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By Clif Warren, arts critic for iON Oklahoma magazine

The announcement of a performance by the Russian National Ballet Theatre by the Armstrong International Cultural Foundation last year spread like an Oklahoma spring fire buffeted by strong winds. What could be more perfect than the pairing of the young heirs to the historic Bolshoi tradition on the stage of the gorgeous new Temple of the Fine Arts on the Plains in no less than Tchaikovsky’s SWAN LAKE? The anticipation of Oklahoma balletomanes appeared boundless.

The new Russian company, founded in Moscow during the time of Perestroika, features not only the graduates from the historic academies of Moscow and St. Petersburg and Perm, but also those of Riga, Kiev and Warsaw—50 of the finest classically trained young dancers in total dedication to their art, with Edmond one the first stops on their four-month national tour that began this month—on this beautifully, blessed temperate night, January 25, 2011.

When the troupe arrived at Armstrong Auditorium after noon on two huge buses, they all seemed so young to the  staff, almost childlike, yet with the thin, erect carriages, long legs and noble heads demanded of a demanding profession. Little English was spoken, and the orders were strict: a select, full lunch at 1 p.m., with absolutely no bread, rice or white potatoes, a light broth at 5 p.m., to be capped by a full repast that would follow the SWAN LAKE performance that would be perfectly timed between 8 p.m. and 9:30 p.m.

Rumors telegraphed to the staff. Yes, eight of the eleven gorgeous backdrops originated with the storied 1960s production, even some of the costumes of the principals still as dazzling as ever that must be ever so carefully pressed, were on board. News insiders could share in delight.

An intense rehearsal lay ahead—for vigor and polish—in work togs, assuring that no step go beyond the carefully overlaid dance floor of the performance area, that the perfect sound of the orchestral music reach all areas at the right decibels, that lighting adjustments show the superior attitudes of the arabesques, battements, pointe work, in fact, that the entire range of balletic movements meet the marks.

Almost an hour early, the well-dressed audience began entering the theatre. Some allowed time to view the grandly appropriate illuminated fountain—“Swans in Flight”—flowing outside the huge columned façade of the temple, or to consider the expansive lobby with its Swarovski crystal chandeliers and Baccarat lamps lighting the marble and cherry woods and sending beams across the prairie land for miles.

Upon entering the theatre audiences expressed surprise when handed printed programs with no names of the dancers listed, not even the principals—only the acts of the ballets and a concentrated précis of the scenes: The grand effect was that praise for the performance was to be shared by every last member of the company; it was all about everyone’s perfection.

From the time the curtain rises many “ah” moments erupt, over the colorful scenic backdrops, the exciting opening in which Tchaikovsky allows for the revelation of the festive clown, who infuses a joyous spirit with his leaps and turns, as well as acknowledgement of the main characters: the Sovereign Princess, Prince Siegfried, her son, Wolfgang, his tutor, the prince’s friend, and at last, the glorious Swan Princess, Odette, double-cast, for she is also Odile, a look-alike, the Black Swan, daughter of the evil von Rothbart, disguised as a guest at the royal occasion.

The retinue continues with the beautifully costumed courtiers, ladies and gentleman, special friends and guests, townspeople, and the swans and cygnets that fill out the story. As the slim plot unfolds, the dance action illustrates how Princess Odette, the prima ballerina, is enchanted by the sorcerer, Von Rothbart, and is transformed into a swan by day, only to become human at nightfall. Her friends are   transformed, too, and share her fate, made even more tragic because the lake Odette must live by is fashioned by her mother’s grievous tears.

Odette’s hope for a change in destiny resides with Prince Siegfried, who spots her when he is out hunting. So infatuated is he with Odette that he promises his undying love forever. He invites her to a royal ball at the castle, where he will select her as his bride. But, alas, nightfall comes she must return to the lake to resume her existence as a swan.

While Siegfried is waiting at the ball for Odette to arrive, the evil schemer von Rothbart appears with Odile. They are in disguise. Rothbart intends to trick Siegfried into believing that Odile is Odette and does so. Siegfried does not notice Odette signaling to him behind a window.

The lovely prima ballerina of the Russian National Corps de Ballet is a magical Odette/Odile, superior in every way, with the carriage, refined features and balletic strengths reminiscent of Moira Shearer in the latter day RED SHOES BALLET, though Shearer was a redhead and this ballerina is a brunette. Odette/Odile is matched with a tall, athletic Prince Siegfried, a danseur noble with a handsome Oriental countenance and the ability perform a grand jete nearly as exciting as his heroine’s nearly unbelievable pirouette. (Her continuous repeated whirls on pointe with complete composure were even dizzying for the audience).

The idealized love story of the ballet early on becomes more physical as the tempo rises in the Black Swan encounter. A heated undertone ensues. Passion takes over. The prima ballerina is soon in a contest with herself.

In the Daniel Aronofsky’s wildly popular current film entitled BLACK SWAN, which has brought an Academy Award nomination for Natalie Portman as the anorexic Odette, supported by Mila Kunis as Odile, where the two dancers vie with one another, the classic Tchaikovsky ballet becomes something quite different than that of a single ballerina exposing the complete range of her abilities. Still, the film has spawned a huge reawakening of interest in SWAN LAKE and in ballet in general.

Consequently, it is quite a treat to see a prima ballerina who handles both personas with such aplomb. As the story of SWAN LAKE resolves with the star-crossed lovers freed only through death in eternal love—having preferred to die together rather than to remain accursed by Rothbart—particular triumphal moments from this SWAN LAKE remain: The enchanting waltz tempos with the ballerinas in soft white gowns minimally decorated on the bodices drifting by; the fascinating, energetic Black Swan Pas de Deux; the rhythmic Spanish dances, all the Dances of the Swans, and the enhanced Corps de Ballet scenes that fill the entire stage, the Grand Pas de Six in Act III and, for certain, the last two scenes, featuring the Allegro Agitato and the Andante portion of the Scene Finale.

As for the principals, such excellent examples they are, but so is the whole Corps triumphant, even with none of those names featured on the program, a startling example of a communist concept.

Next year’s promise: The Moscow Festival Ballet.

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