ROYAL BALLET SWAN LAKE [10TH FEB'07]
Odette/Odile: Zenaida Yanowsky
Prince Siegfried: Kenneth Greve
Von Rothbart: William Tuckett
In Act 1, Kenneth Greve gave a dignified performance as Prince Siegfried. He carried an unpretentiousness grace and allure. The cheery threesome, Helen Crawford, Hikaru Kobayashi and Kenta Kura lead the Pas de Trios with brightness and buoyancy. Anna Rose O’Sullivan and Rosanna Whittle were like little sparkling stars on stage, a delight to watch.
Act 2
Odette is one of the most beautiful characters in many ballet stories. Zenaida Yanowsky’s elegance and beauty enhanced her suitability to the role as Odette. Yanowsky’s gentle interpretation was enthralling. Technically, she infused her grace into all the steps making her Odette an exclusive and heart-warming one. Greve was an excellent partner. Both dancers embraced this act with sublime interpretation.
The crystallized effect on the set, gave a magical and ethereal atmosphere. William Tuckett’s menacing performance as Evil Spirit/Von Rothbart was commendable. However, personally, I am not too keen on his giant-feathered-shoulderpads costume. One of the strongest assets to Royal Ballet’s Swan Lake is the corp de ballet. Dancers from the school and the company were divine both individually and as a whole.
Act 3 is charged with a mixture of opulence and a touch of evil. The six princesses waltzed across in their peach gowns and massive feathered fans whilst, Christina Arestis illuminated in her blood-red gown as Siegfried’s Mother.
Despite the dark and sinister-like atmosphere, Laura Morera and Ricardo Cervera lit up the stage with their excellent dancing in the Neapolitan Dance Pas de Deux. Deirdre Chapman and Martin Harvey gave an enjoyable and charming performance in their Spanish Dance.
Act 3 also revealed a completely different side of Yanowsky. Bewitching, evil and terribly seductive was her Odile. Both scheming and manipulative, Yanowsky’s Odile and Tuckett’s Von Rothbart collaborated to great finesse of evilness. Yanowsky flawless attack to the Black Swan Pas De Deux is a memorable one. Greve, an accomplished and dignified dancer in his own right, however, one feels, that there is a lack of prowess and expansiveness to this highlight of the ballet. Nevertheless, his rapport and support with Yanowsky is truly remarkable.
Prince Siegfried: Kenneth Greve
Von Rothbart: William Tuckett
In Act 1, Kenneth Greve gave a dignified performance as Prince Siegfried. He carried an unpretentiousness grace and allure. The cheery threesome, Helen Crawford, Hikaru Kobayashi and Kenta Kura lead the Pas de Trios with brightness and buoyancy. Anna Rose O’Sullivan and Rosanna Whittle were like little sparkling stars on stage, a delight to watch.
Act 2
Odette is one of the most beautiful characters in many ballet stories. Zenaida Yanowsky’s elegance and beauty enhanced her suitability to the role as Odette. Yanowsky’s gentle interpretation was enthralling. Technically, she infused her grace into all the steps making her Odette an exclusive and heart-warming one. Greve was an excellent partner. Both dancers embraced this act with sublime interpretation.
The crystallized effect on the set, gave a magical and ethereal atmosphere. William Tuckett’s menacing performance as Evil Spirit/Von Rothbart was commendable. However, personally, I am not too keen on his giant-feathered-shoulderpads costume. One of the strongest assets to Royal Ballet’s Swan Lake is the corp de ballet. Dancers from the school and the company were divine both individually and as a whole.
Act 3 is charged with a mixture of opulence and a touch of evil. The six princesses waltzed across in their peach gowns and massive feathered fans whilst, Christina Arestis illuminated in her blood-red gown as Siegfried’s Mother.
Despite the dark and sinister-like atmosphere, Laura Morera and Ricardo Cervera lit up the stage with their excellent dancing in the Neapolitan Dance Pas de Deux. Deirdre Chapman and Martin Harvey gave an enjoyable and charming performance in their Spanish Dance.
Act 3 also revealed a completely different side of Yanowsky. Bewitching, evil and terribly seductive was her Odile. Both scheming and manipulative, Yanowsky’s Odile and Tuckett’s Von Rothbart collaborated to great finesse of evilness. Yanowsky flawless attack to the Black Swan Pas De Deux is a memorable one. Greve, an accomplished and dignified dancer in his own right, however, one feels, that there is a lack of prowess and expansiveness to this highlight of the ballet. Nevertheless, his rapport and support with Yanowsky is truly remarkable.
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