Royal Ballet's Swan Lake (Spring 2022)

[JNC]

As an aside I found the ‘prologue’ a bit unnecessary, and I’m also not a fan of the ending of Siegfried walking holding a body.

 

I understand the lack of tutu is meant to signal the curse starting/being broken respectively but it doesn’t work for me. Particularly as the prologue sets up that the tutu symbolises Odile is now a swan, but she must be human when she dances in the tutu as surely Siegfried isn’t literally dancing with a swan. I know I am overthinking but no prologue or ending depicting Odile in a dress would have made me even consider this!  

 

I think I prefer the ending whether either Siegfried is just left alone, devastated or where they ‘ascend to heaven’ together (depending on if you want a “happy” or “sad”). 

 

also I’m not sure if this is the same in all other productions but I found it didn’t make sense to me that Von Rothbart is also the Queen’s adviser - here I think it’s about that character wanting power and trying to take the throne but then it’s unclear why he cursed Odile in the first place (he takes a crown from her but how many kingdoms does he want/have?). 
 

I think I prefer it when they he’s just a separate mysterious guest. 
 

The sets are absolutely fantastic! 
 

I did wonder if the tempo was a little slow at times in Act 1 and Act 2.

 

I think I prefer Nureyev’s Act 4 (or the one where the swans are on the floor and when Siegfried is looking for Odile they rise and turn fluttering up in clusters in a line order that is stunning as opposed to this production where poor Siegfried had to run back and forth across the stage and the dancers just turn standing which doesn’t have the same effect). 
 

I do also feel Siegfried is a bit underused in Act 1 in particular but also a little in Act 3 when Benno seems to dance more than or equal to him. 
 

But overall I do very much enjoy this production and the costumes and sets are a real sight to behold, they may be my favourite in terms of conveying a setting well without being obtrusive of floor space or overpowering/obstructing dancer’s lines etc. 

[Jamesrhblack]

Some thoughts, all opinions my own, on the contested opening and closing moments of this production. I dislike seeing Odette turned into a swan at the start, essentially because it mitigates against the impact of the ballerina’s first entrance. I imagine it is there for the perceived benefit of those who cannot “read” the much loved mime scene in which Odette explains her situation. As with any foreign language, my recommendation would be to learn at least some of the basics. Once you begin to “read” that, so many other things begin to “read” as well. 

 

I think the ending is a compromise. Rereading John Warrack’s Guide to the Tchaikovsky Ballets, the original scenario concluded,

 

”The Prince begs Odette’s forgiveness, but she dies of grief in his arms. He casts her coronet on the waters, which rise and engulf the lovers. As the scene calms, the swans are seen gliding across the calm surface of the lake.”

 

John Warrack writes,

 

”…the triumph of love over the malevolent forces of Fate has something of the hollow ring of over-assertion which marks the comparable major-key triumph at the end of the Fifth Symphony. For Tchaikovsky, the truer ending is the enigmatic close on a long hel open unison B, neither major nor minor.”

 

Within the context of this production, I am moved by Siegfried carrying the dead but redeemed Odette at the end, but irritated by the beatific vision that appears during the very last moments. The ballet was not conceived as one of redemptive love, rather the failure of idealised love, a factor alluded to by Zenaida Yanowsky in the splendid recent Insights evening. 

 

For those who haven’t seen the Nureyev film, the ending is extraordinary, with Rothbart dragging Odette away still under his power, Siegfried “drowning” in yards and yards of blue silk and Fonteyn gliding away across the lake still a swan at the end.

Edited March 5, 2022 by Jamesrhblack

[bridiem]

16 minutes ago, Jamesrhblack said:

John Warrack writes,

 

”…the triumph of love over the malevolent forces of Fate has something of the hollow ring of over-assertion which marks the comparable major-key triumph at the end of the Fifth Symphony. For Tchaikovsky, the truer ending is the enigmatic close on a long hel open unison B, neither major nor minor.”

 

Within the context of this production, I am moved by Siegfried carrying the dead but redeemed Odette at the end, but irritated by the beatific vision that appears during the very last moments. The ballet was not conceived as one of redemptive love, rather the failure of idealised love, a factor alluded to by Zenaida Yanowsky in the splendid recent Insights evening. 

 

Thank you for your interesting post, Jamesrhblack. I personally think that what a creator has in mind when they create, and what they actually produce, may sometimes be quite different, or at least open to other/later interpretations. In a purely human sense the ballet is indeed about the failure - or at least the loss - of idealised love; but in a larger sense I do think it's about redemption and hope. Where the music is neither major nor minor, for me that reflects the dichotomy between human grief and loss and eternal love. Asserting the latter doesn't diminish the former but gives it context. 

[JohnS]

First Swan Lake for me this revival and a truly fabulous performance on such a special occasion. I agree with all the plaudits already made. Federico Bonelli retires from the Royal Ballet at the peak of his powers and shares the stage with Fumi Kaneko making her astonishing, mesmerising debut.
 

I find the production deeply moving, made even more so by Liam Scarlett’s death and the appalling scenes we see in Ukraine. I hope the Ukrainian anthem continues to be played and is not just for one week.

 

In this realisation of Swan Lake we do see crushed humanity/swan power triumph over evil. Yes Odette dies but she is restored to her fully human form, and her spirit is free watching over Siegfried. We know the other swans will also become fully human. Whilst I might quibble about the length of time Siegfried lies unconscious at the end of Act 4 and wish there was a little more time for Odette’s spirit to be visible to all (and indeed that Siegfried might recognise her spirit), audience members with a good view of the stage see Odette’s spirit. We can hope in time Siegfried will come to appreciate Odette’s guiding light as he accepts his responsibilities and reawakens the Court, freed from Von Rothbart’s malign influence. 

[DVDfan]

I've seen the Nureyev version on YouTube, and I was gobsmacked. It was the most ridiculous thing I've ever seen in a ballet context. 

I'm not sure that there is a good ending to Swan Lake - certainly not one that would meet with majority approval, but that was....in a class of its own.

[MaddieRose]

For anyone on Instagram, Marcelino Sambe has posted the sweetest video to his stories of some of the principals at the door to Fumi Kaneko's dressing room congratulating her after the show. They told her how much they enjoyed her performance, and asked if they could hear them all applauding her. 
 

Here's a snapshot of the video for anyone who isn't on Instagram. 
 

[LinMM]

Oh Thankyou so much for that piccie MaddieRose almost set me off ….again! 

What a night last night …one of those truly amazing and glorious ROH nights for a lifetimes memory. 

I’m about to head back to Brighton so hope to say something later but not sure how coherent it will be. I’m still in that space where I don’t want to break the spell yet. 

 

[Fonty]

I haven't seen this new production, but surely showing Odette in a dress rather than a tutu to indicate her return to human form at the end does suggest that Siegfried has fallen in love with a bird rather than a woman?  I still think the best ending is where they both drown, and the spell is broken as a result.  Then Odette, still dressed as a swan but clearly human, is united with Siegfried in the afterlife/heaven or whatever, showing that true love conquers all. 

 

Cue tears into a handkerchief......

[RobR]

I sometimes despair about the amount of time spent trying to apply logic to a fairy story 🤭

Edited March 5, 2022 by RobR
Typo

[bridiem]

3 minutes ago, RobR said:

I sometimes despair about the amount of time spent trying to apply logic to a fairy story 🤭

 

😄 But to be fair, I think the aim is not so much logicality as coherence. If it doesn't flow it doesn't go (IMHO).

[zxDaveM]

nah - the best is when Siegfried rips off Rothbart's wing and beats him to death with the wet end, so killing not only Rothbart but any vestige of logic about how the spell on Odile worked

(tongue firmly in cheek here!!)

[ctas]

What an incredible night last night was! A fantastic debut and a beautiful farewell.

 

I find I’m more fond of this production of Swan Lake the more I see it — last night was my third time (opening night was first, then one performance in 2020) and I find I’m always just so dazzled by the beautiful and detailed design work. I personally don’t mind the constant presence of von Rothbart, it suggests a mastermind-type who’s routinely disabling regimes and claiming their thrones. I think the corps de ballet yesterday were sublime, not a feather out of place. I don’t mind the ending too much either, I’ve seen many I’ve disliked a lot more. 
 

Bonelli makes a very passionate Prince; passionate about his refusal of his mother’s insistence that he marry, passionate in his love and passionate in his mistakes. Kaneko’s Odette was incredible, her port de bras is mesmerising. Her Odile was dazzling! I won’t forget any of it any time soon and wish I could see this partnership perform again!  
 

and then seeing that many legends on stage to give Bonelli a farewell! I had an incredible night. Not to rave but I really can only rave about how good it all was!

[Shade]

11 minutes ago, RobR said:

I sometimes despair about the amount of time spent trying to apply logic to a fairy story 🤭

But discussion about the intention that can be implied from the music is worth it I think. I find it interesting anyway

Edited March 5, 2022 by Shade
Spelling correction

[Fonty]

44 minutes ago, RobR said:

I sometimes despair about the amount of time spent trying to apply logic to a fairy story 🤭

 

Of course you have to suspend belief in the real world when reading or watching these things, but any work of fiction has to have its own logic.  Doesn't matter whether the story deals with fairies, magicians, aliens, time travel or anything else that doesn't actually exist (as far as we know).  The characters have to be believable, and the story has to make sense within that fictional world.  Otherwise, it's a failure as far as I am concerned!

[RobR]

19 minutes ago, Fonty said:

 

Of course you have to suspend belief in the real world when reading or watching these things, but any work of fiction has to have its own logic.  Doesn't matter whether the story deals with fairies, magicians, aliens, time travel or anything else that doesn't actually exist (as far as we know).  The characters have to be believable, and the story has to make sense within that fictional world.  Otherwise, it's a failure as far as I am concerned!

I’m sure my fairy godmother will sort me out - probably with a wave of her wand 😀

[RobR]

But, on a marginally more serious note, and referring to Fonty and Bridiem’s posts, like you, I get frustrated by illogical acts. In detective series, the unaccompanied and unarmed female detective always goes into the darkened house, without waiting for back up, without switching on the lights and carrying a small torch in a ridiculous style. I’m always shouting at the tv when that happens!

So, I understand coherence. 

[capybara]

2 hours ago, MaddieRose said:

For anyone on Instagram, Marcelino Sambe has posted the sweetest video to his stories of some of the principals at the door to Fumi Kaneko's dressing room congratulating her after the show. They told her how much they enjoyed her performance, and asked if they could hear them all applauding her. 
 

Here's a snapshot of the video for anyone who isn't on Instagram. 
 

 

This is nice - an 'older' generation passing on the torch.

Fumi seems to have donned her Odile headdress ready for the party!!!

 

 

[LinMM]

I can’t see Fumi in the picture 🤔

[MaddieRose]

13 minutes ago, LinMM said:

I can’t see Fumi in the picture 🤔

She's not in the above photo, she's sat at her seat. Here's another snapshot with her in. 

 

 

[LianneEva]

It was a real honour to take up a red velvet seat in the house last night to see off Federico and celebrate Fumi's long-awaited debut in the role. An extra special experience that I'll treasure for a long while! 

 

Like others, I found the standing ovation for the Ukrainian anthem genuinely moving. Very poignant and powerful, and I'm really glad they've decided to do this.

 

Well how gorgeous is Fumi... She's been a favourite of mine for a long time - particularly since her much-lauded turn stepping in as Aurora in the Sleeping Beauty cinema relay. I had the privilege of also being present at her and Federico's Insights evening, and I knew from that sneak peak that we were in for something sublime at the performance. 

 

As mentioned above, Fumi's port de bras is exquisite - melting into Fede's arms in that gorgeous White Swan pas de deux makes your heart swoon with beauty. She is just transcendentally swan-like in the white act. Too fragile to be real. 

 

And then the contrast with the fireworks in Act III - her Black Swan pas de deux and coda were just exceptional, and she gave us the most gorgeously virtuosic fouettes. Fumi was a delightfully malevolent Odile - revelling in the moment the deceit was revealed. I just love the drama of this production with the flock of black swans taunting Siegfried for his foolishness.

 

While I'm not a *huge* fan of the lifeless princess ending, I do love the beauty of the vision at the top of the rocks. Federico looked genuinely haunted and horrified as it dawned on him that his true love was gone forever. He really is an incredibly regal dancer and I'm so sad to see him go, but so grateful to have seen that performance - he really will be missed, and it was abundantly clear that all his colleagues absolutely adore him, with some truly lovely words spoken.

 

It was an excellent evening for star-gazing owing to this special occasion - I spotted Matthew Ball and Mayara Magri take up a seat in the Royal Box for Act III, and then Anna-Rose O'Sullivan and Francesca Hayward joining before the start of Act IV. We were then truly spoiled by the star-studded send-off after the curtain. 

 

Can we just stop time at these sorts of events?

 

 

 

[Dawnstar]

6 hours ago, JNC said:

I don’t think Fumi’s debut was overshadowed by Bonelli’s farewell. I think she would have felt immensely privileged to be part of the evening and lucky to have danced her official debut with such a lovely partner.

 

(I think Bonelli was also scheduled to be her partner when she was going to do the role back in 2020?)

 

yes she may have missed the red runs, but there will be many more of those come! And her performance was recognised enthusiastically throughout the acts with applauses and a great energy which only happens on certain nights. 

I too did wonder before the performance if it was going to be a little ‘unfair’ on Fumi but I can’t think of a better and more touching way to debut. And it felt perhaps a little poetic to have a debut alongside a final performance, a sort of ‘handing of the baton’ and showing the strength of the royal ballet as a company, particularly with former company members and Monica on stage. 
 

Bonelli mentioned they were a “family” and you could see and feel the respect and love they felt for each other last night. 
 

Not a criticism of your opinion @Dawnstar but I think Fumi would have felt the affect of her performance on the audience throughout and it was certainly very very positive! 

 

I apologise. I was just saying what I personally felt last night. I'm sure I'm wrong. (I seem to be wrong with what sometimes feels like most of the things I say on here.)

Edited March 5, 2022 by Dawnstar

[Lizbie1]

I agree with all the plaudits above for Kaneko - just wanted to add that I thought the Act 2 mime passage was extraordinarily good: in fact, "mime" doesn't do it justice - it was more a whole-body expression of the story and her despair.

 

I've now been lucky enough to see her debuts as Aurora, Juliet and Odette/Odile, and I can't tell you which was more impressive!

[emmarose]

Amazing photos and reports from last night.

 

I knew Fumi would make the most beautiful of Swan Queens, she's simply gorgeous, it's a shame they only have the one public performance, but there will be so many chances to see her in this role in the future (fingers crossed, all being well).

 

Such a lovely showing for Fede too, what a lovely person and wonderful dancer, he'll be missed for his caring and wonderful partnering, he seems to have gotten the farewell he so richly deserves. 

 

It must have been a special night on both accounts. 

[Tony Newcombe]

24 minutes ago, Lizbie1 said:

I agree with all the plaudits above for Kaneko - just wanted to add that I thought the Act 2 mime passage was extraordinarily good: in fact, "mime" doesn't do it justice - it was more a whole-body expression of the story and her despair.

 

I've now been lucky enough to see her debuts as Aurora, Juliet and Odette/Odile, and I can't tell you which was more impressive!

Wait until she dances Manon. At the Yeo Valley gala late last summer, we saw her dance the bedroom pas de deux with Reece. It gave me visions of what we will witness as she makes her entrance into the Hotel particulier of Madam. All that finery provided by Monsieur GM. I worry that the old gentleman client’s heart problem will prove to be fatal.

[Dawnstar]

5 hours ago, DVDfan said:

I've seen the Nureyev version on YouTube, and I was gobsmacked. It was the most ridiculous thing I've ever seen in a ballet context.

 

Is that the same production that the Wiener Staatsballett do? I saw a stream of their production during lockdown & unfortunately I found Siegfried's flailing around the stage as he drowned to be risable rather than moving.

 

26 minutes ago, Tony Newcombe said:

Wait until she dances Manon. At the Yeo Valley gala late last summer, we saw her dance the bedroom pas de deux with Reece. It gave me visions of what we will witness as she makes her entrance into the Hotel particulier of Madam. All that finery provided by Monsieur GM. I worry that the old gentleman client’s heart problem will prove to be fatal.

 

During Act III last night I thought that I will definitely be booking for Manon when she gets to debut that (surely it will be when rather than if). I also realised that if I'd already seen her as Odile I would have been much less surprised by her casting as Satan in The Dante Project. In fact I did wonder if McGregor had seen her rehearsing Odile in 2020 & been inspired to cast her, but then I remembered that Inferno premiered in 2019.

[capybara]

1 hour ago, Lizbie1 said:

I've now been lucky enough to see her debuts as Aurora, Juliet and Odette/Odile, and I can't tell you which was more impressive!

All of the above plus Kitri, Queen of the Dryads, Gypsy Girl, Lilac Fairy, Myrtha ………. (and Nikiya which she danced recently in Brno).

 

 

Edited March 5, 2022 by capybara

[bridiem]

2 hours ago, Dawnstar said:

 

I apologise. I was just saying what I personally felt last night. I'm sure I'm wrong. (I seem to be wrong with what sometimes feels like most of the things I say on here.)

 

There's no right or wrong involved - just opinions that sometimes differ. This would be a pretty boring forum if everyone always had the same opinion about everything.

[Sim]

I have a girl crush.  It's never happened to me before, but now it has.  Last night's astonishing, awesome, assured debut from Fumi Kaneko has made me fall in love.  Maybe the spell she cast in Act 3 reached out to me in the stalls circle standing section, dazzling me and putting me totally under... because I am still not quite thinking straight today.  

 

I just loved every single thing about Fumi's interpretation.  Usually I have something even vaguely critical to say, but not this time.  Those eyes!  Those arms, that surely can't have any bones in them!  Those long legs that uncurl into such beautiful, perfect, expressive lines!  Simply stunning, and with such a strong and varied technique it works in a way that is rarely seen.

 

I loved the way she smiled through a lot of the Act 2 pdd.  I can't remember ever having seen this before...Odette usually looks so sad here.  But Fumi showed her to be happy, falling in love and hopeful that her saviour has arrived.  And with Mr Bonelli as her noble, handsome and deeply passionate prince, why wouldn't a girl be happy?  She punctuates these moments of happiness with worry, as a brief shadow of sadness and foreboding passes over her face and her whole body...but then she shakes it off and allows herself to hope once more.  

 

This smiling makes eminent sense;  when Odile brandishes that smile at Siegfried in Act 3, of course he would think it's Odette.  He has seen and felt that smile already.  Fumi's Act 3 was dizzyingly fabulous.  Her total control of every movement's beauty, her feel for the music, the whaz of those fouettes, mixed up with singles, doubles and triples, one arm raised aloft in triumph whenever she felt like it...she created a whirlpool into which I would have happily been sucked and drowned at that point, such was the delirium I was experiencing!  Her delight in her control over Siegfried, knowing from the get-go that she had already won, was palpable, every movement drawing him more and more into her orbit.  Her evil laughter when the deception was unveiled sent the proverbial shiver up my spine, and then right back down again.  Sensational.

 

As others have said, Act 4 was so very touching.  The deep hurt that Odette felt was expressed so beautifully, with each gentle shake of the head, movement of those big dark eyes or flutter of the hands...here was a vulnerable creature about to break in two.  Siegfried, full of pain himself, and as devastated as you can get, gently convinces her that he truly loves her and to forgive him.  Once achieved, they find strength again and defy Von Rothbart.   When the artistry is like this, I don't even care about the ending.  I personally prefer an apotheosis involving both of them.  Hopeless romantic that I am, at least they are together forever, and I love that.  

 

As many others have said, this was a very special night in so many ways.  Saying arrivederci to Federico Bonelli was so sad, but we can all be glad for the 19 years he has been here.  It has been a privilege to watch him grow over the years into a true danseur noble as well as a dance actor who could raise every emotion possible in the audience.

 

As a new star is born and illuminates the night sky, another star fades into the morning light, having burned brightly for so long.  

 

Thank you Mr Bonelli for so many wonderful performances, and the very best of luck in your new position at Northern Ballet.  You will be missed very much.   In bocca al lupo! 

 

 

[capybara]

Fabulous review, Sim - I agree with every word. Thank you!

[JNC]

3 hours ago, Dawnstar said:

 

I apologise. I was just saying what I personally felt last night. I'm sure I'm wrong. (I seem to be wrong with what sometimes feels like most of the things I say on here.)

no need to apologise it was a valid thought! But not the case I think (but of course I wouldn’t have any special insider info!)

[JNC]

7 hours ago, DVDfan said:

I've seen the Nureyev version on YouTube, and I was gobsmacked. It was the most ridiculous thing I've ever seen in a ballet context. 

I'm not sure that there is a good ending to Swan Lake - certainly not one that would meet with majority approval, but that was....in a class of its own.

I really like this version but yes the ending of him bobbing around in swathes of fabric floating around the stage was slightly ridiculous and melodramatic. Luckily Fonteyn saved it from being too silly. 

[Dawnstar]

48 minutes ago, Sim said:

Those eyes!  Those arms, that surely can't have any bones in them!  Those long legs that uncurl into such beautiful, perfect, expressive lines!

 

If we can discuss body parts, I'd like to put a word in for her back! I was first struck by it in R&J Act III. I never knew until then that someone's back could be so expressive.

 

15 minutes ago, JNC said:

no need to apologise it was a valid thought! But not the case I think (but of course I wouldn’t have any special insider info!)

 

Oh, I'm now wondering if you slightly misunderstood my original post. I only said I what I felt (slightly sorry for her). I didn't, and wouldn't, try to hypothesise in any way what Kaneko may or may not have felt.

[JNC]

1 hour ago, capybara said:

All of the above plus Kitri, Queen of the Dryads, Gypsy Girl, Lilac Fairy, Myrtha ………. (and Nikiya which she danced recently in Brno).

 

 

would love to see her as Nikiya, think she would also do an excellent Gamzatti. Really how late Bayadere comes back into rep. 
 

Also agree that her Manon would be amazing and would like to see her in some Balanchine works too.