The Royal Ballet, Swan Lake 2024 Review ★★★★★

No ballet more clearly illustrates the health of a company than Swan Lake, and judging by the opening night of the current run, The Royal Ballet is in rude health, the corps dancing with verve and impressive coordination; soloists grabbing every opportunity to shine and a trio of Royal Ballet principals bringing rousing commitment and artistry to the lead roles: Vadim Muntagirov as the melancholy Prince Siegfried, Marianela Núñez in the dual role of Odette/Odile and Gary Avis as the sorcerer von Rothbart.

And the Orchestra of the Royal Opera House, under Koen Kessel’s baton, gave a note-perfect performance of Tchaikovsky’s glorious score.


Swan Lake, The Royal Ballet, © ROH. Photo: Bill Cooper

The Royal’s production by the late Liam Scarlett is based on the 19th century Russian Petipa/Ivanov original, merged with Scarlett’s own vision. John Macfarlane’s designs are particularly sumptuous in Acts I and III set respectively in the palace’s lush gardens and in the ballroom with its wide curved staircase, red marbled columns with gilt edging and and an elaborate throne; while the white Acts II and IV, set in an inhospitable monochrome lakeside framed by jagged rocky masses, are coldly atmospheric.

Some of Scarlett’s ideas work really well; others not quite. Giving the prince two sisters and enhancing the role of his friend Benno, creates two new pas de trois – the spirited performances by Isabella Gasparini, Sae Maeda and Luca Acri were delightful.

Von Rothbart’s augmented role makes him the undisputed lynchpin of the story: as well as the traditional malevolent creature of Acts II and IV, all wings, feathers and grotesque make up, he is prominent in Act I as a feared courtier, imbued by principal character artist Gary Avis with sinister authority.


Gary Avis as von Rothbart, Swan Lake, The Royal Ballet © ROH Photo:Tristram Kenton

Gary Avis talks to Culture Whisper about von Rothbart and other major character roles in ballet

But, of course, it’s the ill-fated love of Siegfried and Odette we care for, and the established partnership of Muntagirov and Núñez brings something unique to the roles.

Talk and supremely elegant with noble demeanour, Vadim Muntagirov is the perfect embodiment of Prince Siegfried. His arabesques are elastic, his jumps powerful, his landings smooth. And he is a wonderful partner, safe, attentive, self-effacing, showing off his ballerina with charm and generosity.

As the white swan Princess Odette, Nuñez is heart-breaking: at first a skittish swan scared by the sudden appearance of the Prince at the lakeside, she slowly morphs into a vulnerable woman, powerful wings become gentle arms, and she infuses her slow turns and weightless lifts with a dream-like quality.

By contrast her black swan Odile is spiky and as hard as nails, her showy technique a demonstration of her power. Irresistible, she owns the stage even as she conquers Siegfried.


Vadim Muntagirov as Prince Siegfried, Marianela Núñez as Odile in Swan Lake, The Royal Ballet © ROH Photo: Bill Cooper

Scarlett’s finale rather lets down all that went before. Having introduced a prologue that shows a carefree princess being turned into a swan by von Rothbart, he ends the ballet with Siegfried retrieving the body of the original princess from the lake, while the spirit of Odette is rises high above the stage.

It’s an unsatisfactory finale, seeking an alternative to the traditional options – both protagonists die, or both survive, their love breaking the spell – and failing to find it.

That said, this Swan Lake is a properly satisfying grand show, the kind of luscious escapism audiences crave.



Swan Lake, starring Yasmine Naghdi and Matthew Ball, will be relayed live to cinemas nationwide on Wed, 24 April at 19:30; with an Encore on Sun, 28 April at 14:00. To find a participating cinema near you click here