swan lake review 2019

In 25 years, this ballet hasn’t aged a day, and that’s a huge credit to the genius of Bourne, and to that of the sadly underrated composer at its heart. Our privacy policy was last updated on Friday 31 January 2020. Matthew Bourne’s Swan Lake theatre review: This is a truly fantastic production, which can now claim to be a modern classic ballet.

They make light, attention-grabbing work of Deane’s physically challenging Act I ensembles, and – completely changing tone much as Odette/Odile has to – are like moonlight incarnate in Acts II and IV. Only in 2000 did Deane retool it as a touring production for conventional theatres – one that, almost 20 years on, has never looked better. Tchaikovsky Swan Lake (1877 version); State Academic Symphony Orchestra of Russia "Evgeny Svetlanov", Vladimir Jurowski; Pentatone Reviewed by Robert Hugill on 26 February 2019 Star rating: 5.0 (★★★★★) Tchaikovsky's original symphonic version of the iconic ballet restored to the repetoire. He regularly writes features for Sadler’s Wells, London Coliseum and La Scala. When in full flight, his Siegfried is terrific – all crisp, swift turns, powerful take-offs and impeccable landings – which means that the infatuated prince does seem to come fully and thrillingly alive during the famous, pivotal Black Swan pas de deux. So, the Prince has fallen in love with a male swan. Semyon Chudin drew the honour of dancing as Siegfried on this opening night, and one can easily understand why: he is stately – statuesque even – with a noble bearing and elegant definition in his always beautiful lines and posture. When not involved in dance Graham is a keen fencer, and has captained the British Sabre team. He is an experienced critic, writing over 500 reviews for the site, as well as contributing to Gramophone and Opera magazines. The Andante was full of introspection and yearning – good old Russian melancholy – while the closing pages of the finale truly danced. Yuri Grigorovich originally conceived this psychological interpretation in 1969, revisiting the concept in a revival that premiered in 2001, by which time the Soviet Union had collapsed and Tchaikovsky’s thematic allusion to an unhappy ending was no longer an affront to communist sensibilities.

Graham Watts is a freelance dance writer and critic writing regularly for Dancing Times, Dance Europe, Danza Europa, and many more publications. Dany Margolies is a Los Angeles-based writer. He is a member of the Music and Dance Sections of The Critics’ Circle. This category only includes cookies that ensures basic functionalities and security features of the website. His movement has style and elegance, but it can also seem paradoxically leaden; it is a strange and, sometimes uneasy, contrast. © 2010-2020 Bachtrack Ltd. All rights reserved. Swan Lake is traditionally a ballet of four acts (although most productions have only two intervals): Grigorovich’s staging reduces to two acts, each split into Prince Siegfried’s unsatisfying “real world” followed by the “fantasy world” of his dreams. I could never tell what this Siegfried was thinking (other than deliberating on the next step), which is a problem given that much of the action takes place in his character’s mind. And yet sometimes what it all adds up to is, y’know, perfectly OK. At the centre of this energetic court, however, Isaac Hernández plays Prince Siegfried as a young man whose whole self has been subdued by the pressure of princely expectations. His performance here is too often too muted, as if he’s pitching it for the intimate, up-close eye of a television or film camera as opposed to trying to make it blaze into the darkest corners of a 2,360-seater theatre. It is easier to tour, even if it is not as exciting and occasionally you can see that there are too many bodies and steps for the size of the stage. Hernández’s energy is so low-key that you almost don’t notice him throw out a casual double tours here and there. Another bewitched puppet … Jurgita Dronina and Isaac Hernández in English National Ballet’s Swan Lake at the London Coliseum. Smirnova is the archetypal image of a Russian Odette/Odile, stepping into a mould of glacial perfection, occupied in previous generations by such legendary ballerinas as Galina Ulanova and Maya Plisetskaya. Credit: Johan Persson.


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