POB etoiles Aurélie Dupont and Mathieu Ganio made debuts in the lead roles of Nureyev's Swan Lake during the recent run of the ballet, at the age of.... she in her early 30's; he a decade younger. I saw them on 7th January. (Note: To be precise Dupont's 'actual' debut in the role was made slightly earlier, on Christmas day, with Legris as her Prince. But I didn't get to see her in this earlier 'debut' performance. )

Since her ascension to etoile-dom in her mid-20's, Dupont danced the lead roles in most of the company's grand-classics except for Odette/Odile. We had an interesting, and perhaps a bit unusual case here that a ballerina was to make a debut in one of the most important ballet roles at a rather later stage of her career, though the reasons behind it might be simply coincidental. Opportunities appear to have slipped through her due mainly to the career-threatening injury she suffered some years ago, and the programming policy of the company. In Paris you don't get to see grand classics such as Swan Lake every or every other season, but more likely once in three+ years. (The last time they staged Le Lac was September 2002.) So how will she make of this long-awaited chance?

Prior to the official debut, I saw her in the role of Odette briefly in the gala performance, last summer. Back then Dupont didn't quite look like a convincing Swan Queen – it even gave an impression the occasion was merely used as warm-up. Her movements duly followed the choreography as it required, but that was all that's given - her mind was elsewhere. With the experience, before catching this performance, the thoughts crossed my mind that perhaps this might not be her role after all.

To my delight, she proved me wrong. A transformation was simply amazing, and Dupont turned out to be the most satisfying Odette I saw in years.

In the lakeside scene, her dancing, clean and refreshing as limpid streams, was true to classical form and aestheticism, never out of theory. Nothing was exaggerated, nor neglected, and her control of movements was truly remarkable. In scenes where a ballerina should let every pose speak for itself to express Odette's fear, sorrow, a glimpse of hope, she did just that. (For instance she kept her balances in a perfect form, beautifully sculpted, with just right angle, exactly at a right timing and for right lengths.) Her understanding of the role seemed deep enough – another merit from her maturity. She appeared to have a very clear picture of Swan Queen, well thought-out, to her heart, and projected it very intelligently. Except for eloquent and richly nuanced mime scenes her expressions were rather understated, delicate and subtle thus all the more more effective, and it felt 'right'.

Then there's her rapport with the music. I always find Dupont a very musical dancer, yet at this performance it was as if she lived through it. Inspired and led by the music, she seemed to explore the ballet with an attitude of a curious child, and got very close to reveal what's in there, whilst revealing herself (albeit perhaps unconsciously) – a willful, strong-minded swan maiden. In this Dupont's Odette possessed the strength two other Swans I saw in this run somehow lacked - Letestu and Zakharova. Both were beautiful creatures no doubt and fitted the bill of Odette in this version (an imaginary woman who only exists in and is confined to Prince's fantasy), giving competent and professional performances, yet neither of them dared get into the very core of this ballet, as Dupont braved.

Her partner Mathieu Ganio, the POB's youngest etoile at the age of 21, can easily be described as a Nature's most plausible ballet Prince. Gifted with many a precious asset that only merits him as a ballet dancer, yet on this occasion he looked nerve-stricken and his dancing wasn't properly in place, particulary in solo variations; he also lacked vital stamina. Full marks could be given to his supporting skills though – for a very young dancer Ganio's ability to provide an assured security to his partner is admirable. In his arms Dupont seemed to be able to move about with much freedom. There was very pleasant rapport between them, and the adagio scene in Act 2 was beautifully danced with much empathy, tenderness and dreaminess.

As the villain Rothbalt (a double-act here with Prince's tutor Wolfgang), Stéphane Bullion wasn't at all bad except that he was too young to give a desired weight to the role. Created by and for Nureyev himself, Rothbalt in this version immersed throughout 4 acts, is given an important status and meaty choreography. (In the end, it's Rothbalt who triumphs and crushes Siegfried's dream into pieces.) As a dark figure who masterminds the conspiracy this role requires a dancer of an extraordinary strength both in physical presence and character, I thought. In this Laurent Hilaire (on the 27th December) totally eclipsed the other two – simply no contest there. His chilling portrayal of the role and powerful stage presence were so effective, gave the whole act an integrity. In Rothbalt's solo variation at the ball scene he also showed off his technical strength, moving about the stage in the sharpest possible manner . (That manège! What was that – a bullet?)

My verdict on this Nureyev's version itself is still out, but after the 3 viewings I am not yet convinced on the justification for the switch of the main role; whose ballet is this anyway? Phrases like “psychological drama” or “Freudian Lac” are often used to describe this production, but personally I didn't find the entire affair that complex or emotionally profound; in fact, the impression was rather flat. After all, giving Prince an extra variation or two and making him look apprehensive all the time, like a fragile juvenile, wouldn't automatically make him a 'deep' character, would it? You need a lot more justifications or some drastic measures, like Matthew Bourne's re-interpretation, to make the shift acceptable for a die-hard classical ballet audience like me.... (which can prove to be a hard job anyway – Prince Siegfried is usually envisaged as a shadowy character, his only raison d'être being that of a would-be rescuer of the Princess. But it's quite a rational arrangement, isn't it? This ballet should belong to Odette, and to her swans, entirely and unequivocally.)

I have never seen Nureyev's production, but from the way you describe it it appears very much similar to Grigorovich's production for the Bolshoi - Odette/Odile as Siegfried's Freudian/Romantic fantasy, the Evil Genius (von Rothbart) who seems to be Siegfried's evil alter-ego (with much choreography). Is this true?

How I wish I had seen Hilaire!

Well you may have a point - there may be a certain resemblance between the two productions, but I'm not the right person to answer the query.... I saw Grigorovich's SL only twice and must admit didn't fancy that much!

There seems to be one element which is clearly different, though, and that is the relationship between Siegfried and Rothbalt. Whereas you may call the latter in Grigorovich's version 'Princes' evil alter-ego' (thus an illusion without substance, just like all the other characters in this production except Prince), in Nureyev's version, he, as tutor Wolfgang, was a man of flesh and blood - Siegfried's mentor and father-figure. 'Freudian' views set in when this father-figure in Siegfried's dreams becomes an oppressor and someone he cannot beat or kill - that's how I saw it.

Another point - although the two productions put Prince in the centre of the action (in that the stories were told according to Prince's views), Nureyev's version did so in a much more determined manner. Most noticeable future in this production is a prominence given to male dancers, not only for the two main figures Siegfried and Rothbalt, who are given a lot more dancing than the counterparts in other more 'traditional' versions. For instance Polonaise in Act I is danced by all-male ensemble.

>>How I wish I had seen Hilaire!

Yes, how I wish you had had the opportunity! It was a sheer luck I got to see him; originally he had not been cast in the role.

Unfortunately, I haven't seen Aurélie Dupont and Matthieu Ganio, but as far as the other casts go, there were a bunch of very convincing Odette/Odile on stage for this run. I just loved Marie-Agnès Gillot, who is such a beautiful technician of course but who also gives everything when on stage - she was very fragile and moving as Odette, despite her athletic build. She has the most lyrical arms among POB Odette/Odile, and she is so expressive, with a sense of drama that fits Odette very well. I saw her last performance, and it was truly an amazing experience, especially as she was very well partnered by Nicolas Le Riche, who was replacing Hervé Moreau.

Agnès Letestu was wonderful too, I thought, she has a very personal way of handling the ballet - I'm looking forward to the DVD which will feature her, José Martinez, Wilfried Romoli and also a really nice cast in all other roles (especially Emmanuel Thibault and Dorothée Gilbert in the pas de trois).

I also saw Diana Vishneva and Benjamin Pech, maybe the funniest pairing - in the 2nd act she was a real queen in despair, not communicating much, while he was like a little boy at Christmas, thinking : woah, I'll finally be able to introduce a girl to my mom... Seriously, they were both very good, and I thought the misunderstanding I felt between them in the 2nd act actually made Siegfried's mistake and betrayal more believable. Besides, Diana Vishneva turned out to be one of the best Black Swan I've ever seen, really dazzling.

Apart from the principals, I just wanted to mention how perfect the four cygnets were - two of them were actually promoted to Premières Danseuses during the run, but they kept doing it until the end. Congrats to them : Dorothée Gilbert, Myriam Ould-Braham, Fanny Fiat and Mathilde Froustey.

Keiko, the casting isn't up yet on the Mariinsky website. I heard that Matthieu Ganio will dance with Olesia Novikova.

Azulynn thanks for the update - I didn't get to see Gillot and Vishneva as the lead this time (you can't have everything....) so very much appreciate your report!

>>Apart from the principals, I just wanted to mention how
>>perfect the four cygnets were - two of them were actually
>>promoted to Premières Danseuses during the run, but they
>>kept doing it until the end. Congrats to them : Dorothée
>>Gilbert, Myriam Ould-Braham, Fanny Fiat and Mathilde
>>Froustey.

Thanks for mentioning them - one of my fondest memories of the trip to Paris this time was catching Fanny Fiat in Act 1 pdt (on 6th Jan). That very particular way she moves! To my mind she's one of those rapidly dying species of the ballet world; a classically-correct, lyrical dancer who can move about in the lightest, softest manner. (Somehow she always reminds me of Mariinsky's true gem of a dancer, First Soloist Irina Zhelonkina....)