Marking the 30th anniversary of Cork City Ballet Company, this is a work of extravagant display
Nothing is easy in classical ballet, and in Swan Lake the greatest challenge is to match performance to expectation. Marking the 30th anniversary ofIn work in which every movement has to appear effortless as well as graceful, unison itself becomes art as the corps de ballet forms and reforms patterns of undulating beauty.
Within this fantasy of enchanted swans, a young prince falls in love and, being young, mistakes one love for another. Here the music of Tchaikovsky, recorded by the Russian State Orchestra, is personified by the pairing of Katerina Petrova as both Odette and her rival Odile, with Tsetso Ivanov as Prince Siegfried. The sparkling brilliance of their encounters is all the more poignant in their united expressions of desire, yearning and renunciation.
Alan Foley on the perils of staging princess-free ballet: ‘When we did Giselle I lost €55,000. People just didn’t come and see it’ Essentially romantic, the ballet is not all love, there are laughs and giddy youthfulness from the cygnets quartet, while the discipline of the tradition allows something outgoing and joyous.‘I live in a little converted cow shed while I restore my new home’: A property writer’s renovation project‘My elderly mum is a good person, but she made my childhood and teenage years as painful as she could’
In wrapping the four-act plot into a two-act production, choreographer Yury Demakov allows for several welcome divertissements. While the costumes are all that could be desired, the prince’s crossbow is a toy and the villain Rothbart is more sprite than demon. In a work of extravagant display these niggles fade in the sense of evanescence as white limbs reach towards a white moon as if they just might reach it.
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