can't remember how the last production ended.  Did they both get united in death in that one?  I've seen excerpts of the one where Siegfried dies and Odette remains under the spell.  No idea how long ago that was, though. 

 

Yes, the last RB production had them united in death. (As did the one before it.)

[Richard LH]

2 hours ago, Rob S said:

If you are going to have an ending with two Odettes on stage I think they need to be swapped. The spirit of Odette on the rock should be the uncursed, long dressed version, the dead body should be the one in the tutu and swan headgear

The Scarlett version is to have Odette's  sacrifice destroying Rothbart's power and leaving Siegfried alive but cradling the lifeless body of the Princess. Having only the remains of the swan-queen in his arms would be confusing in terms of showing  the full nature of her sacrifice, which achieves the physical reverse of the original transformation that Rothbart  caused, but only through Princess Odette paying the ultimate price.

In this version, therefore, the vision of the cursed swan-queen at the end is perhaps no more than a passing ephemera as the curse dissipates, rather than being Odette's actual sprit....in which case it is in the correct apparel, and also it is not that essential for Siegfried to see it (referring to the suggestion JohnS makes).

Edited January 5, 2019 by Richard LH

[bridiem]

11 minutes ago, Richard LH said:

The Scarlett version is to have Odette's  sacrifice destroying Rothbart's power and leaving Siegfried alive but cradling the lifeless body of the Princess. Having only the remains of the swan-queen in his arms would be confusing in terms of showing  the full nature of her sacrifice, which achieves the physical reverse of the original transformation that Rothbart  caused, but only through Princess Odette paying the ultimate price.

In this version, therefore, the vision of the cursed swan-queen at the end is perhaps no more than a passing ephemera as the curse dissipates, rather than being Odette's actual sprit....in which case it is in the correct apparel, and also it is not that essential for Siegfried to see it (referring to the suggestion JohnS makes).

 

Yes - I've just re-read the programme note for Act IV, which ends: 'With her fate sealed, Odette rushes to the rock and plunges into the lake. Through her sacrifice, the sorcerer's power is destroyed and Siegfried is left to cradle the lifeless body of the Princess.' But why then does the swan appear above him? Is she effectively just saying goodbye, as you suggest? Or is her spirit still living even if her body is dead? (Or can we choose either option?!).

 

[Fonty]

53 minutes ago, bridiem said:

 

Yes, the last RB production had them united in death. (As did the one before it.)

 

Ah yes.  I had to hunt on Youtube for the one I was thinking of.  I didn't realise the clip I was thinking of was one with Fonteyn and Nureyev!  Now this is a depressing ending....

 

https://www.youtube.com/watch?v=sDbMK91BJ_E

[bridiem]

14 minutes ago, Fonty said:

 

Ah yes.  I had to hunt on Youtube for the one I was thinking of.  I didn't realise the clip I was thinking of was one with Fonteyn and Nureyev!  Now this is a depressing ending....

 

https://www.youtube.com/watch?v=sDbMK91BJ_E

 

Jeepers!! Swan Lake as the triumph of evil over good. Hmm. But certainly dramatic, though so bleak that I also found it a bit inadvertently comic at times, I'm afraid. (Though I don't suppose I would have in real life.)

 

 

 

Edited January 5, 2019 by bridiem

[Richard LH]

1 hour ago, bridiem said:

But why then does the swan appear above him? Is she effectively just saying goodbye, as you suggest? Or is her spirit still living even if her body is dead?

No I am not suggesting the apparition is her saying goodbye, or that it is her spirit, but rather postulating that the vision is just showing the ending of the swan-queen curse.