SWAN LAKE

Choreography by Kevin McKenzie after
Marius Petipa and Lev Ivanov
Music by Peter Ilyitch Tchaikovsky
Set and costumes by Zack Brown
Lighting by Duane Schuler

Stunned by two superlative performances of Swan Lake (June 20, 28 eve.), I have had difficulty putting into words how wondrous these evenings were. Nina took us to a realm beyond experiencing a stage presentation---it was living, breathing art.

On June 20, ABT was marking Nina’s 10th season with the company and she responded to the occasion by giving us a passionately felt and beautifully danced Swan Queen---the most magical I have ever seen. From the moment she entered, one could feel that exhilarating frisson, signaling that we were about to experience something out of the ordinary.

Her Swan Queen has evolved over the years from being merely classically superb into one whose emotional depths are expressed in all her movements---from her toes to her fingertips. On this evening she danced with her partner, the ever attentive Julio Bocca, as if her life truly depended on him. Her tremulous movements at their first meeting reverberated from her feet into her frame, arms and head—she looked torn between hope and fear. The adagio was a poem---I held my breath with each folding and unfolding movement, wondering at the emotional turmoil conveyed by seemingly simple motions. In this performance, Nina seemed to be aiming for even more seamless legato movement; instead of “presenting” a classical position, she flowed from one step or pose to the next in a long arch---as if connecting the phrases in an art song or aria. No wonder my partner, the “Spider” of this website, calls her the best “singer” of our times. A moment among many that will forever linger in my mind is the way she took a deep breath---like a sigh--- while bending forward with one bent leg tucked into her (supported) torso, then breathed out as she meltingly unfolded into an arabesque, her backbend signaling her growing trust in Prince Siegfried. At the end if this scene, the audience, as if momentarily freed from a spell, exploded in prolonged applause punctuated by bravas!!!

Nina’s Black Swan (Act III) was as exciting as her White Swan was mesmerizing. As a bravura dancer, Nina has always wowed audiences with her fast turns and razor-edge attacks. But she has always been more than an agile technician. Her physical allure and intelligence are inextricably meshed with her technique so that we get a complex, compelling Odile. On this evening, her seduction of Prince Siegfried had added nuances. There was a point when Odile, in mid-phrase, seemed to catch herself being too assertive and decided to tone down her approach---immediately modulating her sharp arm movements to Odette’s softer mode. It was dramatically astounding to watch--- a master stroke!

The June 28th performance ran on the same high plane, with subtle differences. Nina danced Odette with slightly less ardor, while her Odile had a more diamantine brilliance. Perhaps this was because Julio was in peak form the second night; the two stars, as usual inspired each other to magnificent heights. The tumultuous curtain calls at the end of each of these performances were truly justified. For her part, it appeared that Nina, who turned 40 this year, was thanking us for our love and support for the last ten years at ABT. I have followed this prima ballerina’s career for 16 years. Once again, I have to say how blessed we are to be ballet lovers in the time of Ananiashvili!!!

Of course Nina did not dance all by herself, and much credit must be given to the company. ABT was in top form by the end of the season, and the classics were danced with élan. On June 20, Joaquin  De Luz executed steps with clear articulation as Benno, the Prince’s Friend; Herman Cornejo, newly elevated to principal status, was even more impressive on June 28th, with Xiomara Reyes---another new principal--- and Maria Ricetto completing a fine trio in the first act. Ethan Brown, as the horned Rothbart, projected menace while Marcelo Gomes was suave as his other persona---a courtier who charmed all the ladies at the ball. Charles Barker conducted both performances with a sense for drama.