'Swan Lake' raises the barre for Charlotte Ballet
'Swan Lake' raises the barre for Charlotte Ballet
Live music from the Charlotte Symphony adds to a captivating evening worthy of a first-class city
This review by longtime Charlotte arts critic Lawrence Toppman was published by The Charlotte Ledger on May 5, 2024. You can find out more about The Charlotte Ledger’s commitment to smart local news and information and sign up for our newsletter for free here. And check out this link for Toppman’s archive of reviews in the Ledger.
Review: Charlotte Ballet’s production of Tchaikovsky’s classic delivers a tender and sublime performance, filled with emotional depth
Oliver Oguma and Evelyn Robinson in Charlotte Ballet’s production of “Swan Lake,” with live music from the Charlotte Symphony, playing through May 12 at Knight Theater. (Photo by Taylor Jones)
by Lawrence Toppman
On Saturday night, within one uptown mile, you could have seen dance stars Daniil Simkin and Angelica Generosa in a first-ever “Swan Lake” at Charlotte Ballet; Tony-nominated actor Rob McClure reprising his Broadway success in the national tour of “Mrs. Doubtfire”; Maggie Rogers and Stevie Nicks at the Lovin’ Life Music Fest; or Charlotte FC blanking Portland 2-0 at Bank of America Stadium.
I felt, as I seldom have felt, that I lived in a first-class city. The key was the most accomplished evening of dance in my 34 years of watching Charlotte Ballet and its predecessor, N.C. Dance Theatre. I chose that adjective because the company exceeded my expectations at all levels.
Live music came from the Charlotte Symphony, which has heretofore stuck with “The Nutcracker” every Christmas, under the baton of Gavriel Heine. He makes his living in ballet — he was resident conductor of the Mariinsky Theatre in St. Petersburg for 15 years, before resigning in April 2022 to protest the war in Ukraine — and he expertly tailored tempos to suit both the dancers and Tchaikovsky’s intentions.
Artistic director Alejandro Cerrudo filled the stage with swans, 24 of them complementing the two leads. He used eight members of the first company and 16 others from Charlotte Ballet II and the pre-professional program, all of whom blended in a snowy panorama of waving arms.
And in this production, where all the roles have been triple-cast, I watched Generosa and Simkin deliver performances of subtlety, insight, assurance and an elevated level of technical skill.
I have seen at least half a dozen “Swan Lakes”: one at American Ballet Theatre, the Bolshoi Ballet version on tour, George Balanchine’s condensation for New York City Ballet, Matthew Bourne’s heartbreaking all-male interpretation and multiple DVDs. Charlotte Ballet’s is the tenderest of all, unflinching in its tragic finale (which is different than you may expect) but also gentle and contemplative.
The tempos set by Heine, too slow for a recording but apt for live performance, helped to create that mood. At one point, as the corps was leaving the stage at the end of Act 1, he carefully slowed down the orchestra to make sure everyone got off without rushing. Heine favored softer dynamics whenever possible, except in climaxes.
That perfectly suited Simkin’s melancholy Prince Siegfried, a boyish figure who’s quietly enraptured by the pure Odette yet too naïve to escape the hypnotic allure of the temptress Odile. You find yourself watching Simkin not only in his solos but even while he crosses a stage dreamily or loiters at one side, idly watching prospective fiancées dance for him.
Generosa delineated her two characters carefully, without overstressing traits. Odette seemed noble, listening to music she alone could hear, as if Siegfried had awakened her from a reverie. Odile seduced the prince not so much with sex as self-assurance, an imperious will that hypnotized him. Even her showstopping moment, the famous 32 fouettés, demonstrated Odile’s self-confidence and reinforced the character.
The creative team has been uniformly successful. Choreographer Ib Andersen mostly reproduced the original choreography by Marius Petipa (Acts 1 and 3, on the grander side) and Lev Ivanov (Acts 2 and 4, at the lake of swans). Andersen has cut the piece so judiciously that I missed nothing crucial, and he’s added small touches. When she meets Siegfried’s royal mother, Odile bends low but refuses to bow her head: She’s a queen facing a queen.
The costumes come from Ballet Arizona, looking sumptuous after what I’m told is 42 years. The props and scenery by Jay Depenbrock, courtesy of Cincinnati Ballet, make unobtrusive contributions. Notice the fans waved in Act 3 by the prince’s would-be fiancées: They end in tips feathered gently, like the wings of birds. Bewitched by his visit to the enchanted lake, Siegfried now sees swans everywhere.
Cerrudo cast from strength in supporting parts, small ensembles and divertissements. Maurice Mouzon made a spookily potent von Rothbart Saturday, rising from foul mist like an otherworldly vulture. I especially liked Bridget Fox, Luke Csordas and Anna Owen in the long Act 1 pas de trois; you get that level of quality by using soloists in small roles.
P.S. Special thanks go to Susan and Loy McKeithen and Hugh and Jane McColl, whose generosity paid for the orchestra. The program says their “gifts will provide live music for this production and more in the coming seasons.” I hope so. That’s what ballet companies in first-class cities get.
—
If you’re going…
“Swan Lake” runs through May 12 at 7:30 p.m. Thursday and Friday, 2 and 7 p.m. Saturday and 2 p.m. Sunday at Knight Theater, 430 S. Tryon St. Casting has been posted on the website.
Lawrence Toppman covered the arts for 40 years at The Charlotte Observer before retiring in 2020. Now, he’s back in the critic’s chair for the Charlotte Ledger — look for his reviews about two times each month in the Charlotte Ledger.
Need to sign up for this e-newsletter? We offer a free version, as well as paid memberships for full access to all 4 of our local newsletters:
➡️ Opt in or out of different newsletters on your “My Account” page.
➡️ Learn more about The Charlotte Ledger
The Charlotte Ledger is a locally owned media company that delivers smart and essential news through e-newsletters and on a website. We strive for fairness and accuracy and will correct all known errors. The content reflects the independent editorial judgment of The Charlotte Ledger. Any advertising, paid marketing, or sponsored content will be clearly labeled.
Like what we are doing? Feel free to forward this along and to tell a friend.
Social media: On Facebook, Instagram, Twitter and LinkedIn.
Sponsorship information/customer service: email support@cltledger.com.
Executive editor: Tony Mecia; Managing editor: Cristina Bolling; Staff writer: Lindsey Banks; Business manager: Brie Chrisman, BC Creative