Swan Lake

On their first ever visit to Australia, the American Ballet Theatre proved last night why they are considered one of the best ballet companies in the world with an outstanding production of Swan Lake. In every respect it was an artistic triumph. The opulent settings and costumes, the glorious music, and the finest of classical dance, this was a Swan Lake that feasted the eye and indulged the senses.

Artistic director and choreographer Kevin McKenzie, who first staged this production in 2000, has added a new opening prologue showing von Rothbart transforming Odette into a swan, and having two dancers portray the von Rothbart role, one handsome, one grotesque. He has also included a finale where Odette and the Prince are united after death which helps the story arc and gives greater clarity.

In the dual roles of Odette and Odile, Hee Seo brought a gentle sadness to the former and a defiant spirit to the latter, while Cory Stearns’ Prince Siegfried oscillated between youthful enthusiasm and tender passion. Together they danced supremely, especially in Act Three’s famous Black SwanPas de Deux, and the suicide finale which was seared with emotion.

Alexandre Hammoudi, as the handsome but malevolent von Rothbart, dazzled in a bravura turn that was technically superb, whilst Blaine Hoven as Benno, together with Melanie Hamrick and Stella Abrera, made the Act 1 Pas de Trois a highlight.

Zack Brown’s sets and costumes were richly grand with the Great Hall visually jaw-dropping, and the finale backcloth rising slowly from the stage showing the lovers within the moon, a brilliant moment of stagecraft. At every step Duane Schuler’s lighting enhanced the visuals. Australian conductor, Ormsby Wilkins, resident music director of American Ballet Theatre, elicited a fine and moving performance from the 70-piece Queensland Symphony Orchestra which had expressive colour and tone.

Peter Pinne