Monday, April 17, 2017

San Francisco Ballet - "Swan Lake"

San Francisco Ballet
San Francisco Ballet in Tomasson's Swan Lake
Photo © Erik Tomasson
Swan Lake
War Memorial Opera House, San Francisco
April 15th, 2017

Opening nights hold such special promise – expectation, anticipation and excitement for what is about to come. But what about closing chapters? What do they bring to the table? Wistfulness, reflection and perhaps even some sadness. In some cases, also an equal sense of celebration and commemoration. San Francisco Ballet’s Saturday evening performance was one such event: the final showing of Swan Lake, and two company retirements, principal dancers Vanessa Zahorian and Davit Karapetyan. It was a memorable night, to be sure, beginning with a tribute video to these two amazing dance artists, followed by their stirring portrayals of Odette/Odile and Prince Siegfried.

Choreographed by Artistic Director and Principal Choreographer Helgi Tomasson in 2009, Act I of the classic narrative begins with a prologue, where the maniacal Von Rothbart (Sean Orza) captures Odette and transforms her into a swan. After that brief contextual introduction, the first ensemble scene unfolds, taking place ‘outside the palace’, as the program notes explain. Village settings are a staple in story ballets, but for me, they tend to go on a little too long in most cases. The same is true when it comes to Swan Lake, though the choreography in this particular version does help to move things along. The men’s pas de cinq conveyed sharp and precise batterie as well as unmatched, spot on unison. Apart from some squeaky shoes, the featured pas de trois was charming. Koto Ishihara’s vast echappés delighted, as did Lauren Strongin’s sissone/assemblé combination. Esteban Hernandez dazzled with turns that finished with the accent up and jumps that took him soaring into the atmosphere. And of course, there is the introspective solo towards the end of the Act, where Siegfried contemplates his existence, in terms of duty and responsibility.

Act II is all about the swans, and appropriately full of en dedans spins, or as they are affectionately known, lame duck turns. And it was magical. Siegfried encounters Odette for the first time – he is immediately entranced, while she is rightfully fearful (at least initially), her pulsating boureés communicating apprehension. And then, the flurry of corps de ballet swans overtakes the stage. Despite a few spacing issues and some more squeaky shoes, the technique was something to behold, led with aplomb and expertise by Swan Maidens Dores André and Sasha De Sola. Zahorian and Karapetyan’s main pas de deux was sheer artistry. From colossal pencheés to quieter moments, like when she delicately brushed his hand, the duet inspired with luxurious, rich dancing. And the cygnets (Isabella DeVivo, Jahna Frantziskonis, Julia Rowe and Natasha Sheehan) handled their famous variation with confidence, power and exactitude. 

Vanessa Zahorian and Davit Karapetyan in
Tomasson's Swan Lake
Photo © Erik Tomasson
Four divertissements open Act III – princesses from different nations, all potential mates for Siegfried. In a percussive, stylistic variation that spans tempi from lento to vivace in the space of a few moments, Elizabeth Powell particularly charmed as the Czardas Princess. As did Frantziskonis and Diego Cruz in the sprightly, petit allegro Neapolitan duet. Zahorian was deliciously intoxicating and hypnotizing in the black swan pas de deux, and I have always loved how in this Swan Lake, a subtle pas de trois emerges between Odile, Siegfried and Von Rothbart. So appropriate, because this is really true to what is happening narratively in the story – an interwoven dance between these three characters. Zahorian and Karapetyan gave virtuosic performances in the extremely difficult and complex grand pas de deux and coda: perfect tours en l’air, turns that morphed effortlessly from passé to attitude, and of course, the fouettés!

Swan Lake closes with Siegfried’s quest for forgiveness and redemption, which then leads to his and Odette’s final choice. In the end, they are together, but in another realm. And that is what this entire performance was from start to finish – transcendent. As soon as Zahorian and Karapetyan took the stage for their bows, the entire War Memorial Opera House leapt to their feat in a lengthy and deserved ovation, a time of gratitude and well wishes for two incomparable, otherworldly artistic souls.

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