Tag Archives: pterodactylic peacock

Resistance is futile

28 Nov

You know I love the Royal Ballet, so of course I have to include at least one of their productions for Swan Lake Month, in this case the one featuring Natalia Makarova as Odette/Odile and Anthony Dowell as Siegfried.  Right off the top I think it’s important to note that a Makarova performance as Odette is quintessential; it’s her thing and she does not disappoint in this DVD.  It’s one of those performances where you don’t know why or how, but you can feel how much she loves that role.  Of course, Anthony Dowell is no slouch and they had a wonderful, memorable partnership—I would even go as far to say that this was the most memorable Odette/Siegfried I’ve seen thus far.  I would also say that this production is probably my favorite of the classically oriented versions of Swan Lake I’ve seen as well.

The structure is pretty standard fare for a Swan Lake, beginning with Siegfried’s birthday (though this one is outdoors…an unusual, but refreshing choice) with plenty of hearty, festive dancing.  When Anthony Dowell enters, he flashes a devilish grin to his subjects and it’s one of those utterly charming, handsome heartbreaker smiles and all you can think is “oh, Anthony…” and heave a heavy sigh.  We all know Siegfried screws up, but as soon as Dowell smiled the way he did, I just knew this going to be a Soviet-era happy ending.  Sometimes I worry I think I see that smile in real life and think I might be going insane, but that’s another story…anyway, the choreography is nice (definitely some Ashton in there) and I’d like to point out that in the coda for the pas de trois, one of the women ends a diagonal series of jumps with FOUR, yes FOUR entrechat six in a row, which is something quite common in choreography for men, so not only does that deserve a high-five but it also means the ladies out there can’t rest on their laurels when it comes to those nasty little entrechat six!  Meanwhile, that wasn’t the only challenging of the status quo in male/female specific choreography as later on in Act III, in a male pas de deux one of the men does a saut de chat with his arms in third, which in some schools of thought could be considered a vile emasculation of the male danseur.  Well, maybe vile emasculation is exaggerating a bit, but it sounds funny…anyway, Act I ends with Siegfried’s solo, and I kid you not when I say Dowell’s performance in it was quite possibly the most perfect bit of dancing I’ve ever seen in my entire life.

Act II is again a “no touchie” zone, with the only major difference I could see being a moment where Siegfried’s hunting party actually appears on stage and they’re about to shoot at the flock of swans and Siegfried comes in to stop them.  This of course comes after Siegfried and Odette’s flawless, first pas de deux.  When Makarova enters, she does the most beautiful arm movements, the most luxurious backwards arches of her back and she even makes a simple lunge sing.  Together, I love the way Makarova and Dowell shade the characters because it isn’t entirely love at first sight; Dowell’s Siegfried is bewildered for most of the pas de deux, recognizing the fact that oh, he just saw a swan turn into a woman and doesn’t really give into love until later.  Similarly, Makarova holds back a little as a frightened and timid Odette, running from Siegfried until the end of the first pas de deux where she lets her curiosity take over.  This is of course, when Von Rothbart enters in his strigine glory…well, at least it should have gone something like that but I wasn’t a huge fan of the Von Rothbart owl costume.  In fact, it’s probably my only major criticism because I felt the design made him look more like a pterodactylic peacock (for the record, the word used to describe a peacock-like animal is “pavonine”).  It’s also unfortunate that Von Rothbart isn’t much of a dancing role (his massive wings being so unwieldy and all) but the focus of Act II, Odette and Siegfried’s romantic first meeting is tender, which is aided by the fact that Makarova works to a snail pace tempo.  I actually think rubato is often abused today, with many dancers using slower tempos but without purpose.  I’m not a fan of slowing the tempo just for the sake of slowing the tempo—it has to be done if the dancer feels it will allow them to add something to the character, and not just be seen as additional time to show off an extension.  I had no problems with Makarova’s tempo, because she works it brilliantly.

What also makes Makarova’s slower adagio more successful is the contrast it provides when she appears as Odile in Act III.  She actually uses faster tempi like in the Black Swan variation, which makes quite a difference.  Makarova’s Odile is very business-like; she enters, she seduces, she laughs maniacally when Siegfried realizes what’s going on and she leaves.  It’s the complete opposite of say, Patrice Bart’s Swan Lake, where Odile is able to seduce Siegfried in a much different manner.  I forgot to write this in my review, but in that staging Odile lures Siegfried by coming close enough for him to get a glance, but then one of Von Rotbart’s other maidens will get in his way.  This happens I think four times and by the fourth time Siegfried is blinded with frustration and the thought that Odile could be an imposter doesn’t even cross his mind.  The Royal Ballet, on the other hand takes the direct approach and no qualms are made as to Odile’s true identity.  Makarova is marvelous as Odile, spicing things up a little bit with a little more élan and a little determination to get through those fouettés.  Every Odile I’ve seen thus far has done thirty-two single fouettés, which doesn’t bother me at all.  In fact, thirty-two singles may very well be harder than throwing in some doubles because if you do a double pirouette you get to pull in and just worry about holding yourself up, but doing two singles in the same span of time means having to work through the foot, plié, rond de jambe and spring back up to relevé again.  That’s a lot of work. (Side note: the national dances are pretty typical but the Italian dance is awesome and gets tremendous, well deserved applause)

Finally, it’s time for Act IV; reconciliation, suicide pact, and happily ever after (life).  What I loved about this act was that again, we’re made to wait for it.  Odette doesn’t forgive Siegfried immediately and the act of forgiveness and the apology, are danced out.  Sometimes these redemptive moments in ballet can be reduced to a hurried set of mimed gestures immediately followed by the pretty pas de deux, rather than sustaining the emotions throughout.  With Makarova/Dowell, you get to see the whole process unfold.  Well, I suppose you would REALLY see it if I posted the clip:

All in all, I’m sold on this Swan Lake.  Makarova is the epitome of the cygnine (I’m totally about these animal adjectives today!) and if anybody asks why I would add this to my collection I’d say “Anthony Dowell made me do it.”  Nobody could resist that Act I smile.