Stirring music, hypnotic ballet and delightfully period staging coalesce to capture the deeply romantic and timeless tale of Swan Lake in a production that will fulfill both those seeking a faithfully traditional production of Tchaikovsky's finest ballet, and those new to the medium desiring an accessible yet still artistically provoking realisation of the piece.
Perhaps more so than any other ballet, the poetic imagery and distinct melodies of Swan Lake pervade public consciousness; Tchaikovsky's thematically rich score holds remarkable merit of its own and paired with the evocative imagery of Petipa and Ivanov's original choreography, it epitomises the emotional resonance of when dance, music and stagecraft come together to create fleeting moments of magic that linger in the mind. In this lavish production by the State Ballet of Georgia, Alexey Fadeechev and Nina Ananiashvili present a delightfully traditional perspective on the piece, full of Russian influence in its remarkable technique and choreographic spectacle, that while on occasion lacking in its emotional ambition, soars in its overwhelming beauty and scale.
It's hard to celebrate Swan Lake without first acknowledging Tchailkovsky's - and reworked by Drigo into today's successful form - magnificent score: a gargantuan feat of thematically driven storytelling, the revolutionary score is thrilling in its depth and emotional complexity. Across its 150 minute runtime, the adventurous writing evokes images alone in its charming regal waltzes, fiery Spanish influenced Allegro and magical main theme for Odette, and while here a little underwhelming in its lack of emotional intention, still remains one of the finest scores ever written.
Nino Samadashvili is striking as Odette and Odile, delivering not only a tremendous display of technically, but infusing her interpretation with an acting performance that elevates the piece to great emotional heights. First seen as Odette in the second scene, Samadashvili approaches her swan-like movement with a heartbreaking timidity and frailty, gradually bringing a confidence and beauty to her delicacy as she grows more confident over the course of Ivanov's spectacular Pas de Deux. The most thrilling contrast comes however, in the third scene, in which Samadashvili doubles as Odile - the Black Swan. Here her movement becomes sharp and calculated, equally entrancing yet decisive and manipulative. It's a remarkable feat of contrast and control over movement and makes the finale, in which Odette returns in a triumphant climatic moment of rebirth, all the more impactful.
Also praiseworthy is Oleg Lihai who, dancing opposite as Prince Siegfried, delivers a delicate performance in the third scene capturing his entrancement towards Odile. While lacking in the same emotional depth and characterisation, Lihai stuns with his technicality, seemingly defying gravity as he jetés across the stage with a regal grace and fluidity. Similarly effortless are Kagawa, Ksovreli, Guguchia and Isakadze as the four little swans, whose precise interpretation of Danse des Petits Cygnes was met with a well deserved rapturous applause. The entire company of the State Ballet of Georgia are technically sublime, carrying an air of weightless elegance, and while at times the production lacks the full breadth of dynamic variation, often leaning more heavily on displays of athleticism and technique in its largest ensemble numbers over movement dictated by narrative, it's a fantastic performance that honours the Russian ballet tradition affectionately brought to life by Ananiashvili.
Russian influence doesn't end here however, as Fadeechev and Ananiashvili's restaging takes inspiration from the Bolshoi tradition of Swan Lake's happy and triumphant ending. This denouement is a double edged sword: while it gives the tale a resonant message of rebirth and transformation which satisfies much of the piece's discussion of contrast and change within Odette and the Prince's relationship, one can't help but feel a little underwhelmed by its lack of emotional poignancy and firm resolve. While Tchaikovsky's rousing - if not somewhat cliched and unsubtle - final iteration of the theme finds rich joy in its climatic glory, it lacks the bittersweet beauty of productions which conclude with the death of Odette, Prince Siegfried, or often both; after the curtain falls, one feels satisfied yet it lacks the hard hitting poignancy that some of Swan Lake's more emotionally charged resolutions depict.
For one looking for daring, new or pioneering ballet, the State Ballet of Georgia's production may not meet the mark, but for those in need of a sumptuous traditional pleasure that takes the ballet back to its Russian influenced roots, it offers a thrilling and entirely charming watch and a reminder of how beautiful the ballet is at its core.
Swan Lake runs at the London Coliseum until 8th September - for more information and tickets, you can follow the link here.
⭐️⭐️⭐️⭐️ (4*)
Gifted tickets in return for an honest review | photography by Sasha Gusov
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