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  • Your Reaction: What did you think of Swan Lake 2018?

Your Reaction: What did you think of Swan Lake 2018?

Audience responses and press reviews following opening night of Liam Scarlett's new production for The Royal Ballet.

By Mel Spencer (Senior Editor (Social Media))

18 May 2018 at 10.11am | 97 Comments

Press reviews:

Independent ★★★★★
Times ★★★★★
Financial Times ★★★★★
Evening Standard ★★★★★
Londonist ★★★★★
Guardian ★★★★
Telegraph ★★★
The Stage ★★★

What did you think of Swan Lake?
Add your thoughts in the comments below.

Swan Lake runs until 21 June 2018. Tickets are now sold out, but there will be a selection released each Friday for performances in the following week as part of Friday Rush.

The performance will be broadcast to cinemas around the world on 12 June. Find a screening near you.

The production is sponsored by Van Cleef & Arpels and is staged with Generous philanthropic support from The Monument Trust, Ricki Gail and Robert Conway, Mrs Aline Foriel-Destezet, Jette Parker, Celia Blakey, Sarah and Lloyd Dorfman, Doug and Ceri King, the Swan Lake Production Syndicate, The American Friends of Covent Garden and The Royal Opera House Endowment Fund.

By Mel Spencer (Senior Editor (Social Media))

18 May 2018 at 10.11am

This article has been categorised Ballet and tagged Ballet, by Liam Scarlett, Production, Social Media, Swan Lake, your reaction

This article has 97 comments

  1. r.a. responded on 18 May 2018 at 11:50am Reply

    So excited to have been present for the opening night and so thrilled for Liam. Wonderful to hear some of Tchaikovsky's original music restored for Act 4 - very affecting. I was in the audience for the Insights evening and in Act III was especially impressed with Tierney Heap in the Spanish Dance. Also thought Akane Takada's solo in Act I was exquisite. Hope to see her as Odette/Odile in one of the later performances. Marianela and Vadim were wonderful. Left the auditorium feeling very moved and exhilarated. Congratulations!

  2. Total overwhelming triumph. This is a world class production.
    I have rarely attended such a ravishingly beautiful evening at Covent Garden.

  3. Peter responded on 18 May 2018 at 1:17pm Reply

    Honoured to have attended the first night. Was well aware it was more than just another ballet evening as a new production of Swan Lake at Covent Garden is as rare as pen's teeth. It surpassed all expectations. Just sublime. The performance matched it. Wonderful!

  4. Karen responded on 18 May 2018 at 2:15pm Reply

    Such a relief to have the tutus back (it is called Swan Lake, not Emu lake, after all). Scarlett has done a great job of keeping the bits that need keeping and changing the bits that need changing.Sterling work, as ever by all concerned but the costumes and set in Act 3 were a highlight for me.

  5. Ian responded on 18 May 2018 at 2:41pm Reply

    One of those "I was there!" First Nights. Totally dazzling in every aspect...as the 32nd fouette turned and the uproar broke out. Marvellous new choreography, glorious sets and over it all quite simply stupendous dancing. Loved every second!

  6. Patricia Casselden responded on 18 May 2018 at 2:48pm Reply

    Wow! A total triumph! I was at the premiere of the last production which I disliked from the start & although I saw it many times over the intrvening 30 years my initial dislike remained. I was so pleased when I heard that at last this great company was to have a new production; & what a production!
    It's brilliant in every way but especially the new concepts behind the storyline; it has everything that my "fantasy" Swan Lake has had over the years.
    Last night was my 93rd Swan Lake (most, but not all by the Royal Ballet) in my 53 years of ballet going & I can't wait for a second perfromance next month.
    THANK YOU Royal Opera House, Royal Ballet, Liam Scarlett & all concerned with this magnificent production. It was an honour to have been there.

  7. Bridie Macmahon responded on 18 May 2018 at 4:33pm Reply

    A beautiful production, magnificently danced. Thanks and congratulations to all involved. I have only two reservations, one serious and the other small: the serious one is that the ending doesn't reflect the glorious, triumphant hope of the music. The key has changed, and all is NOT lost. I know the other swan maidens have been saved, but this is primarily a story about Siegfried and Odette, and they must have some sort of redemption too. And (a very small point) I was sitting in J72 in the Amphi - I know this is restricted view, but I could see nothing of the line of swans on the right as you look at the stage. (Nor could my friend see them at all, in J71.) I've never had this problem before and I hope it was just that they lined up a little too near the wings! (I have never had a problem seeing the Wilis, for example.) BUT - what an amazing performance!

  8. Richard responded on 18 May 2018 at 4:36pm Reply

    I agree Patricia - a total triumph. One of the loveliest things I have ever seen. Huge grin on my face from Act 1 onwards. A very special evening.

  9. Fiz responded on 18 May 2018 at 4:40pm Reply

    This sounds as if it was a complete triumph! I cannot wait for the live screening at the cinema. :::Hugs self with delightful anticipation:::

    • Christine Blackmore responded on 14 June 2018 at 7:48pm

      I went to see the live cinema performance last night with friends , we all struggled to focus on the swans in some of the lakeside scenes , due to it being exceptionally dark on screen. Just wondered if this was a problem in other cinema venues ?

  10. Alex responded on 18 May 2018 at 5:45pm Reply

    A truly wonderful new production, really pleased I was there for the Opening Night. The new set design and costumes are stunning. The Muntagirov/Nunez partnership is very enjoyable to watch, especially Vadim Muntagirov. What a dancer he is! The Pas de trois was charmingly danced by Alexander Campbell, Francesca Hayward and the outstanding Akane Takada who displayed such a marvellous classical technic. Looking forward now to see Akane Takada as Odette/Odile but above all to see the one and only Odette/Odile debut by Yasmine Naghdi.

  11. Lucy responded on 18 May 2018 at 6:16pm Reply

    It would be helpful (and also nice) to know in advance who else is dancing apart from Odette/Odile and Siegfried. Not the whole cast, but certainly von Rothbart. Is there any chance that you will add this casting to the calendar for future productions?

    • Nicoletta responded on 19 May 2018 at 4:56pm

      Excellent remark! Knowing when Gary Avis performs would have a great impact on my date decision!!

  12. Karenb responded on 18 May 2018 at 7:41pm Reply

    I agree with everything that's already been said. It was a privilege to be there. I saw Kevin O'Hare outside the stage door before the performance. One of the people with him said, "don't worry Kevin, it will be a triumph!" Well, it really was. Congratulations to everyone involved, special bravo to Liam Scarlett. One of the most wonderful evenings I've ever had at Covent Garden. Can't wait to see it again next week.

  13. francois responded on 18 May 2018 at 8:22pm Reply

    A total triumph, a historical milestone in the life of the Royal Ballet, this new production of Swan Lake is more than outstanding; It is intellectually and artistically thrilling, the result of an amazing work on the original score and synposis. The choreography, fortunately very pure in its classicism, is so rich of details that one would need more than one performance to enjoy a comprehensive view of all the subtleties that Liam Scarlett has introduced in his vision of this masterpiece. Liam deserves more than yesterday's standing ovation, his work is a true contribution to the story of this ballet.
    The corps de ballet has been absolutely outstanding throughout the evening, comparable to the Mariinsky (who as far as I am concerned was the reference for this ballet... until yesterday!). And all solists were fantastic!
    Only the orchestra was not at the level of such an event, with far too many mistakes at the trumpets and a solo violin surprisingly providing a horrible sound. The orchestra obviously needs more rehearsals before the live cinema, some musicians are not ready yet.
    But globally it was more than a 5 star evening, really one that will remain in the history of the company and the history of Swan Lake in Europe!

  14. Fiona Reed responded on 18 May 2018 at 9:59pm Reply

    Sounds as if this is a total triumph. Can't wait to see this in the live cinema relay on 12th June. Another Liam Scarlett triumph.

  15. Valerie Knight responded on 18 May 2018 at 10:00pm Reply

    Having just been thrilled by the last night of Manon, I am now eagerly looking forward to seeing the new Production of Swan Lake. What great reviews - roll on 8th June.

  16. Susan Morris responded on 18 May 2018 at 10:54pm Reply

    It was staggeringly beautiful - a triumph - an electric night at the ROH!

  17. Geoff responded on 19 May 2018 at 5:38am Reply

    Yes, definitely, but with reservations, which were well articulated in the review in the Daily Telegraph.

  18. Victor responded on 19 May 2018 at 6:20pm Reply

    History in the making !!! Thank you for listening to fans of ballet at last you change the tutus of the Corp de ballet !! Absolutely stunning, tears eyes watching it . Magnificent!! Thank you Royal Ballet . Vic

  19. Clare responded on 19 May 2018 at 11:30pm Reply

    I often wonder whether anyone ever goes up into the Amphitheatre these days to see what productions look like from up there and in particular to see whether they are adequately lit to ensure that the action is visible from all seats which are not specifically sold as restricted view seats. I suspect that the answer is that no one bothers and that as long as everything looks OK from the stalls no one worries that much.

    The lighting for the white acts needs to be tweaked as at the moment Siegfried is not as visible as he should be from the higher reaches of the Amphitheatre. His lack of visibility is the result of the low lighting levels and the colour of the prince's costume.

    • elleG responded on 21 May 2018 at 11:08am

      On the basis of having sat in different locations, the lighting needs to be tweaked for the benefit of the WHOLE house. Siegfried isn't sufficiently visible in Act 1/2 and some audience members even missed his soliloquy entirely because of the scene changes going on around him. In Act 3, especially for the audience seated at the sides of the auditorium, so much light reflects off the gold flats that Siegfried and others become dancing shadows. One wonders why Benno is so brightly clad in comparison with others as he thus becomes a distraction.
      Lots to like and will say more later but the lighting needs sorting NOW.
      Oh, I simply have to say how absolutely brilliant Vadim Muntagirov is as Siegfried.

    • The lighting was magnificent and magical from the amphitheatre. It's a romantic ballet not an operating theatre.
      A glorious, glorious production which should be celebrated.

  20. David Taylor responded on 20 May 2018 at 5:53pm Reply

    yes, please tell us more about the casting. For instance, when is Gary Avis dancing Rothbart please?

    • Lucy responded on 21 May 2018 at 3:31pm

      I am hoping the ROH will confirm the contrary, but I don't think he is this time. Very, very disappointing.

    • Jennifer Taylor responded on 22 May 2018 at 8:53pm

      If this is true, this is disappointing indeed as he is the ROH's best character artist.

  21. Verena responded on 21 May 2018 at 8:15am Reply

    Honestly, I don't know more than the reviews, and it seemed to turn out more interesting than anticipated. Apparently, some points of Scarlett's confusing interview didn't find their way into the performance.
    I just want to judge the idea. The Royal Ballet has stunning dancers and I wouldn't question them.
    The whole performance reminded me of Patrice Bart, John Cranko and Peter Wright.
    The 19th century setting is believeable and I just want to highlight that Scarlett's changes are possible to accept, but not - as he demands it- necessary. The peasants' waltz was a question of romance and the longing for a more natural way of life. I understand why to change it and focus more on the contrast between the acts.
    Scarlett chose a more rational look at Von Rotbart and in his solution, some goofs are expelled. I only miss that Odile isn't a part in Act 1. Why has Odile to be a magical creature? She's Rotbart's daughter and could have earned more explainations.
    The ending fits to the libretto of 1877, but my opinion is still that the music is more hopeful.
    And I pity that the old-school Swan Lake is now gone because I think that too many companies have the sad, tragic hero. Of course, Swan Lake tells Siegfried's story, but Odette gets less and less interesting.
    I will certainly try to watch this performance, but I had not the possibility yet.

  22. LYN JUSTINS responded on 21 May 2018 at 10:03am Reply

    I approach all "new productions" of beloved classics with great trepidation, assuming they will be updated and generally mucked about, but I was thrilled with the new Swan Lake. Absolutely fabulous - bring it out on DVD immediately!

  23. Michael Llewellyn responded on 21 May 2018 at 1:25pm Reply

    A magnificent grand production which fits beautifully into the rep and will last for many years. Great to see so many possible opportunities for developing dancers contained within the new staging

  24. Jennifer Taylor responded on 22 May 2018 at 8:56pm Reply

    Please, please could we have more details on the casting, apart from the 2 principals. For serious ROH ballet fans, this is a major factor in booking tickets.

  25. Emily Fergus responded on 23 May 2018 at 9:07am Reply

    Firstly, last night's cast - particularly Akane Takada's Odette/Odile and James Hay's Benno - were absolutely wonderful, as was the orchestra. I have to admit an affection for the last production, superannuated Goth that I am, but I am not wedded to it, and I thought the new set for Act III was a triumph.
    Taking it scene by scene... I loved the Prologue. It set up the relationship between Von Rothbart and the princess beautifully and worked perfectly with the Overture music. Act I was a tad monochromatic, and the choreography seemed to me weirdly less interesting than before, but, you know, fine. Act II was just lovely although while I realise that the new set opens up the stage and gives everyone more room to move (and they need it given the width of the swans' tutus), it just seemed strangely empty. The dancing was gorgeous, though, and Takada's lyricism was enough to make you concerned for her Act III Odile (completely unfounded as it turned out). Act III was fabulous, framed by that new and gorgeous set, and, although I felt the Spanish Dance was underpowered, Liam Scarlett kept the Ashton Neapoolitan Dance in! Hooray! (I remember Wayne Sleep doing it a million years ago...) And Elizabeth McGorian's queen was terrific.
    But in Act IV you lost me. I really didn't like the new ending. Did no-one listen to the score? The final chords are in a major key. It's triumphant. It's NOT suited to a Siegfried carrying the body of a dead swan-princess slowly towards the footlights. Where is the victory over death, the cathartic exaltation? Where were the swan-maidens on the ground, defying Von Rothbart's power?
    I've seen Swan Lake probably more than 30 times, and last night, for the first time in 50 years, I didn't shed a tear. I miss that.

  26. Kevin responded on 23 May 2018 at 11:54pm Reply

    Just seen Sarah Lamb, Ryoichi Hirano, Luca Accri - Superb. Really superb. I had some overseas guests and they were so impressed. A class act.

  27. Kevin responded on 24 May 2018 at 12:59am Reply

    Just seen Sarah Lamb, Ryoichi Hirano, Luca Acri - Superb. Really superb. I had some overseas guests and they were so impressed. A class act.

  28. John Lynch responded on 24 May 2018 at 8:56am Reply

    An excellent production: Odile's appearance on the staircase in Act III was striking - blink and you miss the superb lighting affect. Wonderful. Stand out mentions for Akane Takada, Yuhui Chloe, and Anna Rose O'Sullivan.

  29. Ellie responded on 24 May 2018 at 3:16pm Reply

    Sarah Lamb is exquisite as both Odette and Odile - with her interpretation of Odile having the edge. Would have loved to have seen more dancing from Ryoichi Hirano - his style is clean, masculine and he is a wonderful partner - yet I felt he was underused!
    A special mention to Luca Acri who was exceptional and coped with the demands of the role so well.

  30. Susan Hunter responded on 28 May 2018 at 6:47pm Reply

    Been to see Swan Lake this afternoon with my family and we absolutely loved this production. Magnificent and dramatic sets, beautiful costumes and the dancing, especially Yasmine Naghdi as Odette/Odile and Nehemiah Kish as Siegfried, was outstanding. This production is a triumph!

  31. Karenb responded on 28 May 2018 at 11:14pm Reply

    Just on the way home from my second viewing of Swan Lake. It might be my imagination but I thought the lakeside scenes were slightly less dim than on opening night ( I was in the amphi both times).. Also liked the addition of the vision of Odette right at the end which wasn't there on opening night. In answer to those wondering about Gary Avis- he played von Rothbart tonight and was brilliant. Also enjoyed seeing Alexander Campbell again as Benno; Anna Rose o'Sullivan also stood out for me. As for Matthew Ball, he was fantastic and surely deserves a promotion to Principal. My only question, where were the 32 fouettes Miss Osipova?

  32. r.a. responded on 28 May 2018 at 11:22pm Reply

    Thrilled to have been present for the first night of Natalia and Matthew - and Matthew's first Siegfried! I think this is a very special partnership - a lot of chemistry between them - and I hope we see more of them together. Wonderful to see Gary Avis as Rothbart. The other standout for me was Beatriz Stix Brunell - I do hope she is promoted to principal soon. Also very interested to see Tierney Heap in the Spanish Dance - even better tonight than on opening night. Matthew is a wonderful Siegfried, he has an inherently noble presence on stage and he and Natalia delivered an exquisite duet in Act 4 with surely all the nuances that Liam was hoping for. Congratulations!

  33. Richard Davis responded on 29 May 2018 at 3:36am Reply

    While I respect others enthusiasm for this production I feel the no doubt huge some of money spent on it would have been put to far better use bringing in someone to choreograph a completely new full length work on the company.

  34. An outstanding and majical preformance,
    Taking "Swanlake" to new heights, but I too did not feel the "Ending" fitted the music, or indeed the mood of "Triumph" of good over evil.

  35. Alex responded on 29 May 2018 at 12:51pm Reply

    Well what a stunning and very assured debut we got yesterday from Yasmine Naghdi as Odette/Odile in your new Swan Lake production. She is such an outstanding classical ballerina, her physique is oh so perfect to dance this technically demanding role: her leg line, her arms, her facilities (her arabesques, six o'clock penchees,..) makes her O/O visually so stunning to look at. Her portrayal as Odette and as Odile was spot on. Her partner Nehemiah Kish was no match for her I am sorry to say. Can we see her with the other great classical dancer Vadim Muntagirov in the next run please!

    • elleG responded on 29 May 2018 at 5:44pm

      Couldn't agree more, Alex. Yasmine Naghdi's interpretation of Odette/Odile was wondrous for a debut. She WAS both characters: vulnerable, yet trusting and loving as Odette; sexily alluring and malicious as Odile. I felt privileged to be there for her debut. It would be amazing to see her partnered with Muntagirov whose Siegfried was so real and blazed so brightly and with such classical perfection on the opening night

  36. Pam Scragg responded on 29 May 2018 at 1:17pm Reply

    Last night we the completely wonderful Natalia Osipova’s deeply moving Odette and properly wicked Odile with a very elegant and Ariel Matthew Ball making a perfect prince in Liem Scarlett’s magnificent new Swan Lake, Fabulous!
    Thank you all, I am full of joy to see such a wonderful new production.
    Royal Ballet tradition with real drama is very much in place.
    I love the introduction of the Princess Odette being changed into a Swan by the wicked an ever present threatening Von Rothbart ( thank you Garry Avis) the story works so much better.
    Alexander Campbell as always danced with such precision and style as Benno and how fantastic to see the part revived and added to, a feast of fabulous dancing. Sigfried’s sisters danced beautifuly and what inspireation to make the rather bland of old fiancé dance so much more with gorgeous tutu’s and fierce competition brilliant!
    Act 4 is absolutely perfect to me the tradgdey intact & so moving definitely hankie time & Stunning.
    I saw Margot Fonteyn as a child & have enjoyed countless Swan Lakes and incredible Swan Queens over some 46 years but last night’s was the best ever.
    I am in awe of Miss Osipova’s towering talent, matched by this magnificent production. Thank you Mr Scarlett and all the cast for making this older lady so very happy!

  37. Simon Smith responded on 30 May 2018 at 11:12am Reply

    Many thanks for what is proving to be a fabulous Swan Lake and huge congratulations to all involved.
    But I do hope you are taking issue with David Dougill's Sunday Times review: "Scarlett opts for Odette’s self-sacrifice and Siegfried’s surviving to retrieve her body from the lake in lonely grief. Presumably, on the first night, the choreographer himself sensed a vacancy: two days later he added in a final vision of Odette, living on in spirit." I see Karenb also is of the view that Odette's sprit was added after the first performance. Whilst the spirit might not be visible from some seats and could be missed as audiences are drawn to Siegfried cradling Odette's human body centre stage, many people saw it at the Rehearsal and Opening Night and it was not added as an afterthought. To me it makes for a very moving conclusion.

    • r.a. responded on 30 May 2018 at 7:36pm

      I also saw Odette's spirit on the opening night and I was fortunate enough to be in the stalls where I presume the reviewer was also sitting so not sure why he missed it ...

  38. Fabulous production that I greatly enjoyed, but...

    Ball completely overshadowed by Osipova making the role of Siegfried even less meaningful than it now is. Benno has far too much to do and dominates.

    I honestly don't think the Osipova/Ball partnership is anything special because the stage presence of these two wonderful dancers is so different.

    • r.a. responded on 31 May 2018 at 12:05pm

      I completely disagree with these comments. Benno has a lot of flashy jumps but is not important to the emotional narrative of the story. I don't feel he dominated in either of the casts I've seen so far (Nunez/Muntagirov and Osipova/Ball).
      Personally, I felt that Matthew brought a lot of subtlety to the role of Siegfried - he is a great actor - his solo between Act 1 and Act 2 was very expressive and with lots of nuances which I did not see in the earlier cast; the chemistry between him and Natalia was very strong in Acts 1 and 4 (the Act 4 duet was very beautiful). In Act 3 Siegfried should be overshadowed by Odile - it's part of the story that she completely seduces him and takes him in. He is completely duped.
      Siegfried is not just about flashy jumps round the stage. It was Matthew's first performance in the role: I thought his interpretation was already very interesting and it will only grow from there.
      I also saw Natalia and Matthew dance together in Act 2 of Giselle after her first partner was injured in Act 1 and it was very special. I'm sure that Natalia is at a stage in her career when she can express a preference for whom she works with, and she clearly enjoys dancing with Matthew. And he will learn a lot from dancing with her. In ballet the combination of a more experienced ballerina with a younger male partner often seems to work very well.

  39. Jillian responded on 31 May 2018 at 1:54pm Reply

    Why does The Royal Ballet continuously use principal dancers in soloist roles? Let your soloists have their day on the stage and stop usurping them with dancers who should be able to handle lead roles. I imagine this would make for a happier company.

  40. Julia Has responded on 1 June 2018 at 9:08am Reply

    What a wonderful night.
    Liam Scarlett has yet again proven that he is all the way up there with the great choreographers of our times.
    William Bracewell was fabulous as the prince and Akane as Odile and Odette had the audience in her hand.
    Outstanding dancing also from the lovely Anna Rose O'Sullivan, Fumi Kaneko and the ever vibrant and exciting Marcelino Sambé. He just never fails to deliver.
    A big Bravo also to Gina Storm-Jensen in the Spanish dance, she certainly made the most of her role. Such stage presence and charisma. There is a talent to look out for and I hope we will see her in bigger roles next season.

  41. Great night. Glad to see this.

  42. I 've seen this twice now and although the dancing is technically faultless and the new designs exquisite it's strangely emotionless. Anthony Dowell's production may have been over the top but it never failed to get me engaged emotionally

  43. Joanna responded on 2 June 2018 at 11:34pm Reply

    Just got home from seeing Sarah Lamb and Federico Bonelli with Benjamin Ella as Benno. Wonderful dancers. So moving, so good at telling the story. Mr Ella continues to impress me. Given the challenge and he always rises to the occasion. I can't wait for his Romeo. He does young love so well.

  44. Karenb responded on 2 June 2018 at 11:39pm Reply

    In response to Simon Smith I was in row j for opening night and row g on Monday, both in amphi. Not sure how I missed the vision once and saw it the second time, given that I was only 3 rows back, however I'm happy to stand corrected. Still not sure, however, why Miss Osipova opted not to perform 32 fouettes in Act 3.....

  45. NJT responded on 3 June 2018 at 12:42pm Reply

    I saw the Nunez/Muntagirov cast on 1st June, and what can I say but WOW! I love this production, far prefer it to the last one - costumes, sets and above all, dancers, all superb, although if I have one quibble I would have preferred a different ending, but that's just my personal opinion.

    A big shout out to the Corps - beautifully rehearsed and fluid. Takada and Hayward made a beautiful pair as the Princesses. I also loved Tierney Heap in the Spanish - such panache!

    Above all, Nunez and Muntagirov set the stage alight, especially Muntagirov. Such technique and elegance, combined with virtuosic flair that was jaw dropping - all combined with such believable acting and characterisation. Nunez was a seductive minx as Odile and one could entirely understand how she ensnared the innocent Siegfried.

    Well done to Liam Scarlett and all concerned!

  46. Steve Clark responded on 3 June 2018 at 11:38pm Reply

    On Friday evening we finally attended the long awaited new production of the Royal Ballet's Swan Lake at the Royal Opera House in Covent Garden. If there are any flaws in this production I failed to spot them. In all my years of watching live Ballet this has to be the best ever. Liam Scarlett has triumphed and I'm sure that Messrs Petipa and Ivanov would have heartily approved! Everything is superb. The sets, the lighting, the costumes, the music and, of course, the dancing. I am trying hard not to 'gush' but finding it hard because it was simply stunning. The pairing of Vadim and Marianela is perfect. Marianela has the almost unique ability to shine like a diamond from the stage without ever overshadowing her fellow performers. Her sweet, virginal Odette contrasts brilliantly with the evil conniving Odile. How many Ballerinas can successfully do this? Particularly when you consider how modest, kind and self effacing that Nela is in real life! I am not going to describe the performances of the whole cast because it would soon become boring!! Suffice to say that there is no 'dead wood' in this production. Every single person is a star. The Corps are sensational (those Tutus!!!) I have read criticisms of Liam's new ending but I thought it was perfect. As Siegfried carried the lifeless body of his Odette from the water up the stage the tears were streaming down my face. I have a lump in my throat just typing this! I could ramble on for hours but I think you probably get the jist

  47. CJML responded on 4 June 2018 at 6:48pm Reply

    When will this wonderful production be shown on television?

  48. Joanna responded on 6 June 2018 at 2:18pm Reply

    Can you tell me at which performances the role of Benno will be played by Benjamin Ella please? Thanks

  49. Donia responded on 6 June 2018 at 2:19pm Reply

    Scenography was beautiful. I expected the original music of Czajkovsky... as it is a true masterpiece, I was missing this during the performance. Also - it seems that the evil was triumphing for quite a while with the big applause of public after the dance where the main character was deceived with the false bride at the ball. I also did not like the dance of good ballerina Odette with the horrible creature embodying the evil towards the end. The reality is, - nowadays it is more and more difficult to see the classical struggle of evil vs. good - all productions r being rewritten to the points where the evil scenes such a deceit during the ball - the dance - is long and gets a big applause. Almost like we are missing the beauty of art and applauding the evil. The Odette... is merely a memory in the mirror. I think for us older generation (31 yrs old and older) who knows the originals it may be someth new however, with time the classics are gone. The reason I go to the opera is to see the classics not someone idea or interpretations - some things like music or highlighting certain evil aspects of the story line should not take place. Otherwise I may just see some productions elsewhere in operatic societies but not in Royal Opera House. For me it is a big crisis in culture. However, the scenography was definitely 6 stars... Improvement point - celebrate the good -Odette - not the triumph of evil... and less scenes of evil dancing with good.

  50. Joanna responded on 7 June 2018 at 10:56am Reply

    To Karenb:

    So if Miss Osipova didn't do 32 fouettes, may I ask what did happen?

    Thanks

  51. Laura responded on 7 June 2018 at 1:31pm Reply

    Amazing..best Swan Lake i have ever seen. Great production, loved everything about it and hope it becomes the norm.
    All dancers were on top form, im sure it will take some time to see a ballet that is better than this.

  52. Moira Clarke responded on 7 June 2018 at 1:50pm Reply

    I saw Sarah Lamb on June 2 and thought she was faultless in a wonderful and emotional production but surprisingly no flowers for her. Enjoyed it so much I had to return on the 6th with Nuñez/Muntagirov, a marvellous combination with no disappointments. Fabulous sets, costumes, orchestra and company. Well done Mr Scarlett!

  53. Bridie Macmahon responded on 9 June 2018 at 5:48pm Reply

    Another thrilling performance by Sarah Lamb last night, and Tierney Heap's sad, grave Swan was incredibly beautiful. And a huge thank you to the pianist who played the harp part in Act 2 - he or she did an amazing job (and I hope has received plaudits from all concerned). And congratulations to the dancers for dealing so well with this unexpected situation. But I had understood that the orchestra has 'reserves' for all the instruments in case someone is indisposed. Does this not apply to the harpist? If the pianist had not been able and willing to stand in, what would have happened??

  54. Marilyn Weston responded on 11 June 2018 at 5:49pm Reply

    Saw ospisova Saturday night she was wonderful ball good but please give her someone else

  55. Marilyn Weston responded on 11 June 2018 at 5:57pm Reply

    Oslisova was outstanding Saturday evening loved the new production the costumes the scenery out of this world please let Natalia have a different partner ball good but not in her league

  56. Sarah Pritchard responded on 12 June 2018 at 11:58pm Reply

    We saw Swan Lake at the cinema tonight at Rochester. Absolutely exquisite production! The dancing, costumes, sets...I could go on and on. We and lots of other people in the cinema thought it was the best production we’ve ever seen! A huge thank you ROH to everyone involved in making it possible for us to see this wonderful ballet at a local cinema!

  57. Fiona Reed responded on 13 June 2018 at 7:42am Reply

    Watched the live screening of Swan Lake in Alnwick in Northumberland last night. WOW! Blown away by the whole production. This has been my favourite ballet for ever and last night did not disappoint. Vadim and Maionela flawless and what technical brilliance. Alexander, Francesca and Akane wonderful as always. Bennet very menacing as Von Rothbart especially in the palace scenes. Liam Scarlett choreography outstanding and blended in so well with the traditional. Joh McFarlane sets and beautiful costumes just topped it off. Thank you ROH and we definitely need a DVD of this performance.

  58. Malcolm Smyth responded on 13 June 2018 at 8:51am Reply

    I have grown up with the music and have always loved it. I have seen shows on the TV. So this was my very first time for a live experience. I Watched at Vue at Salford Quays, it was not packed, but everyone seems to enjoy it, and stayed till all the credits finished. Even the staff during the intvervals were asking us about it. I was moved and loved every moment, the introductions as part of the experience were spot on and hinged on every comment. What a tremendous night, I will be back and hopefully see at lot more. Thank you for the cinema experience. A night i will not forget.

  59. Peter Erdos responded on 13 June 2018 at 10:26am Reply

    I was completely taken by this new Swan Lake,sincere congratulations to all who brought it to life.The dancing was absolutely perfect and despite the fact that Fonteyn, Makarova, Osipova will never fade in our memory it is a great achievement in the history of the ballet at Covent Garden.

  60. Ann Richards responded on 13 June 2018 at 12:24pm Reply

    Absolutely spellbinding ly stunning. Amazing dancing, no words to express the sheer joy of having seen it

  61. My wife and I enjoyed enormously last night's screening at Cineworld, Rugby where there was a full auditorium. There was so much to praise and appreciate. However, as ALWAYS when we watch streamings from ROH the stage was so very dark; After hearing discussion of the colourful costumes and set all we could see was dark and murky.
    What really puzzles us is that streaming from other theatres are NEVER so dark and colours are radiant, so we assume - perhaps wrongly - that the problem doesn't lie with either the equipment or the staff at Rugby Cineworld. Please let us know what can be done to remedy this downside to otherwise magical performances.

    • Joseph Chadbourn (Cinema Account Officer) responded on 14 June 2018 at 4:22pm

      Dear Bill,

      We appreciate your feedback regarding last Tuesday’s screening of Swan Lake and are sorry to hear that you experienced problems with the lighting.

      There were no problems with the feed leaving the ROH that evening so we will investigate the issue with your local cinema in the hope of rectifying this for future screenings.

      Best regards,
      ROH Cinema

    • The dancers were superb,never seen so many ballet dancers in one go.
      The set and costumes were very gothic to dark to appreciate the work gone into them.
      Needed a bit of sparkle to help make out who was who.Some of the dancers totally disappeared against the dark background.
      Perhaps a bit more moonlight and a smidgen of dry ice for lake effect.
      I Felt the essence was there without the magic.
      Thanks you

  62. Catriona Stuart responded on 13 June 2018 at 7:19pm Reply

    Watched the cinema relay last night .
    Absolutely fantastic . I thought that the dancing was superb and the new sets are tremendous .
    Only gripe us the new ending . For me ,it does not fit the music and changes the whole balance of the story . It would work if Siegfried used the music to walk into the lake .

  63. Stuart Rawlings responded on 13 June 2018 at 11:57pm Reply

    Absolutely incredible and simply magnificent. I am applying for Friday Rush tickets in the hope of seeing it live!

  64. ML responded on 14 June 2018 at 3:29pm Reply

    Saw this new production with the Nunez / Muntagirov /Gartside/ Campbell/ Takada & Hayward /McGorian cast (as Odette & Odile /Siegfried/ Rothbart/ Benno/ sisters of Siegfried/ Queen) and a starry cast of talent in other roles- Matthew Ball & James Hay (Act 1 waltz), William Bracewell (Mazurka), Marcelino Sambe (Act 1 waltz & Neapolitan dance), Meaghan Grace Hinkis (Neapolitan dance), Tierney Heap (Act 1 waltz, Swan & Spanish dance), Claire Calvert (one of the leading Two Swans), Beatriz Stix-Brunell+ Yuhui Choe + Itziar Mendizabal+ Melissa Hamilton (Princesses in Act 3. In other words, a star studded cast heavily invested in giving the show of a lifetime....not to mention one of the most well-rehearsed, meticulously prepared corps of swans in Acts 2 and 4 I've ever seen (that includes Mariinsky/Kirov, Bolshoi, ABT, BRB, ENB, etc etc productions and the 2 previous RB productions). Straightaway I can say the dancing and acting from everyone was outstanding- if there was an Olympics of Swan Lake performances over the years, this cast would get the gold medal, with some eg Nunez, Muntagirov, Heap, getting the world record as well. The orchestra under the baton of Koen Kessels also delivered a brilliant performance.

    On to the production: first, the positives. For me, the cornerstone of Swan Lake is Act 2. If you have a superb Act 2, you can have a terrible Act 1 or 3 (at a push, both), or even a boring/horrid/nonsensical Act 4 (but perhaps not all 3 in the same production) and still have an enjoyable show. The first thing to say is that Scarlett, Macfarlane and (lighting designer) Finn and the dancers and musicians have delivered a beautiful Act 2 - smashed it, to use urban slang praise. The traditional swan tutus are back and they suit the dancers, who are breathing and dancing as one, while still demonstrating grace and fluidity in their lines and beautiful use of back and arm movements. (I never minded the long skirts of the previous production.) Most of all, while we have seen wonderful use of space in Scarlett's previous narrative and plotless works, we've never seen him choreograph and fit in new patterns for the corps with the traditional iconic steps of a classic. He's managed to combine poetry with symmetry (so that it doesn't have an unfortunate Busby Berkeley effect), beautiful patterns while giving his Odette and Siegfried enough room to move and to be framed with. The design, lighting and music enhance and never overwhelm Act 2. A triumphant success.

    Second point: the national dances (the part that can drag in an average production or be a real highlight when beautifully done as in the traditional Mariinsky version) have been brightened up and now move at a dynamic pace. Firstly the dark lighting and somnolent feel of some dances of the previous production (I used to laugh that the opening pose of the czardas did - subconsciously? -look like the women were going to sleep on their partners' arms) have given way to bright lighting so that we can actually see the dancers better. The use of a few less traditional leaps makes the dances more enjoyable in a four act ballet while keeping to the style of the czardas, mazurka and so on. Ashton's lively, virtuoso version of the Neapolitan dance has been retained, which is great. The Spanish dance- and what a dance! Scarlett has choreographed an exciting new dance, and the quartet of men led by Heap produce a firecracker performance.

    From Macfarlane's work on Giselle and Frankenstein (Royal Ballet), The Nutcracker ( BRB), etc you know his designs will be handsome and tasteful, and not outlandish. He's certainly produced elegant and tasteful work for this Swan Lake. Both he and Scarlett have worked extremely hard and fully deserved the cheers on opening night and the live relay performance.

    Now for some reservations: Benno gets a lot to do/dance in Act 1 and Siegfried hardly anything (it isn't inconceivable that a melancholy prince can dance too- that's what the music is for). Benno gets the waltz, the pas de trois and polonaise in Act 1 while Siegfried stands around. Benno is so busy that he looks like a hyperactive cross between Colas and Wilfred (Albrecht's squire) - asking Siegfried if he's ok in between jetes, manèges and partnering Siegfried's sisters. In fact, Benno dances so much with Siegfried's sisters that it looks like they're really Benno's sisters. We know Alexander Campbell has the stamina of a decathlete while having great dramatic skills, but this is a demanding role, which means that every time Swan Lake is mounted in future, there will be not one but two big male parts to fill, which could make injuries very challenging indeed. Perhaps in future the poor prince could get a look in - either dancing in the waltz (as in two former RB productions) or the pas de trois (Bolshoi custom) and let Benno have a breather.

    The staircase- while it looks grand and stunning as a backdrop, each time any dancer had to come down quickly, there was a loud and most unroyal clattering down the stairs, which rather ruined the extravagant look of Act 3. No doubt the noise can be dampened in future.

    The four princesses have the most problems in the ballet (and not just because Odile steals their man!). I found the handing of an envelope - invitation? letter of recommendation? ID papers?? - rather puzzling. In court protocol, princesses don't have to prove who they are (this isn't Cinderella). It simply isn't done. The court know what they look like - after all, the Queen or the advisor handpicked them - and who their entourage is. (eg the four princes in Sleeping Beauty don't bring invites either.) Modern day princesses don't show ID or bring invitations, and neither do fairy tale ones.

    The princesses' dance and their costumes are another tricky issue. The choreography doesn't fit the tutus that well or the tutus don't fit the choreography. Since Siegfried's sisters (princesses themselves) wear long Romantic length gowns in Acts 1 and 3 (also a more decorous design for the princesses when they sit down, which they do for a lot of the ballet) it's counterproductive to give these royal VIPs tutus. They are inelegant to sit in (which they have to do in most of Act 3), and their dances with Siegfried are so short that there isn't much use for a tutu, and they don't do many classical steps like multiple fouettes or overhead lifts that benefit from having a tutu-length skirt. The poor princesses end up looking quite unregal and uncomfortable (even before Odile gatecrashes).

    I'm not sure that adding a prologue and the new ending are improvements on the previous production although in principle I have no objection to them. Peter Wright and Rudolf Nueyev started the trend for prologues in their Swan Lake productions (BRB still dances Wright's prologue which depicts the funeral of Siegfried's father) and now ENB also has a prologue too. But the effect of having the prologue ruins the entrance and mime of Odette- the swell of the music tells us her (spectacular or surprising) entrance in Act 2 is when we and Siegfried meet her for the first time; the mime is necessary (it's in the music too) tells him and us why she is a swan. It doesn't matter if newcomers to a ballet can't work it out- if you put spoilers in the prologue, what else would they have to talk about with their ballet aficionado companions at the interval? (wink) Or if they came alone or with a newcomer companion, the free cast sheets now have the story anyway...or they can read it on smartphones. Just a thought.

    The bleak ending isn't new either- the Bolshoi's current version and a few European productions have the bleak ending: no "united in death" apotheosis, no true love conquers all and last minute victorious battle with Rothbart (Mariinsky, ENB), just bleak gloom because Siegfried failed, failed, failed. It's not new and it's not a disaster- we remember the dancing, not the dramaturgy. But is it an improvement? We used to say that no matter how much Act 4 dragged, or no matter if there had been wobbles in technique that night, the Royal Ballet version (Dowell or Ashton/Morrice) was always glorious because that apotheosis of being reunited in death and the obvious restoration of the swan maidens back to human form was so beautiful and moving, with glorious notes on the harp and the swelling of the final notes in a triumphant major key as the curtain fell. Everyone left feeling uplifted-maybe that's why Dowell's production last 30 years. Even if people complained about the swan skirts on social media, when it came to real people attending real shows, it always sold very well or sold out.

    We don't have that glorious apotheosis any more with this version which means a lot of pressure on the dancers and lead couple to deliver a perfect performance every time. Observers of the current Bolshoi version (with similar ending) observed that if the lead couple produced an incredible performance, the show would be moving, but if the lead couple were young dancers making a respectable debut or veteran principals were having an off night, the show would feel very flat - which the former Royal Ballet production never did. This version- while it makes a reasonable dramatic point - will face the same pressure/problem. Perhaps it will be tweaked/altered over time, as Peter Wright's Nutcracker certainly was, maybe it won't.

    Either way, we enjoyed the show immensely, and I go to Swan Lake mainly for the Act 2 and the Black Swan pas de deux anyway. I'll enjoy the new Spanish and other national dances! Thank you to the cast, musicians and creators for a great performance.

  65. Kevin responded on 14 June 2018 at 9:21pm Reply

    Went to Fridays 8th production and was bowled over. Fabulous production and dancing. The scenery in and outside of the palace was magnificent with a real depth, and was brought out by superb lighting. The overall production touched me so much that I also went to the Tuesday Bluewater Kent cinema production with different dancers that gave a different perspective to yet another superb production. The cinema audio was a good representation of being inside the ROH, but the picture quality could have been much better as it was too dark, especially in those palace scenes and really failed to bring out that classy scenery.
    Overall, well done to the complete RB team, I am sure this new production will run and run.

    • Joseph Chadbourn (Cinema Account Officer) responded on 20 June 2018 at 1:28pm

      Dear Kevin,

      We are sorry to hear that you experienced problems with the picture quality during the screening of Swan Lake at your local cinema. There were no issues with the transmission leaving the Royal Opera House that evening, so we will investigate this with the venue in the hope of resolving this for future screenings.

      Thank you for getting in touch.

      Best regards,
      ROH Cinema

  66. Christine Blackmore responded on 14 June 2018 at 11:21pm Reply

    We viewed this at St Helens Cinema and l have to say how disappointing the colour was and the scenes by the lake were difficult to view due to the poor lighting. After reading other comments I am sure the lucky people that were able to be in Covent Garden did not have this problem . So l feel it has to be a transmission difficulty, hopefully you can consider this for future screenings .

    • Mel Spencer (Senior Editor (Social Media)) responded on 15 June 2018 at 5:32pm

      Hi Christine,

      We work with highly-experienced camera operators and try and ensure our picture quality is of the highest standard. This could well be an issue with the settings on the cinema screen so we will pick up with the cinema in question.

      Many thanks, and sorry for the frustrating experience.

      Mel

  67. Bill Woolhouse responded on 15 June 2018 at 12:25pm Reply

    I agree with Bill Tomkins re the lighting.
    It looked as thought they were dancing in a coal mine.
    We had the very same problems here at The Castle Theatre Wellingborough.
    It ruined our evening as we were looking forward to the Ravishing Sets and Costumes by John Macfarlane.
    We have been ballet goers for 50 years,
    having said that The company are on top form.Nunez and Muntagirov simply stunning.
    Lets us hope that the Castle theatre gets it right for future live streamings from The Royal Opera House.

  68. Linda Farrell responded on 15 June 2018 at 6:43pm Reply

    An absolute triumph! Phenomenal dancing, sumptuous sets and gorgeous costumes. I could watch it over and over again.

  69. Linda Farrell responded on 15 June 2018 at 7:50pm Reply

    An absolute triumph! Phenomenal dancing, sumptuous sets and gorgeous costumes. I could watch this over and over again. Stunning and beautiful.

  70. Gwen responded on 17 June 2018 at 8:30am Reply

    It was stunning. The scenery and costumes are so gorgeous and the dancing by the Royal Ballet magnificent. I saw the performance on 31 May with beautiful Akane Takada and William Bracewell, in his first lead role for the Royal Ballet and both danced to perfection. Not happy with seeing it once, I bought return tickets on 11 June with Yasmine Naghdi and Nehemiah Kish and again the dancing was perfect, but a special mention must go to Yasmine Naghdi who was simply fantastic and ruled the stage.
    Congratulations to the Royal Ballet on a triumph.

  71. Annabel Charles responded on 17 June 2018 at 5:53pm Reply

    Saw Swan Lake on 14th June and thought it utterly wonderful - beautiful, compelling, heartbreaking - and everything, from music to costumes and scenery to dancing was of the highest possible standard. The more I see Sarah Lamb dance, the more I find her absolutely exquisite - so precise and controlled, with extraordinary extensions - mesmerising. I would agree that her Odile had the slight edge over her Odette - but that's an irrelevant detail - she was just outstanding. I am also a huge fan of Ryoichi Hirano, who is incredibly good at conveying different characters - from jealous, tortured Leontes to feckless, drunken Lescaut - and here isolated, soulful Siegfried. He is a wonderful dancer - and partner - and thought he and Sarah Lamb made a striking pair; like Steve Clark, I was weeping at the end (who are these people who found it 'emotionless'?) All the dancing was stunningly good, though - very much enjoyed Benno and the sisters, the character dances - and the corps de ballet were unfailingly impressive. If I have one tiny gripe it is that I also felt that Siegfried was a bit underused in Act 1, but I suppose that is part of the story. I would just have liked to see more of Hirano dancing. Many congratulations and thanks to Liam Scarlett and all involved for a fabulous evening at the Royal Opera House. I enjoyed it so much I am going to see an encore screening tomorrow.

  72. marilyn weston responded on 17 June 2018 at 5:56pm Reply

    loved ospisova,nunez and the wonderful Vadim at the opera house,just back from the cinema wonderful seeing it on the screen as well
    congratulations Liam production out of this world
    please a dvd

  73. Judge responded on 17 June 2018 at 11:59pm Reply

    We went to Tuesday’s performance that was live relayed to cinemas. What a star studded cast! Vadim was magnificent and Marianela and Bennet Gartside were on top form. Delighted to see Francesca and Akane as Siegfried’s sisters, loved the tutus and great to see Marcelino. Wonderful new production!

    However, we returned on Friday to see Natalia and Matthew and I have to say this performance completely wiped the floor clean. I couldn’t possibly say how many times I have seen Swan Lake, across the UK, continental Europe or Russia, by the Mariinsky or Mikhailovsky in St Petersburg, or Bolshoi or Stanislavsky in Moscow, or in their visiting performances to UK, but I can honestly say that I have never seen such an impressive performance of Odette and especially Odile than that we witnessed from Natalia Osipova. Previously I have always enjoyed her performances, but this time she proved she is truly in a class of her own! She left us enraptured, spellbound, awe-inspired and temporarily completely speechless. Bravissima Natasha! And Matthew made a fine pairing for her. I would give anything to see the magic repeated! What a life affirming experience!

  74. Susan Buckey responded on 18 June 2018 at 11:13am Reply

    Saw the 17th June performance at the South Holland Centre in Spalding Lincolnshire. Absolutely fabulous - dancers, sets, costumes and orchestra, though - why no black swans?
    Also, some of the male dancers did not appear to be on the stage for the final bows. Surely they deserved to join in the accolade?

  75. Dorothy Bertola responded on 21 June 2018 at 11:31pm Reply

    I saw this on the 19th with Osipova and Ball and thought it was breathtakingly beautiful. The sets, the costumes, the Corp de ballet and the dancing were wonderful and I loved the added drama this production brought with the black swans, bangs and smoke as Odile was whisked away.
    I think Osipova is the most amazing dancer both dramatically and technically.
    It didn’t spoil the performance one jot but I wondered why she didn’t do the 32 fouettés when Nuñez did. Was she injured it was it an artistic decision.

    • ML responded on 28 June 2018 at 11:46pm

      Yes, she had a pre-existing foot injury- not bad enough to stop her dancing altogether, but severe enough that the repeated strain of 32 fouettés would have been very unwise. Dance history experts noted that Miss Osipova is following in the footsteps (pun not intended) of legendary ballerinas Margot Fonteyn and Maya Plisetskaya in not doing multiple fouettés for the Black Swan pas de deux but instead performing more dramatic choreography. However, the difference is that for Miss Osipova, the fouettés are likely to be restored when she has healed fully.

  76. Dorothy Bertola responded on 22 June 2018 at 12:45pm Reply

    I thought the production was superb, with wonderful sets, costumes, the best ever corp de ballet and of course Natalia Osipova. I loved the added drama In this production with the black swans, the smoke etc when Odile and Rothbart got their wicked way. As for the ending, well!!! — Tears were shed. There were times I had to remind myself to breathe.
    One thing! We went on the 19th and Osipova, who is queen of the fouettés omitted them and substituted something equally superb but I wonder if she was injured or if it was just a substitution she preferred.

  77. elleG responded on 22 June 2018 at 1:02pm Reply

    The ROH season of Swan Lake is now over and I would like to congratulate everyone involved in the production and all the dancers who have worked so hard to make it such a success. THANK YOU!

  78. Lord Michael Gluecksmann responded on 23 June 2018 at 10:42am Reply

    The new production of "Swan Lake" is quite superb. Brilliant dancing by the company with Marianela Nunez and Vadim Muntagirov in superb form as Odette/Odile and Prince Siegfried. Virtuosity and moving expessivness combined. The new choreography of Liam Scarlett blending well into the classical version. My only qualms were why have the Intoduction to act 1 staged as a prologue? I don't think it necessary to have staged overtures. This not the intent of such numbers. Also the omission of Wolfgang, the tutor's dance in act 1- why? The music is gorgeous. Also, for me, a cardinal sin, the omission of no.9, the finale to act 1 with the first swan-theme containing such incredible music suggesting the prince's lonely and longing state of mind. I also did not quite comprehend or think it necessary to have von Rothbart's character coupled with a court advisor. Superfluous. The ending also a bit odd with Siegfried retriving Odette's dead body out of the lake after passing out himself and coming to at the end. I quite like the usual apotheosis ending with a "double sacrifice". Finally, also as far as my taste is concerned, setting the action at the end of the 19th century does not have the same mysterious, fairy-tale appeal as a medievial setting with a bit of atmospheric dried-ice fog in the lake-side scenes which was missing. . But all in all a wonderful ballet experience!

  79. Denise Bennett responded on 23 June 2018 at 2:20pm Reply

    I missed the fouettés too, and e-mailed ROH to ask if this was an artistic decision. This was the response: "Natalia Osipova is nursing a slight injury and in order to avoid putting additional stress on her supporting foot in Odile's fouetté turns, this section was adjusted. Although not part of the new production's choreography, it is not an uncommon substitution in Swan Lake." I must say that otherwise one would never have known that Miss Osipova was injured since she danced with her usual vim and verve.

  80. Annabel Charles responded on 23 June 2018 at 4:54pm Reply

    Enjoyed the encore screening nearly as much as the Iive performance - and it was interesting to see a slightly different interpretation from Vadim and Marienela. A shout out too for the filming, which thought was very good - could see dancers' feet and there seemed to be fewer cutaway shots/close ups (not sure have got the right terms) interrupting the flow of the ballet. Liked the aerial shots of the corps - showed the wonderful patterns they were making. I really hope this production is revived very soon - as already looking forward to seeing it again.

  81. Geoff responded on 7 July 2018 at 7:23pm Reply

    I saw this six times (not every cast). I wish this production well on its return, by which time I assume someone will have helped revise/improve the stagecraft and at least some of the new material (and in the hope the company as a whole faces up to the technical challenges of classical technique).

    Here are three links with some clues as to what is needed:

    https://www.telegraph.co.uk/dance/what-to-see/swan-lake-review-royal-ballet-covent-garden-staging-yet-spread/

    https://www.theguardian.com/stage/2018/may/27/rambert-life-is-dream-kim-brandstrup-royal-ballet-swan-lake-liam-scarlett-review (followed by some helpful below-the-line comments)

    and this thread

    https://balletalert.invisionzone.com/topic/43862-new-royal-ballet-swan-lake/

  82. What a marvellous night! The production was spectacular, the sets are fantastic and I really enjoyed the fabulous costumes! The corps de ballet is phenomenal and of course Natalia Osipova is incredible! I highly recommend it.

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