The English National Ballet continuous its summer tradition at the Royal Albert Hall with this lavish remake of the genre’s ultimate classic. Guillermo Nazara shares his views on the show, to let us know if this twin version of the illustorus piece manages to be the good one.
It’s funny how the greatest minds think so little of themselves; and how every frontage of grandeur is too often held by a treacherous support of personal disregard. Legend says that Tchaikovsky’s demise was triggered by his own contempt towards his last symphony (the title may have given us as hint or two as for how much esteemed it). His attempts at revolutionizing (while also methodizing) ballet were no exception to a long list of failures which, nonetheless, would not halt his productivity. A story of struggle and continuous resilience, fueled by the simplest but most powerful force that we can find within ourselves: the love for something or someone – just as he would depict throughout the piece that, most likely, is responsible for securing his legacy.
Last night, the Royal Albert Hall played witness to the ultimate rebirth of an everlasting classic. Following their summer tradition of transforming the venue’s arena space into the utmost thrust stage, the English National Ballet opened their 2024 in-the-round production, this time bringing back a safe bet that’s guaranteed to please long-term devotees and first-time aficionados alike. Swan Lake flapped its wings into, what is safe to say, the most soaring montage the company has put together in the last two years – returning the sumptuousness of the piece’s old-fashioned enchantment, while enhancing both its account and aesthetics through an intricate, over-the-top adaptation of truly epic proportions.
Performed under Derek Deane’s elegant choreography and direction, the whole rendition is an sheer triumph in every level – creating an extremely detailed recount filled with layers of storytelling, where dance is just one of the many elements that concoct this whimsical look into its captivating, almost graspable universe of wonder. Preserving much of the original movement, while adding new segments to be rendered simultaneously (its massive troupe requires it), the show is an absolute treat in every aspect of its presentation – crafting a surrounding narrative lures you into its charm through its staggering visuals, impeccable technique and an emotionally gripping score.
Conducted by Gavin Sutherland, the orchestra’s interpretation of Tchaikovsky’s signature sound completes the production’s plethora of outstanding contributions, playing with heartfelt sensitivity and poignant delicacy – and demonstrating full understanding of the author’s intentions as for both the sentimental and recounting effectiveness of his lush, melody-driven writing. In addition, Peter Farmer’s lavish costume designs, flaunting impressive elaborateness and incessant attention to detail, pose as the finishing (and much indispensable) touch to consolidate the strength of the montage’s impeccable outcome.
This genuinely dreamlike experience is only deepened through the company’s immaculate delivery of Deane’s concept. Featuring a cast of over 60 performers, the whole group boasts incredible standards in their beautifully executed 3-hour-long rendition. Put together with magnetic rapport and beguiling daintiness, it’s the ensemble’s striking quality and rooted dexterity that makes the plot’s illusory world come to life – fairly elevated by the principal’s most engaging portrayals. Bot in their debut roles, Sangeun Lee pays a marvelous tribute to Odette’s bequest through a graceful and much inviting representation, while Gareth Haw makes the most praiseworthy appearance as Prince Siegfried – showing off astonishing proficiency and flow, evenly combined with a passionate, and somehow introspective approach towards his character’s journey.
Often considered the ballet of ballets, the ENB’s latest production of Tchaikovsky’s unquestionable masterpiece could justly be regarded as the version of versions. Blending artistry and technique in a flawless cadence that streams with both effort and gentleness from start to finish, this riveting remake of one of the most beloved oeuvres in classical dance is, in all honesty, an invincible accomplishment that we are hardly likely to experience once again in a long time. There’s work of art whose exceptional attainment bind them to make an imprint on your soul. This one, instead, is destined to build a fantasy.
All pictures credit to Laurent Liotardo.
Swan Lake In-The-Round plays at London’s Royal Albert Hall until 23 June. Tickets are available on the following link.
By Guillermo Nazara