RB 'Swan Lake' reviews 'Swan Lake' reviews Yoshida in reviews Putrov in reviews recent RB reviews

I recently mentioned on this site that I was going to the Saturday performance of Swan Lake in Brisbane, the performance Tamara Rojo was scheduled to perform. However, in true ditzy fashion I got my dates wrong and it was actually the Sunday Matinee that I attended. So on to my thoughts on the performance.

Two words: Miyako rocks!!!

What a truly beautiful ballerina. With all the spotlight firmly focused on Darcey's performance on Friday (which everyone has said was magnificent), little attention was paid to this wonderful dancer. Her Odette was something of a revelation. As she appeared on stage, her transformation from a fragile bird to a frightened woman was perfect. Every emotion of the character was carried through her movements, and while her technique was faultless, I found myself almost unaware that I was watching arabesques and developpes, but more concerned with the way they could be used to express Odette's longing and fear. Her exit at the end of Act II was so desperate, one felt like jumping over seats to stop Rothbart from stealing her away. She was equally ravishing as Odile, with an interpretation which seemed to show Odile as more of a tool of Rothbart, a true illusion, rather than some mere temptress. How fortunate I feel to have seen her dance in this, one of the truly great classical roles. It was an experience I will never forget.

She was partnered by Ivan Putrov, who I believe was making his debut in the role of Segfried and a fine debut it was. The first thing one notices is the sheer brilliance of his jumps, which produced audible awes from the audience in Act III. But I was also struck by the commanding presence he presented on stage. He has a charisma all his own. He was a very good partner, lifting Miyako as if she weighed nothing at all (children sitting near me ayed in delight whenever she went above his head) and while he seemed too nervous to interact fully with Miyako all the time (who gived so freely of her emotion), I feel confident that as he matures he will develop in this area.

Now onto the rest of the ballet. While the costumes were beautiful, the Lyric Theatre stage is not the size of Covent Garden and the fullness and excess of all the costumes meant that most of Act I was merely fabric. Having said that I'm sure you can imagine what happened when the Maypoll appeared! Even with the cluttering, the corps danced well and the Pas de Trois was lovely. I should also mention Mara Galaezzi, whose beats are just extraodinary, and who danced with great lightness and feeling in her solo.

Act II was lovely, but many people missed the traditional tutus. As someone pointed out to me, 'What's the point of Segfried looking for her helplessly in Act IV, he should have just looked for the broad in the tutu.' Apart from a few wayward arms, the corps danced ably again. Act III was also beautiful, but again there not not enough stage space for all the extras, but it was still thoroughly enjoyable mainly because of the efforts of the main protagonists. Act IV was also beautiful, but I think a few people were confused as to exactly what they were floating on for the climatic ending (even I only guessed). Overall, it was an unforgetable afternoon, and a wonderful opportunity to see this truly great company. I only hope that we do not have to wait another 14 years to see them return to these shores again.