Prima Ballerina Natalya Romanova as Odette-Odile, accompanied by Ukrainian-born Première dancer Vadim Lolenko as Prince Seigfried, led a poised and elegant St Petersburg Classic Ballet production of Tchaikovsky’s timeless masterpiece.
A story in which faithful love wins the day, this romantic tale was spiced with sparkling individual performances, adorned with sumptuous costumes and played before some beautifully realised sets and painted backdrops.
From the start it was Mikhail Bogomazov as the jester at the queen’s court who caught the eye. In quartered black and white he leapt and spun, effortlessly it seemed producing athletic tours en l’air, quickly covering the entire platform with a mischievous grin on his face. The stage was his, our spirits lifted, and our journey began. Around him Irina Titova supplied ample grace and nobility as the queen, and there was a visual feast in the corps’ velvet jackets, sparkling braid and candyfloss-coloured dresses that swirled around our oh-so-available prince.
The Hungarian Sinfonietta Orchestra conducted by Vadim Perevoznikov started a little thinly, the sound constricted somewhat by the pit. But by the end of Act One they seemed to have warmed to the task and were able to better fill the hall with Tchaikovsky’s grand sweeps and punctuations.
Armed with his new crossbow, Seigfried takes to the woods to hunt. He comes across swans swimming on a lake, 18 in this production, who are really young women turned into birds by an evil spell conjured by Rothbart the magician. Seigfried aims at a swan that is wearing a crown, but before he can fire his arrow it turns into the beautiful Odette, Queen of the swan-maidens, who he falls deeply in love with. He makes a vow to free her and her entourage.
Romanova brings enormous charm to the role of Odette. While always keeping a soulful and melancholy expression she weaves wonderful geometries with her arms, wrists, hands and fingers in particular, so that it seems the music itself emanates from her extended lines. The very charming dance of the cygnets was performed impeccably by Valeriya Andropova, Darya Bagayeva, Alina Volobuyeva and Viktoriya Pishkova.
Evgeniy Silakov’s Rothbart seethed with snake and bat-like affectations. Dressed in his black wings and scarlet-lined cape, his exhilarating cabrioles lit up the night.
Crucial of course to the success of the tale is the chemistry between Seigfried and Odette. Lolenko’s prince started on a slow burn but his was a performance that grew in stature throughout the night. By the time he takes on Rothbart in a fight to the finish we’re convinced of his passion for the swan queen.
There were outstanding cameos during the second act. Viktoriya Zhukova was eye-catching in the Spanish dance at the prince’s coming of age ball. And Romanova again impressed, this time as the evil Rothbart’s daughter Odile. With wonderfully controlled whirling fouettés she deceives Seigfried into choosing her as his bride.
The St Petersburg Classic Ballet brings great charm to this piece. They and Tchaikovsky’s delicious melodies easily sweep you through two and a half hours of meditative delight. ★★★★☆ Simon Bishop 27th January 2016
