BRB, 21/02/2023

Tchaikovsky : Swan Lake

Artists of Birmingham Royal Ballet

Royal Ballet Sinfonia

Paul Murphy

Forty years ago, Sir Peter Wright, then director of what was to become Birmingham Royal Ballet, staged, in short order, new productions of Swan Lake and The Sleeping Beauty for his company, both graced with magnificent designs by Philip Prowse.  Sleeping Beauty is being revived next year, I have every intention of seeing it once more, but this year it was the turn of Swan Lake.  This was in fact co-produced with the late Galina Samsova who, at the time, was a principal with the company, and while there are many aspects that make it a unique production to this company, the spirit of Petipa and Ivanov is very much respected at all times.  What makes it truly memorable, however, is Prowse's spectacular design, a grandiose, gothic setting, and sumptuous costumes, rich fabrics lustrous with metallic sheens of gold, silver, bronze and copper, the court costumes encrusted with brocades and shimmering with gems. I have never seen a better dressed Swan Lake, and probably never will.  

In staging this for the Sadler's Wells Royal Ballet (now the Birmingham Royal Ballet), what was, essentially, the touring arm of the Royal Ballet, Wright and Samsova were dealing with a modest-sized company with an obligation towards multiple provincial venues and their varying stage capacities.  Prowse did not make this easy, with his lavish designs, but the choreographers had to deploy significantly smaller forces in a ballet that usually requires most available bodies of a major company.  So, for example, in comparison to the Royal Ballet's versions, the Prince's party in the first act may look a little sparsely attended, as do the Act 3 celebrations, but there are 18 swans, which is more than sufficient.  The scenery and costume changes necessitate two intervals (which is rare these days), but I doubt anyone grudges the company the time to set up the opening to Act 4, a magical instant in which the swans emerge, dreamlike, from a thick bed of mist enshrouding the stage, and which continues to elicit admirative gasps from the audience.

In terms of performance, though, the smaller groupings of the corps de ballet numbers means that they are less forgiving, and tonight the alignment at various times in the first two acts was decidedly less than ideal.  In the Act 1 Polonaise, the six court lords, advancing diagonally across the stage, should be in a straight line, but instead appeared staggered, one forward, one back, and that was just the most egregious instance.  Even the Act 2 swans were a little rough around the edges for my taste.  However, after the first interval, they all appeared to have pulled themselves together, with a good Act 3 on the whole, and particularly good Neapolitan and Spanish Dances, and a very fine final act indeed.  

Miki Mizutani and César Morales
Swan Lake, Act 2, Birmingham Royal Ballet
(© Emma Kauldhar, 2023)

The central pair were Miki Mizutani in the dual role of Odette/Odile, and César Morales as Prince Siegfried.  Morales was outstanding, an introspective, melancholy figure with an elegant form, and in partnering, his lifts, soaring and effortless, were truly a thing of beauty.  Mizutani was a restrained and luminous Odette, but her Odile, though proficient, lacked an edge.  I'm not keen on Odiles who exaggerate the coquettishness or the vampish aspects of the character, but she does need to flaunt it.   While the adagio of the Black Swan Pas de Deux was well enough done, by the time the coda comes along, with its infamous 32 fouettés en tournant, Odile is feeling exultant and triumphant; she should show it, and here, Mizutani was a little tame.  

However, the last word in the ballet goes to Odette, and Wright gave the doomed couple one last pas de deux, in the last act, brief but profoundly moving as they recognise the hopelessness of their situation, and here, Mizutani and Morales together were flawlessly eloquent, bringing the evening to a poetic conclusion.  

[Next : 23rd February]