Swan Lake -- a multimedia review
Swan Lake is arguably the most popular ballet in the world. Its brilliant score by Tchaikovsky and choreography by Petipa and Ivanov of the “standard version” are, I believe, two reasons this ballet, over one hundred years old, is still so beloved today.
The story begins as Prince Siegfried is celebrating his twenty-first birthday. The Queen Mother interrupts the party to present her son with a crossbow and remind him it is his duty to marry. Unhappy about this, Siegfried goes hunting. At a lake a swan he is about to shoot changes into a beautiful girl, Odette, Queen of the Swans. She and her companions are imprisoned by the magician Von Rothbart; they are swans by day and themselves between the hours of midnight and dawn. The spell can only be broken if a man swears a pledge of undying love and marries Odette. Siegfried, deeply in love, says he will be this man. At the ball the following night, the Queen Mother commands Siegfried to pick a bride from among the princesses; he refuses. Two strangers arrive. In disguise they are Von Rothbart and his daughter Odile, whom he has made into the very likeness of Odette. Siegfried is duped into believing Odile is the Swan Queen and vows to love her forever. Odette appears at the window, and Von Rothbart and Odile flee the ball in triumph; horror-stricken, Siegfried runs to the lake. The swan maidens are in despair and can do little to comfort their queen. The prince comes and begs Odette’s forgiveness, which she gives. But she is doomed to be a swan forever and casts herself into the lake. Siegfried follows, and their sacrifice destroys Rothbart and frees the swan maidens. Siegfried and Odette are thus reunited in eternal love. (Some versions end with Siegfried killing Rothbart and he and Odette living happily ever after.)
This performance of Swan Lake was taped in 2005. Performed by the American Ballet Theatre, it features Angel Corella as Prince Siegfried, Gillian Murphy as Odette/Odile, Marcelo Gomes and Isaac Stappas as Von Rothbart, Herman Cornejo as Benno (the prince’s friend), and Georgina Parkinson as the Queen Mother. This production is a mixed bag of old and new.
Before the ballet starts, there is a clip of President John F. Kennedy giving a speech about the performing arts. And then his daughter, Caroline, tells of Swan Lake’s popularity and gives a summary of the first two acts.
Act One opens with a prologue showing Von Rothbart capturing Princess Odette and changing her into a swan. (http://youtube.com/watch?v=N3QYdJVYYdk) (The only other production I’ve seen with a prologue is the Royal Swedish Ballet’s.) This is an interesting opening, though I personally prefer to just listen to the haunting introduction. The costumes and sets are of the sixteenth century. The girls’ costumes for the waltz are a variety of lovely colors. The skirts are quite long, making it difficult to see and enjoy the foot and leg work. The waltz, danced by about twelve couples, is nicely done, with a maypole being brought out at the end. (http://youtube.com/watch?v=QsUZbAfsjCc) The waltz is shortened, with about two minutes worth of music cut. The pas de trois is one of my favorite parts of the ballet; and, danced by Herman Cornejo, Erica Cornejo and Xiomara Reyes, it is a joy to watch. Herman Cornejo is particularly impressive. (http://youtube.com/watch?v=zUB9BtU6fCo) ((Not since Igor Zelensky as Siegfried in the Kirov production have I seen a dancer jump and soar through the air seemingly without effort.) There are two pieces of music added from Act Three, which are danced by Benno, the prince, and some ladies. I guess the reason for this addition is to show that Siegfried is alone and how he must soon choose a wife. These dances replace the Dance of the Goblets, which features the corps de ballet. The act closes with a sad, haunting variation danced by Siegfried. (This solo was created by Nureyev for his Swan Lake in the 1960s. Since then, many companies have included it in their productions, sometimes with new choreography, as is the case in this performance.) Angel Corella is a wonderful dancer and actor as the prince; rarely have I seen a dancer succeed in both areas.
Act Two is thankfully left intact. Siegfried and Odette’s meeting features her telling him in mime that she is Queen of the Swans turned into a swan by Von Rothbart, and that the lake is made of the tears of her mother, who cried and cried until she died of grief. The spell will only be broken if a man loves her and vows to love no other. Here Siegfried raises his hand in the vow very slowly. His expression seems to be of uncertainty as though he’s thinking, “I’m not sure if I do love you, but I think am willing to try to break the spell. I have no idea what I’m getting myself into but…there, my arm is up.” (http://youtube.com/watch?v=9nLR-P05IKc) In other versions, the prince does this gesture in one sure, sincere movement. (http://youtube.com/watch?v=uBtBtg7hW4E) In the lake acts, Rothbart the magician is a slimy green creature with long horns; he does no dancing except to move about the stage and at times wave his cape-like wings. Ballet critics have nicknamed him the “Green Swamp Thing” or something similar. I think he is the fourth cousin twice removed of the Green Goblin (from Spider-Man). The swan maidens are pretty good, but not always together and lacking a certain graceful quality. And I did not like how they move their swan arms. I felt like I was watching dancers in white tutus pretending to be swan maidens, rather dancers who were maidens turned into swans. The dance of the four little swans was excellent. (http://youtube.com/watch?v=rcDuKgJk1KI) Gillian Murphy seemed too cool as Odette when she should have been soft and vulnerable; however, she was great dance-wise, with amazing turns, jumps, and balances. There was a lack of chemistry between her and Angel (who partnered her beautifully in the pas de deux).
There is an intermission with Caroline Kennedy and interviews with Kevin McKenzie the artistic director, Gillian Murphy, and Angel Corella.
Act Three’s highlights are a series of international dances and the famous Black Swan pas de deux between Siegfried and Odile. In this performance a number the dances are shuffled around. Usually the bride candidates dance for the prince and he refuses to choose one before the international dances take place. But here they are reversed. I have never seen theses pieces performed so… I don’t know. Something was missing that made them very disappointing for me. Maybe it was that the choreography just was not all that good. Maybe it was that the dancers didn’t seem enthused, seeming hardly to leave the floor with their jumps, walking instead of rushing across the stage, turning with a lack of spirit. At times I felt I was watching them walk through the steps rather than really perform. I can’t put my finger on what was off, but in every other production I’ve watched on video/DVD, this part of the ballet is very enjoyable. When Rothbart and Odile make their entrance, Siegfried appears to fall in love with her on the spot, leaving no need for her to convince him she is Odette. A more sensible approach would have been for Odile to slowly dupe the prince into believing she was Odette, or she should remind him of Odette. Another addition to the ballet is a solo for Rothbart - now a handsome, dark-haired and bearded young man - right after he arrives with Odile, a solo set to the music of the Russian dance (part of the international dances that is sadly rarely used.) During his dance he hits on the Queen Mother and subdues all four bride candidates. I’m baffled why this happens. As Odile, Gillian fits the role like a glove: she is steely, brilliant, seductive, and evil. She and Angel are technically awesome in the pas de deux. She even does triple turns during the 32 fouette pirouettes during the coda. (http://youtube.com/watch?v=ebnotELgnQk) I have never seen such a dramatic climax of the ballet at the closing of Act Three before. (http://youtube.com/watch?v=mYlPXxof7Qg)
Act Four suffers the worst. It is only about fifteen minutes long with the mournful dance of the swan maidens cut out. Instead it opens with Siegfried reaching the lake seemingly before Odette. (How did he pull that off? He was stuck in the ballroom.) The final pas de deux between them is heartbreaking. (http://youtube.com/watch?v=tBDxobwm8v0) An interesting touch at the beginning of the finale is when Rothbart reminds Siegfried how he vowed to love Odile and tries to separate the lovers. The magician is horrified when Odette says she will kill herself, knowing he will meet his doom. The Swan Queen throws herself into the lake, followed closely by Siegfried (Angel’s leap is impressive). Rothbart dies, and the other maidens are free. The choreography for the swan maidens is nice, but they are better, comparatively speaking, in the second act.
Overall, this production of Swan Lake, despite its values, is on the disappointing side. And how it ranks among the other versions I’ve seen:
*Makhalina, Zelensky, Kirov Ballet
*Nordquist, Nordstrom, Royal Swedish Ballet
*Bessmertnova, Bogatyrev, Bolshoi Ballet
*Mezentseva, Zaklinsky, Kirov Ballet
*Murphy, Corella, American Ballet Theatre
*Makarova, Nagy, American Ballet Theatre
*Fonteyn, Nureyev, Vienna State Opera Ballet
*Makarova, Dowell, Royal Ballet
*Hart, Schaufuss, London Festival Ballet
The story begins as Prince Siegfried is celebrating his twenty-first birthday. The Queen Mother interrupts the party to present her son with a crossbow and remind him it is his duty to marry. Unhappy about this, Siegfried goes hunting. At a lake a swan he is about to shoot changes into a beautiful girl, Odette, Queen of the Swans. She and her companions are imprisoned by the magician Von Rothbart; they are swans by day and themselves between the hours of midnight and dawn. The spell can only be broken if a man swears a pledge of undying love and marries Odette. Siegfried, deeply in love, says he will be this man. At the ball the following night, the Queen Mother commands Siegfried to pick a bride from among the princesses; he refuses. Two strangers arrive. In disguise they are Von Rothbart and his daughter Odile, whom he has made into the very likeness of Odette. Siegfried is duped into believing Odile is the Swan Queen and vows to love her forever. Odette appears at the window, and Von Rothbart and Odile flee the ball in triumph; horror-stricken, Siegfried runs to the lake. The swan maidens are in despair and can do little to comfort their queen. The prince comes and begs Odette’s forgiveness, which she gives. But she is doomed to be a swan forever and casts herself into the lake. Siegfried follows, and their sacrifice destroys Rothbart and frees the swan maidens. Siegfried and Odette are thus reunited in eternal love. (Some versions end with Siegfried killing Rothbart and he and Odette living happily ever after.)
This performance of Swan Lake was taped in 2005. Performed by the American Ballet Theatre, it features Angel Corella as Prince Siegfried, Gillian Murphy as Odette/Odile, Marcelo Gomes and Isaac Stappas as Von Rothbart, Herman Cornejo as Benno (the prince’s friend), and Georgina Parkinson as the Queen Mother. This production is a mixed bag of old and new.
Before the ballet starts, there is a clip of President John F. Kennedy giving a speech about the performing arts. And then his daughter, Caroline, tells of Swan Lake’s popularity and gives a summary of the first two acts.
Act One opens with a prologue showing Von Rothbart capturing Princess Odette and changing her into a swan. (http://youtube.com/watch?v=N3QYdJVYYdk) (The only other production I’ve seen with a prologue is the Royal Swedish Ballet’s.) This is an interesting opening, though I personally prefer to just listen to the haunting introduction. The costumes and sets are of the sixteenth century. The girls’ costumes for the waltz are a variety of lovely colors. The skirts are quite long, making it difficult to see and enjoy the foot and leg work. The waltz, danced by about twelve couples, is nicely done, with a maypole being brought out at the end. (http://youtube.com/watch?v=QsUZbAfsjCc) The waltz is shortened, with about two minutes worth of music cut. The pas de trois is one of my favorite parts of the ballet; and, danced by Herman Cornejo, Erica Cornejo and Xiomara Reyes, it is a joy to watch. Herman Cornejo is particularly impressive. (http://youtube.com/watch?v=zUB9BtU6fCo) ((Not since Igor Zelensky as Siegfried in the Kirov production have I seen a dancer jump and soar through the air seemingly without effort.) There are two pieces of music added from Act Three, which are danced by Benno, the prince, and some ladies. I guess the reason for this addition is to show that Siegfried is alone and how he must soon choose a wife. These dances replace the Dance of the Goblets, which features the corps de ballet. The act closes with a sad, haunting variation danced by Siegfried. (This solo was created by Nureyev for his Swan Lake in the 1960s. Since then, many companies have included it in their productions, sometimes with new choreography, as is the case in this performance.) Angel Corella is a wonderful dancer and actor as the prince; rarely have I seen a dancer succeed in both areas.
Act Two is thankfully left intact. Siegfried and Odette’s meeting features her telling him in mime that she is Queen of the Swans turned into a swan by Von Rothbart, and that the lake is made of the tears of her mother, who cried and cried until she died of grief. The spell will only be broken if a man loves her and vows to love no other. Here Siegfried raises his hand in the vow very slowly. His expression seems to be of uncertainty as though he’s thinking, “I’m not sure if I do love you, but I think am willing to try to break the spell. I have no idea what I’m getting myself into but…there, my arm is up.” (http://youtube.com/watch?v=9nLR-P05IKc) In other versions, the prince does this gesture in one sure, sincere movement. (http://youtube.com/watch?v=uBtBtg7hW4E) In the lake acts, Rothbart the magician is a slimy green creature with long horns; he does no dancing except to move about the stage and at times wave his cape-like wings. Ballet critics have nicknamed him the “Green Swamp Thing” or something similar. I think he is the fourth cousin twice removed of the Green Goblin (from Spider-Man). The swan maidens are pretty good, but not always together and lacking a certain graceful quality. And I did not like how they move their swan arms. I felt like I was watching dancers in white tutus pretending to be swan maidens, rather dancers who were maidens turned into swans. The dance of the four little swans was excellent. (http://youtube.com/watch?v=rcDuKgJk1KI) Gillian Murphy seemed too cool as Odette when she should have been soft and vulnerable; however, she was great dance-wise, with amazing turns, jumps, and balances. There was a lack of chemistry between her and Angel (who partnered her beautifully in the pas de deux).
There is an intermission with Caroline Kennedy and interviews with Kevin McKenzie the artistic director, Gillian Murphy, and Angel Corella.
Act Three’s highlights are a series of international dances and the famous Black Swan pas de deux between Siegfried and Odile. In this performance a number the dances are shuffled around. Usually the bride candidates dance for the prince and he refuses to choose one before the international dances take place. But here they are reversed. I have never seen theses pieces performed so… I don’t know. Something was missing that made them very disappointing for me. Maybe it was that the choreography just was not all that good. Maybe it was that the dancers didn’t seem enthused, seeming hardly to leave the floor with their jumps, walking instead of rushing across the stage, turning with a lack of spirit. At times I felt I was watching them walk through the steps rather than really perform. I can’t put my finger on what was off, but in every other production I’ve watched on video/DVD, this part of the ballet is very enjoyable. When Rothbart and Odile make their entrance, Siegfried appears to fall in love with her on the spot, leaving no need for her to convince him she is Odette. A more sensible approach would have been for Odile to slowly dupe the prince into believing she was Odette, or she should remind him of Odette. Another addition to the ballet is a solo for Rothbart - now a handsome, dark-haired and bearded young man - right after he arrives with Odile, a solo set to the music of the Russian dance (part of the international dances that is sadly rarely used.) During his dance he hits on the Queen Mother and subdues all four bride candidates. I’m baffled why this happens. As Odile, Gillian fits the role like a glove: she is steely, brilliant, seductive, and evil. She and Angel are technically awesome in the pas de deux. She even does triple turns during the 32 fouette pirouettes during the coda. (http://youtube.com/watch?v=ebnotELgnQk) I have never seen such a dramatic climax of the ballet at the closing of Act Three before. (http://youtube.com/watch?v=mYlPXxof7Qg)
Act Four suffers the worst. It is only about fifteen minutes long with the mournful dance of the swan maidens cut out. Instead it opens with Siegfried reaching the lake seemingly before Odette. (How did he pull that off? He was stuck in the ballroom.) The final pas de deux between them is heartbreaking. (http://youtube.com/watch?v=tBDxobwm8v0) An interesting touch at the beginning of the finale is when Rothbart reminds Siegfried how he vowed to love Odile and tries to separate the lovers. The magician is horrified when Odette says she will kill herself, knowing he will meet his doom. The Swan Queen throws herself into the lake, followed closely by Siegfried (Angel’s leap is impressive). Rothbart dies, and the other maidens are free. The choreography for the swan maidens is nice, but they are better, comparatively speaking, in the second act.
Overall, this production of Swan Lake, despite its values, is on the disappointing side. And how it ranks among the other versions I’ve seen:
*Makhalina, Zelensky, Kirov Ballet
*Nordquist, Nordstrom, Royal Swedish Ballet
*Bessmertnova, Bogatyrev, Bolshoi Ballet
*Mezentseva, Zaklinsky, Kirov Ballet
*Murphy, Corella, American Ballet Theatre
*Makarova, Nagy, American Ballet Theatre
*Fonteyn, Nureyev, Vienna State Opera Ballet
*Makarova, Dowell, Royal Ballet
*Hart, Schaufuss, London Festival Ballet