"Swan Lake" and the American Ballet Theater at the Met

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Parent Category: Film and the Arts

Category: Reviews

Published on Monday, 22 June 2026 13:44

Written by Jack Angstreich

Skylar Brandt and Herman Cornejo in Swan Lake.Photo: Rosalie O’Connor Photography.

At Lincoln Center’s wonderful Metropolitan Opera House—on the afternoon of Wednesday, June 11th—I had the privilege to attend a memorable version of the magnificent Swan Lake, presented by American Ballet Theater in its admirable production—the first seen this season—with impressive choreography by the previous Artistic Director Kevin McKenzie, based on that of the celebrated Marius Petipa along with Lev Ivanov. Peter Ilyich Tchaikovsky’s glorious score was expertly conducted by the always reliable Ormsby Wilkins, while the attractive sets and costumes were designed by Zack Brown, and the powerful lighting by Duane Schuler.

The unforgettable role of Odette-Odile was arrestingly performed by Skylar Brandt—she excelled in this last year as did her superb partner Herman Cornejo as Prince Siegfried and he remains one of the finest principals in the company. (They both elicited enormous enthusiasm from a very appreciative audience, especially in their stunning turns in Act II.) Both Andrii Ishchuk and Duncan Lyle were also effective in the divided part of von Rothbart, the evil sorcerer.

Not unexpectedly, the secondary cast was again quite strong and here, for reasons of space and readability, I’ll cite only the most remarkable, starting with Léa Fleytoux, Yoon Jeung Seo and Jake Roxander (who also danced the role of Benno, the prince’s friend) who as an ensemble beautifully realized the marvelous Pas de Trois from Act I. (They also shone in in this in last year’s production.) The dance of the four Cygnettes at the lakeside (in Act II)—possibly my favorite in the entire ballet—was here splendidly executed by Zimmi Coker, Breanne Granlund, Fleytoux again, and Betsy McBride. Also fabulous was the exhilarating dance of the Two Swans, here brilliantly achieved by Sierra Armstrong and Remy Young—the latter also was exceptional last year in the same role. 

In Act III’s delightful divertissements too, the main dancers were enchanting, beginning with Atau Watanabe, Camila Ferrera, Rachel Richardson and Coker again—the latter two exquisitely resuming their roles from last year—as, respectively, the Hungarian, Spanish, Italian and Polish Princesses. The enthralling Czardas was led by Zhong-Jing Fang and Roman Zhurbin—he danced this magically last year as well. The terrific Spanish Dance consists of two couples, which here were first, Olivia Tweedy and—here also repeating from last year—Joseph Markey, and second, Abbey Marrison and Tristan Brosnan. And, lastly, the Neapolitan Dance was rendered indelible by Daniel Guzmán and Tyler Maloney. The key non-dancing parts included the perennial Nancy Raffa as the Queen Mother and Alexei Agoudine as both Wolfgang, tutor to the prince, and as the Master of Ceremonies in Act III, while the sterling corps de ballet was characteristically extraordinary.

With perfect justice, the artists received a standing ovation.