Swan Lake
Pyotr Ilych Tchaikovsky
Choreography : Marius Petipa & Lev Ivanov
Restaged: Nina Ananiashvili & Alexey Fadeechev
State Ballet of Georgia
Royal Ballet Sinfonia
London Coliseum
Star rating: 3.5
The real star of any Swan Lake is always Tchaikovsky’s magnificent, spine-tingling score which includes some of the finest of his imaginative orchestrations. Here, after a slightly hesitant start, Royal Ballet Sinfonia more than does it justice under Leavan Jagaev’s measured direction. He makes sure we hear, and really listen to, the beautifully played violin and cello solos along with splendid harp work and that wonderful trumpet moment. And the overall sound is rich, glorious and full of dynamic drama as the story unfolds – right through to one of the most arresting and climactic key changes ever written just before the end,
Above them on stage is a huge company doing a good job although it has to be said that this is not the most innovative of Swan Lakes. We see an accomplished company doing what they were born, and are trained to do, but there’s nothing there to make you sit up straighter in your seat as we watch Prince Sigfried go out hunting only to fall in love with a beautiful swan – with whom the course of true love does not, of course, run straight.
The corps de ballet is very slick and I especially admired their perfectly synched, repeated arabesque hops. And most of the set pieces are entertaining. Goodness knows why, though, in the palace scenes when they are seated side-stage they keep randomly raising arms as like a wonky, irregular Mexican wave.
On press night Odette/Odile was danced by Nino Samadashvili and Prince Sigfried by Oleg Ligai and they’re good to watch. The level of skill, strength and grace is quite something and the rapturous applause they get is well deserved. The work also demands, obviously, phenomenal concentration which was even more commendable than usual at the performance I saw at which there were noisy distractions from disturbed audience member – probably a child with special needs – during Act 1.
They evidently haven’t received the memo about diversity in Georgia. This company features women of identical body shape and height – with the men slightly taller. And ethnicity is pretty standard. Homogeneity used to rule all ballet companies and it’s interesting to be reminded of that and to reflect on whether or not the changes elsewhere are a good thing.
Overall this is an enjoyable, if unremarkable, production.
