SWAN LAKE

Review by Celia Ipiotis

An exquisite performance of Swan Lake spun a magical aura over the audience when the long and lean Chole Misseldine embodied the maiden transformed into a swan by a wicked sorcerer. Much loved by audiences worldwide, Kevin McKenzie’s  Swan Lake for American Ballet Theater sustained key sections of the ballet originally choreographed by the 19th century’s  Marius Petipa and Lev Ivanov.

If you have only one chance to see Swan Lake, see it with Misseldine. Exquisite in her overall interpretation of the ballet, she demonstrated the capacity to bend time to her thoughts. Her technique easily unfolded in the service of the ballet’s artistry. With intelligence glowing from her pores, Messildine projected a deep understanding of the purpose of each individual gesture and breath. Truly, the expressivity of her arms were like a siren’s song, animated by puffs of clouds and emotion  rippling straight through to her fingers. Unbelievably ethereal, she equated each feeling clearly and concisely through her eyes as she looked longingly at Prince Siegfried (Aran Bell). Her legs suspended in space, it looked like she stopped time through her arms, undulating with a drama that spoke of her destiny.

Bell, a strong partner, adeptly responded to her every nuance and paddled her into a string of pirouettes — too many to count. Strong leaps and a gallant grace, Bell’s leg beats were sharp and clear. Imbued with a romantic sweetness the first act ends on a village gathering and the criss-crossing of colorful Maypole ribbons. One of the featured male dancers playing a  aristocrat,  Andrew Robare, stood out for his expansiveness, clarity and riskiness.

In the closely watched Pas de Trios during Act I, Patrick Frenette demonstrated his tight technique and musical phrasing. The two woman Virginia Lensi and Sierra Armstrong were quite pleasant. They’re confidence will improve with time.

Act III returned to the Great Hall in the castle, where festivities were underway for Sigfried’s anticipated selection of a bride. A series of dances entertained the guests but Siegfried remained  depressed because his beloved Odette, the one he swore love to forever, was AWOL. And then, the trumpets announced the entry of two mysterious guests. They were the guileful Rothbart and his daughter the evil Odile — who pretended to be Odette. 

Sheathed in a sleek, black tutu, Odile beguiled Siegfried by transforming herself into Odette. Odile’s eyes shifted so they shone lovingly when looking at Siegfried, and menacingly when she faced Rothbart. Her icy sensations carried through the positioning of her arms, and the angled arabesque thrust towards the ground. During the famous 32 fouette section, Messildine broke out with a triple pirouette that alternated between single and doubles until the end of the music. The house went berserk.

Realizing he unwittingly pledged his love to Odile and not Odette, Siegfried raced back to the lake. Finally finding Odette, he  held her by the waist and Misseldine abandoned herself to him, arching her back into his arms so that it seemed like she would break his hold and fall into the orchestra pit.

In another cast celebrating the 25th anniversary of Swan Lake and the 85th anniversary of American Ballet Theater, Skylar Brandt appeared as a delicate swan that  transformed into a haughty black swan in Act III. As Odile, her eyes flashed over an ominous smile that shook Prince Siegried’s (Herman Cornejo) core. When Siegfried saw Odette for the first time by the enchanted lake, he unfailingly exuded a desire for this ephemeral being. Well matched, their bodies fit together, and allowed for flawless lifts. Cornejo excelled, as always, in his dramatic interpretations and adoration of his ballerina.

Another popular dancer, Jake Roxander proved his mettle in the Act I pas de trois, throwing off leg beats, and turns with the clarity and aplomb of a young villager intent on attracting the wistful desires of the surrounding young ladies. His two female partners, Lea Fleytoux and Yoon Jeung Seo also displayed youthful enthusiasm and charm.

All in all, the audiences responded enthusiastically confirming Swan Lake’s endurance.

EYE ON THE ARTS, NY — Celia Ipiotis