Royal Ballet's Swan Lake (Spring 2022)

[jmhopton]

8 minutes ago, Suffolkgal said:

I love that we all have strong opinions what’s the point of the creative arts otherwise? It’s very Hamletian this production don’t you think? Grieving damaged young Prince, mother paying far too much credence to another man, and why isn’t Siegfried on the throne anyway? This is surely a 19th century patriarchy? Ghostly apparitions and all that ...

 

Interesting to have the Hamlet comparison. I hadn't thought of it like that. There are similarities.

What's actually going on with Rothbart? Why does he claim the Queen's crown at the end of Act 3? Incidentally, when the Queen makes her very regal entrance in Act 1 for some reason she always reminds me of Maggie Smith in Downton Abbey!

Also, I've often wondered why the Prince is still a Prince if his father has recently died (as presumably he has given the amount of back and grey being worn by the court). Perhaps he has to come of age before formally taking over and this may happen after his birthday but surely he must technically be in charge.

Also, why does he need an invite for his own engagement party?

Swan Lake has never been a favourite ballet for me but I do like Liam Scarlett's production better than most others I've seen, but that may be as much to do with the quality of acting and dancing as much as the choreography.

[Rob S]

2 hours ago, jmhopton said:

 

 

Also, why does he need an invite for his own engagement party?

 

 

Isn't he being shown the invites that have been sent to the guests?

[jmhopton]

46 minutes ago, Rob S said:

 

Isn't he being shown the invites that have been sent to the guests?

I suppose that makes sense. Thanks Rob.  I never thought of that. It just doesn't seem very clear. 

[capybara]

48 minutes ago, Rob S said:

 

Isn't he being shown the invites that have been sent to the guests?

I thought so - and he’s dismayed at the contents.

[Rob S]

1 minute ago, capybara said:

I thought so - and he’s dismayed at the contents.

Or the typeface she used 😆

[capybara]

Isn't it amazing that we're on Page 41 of discussion about the RB's Swan Lake. Is this a record?

[alison]

7 hours ago, Fiona said:

 

Yes, I always feel that the dancing area in Act 1 is cramped.  The scenery seems to encroach too much, and there is too much of it. 

 

Yes, so poor Siegfried gets shoved off centre stage behind the proscenium arch where the left-hand part of the theatre can't see him at all.  I think I've literally seen him there only a couple of times, when I've been over on the right-hand side - or centre - of the auditorium.

[DVDfan]

I believe that originally what is happening at the 'engagement party' is actually the old Russian custom of a bride show (see Bride-show - Wikipedia)  ie assembling the unmarried daughters of the nobles in a sort of beauty contest, so that the prince could select one as his bride. Surprisingly this seems to have led to many happy marriages, and so to a persistent trend for the Tsar to marry for love rather than political advantage, though there are exceptions.

So in a medieval setting this makes perfect sense, but looks rather odd in the mid-nineteenth, where the prince would be more likely to meet suitable candidates one at a time. Siegfried is probably not upset by an engagement party in the modern sense, but by the order to marry when he doesn't feel ready. He might also be worried by the fact that Rothbart has presumably limited his choice of bride to princesses that will promote his, Rothbart's, interests. 

[Odyssey]

From a design point of view, one of the aspects I like about this current production is that the four princesses are dressed having an individual identity. It always bugs me when productions have them as four clones. In this production, each princess is more closely linked to their national  dances and similarly the accompanying retinue. However, I do wish the choreography for the princesses might have reflected this a little more. Incidentally, when I watch back the recording of the production, I always chuckle at the various disdainful / distasteful reactions towards Odile of both the much missed Beatriz Styx- Brunell  and Melissa Hamilton.  

[alison]

I always thought the "four clones" (or near-clones) approach reflected how Siegfried perceived them, but I do see your point.

 

I wonder what would have happened if he'd obeyed his mother and just gone "eeny meeny miny mo"?

[Suffolkgal]

Forgive me for this but it always makes me think of The Slipper and the Rose! “Charming little thing, doesn’t speak a word of Euphranian!”

[AnnabelCharles]

I finally got to see the streamed performance of Swan Lake on Monday and thought it was wonderful. (Apologies - this is rather a belated contribution.)

 

William Bracewell’s Siegfried was a lost soul, who didn’t want to be a prince. He loved his sister and his friend, Benno – but had no connection with his mother and no interest in court life. He was living inside his own head, a shadow that slipped around the edges of the action in Act I. When Benno gestured to him to join in with the dancing, he refused – and indicated that Benno should take his place in the dance – and also in a way, as prince. This made sense of his lack of involvement in the opening act – and made the heartfelt solo bridging Acts I and II even more poignant. The slow extensions at the beginning seemed to represent his trying to find and express himself – and then, in the series of leaps and turns, pouring out his feelings of loneliness, isolation and longing. 

 

His portrayal was complemented by Lauren Cuthbertson’s terrified, nervy Odette. It wasn’t just that she had been captured and turned into a swan but that she was deeply damaged by the experience and could now trust no one. This coherent development of the two characters gave a particular intensity to the pas de deux in Act II, which I found heart breakingly beautiful. Lauren Cuthbertson, delicate and controlled, used small details – a deliberate pause, a shake of her head, a quiver of her hands – to add subtlety to her portrayal – while William Bracewell threw the intensity of his yearning into his graceful and passionate partnering - he had found his kindred spirit – a soul as lost and lonely as he was.

 

In Act III, Lauren Cuthbertson was poised, assured – completely confident that she could captivate and manipulate the prince – in collusion with Van Rothbart - and relishing playing with Siegfried. He, fired up by his fascination with Odile, became much more princely in his bearing, now he had found what he believed to be love. You could feel the energy burning through him and fuelling his dancing, especially the solos. He was never going to be able to withstand Odile’s wiles, however; you could see him being drawn ever more tightly into the net cast by Odile and Von Rothbart, unaware of what was happening and shattered at the end when the truth is revealed. The physical collapse of the palace and the invasion of the black swans represented the complete destruction of Siegfried’s hopes and dreams.

 

Because the narrative and characterisation were so strong up to the end of Act III, I found Act IV even less satisfactory than usual. The final pas de deux was moving – the terrible acknowledgement of the betrayal, and the reconciliation (agree that the second lift didn’t look quite right) and the protective concern of the swans – but Siegfried lying at the front of the stage and Odette, leaping off the back, just seemed clumsy – though the final image of Siegfried holding the body of Odette, now a princess, was, as always, haunting.

 

In the introduction to the screening, William Bracewell talked about Siegfried and Odette being two broken people – and that was absolutely how they were portrayed. William Bracewell’s dancing was lyrical and graceful and flowed in a way that almost seemed effortless. Lauren Cuthbertson was controlled, sensitive and nuanced. Both are wonderful dance actors, slightly understated in style – who seemed to inhabit rather than perform their roles, with total engagement to emotional veracity and to each other. The rest of the cast was very strong too – Luca Acri was an excellent Benno – conveying a clear sense of his friendship with Siegfried – but also his enjoyment of life. Isabella Gasperini and Meaghan Grace Hinkis were charming as the sisters – and I particularly liked the interaction between them and Benno – highlighting the contrast between their youthful cheerful mood and the darkness enveloping Siegfried. Gary Avis was chillingly menacing as Von Rothbart – and while all the character dances were good, I also particularly noticed Nadia Mullova Barley in the Spanish dance. As always, the swans were feather perfect.

 

It’s fantastic to see Lauren Cuthbertson on such excellent form, no mean feat after returning from maternity leave, an experience sensitively explored in the short film Step by Step – and William Bracewell promoted to principal, so incredibly well-deserved.

 

I very much hope ROH release a DVD as it was a performance I’d really like to see again.

 

(I write as someone who loves ballet, but knows little about the technical side of it, hence vague references to ‘leaps and turns’ so these are very much my ‘uneducated’ opinions/reactions!)

 

 

 

[FionaM]

I think Lauren and William’s feet caught on each other which affected the take off for the second lift in Act IV that people have noticed.  They did well to make it look ok.  

Edited May 26, 2022 by FionaE
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[LianneEva]

2 hours ago, Odyssey said:

Incidentally, when I watch back the recording of the production, I always chuckle at the various disdainful / distasteful reactions towards Odile of both the much missed Beatriz Styx- Brunell  and Melissa Hamilton.  

I've watched the 2018 Marianela / Vadim recording so much as to be spoilt (I think it was the gold standard!) and what struck me was how brilliantly the court ensemble act in the background of Acts I and III. I particularly enjoyed Melissa and Beatriz's looks of disgust at all of the shameless seduction going on in Act III, and noticed that in the later performances and the Cuthbertson / Bracewell cinema relay, much of this has been pared back? I adore Julia Roscoe et al, but they seemed to be watching on more in adoration of their colleague, than in character as stilted, highly-strung princesses. 

 

I recall in the behind the scenes interviews that Liam Scarlett keenly emphasised the importance of "what a look can do" and I wonder whether his loss means that this isn't emphasised quite so much? 
 

[Linnzi5]

5 hours ago, AnnabelCharles said:

 

I finally got to see the streamed performance of Swan Lake on Monday and thought it was wonderful. (Apologies - this is rather a belated contribution.)

 

William Bracewell’s Siegfried was a lost soul, who didn’t want to be a prince. He loved his sister and his friend, Benno – but had no connection with his mother and no interest in court life. He was living inside his own head, a shadow that slipped around the edges of the action in Act I. When Benno gestured to him to join in with the dancing, he refused – and indicated that Benno should take his place in the dance – and also in a way, as prince. This made sense of his lack of involvement in the opening act – and made the heartfelt solo bridging Acts I and II even more poignant. The slow extensions at the beginning seemed to represent his trying to find and express himself – and then, in the series of leaps and turns, pouring out his feelings of loneliness, isolation and longing. 

 

His portrayal was complemented by Lauren Cuthbertson’s terrified, nervy Odette. It wasn’t just that she had been captured and turned into a swan but that she was deeply damaged by the experience and could now trust no one. This coherent development of the two characters gave a particular intensity to the pas de deux in Act II, which I found heart breakingly beautiful. Lauren Cuthbertson, delicate and controlled, used small details – a deliberate pause, a shake of her head, a quiver of her hands – to add subtlety to her portrayal – while William Bracewell threw the intensity of his yearning into his graceful and passionate partnering - he had found his kindred spirit – a soul as lost and lonely as he was.

 

In Act III, Lauren Cuthbertson was poised, assured – completely confident that she could captivate and manipulate the prince – in collusion with Van Rothbart - and relishing playing with Siegfried. He, fired up by his fascination with Odile, became much more princely in his bearing, now he had found what he believed to be love. You could feel the energy burning through him and fuelling his dancing, especially the solos. He was never going to be able to withstand Odile’s wiles, however; you could see him being drawn ever more tightly into the net cast by Odile and Von Rothbart, unaware of what was happening and shattered at the end when the truth is revealed. The physical collapse of the palace and the invasion of the black swans represented the complete destruction of Siegfried’s hopes and dreams.

 

Because the narrative and characterisation were so strong up to the end of Act III, I found Act IV even less satisfactory than usual. The final pas de deux was moving – the terrible acknowledgement of the betrayal, and the reconciliation (agree that the second lift didn’t look quite right) and the protective concern of the swans – but Siegfried lying at the front of the stage and Odette, leaping off the back, just seemed clumsy – though the final image of Siegfried holding the body of Odette, now a princess, was, as always, haunting.

 

In the introduction to the screening, William Bracewell talked about Siegfried and Odette being two broken people – and that was absolutely how they were portrayed. William Bracewell’s dancing was lyrical and graceful and flowed in a way that almost seemed effortless. Lauren Cuthbertson was controlled, sensitive and nuanced. Both are wonderful dance actors, slightly understated in style – who seemed to inhabit rather than perform their roles, with total engagement to emotional veracity and to each other. The rest of the cast was very strong too – Luca Acri was an excellent Benno – conveying a clear sense of his friendship with Siegfried – but also his enjoyment of life. Isabella Gasperini and Meaghan Grace Hinkis were charming as the sisters – and I particularly liked the interaction between them and Benno – highlighting the contrast between their youthful cheerful mood and the darkness enveloping Siegfried. Gary Avis was chillingly menacing as Von Rothbart – and while all the character dances were good, I also particularly noticed Nadia Mullova Barley in the Spanish dance. As always, the swans were feather perfect.

 

It’s fantastic to see Lauren Cuthbertson on such excellent form, no mean feat after returning from maternity leave, an experience sensitively explored in the short film Step by Step – and William Bracewell promoted to principal, so incredibly well-deserved.

 

I very much hope ROH release a DVD as it was a performance I’d really like to see again.

 

(I write as someone who loves ballet, but knows little about the technical side of it, hence vague references to ‘leaps and turns’ so these are very much my ‘uneducated’ opinions/reactions!)

 

 

 

What a wonderful review! 

[Jorgeb]

I'd like to explain why it seems to me that Siegfried's entrance (Act IV) was a few seconds too early.

Back at the lake, Odette is distraught because Siegfried has not kept the oath. The swan-maidens try to comfort her.

Immediately before Siegfried's entrance the orchestra builds the tension of a storm into a dramatic "crescendo" and the entire ensemble reach a climax and explodes with a beautiful and romantic theme taken from a scene (Act III, No. 2) of Voyevoda.

In my opinion, Siegfried's entry is dramatically more effective if it comes at the moment that wonderful melody explodes in the orchestra.

In the broadcast, it seems to me that Siegfried's entrance took place two or three seconds before the musical climax (am i wrong?)

I don't remember if it was like that in the 2018 broadcast.

Anyway, Bracewell is always a wonderful artist and I loved his portrayal.

[Linnzi5]

4 hours ago, FionaE said:

I think Lauren and William’s feet caught on each other which affected the take off for the second lift in Act IV that people have noticed.  They did well to make it look ok.  

Interesting. I didn't see anything specifically - I just knew something was amiss.  I would agree that they did well to recover from it so well. Certainly, it did not detract from a wonderful performance and experience for me. I did enjoy the previous performance (on the previous Friday at ROH) better and felt it was perfect from where I sat. It is perhaps not fair to compare a performance at ROH to a live cinema relay Act IV at ROH just was so moving. 

[bridiem]

4 minutes ago, Jorgeb said:

I'd like to explain why it seems to me that Siegfried's entrance (Act IV) was a few seconds too early.

Back at the lake, Odette is distraught because Siegfried has not kept the oath. The swan-maidens try to comfort her.

Immediately before Siegfried's entrance the orchestra builds the tension of a storm into a dramatic "crescendo" and the entire ensemble reach a climax and explodes with a beautiful and romantic theme taken from a scene (Act III, No. 2) of Voyevoda.

In my opinion, Siegfried's entry is dramatically more effective if it comes at the moment that wonderful melody explodes in the orchestra.

In the broadcast, it seems to me that Siegfried's entrance took place two or three seconds before the musical climax (am i wrong?)

I don't remember if it was like that in the 2018 broadcast.

Anyway, Bracewell is always a wonderful artist and I loved his portrayal.

 

I think that is always the point at which Siegfried enters, in fact. As if there's a momentary breathing space into which he rushes and then when he's fully on stage comes the climactic music. (But I could be wrong!).

[Jorgeb]

I hope ROH release a DVD or a streaming option.

[Linnzi5]

43 minutes ago, Jorgeb said:

I hope ROH release a DVD or a streaming option.

I really hope so too! I am desperate to see either of the filmed performances again!

[Jorgeb]

I have to say that a friend of mine who saw Thursday's broadcast told me just now that Siegfried's entry (Act 4) was at the right time.

[Fonty]

I just wish Siegfried wasn't lying in such a prominent position  at the end of Act IV when he isn't actually doing anything.   I feel it makes the rest of the staging rather awkward.  Personally, I cannot think of any reason why he should be placed there dramatically, anybody else want to come up with a suggestion?  

Edited May 27, 2022 by Fonty

[Lizbie1]

1 minute ago, Fonty said:

I just wish Siegfried wasn't lying in such a prominent position  at the end of Act IV when he isn't actually doing anything.   I feel it makes the rest of the staging rather awkward.  Personally, I cannot think of any reason why he should be placed there dramatically, anybody else want to come up with a suggestion?  

 

I object to Act 4 a lot less than many posters here, but this is indeed a big problem - even when it's clear that he's been knocked out by VR, it just makes him look a bit useless.

[bangorballetboy]

Musically speaking, I think it's most appropriate for Siegfried to begin his entrance during the crescendo and complete it at the point of climax (and if he is running to the front of the stage, it is then easy for the conductor to time the climax at the correct time), rather than to begin his entrance at the climax.  This is what happens in the Scarlett production and is what happens in every other Swan Lake production I've seen (other than, I think Matthew Bourne's, but don't quote me on that).

[Jorgeb]

1 hour ago, bangorballetboy said:

Musically speaking, I think it's most appropriate for Siegfried to begin his entrance during the crescendo and complete it at the point of climax (and if he is running to the front of the stage, it is then easy for the conductor to time the climax at the correct time), rather than to begin his entrance at the climax.  This is what happens in the Scarlett production and is what happens in every other Swan Lake production I've seen (other than, I think Matthew Bourne's, but don't quote me on that).

I admit I may have had the wrong impression and as I said a friend of mine told me that the entrance was perfect.

However, there are certainly several Swan Lake productions in which the entrance takes place at the climax.

Examples:

The classic Kirov / Mariinsky production (version by Konstantin Sergeyev) – 1:47:33

https://youtu.be/dINWPvfzp-s

Bolshoi (Yuri Grigorovich “happy ending” version) – 1: 59:18

https://youtu.be/cdq5Rw9SS-8

The Vladimir Bourmeister production – 1: 58: 35

https://youtu.be/6LKyWPmtX7Y

The Nureyev (1967) version – 1:38:03

https://youtu.be/TrODO0RfEtM

 

[Jamesrhblack]

There’s a beautifully written, honest, perceptive and positive review of the Calvert / Edmonds Swan Lake by Gerald Dowler in the new Dancing Times. He really expresses why I, in common with many others I think, found this performance so affecting.

[bridiem]

9 minutes ago, Jamesrhblack said:

There’s a beautifully written, honest, perceptive and positive review of the Calvert / Edmonds Swan Lake by Gerald Dowler in the new Dancing Times. He really expresses why I, in common with many others I think, found this performance so affecting.

 

Good! I look forward to reading it.

[Odyssey]

With the sad passing of Liam Scarlett, who has been entrusted with the care of his ballets? It is so sad that he is not amongst us to make the adjustments which occur prior to a second run.  

[capybara]

6 hours ago, Jamesrhblack said:

There’s a beautifully written, honest, perceptive and positive review of the Calvert / Edmonds Swan Lake by Gerald Dowler in the new Dancing Times. He really expresses why I, in common with many others I think, found this performance so affecting.

That’s great to know but don’t all reviews represent the honest position of their writers?

[JohnS]

I thought this Instagram post fabulous - Francesca Hayward’s second Swan Lake performance:

 

https://www.instagram.com/p/CeGkdrVj04N/?igshid=YmMyMTA2M2Y=
 

An astonishingly intimate insight into the commitment expended to bring us all performances to treasure.

[Rob S]

Sarah Lamb’s fouettés were fabulous this evening!!! 🌪🤩

Edited May 28, 2022 by Rob S

[LianneEva]

2 hours ago, Rob S said:

Sarah Lamb’s fouettés were fabulous this evening!!! 🌪🤩

Yes I thought so too. Probably the best I’ve ever seen! Supremely confident and neat as a pin. 

[Rob S]