Review: SWAN LAKE, London Coliseum

This 1997 production of the Russian classic was created by Derek Deane and remains a jewel in English National Ballet's crown. After the occasionally muddy narrative in their tired Nutcracker, this is a Swan Lake with clear, emotional storytelling and magical choreography.

In telling the story of the battle between good and evil of Prince Siegfried and Swan Queen Odette against the evil sorcerer Rothbart, Brazilian Lead Principal Fernanda Oliveira took the role of Odette and Odile, showing deft distinction between the roles. Her Odette was soft and delicate, with huge expressiveness, particularly in her neck and fingers. Her vulnerability was touchingly clear to see.

In contrast, her Odile was ruthlessly seductive, with every move executed with clean steeliness and determination. She showed vivid musicality in all her movements, from the double pirouettes in Odile's fouettés and the thrilling executions of balance in the BLACK SWAN pas de deux.

Francesco Gabriele Frola was on fine form as he danced Prince Siegfried with melancholy elegance, demonstrating some soaring grand jetés and the lightest of landings. Their partnership moved from tender vulnerability with Odette, coming alive with a much more purposeful, sexual excitement with Odile.

James Streeter is no stranger to bringing huge character to the stage and his Rothbart occasionally verged on pantomime, but demonstrated huge energy and purpose. The national dances showed both poise and fine technique, with an eye-catchingly provocative Spanish dance.

Deane's choreography is challenging; retaining Marius Petipa and Lev Ivanov's set pieces, but leaving no room for error. The work from the corps de ballet, led by Precious Adams and Emily Suzuki, is almost flawless, moving as one with incredible elegance and poise. The suicide of Odette and Siegfried remains somewhat underwhelming, as they simply seem to run over a small rock at the side of the stage, leaving the emotional heft of the situation to the swans, who respond with heart-breaking delicacy.

The late Peter Farmer's sumptuous and fairy-tale like designs combine beautifully with Howard Harrison's atmospheric lighting, which moves from the ghostly darkness of the lakeside to the warm, party atmosphere of the national dances. The smaller details are also lovely, from the manic twitching of Rothbart's minions as they sit by his feet, to the incredibly bored reaction of Siegfried as his father tries to engage him with his potential wives.

Tchaikovsky's score never fails to surprise and impress and it remains profoundly moving. Alexander Ingram conducted with vigour, pace and delicacy, teasing out lightness and emotional heft.

It will be interesting to see what Aaron Watkin, ENB's incoming artistic director, does with the company. Having lost Joseph Caley, Isaac Hernández and Jeffrey Cirio recently, he surely must focus on male principals. With this Swan Lake, there seems no immediate cause for alarm, as the quality of this production and its dancers will keep audiences hooked.

Swan Lake is at the London Coliseum until 22 January

Photo Credit: Laurent Liotardo

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