The Classic "Swan Lake" at Met Opera House

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Parent Category: Film and the Arts

Category: Reviews

Published on Sunday, 07 July 2024 09:16

Written by Jack Angstreich

Catherine Hurlin and James Whiteside in Swan Lake. Photo: Rosalie O’Connor.

At Lincoln Center’s Metropolitan Opera House on the afternoon of July 4th, I had the privilege to attend a superb performance of American Ballet Theater’s marvelous production of Swan Lake which has a glorious score by Peter Ilyich Tchaikovsky—here admirably conducted by Charles Barker—and enthralling choreography by former Artistic Director Kevin McKenzie after that of the immortal Marius Petipa along with Lev Ivanov. The wonderful sets and lovely costumes were designed by Zack Brown, and the very effective lighting by Duane Schuler.

The spectacular lead role of Odette-Odile was brilliantly danced by the surely ascendant principal, Catherine Hurlin. Her partner as Prince Siegfried was an exceptionally good James Whiteside, here performing at his unusual finest. Cy Doherty and Andrii Ishchuk were effective in the divided role of von Rothbart, the evil sorcerer.

The secondary cast was also remarkable and I will here highlight the most significant individuals that were featured. Fangqi Li, Sunmi Park and Carlos Gonzalez (who doubled as Benno, the prince’s friend) collectively realized the exquisite Pas de Trois from Act I while the interlude of the Cygnettes in Act II—one of the most dazzling in the ballet—was here executed by Lauren Bonfiglio, Erica Lall, Hannah Marshall, and Kotomi Yamada. The comparably beautiful dance of the Two Swans was bewitchingly enacted by Sierra Armstrong and Remy Young. The main roles in the delightful set of divertissements from Act III were also enchantingly incarnated: Anabel Katsnelson, Bonfiglio again, Rachel Richardson and Zimmi Coker were the Hungarian, Spanish, Italian and Polish Princesses respectively; Paulina Waski and Kento Sumitani were the stars in the Czardas; Isadora Loyola, João Mengussi, Luciana Paris, and Patrick Frenette excelled in the Spanish Dance; and Luigi Crispino and Melvin Lawovi enlivened the Neapolitan Dance. The main actors in non-dancing parts included Claire Davison as the Queen Mother and Clinton Luckett as Wolfgang, tutor to the prince (as well as the Master of Ceremonies in Act III). The extraordinary corps de ballet was characteristically accomplished.

The artists received a rapturous and greatly deserved standing ovation.

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