Masterpiece of Ballet: Rudolf Nureyev's Swan Lake

Vienna State Opera [ENA] There are few ballets that have reached the iconic stature of Swan Lake, and even fewer productions that have carried the weight and grace of Rudolf Nureyev’s version of this timeless classic. On the evening I witnessed this exceptional performance of Schwanensee (Swan Lake), with Masayu Kimoto as Prince Siegfried and Liudmila Konovalova as the dual roles of Odette and Odile.

This performance was once again a reminder of why Nureyev’s interpretation continues to captivate audiences decades after its debut. The combination of Piotr Ilyich Tchaikovsky's lush, emotional score, Nureyev's challenging yet elegant choreography, and the breathtaking performances of this talented cast made for an evening of pure magic. Under the musical direction of Paul Connelly, the Vienna State Ballet delivered a flawless interpretation of Tchaikovsky’s composition, enveloping the theater in a world of profound emotion, suspense, and beauty.

Masayu Kimoto's portrayal of Prince Siegfried was nothing short of extraordinary. From his first entrance on stage, it was clear that Kimoto not only embodied the physicality of the role but also delved deeply into the emotional complexities of the character. Nureyev’s choreography famously challenges the dancer playing Siegfried with intricate footwork and demanding lifts, but it also requires a deeper understanding of the prince's internal conflict, a man caught between duty and desire, fantasy and reality.

Kimoto navigated these challenges with apparent ease. His movements were precise and controlled, yet imbued with a fluidity that never felt rigid or mechanical. Whether in the more introspective solo moments or during the complex pas de deux with Konovalova, he exhibited a strong yet vulnerable presence. The prince's growing sense of isolation, his disillusionment with the superficiality of court life, and his yearning for true love were expressed in every gesture, every look, and every leap. Kimoto’s connection to the music was palpable, as if Tchaikovsky’s score lived and breathed through him.

What was most remarkable, however, was Kimoto's ability to convey Siegfried’s emotional evolution throughout the ballet. From the initial scene, where he appears as a carefree royal enjoying the trappings of privilege, to the heart-wrenching final act, where he is torn apart by betrayal and loss, Kimoto’s journey felt deeply personal and profoundly moving. It is no small task to perform the dual roles of Odette, the tragic swan queen, and Odile, the seductive black swan, yet Liudmila Konovalova managed this feat with grace, power, and precision. Her Odette was soft, ethereal, and heartbreakingly vulnerable. Konovalova's arms, fluid as wings, and her delicate footwork perfectly captured the character’s fragility and sorrow.

n the second act, her performance in the famous "white swan" pas de deux with Kimoto was mesmerizing. Their connection was almost tangible, and the way they moved together – each lift, turn, and embrace – felt like a seamless conversation between two lost souls. In stark contrast, Konovalova’s transformation into Odile in the third act was nothing short of electrifying. Here, she exuded confidence, cunning, and a sense of danger that kept the audience on edge. Her sharp, angular movements were in direct contrast to Odette’s softness, and yet, her technique remained impeccable. The infamous 32 fouetté turns were executed with breathtaking control and precision, a testament to Konovalova’s strength and artistry.

But beyond the technical mastery, it was her ability to switch between Odette’s innocence and Odile’s malice that truly set her performance apart. She made the duality of the roles not just a matter of steps, but a deeply psychological exploration of light and dark, good and evil. The chemistry between Kimoto and Konovalova was a highlight of the evening. Their partnership felt authentic, and they fed off each other’s energy in a way that elevated both of their performances. Whether portraying the tender love between Siegfried and Odette or the passionate deception of Siegfried by Odile, their interactions were charged with emotion and tension, keeping the audience enthralled.

Every great ballet needs a great villain, and Eno Peci delivered a performance as Rothbart that was both menacing and charismatic. His Rothbart was not a one-dimensional villain but a figure of power and malevolent charm. Peci’s commanding stage presence and his strong, authoritative movements made Rothbart a figure of undeniable influence, someone who manipulates the fate of the characters with ease.

What was particularly striking about Peci’s portrayal was the way he infused Rothbart with a sense of dark elegance. Even in moments of triumph, there was a refinement to his performance that made Rothbart more than just a brute force of evil; he was an almost tragic figure, whose manipulation and deceit carried a sense of inevitability. Peci’s Rothbart was a perfect counterbalance to the purity and innocence of Odette, and his interactions with Siegfried added a layer of tension and drama to the ballet that kept the audience on the edge of their seats.

Katharina Miffek’s portrayal of Prince Siegfried’s mother, the Queen, was a study in regal authority. While her role is less prominent in terms of stage time, Miffek made every moment count. She carried herself with a poise and grace that perfectly suited the character, and her interactions with Siegfried were filled with a palpable sense of both maternal love and royal duty. The Queen’s insistence on Siegfried marrying a suitable bride felt like more than just a plot device; Miffek’s performance made it clear that this was a woman deeply invested in the future of her son and the kingdom.

The soul of Swan Lake lies in Tchaikovsky’s transcendent score, and under the expert musical direction of Paul Connelly, the Vienna State Ballet Orchestra brought the music to life in a way that was both moving and exhilarating. From the delicate, haunting strings that accompany Odette’s entrance to the powerful crescendos that underscore the ballet’s dramatic moments, the orchestra was flawless. Connelly’s interpretation of the score was nuanced, with a perfect balance between the sweeping grandeur of Tchaikovsky’s melodies and the subtler, more intimate passages that allow the dancers to shine.

The synchronization between the orchestra and the dancers was impeccable, and it was clear that Connelly and the performers were in perfect harmony. The music swelled and receded in time with the dancers' movements, creating a seamless fusion of sound and motion that made the performance feel like a living, breathing entity. This collaboration between conductor and dancers is one of the hallmarks of a truly great ballet production, and it was on full display here.

No production of Swan Lake would be complete without stunning visuals, and Luisa Spinatelli’s set and costume design were nothing short of spectacular. The sets were grand and atmospheric, transporting the audience from the opulence of Prince Siegfried’s palace to the hauntingly beautiful lakeside where Odette and her fellow swans are trapped under Rothbart’s spell. The lighting, too, played a crucial role in creating the mood of each scene, with soft blues and whites dominating the lake scenes, lending them an otherworldly quality.

Spinatelli’s costumes were equally breathtaking. The contrast between the white, feathered tutus of Odette and her swans and the black, glittering ensemble worn by Odile was striking, visually reinforcing the duality at the heart of the story. The costumes for the court scenes were richly detailed, evoking the grandeur and formality of Siegfried’s world. Each costume seemed carefully designed not only to enhance the characters but also to complement the choreography, allowing the dancers to move freely while still maintaining an air of elegance and sophistication.

In the hands of this extraordinary cast and creative team, Nureyev’s Swan Lake remains as powerful and relevant as ever. Masayu Kimoto and Liudmila Konovalova delivered performances that will undoubtedly be remembered as career-defining, while Eno Peci, Katharina Miffek, and the entire ensemble brought depth and nuance to their roles. Paul Connelly’s expert musical direction, coupled with Luisa Spinatelli’s stunning set and costume designs, created a complete and immersive experience that transported the audience into the heart of Tchaikovsky’s and Nureyev’s vision. This production of Swan Lake is a triumph, a celebration of ballet at its finest, and a testament to the enduring power of this timeless story.

Wiener Staatsballett/Ashley Taylor

Wiener Staatsballett/Ashley Taylor

Wiener Staatsballett/Ashley Taylor

Wiener Staatsballett/Ashley Taylor

Wiener Staatsballett/Ashley Taylor

Wiener Staatsballett/Ashley Taylor

Wiener Staatsballett/Ashley Taylor

Wiener Staatsballett/Ashley Taylor

Wiener Staatsballett/Ashley Taylor