Igor Soloviev appeared as Von Rothbart, tall,commanding, flourishing a large, spectacular, feathered cape. Galina Dubrovina was a managerial Queen Mother whose interest in proceedings never flagged; she didn’t swoon when Siegfried rushes from the palace, but is seen issuing directives amidst the chaos.

Designer Galina Solovyeva has emphasized knee-length skirts for the women and hats with metal helmets for some courtiers or early Renaissance hats. Beautiful boots abound, looking suitably splendid with the company’s uniformly pointed feet, effectively elegant, if shy of chic.

Both sets of artists and the company labored under stage conditions too small for the company size and production; though cramped, Perm benefitted with its own orchestra conducted by Valery Platanov, leading a sweet, soulful rendition of Tchaikovsky's score. The lighting with the Zellerbach technology were just fine, though there was a bit of noise with the scenery opening night; but even the dry ice came through to start the matinee'sfourth act.

Makarova has made changes in the Second Act sequence and Act Three's brides' presentatioin and national dance sequence. She joined Act I and Act II, then intermission, Act III,intermission, then Act IV. The transition between Acts I and II are accomplished by using descending leafy branches through which Siegfried and Benno wander to reach the Lake where the swan hunting should occur.

The Semionova-Shklyarov partnership, relating to each other with warmth, exuded length of lush, sensuous line and subsequent dramatic immediacy while Araptanova and Gabdullin realized their roles through a reliance on cooler soulfulness, and more emphasis on classical balletic elements as executed by shorter, smaller physiques, creating entirely different dynamics.

I went to see the Perm principals because of Gabdullin’s performance as Benno to Shkylarov’s Siegfrield. Makarova has Benno standing on a table top as the curtain rises on Act I, raising his cup to courtiers. Gabdullin brought an engaging freshness to the role, his leap to the floor effortless; of medium height, sandy-haired, his attack in the pas de trois and a vigorous focus was appealing, partnering Natalia Makina and Ekaterina Gushchina in the pas de trois. Dina Makarova mentioned at one of the intermissions that Gabdullin comes from Nureyev’s area, also sharing a Tatar background.

In the Saturday matinee, Dimitriy Tenitskiy replaced Gabdullin as Benno, slender, beautifully proportioned, moving easily, superbly elegant feet. The women in both casts were technically competent and also dubbed as prospective brides for Siegfried. Makina ,with her romantic portrait profile and the gentle interplay she carried on with Siegfried and his poetry, was distinctive.

Shkylarov’s Siegfried is a dreamy soul capable of petulance, pouting and an otherworldly princeliness, reinforced by his gorgeous legs and a handsome face framed by wavy brown hair. On loan from the Kirov, he was slated to the join his company at New York’s City Center immediately after this engagement. His height tempered his technical attack, but his total disinterest when called upon to inspect six women as prospective brides was effective, as was his deliberate bearing of Odette’s body into the lake at the finale.

Gabdullin’s mime seemed sharper and the reference to flight which appears to be written in the book Siegfried carried was clearly echoed by the courtiers around him; his courtesy seemed more conscious, intense and dramatic.

Polina Semionova awakened memories of Karen Kain as Odette/Odille size-wise. However vulnerable, neither one are frail hothouse flowers. Semionova’s belief in the dual role is fully realized, if her birdlike qualities are visually tremulous rather than fluttery. Araptanova is tiny,beautifully proportioned, but steely sinew where Semionova is lushly heroic in build. The Perm principal flutters more; because of size Araptanova emphasized exactness, demonstrated in Odette’s variation in Act II where her working leg passed meticulously via passe en route to arabesque or attitude. Semionova moved from her exact fifth fluidly in the well-recognized phrase; given her size, the choice was suitable. Semionova went for an series of double fouettes in Odile’s code where Araptanova ground out singles almost sur la place. Semionova’s Odile seemed rather playful while Araptanova conveyed the calculated skills of a femme fatale. Both exhibited glee when destroying the bridal bouquet presented them.

Other changes noted were sequences in Act II and Act III. Makarova placed the pas de deux after Odette’s variation, the four cygnets’ and the pas de trois. The brides are led before the Queen Mother and Siegfried, two by two by a major domo in golden/black metallic and long hair, announced by trumpet, and each dances a small variation. She also placed the Spanish dancers in Von Rothbart’s entourage, and after the Hungarians, Poles and Italians have danced,making them a part of the mysterious other which will delude the young prince.

I hope Perm finds a larger stage when they visit the Bay Area again.

Semionova, Shkylarov, Araptanova, Gabdullin, Soloviev, Dubrovina, Tenitskiy, Makina

>Other changes noted were sequences in Act II and Act III.
>Makarova placed the pas de deux after Odette’s variation,
>the four cygnets’ and the pas de trois.

I have a CD recording which follows Tchaikovsky's original sequence - so the notes say. (Hearing the 'Black Swan' music in Act 1 is different to say the least!) The order in Act 2 is:

waltz for the swans (little waltz)
Odette's solo
reprise of the waltz
cygnet's dance
pas de deux
waltz for the swans (lead/big swans or big waltz)
coda

>She also placed
>the Spanish dancers in Von Rothbart’s entourage, and after
>the Hungarians, Poles and Italians have danced,making them a
>part of the mysterious other which will delude the young
>prince.

It's done this way and in this order in Peter Wright's and Galina Samsova's 1981 production for Sadler's Wells Royal Ballet (now Birmingham Royal Ballet) too.

Can you tell me when this Makarova production was created and for who?

Thanks
Paul

In that version, much of Rothbart was on screen but he did put in some appearances in the flesh. It was one of the first productions of Swan Lake I had seen so I had no preconceptions but I know many people who hated this concept.

She used the Ashton Neapolitan and Pas de Quatre (using the music for the Princess dances as seen in Sir Peter Wright's BRB version) and also most of his Act IV. The first night was one of my most memorable in a theatre, even as a novice ballet-goer. It was Trinidad Sevillano and Patrick Armand who led the performance. At the curtain calls, Makarova brought Sir Frederick Ashton on stage and the audience just erupted.

Thanks for your exchange. Makarova's reading was similar to what the company danced at Zellerbach in 2005; but with the old version Act III
switch the sequence you noted is pretty much aligned. I wasn't aware
of the original sequence, but it makes a lot of sense and Makarova is
known to insist on what she considers the "original." I know her La
Bayadere ends with the destruction of Gamzetti and Solor at their wedding. Once in a brief exchange she remarked, "It is a moral ending."

In 2005 it was Makarova's English National Ballet version that the
company danced; she fiddled with the wonderful architecture Ashton created for the final act, so it doesn't read with such purity. But the dramatic elements have been effectively brought to the fore, and I found myself following the story and its drama as much as the dancing.

Thanks again for your comments and the illuminating information.

It is corrected in the mag review.

"His name is Vladimir Shklyarov, not Shkylarov."