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Audiobooks & Video Training Tchaikovsky - Swan Lake (2005)

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Name:Audiobooks & Video Training Tchaikovsky - Swan Lake (2005)
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Tchaikovsky - Swan Lake (2005)

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& 8220;"Swan Lake" is a complex ballet written and orchestrated by 19th century Russian composer Pyotr Ilyich Tchaikovsky. While his heritage and training caused him to struggle with the conventions of Western music, Tchaikovsky emerged as a unique voice that wasn't limited by the divisiveness of his Russian influences and peers. His unwavering melodic lines and commanding sense of harmony and thematic repetition has allowed his compositions to thrive and retain the impact they had when first performed.

'Tchaikovsky: Swan Lake' features a 2005 television production of the classic ballet performed by the Paris Opera Ballet -- a company known worldwide for their exquisite precision and technical prowess. And, in so much as I can tell from my limited knowledge of ballet, their skill is on full display. It's clear that the production had a comfortable budget, and the finely-honed talent of the dancers is obvious from beginning to end. Even more impressive is the orchestra's rendition of Tchaikovsky's music -- they inject a depth and weight to the movements that bring them to life.

For anyone who doesn't know the story of "Swan Lake," it's surprisingly simple and refreshingly dark. Anyone expecting a fairy tale with a happy ending will certainly find themselves waiting for another act after the dreary finale. The tale focuses on Prince Siegfried (portrayed by Jose Martinez in this particular production), a somber ruler who must choose a wife at his birthday celebration. He longs to marry for love, but knows that he is bound to tradition and inevitable dissatisfaction. While sleeping in the forest, he encounters a flock of swans led by a strange creature that's more woman than beast. Siegfried discovers she is indeed a woman (Agnes Letesu) -- her name is Odette and she's been cursed to live as a swan by a sorcerer named Von Rothbart (Karl Paquette). To break the curse, Siegfried must declare his true love for Odette.

While some versions diverge from this point forward, the performance by the Paris Opera Ballet stays close to the original ending. The night of Siegfried's birthday arrives and his guests gather to hear who he will marry. He anxiously searches for Odette and finally sees her emerging through the crowd. However, Rothbart has manipulated Siegfried's vision so that he believes another woman is Odette. When Siegfried publicly professes his feelings to the wrong woman, the real Odette appears and the lovers realize what has happened. Rothbart is victorious in his evil scheme, Odette is left in the form of a swan forever, and Siegfried is married to a woman he despises. The end.

Directed by Francois Roussillon, this version of "Swan Lake" is based on Rudolf Nureyev's psychological and surreal take on the tale which debuted in 1984. It ups the Freudian musings of the ballet's subtext and downplays the role of Odette to window-dressing. She simply serves as the dues ex machina for Siegfried's personal tragedy -- her tale seems to be buried beneath his angst and the promotion of Rothbart to an equal component of the story. Fans of the ballet are split between this modernized interpretation of "Swan Lake" and its more traditional presentations. My ideal production would retain the psychological nuances of Nureyev's version, while focusing more on Odette and her tragedy. As it stands, I enjoyed the layered minutiae of this modern approach, but wish the production featured an inclusive tragedy that wasn't so misogynistic.

Unfortunately, regardless of interpretation, the real tragedy here is the horrid acting. Maybe it's the high definition image, but I found myself paying close attention to the lackluster expressions and lack of passion that the performers seem to employ. While the ballet dancing is wonderful and technically precise, the performances lack soul and emotion.

Martinez is a mess, his face is often blank in the midst of tragedy and he delivers a boring portrayal of Siegfried. His anger, sadness, and rage overreach, seeming too similar to one another -- everything is tempered by poorly-conveyed angst and he fails to convincingly fall in love with Odette. As for Letesu, she may as well be a mannequin -- floating through the performance with scowls and frowns, she is completely at odds with her own character. She doesn't come across as vulnerable and cursed, but as bitter and hopeless. The two have no chemistry when they share scenes, and the entire love story swirls down into the vortex of their lethargic emotions.

Even the dual-role heaped on Paquette's shoulders (Rothbart and an advisor to the Prince) fails to impact the audience as it should -- his villain relies on too many smirks and raised eyebrows, while his role as Siegfried's friend doesn't sell his influence. When Rothbart appears as a black swan, Paquette strides across the stage like a peacock rather than the vicious bird of prey his character should be. Like Martinez and Letesu, he seems to have been cast for his ballet skills alone. In my opinion, a dancer needs more than technique to connect with an audience.

In the end, the ballet is technically impressive and the music is extraordinary, but the production lacks the emotional core that's required to make the tragedy compelling. While I enjoyed the non-traditional take on the story, I couldn't get past the bland expressions and poor acting from everyone on stage. This production was produced for television and it feels like it every step of the way.
& 8221;


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