Ballet a bewitching version of beloved classic

The RNZB deliver a near faultless performance of Swan Lake.

The Royal New Zealand Ballet's Swan Lake is, by far, their best classical production for many years.

Elegantly designed by Kristian Fredrickson, it is set to Tchaikovsky's glorious score (Opus 20), played with aplomb by the Auckland Philharmonia Orchestra under the baton of the great ballet conductor Kenneth Young.

It is danced almost faultlessly by the company, led brilliantly by expatriate international guest stars, and it's easy to see why Swan Lake is so beloved by New Zealand audiences.

With forest and castle ballroom backdrops and ground-hugging swirling fog, ever-shifting formations of mirror-image swan-women, peasants and opulently costumed ballroom guests, and with a series of increasingly romantic pas de deux, Swan Lake combines love at first sight, the lust for power, duplicitous sorcery and an evil twin, mistaken identity, tragedy and suicide.

A quick plot summary: Prince Siegfried has turned 21 and must choose a bride from the maidens assembled at his birthday ball. But he has fallen in love with Odette, a bewitched Swan Princess - swan by day and woman by night - one of a flock of such maidens who inhabit a nearby lake.

He pledges his love to her, knowing this will allow her to become a woman again, but when he sees Odile, an identical young woman at his ball, he mistakenly declares his love for her, only to discover he has been tricked by the evil Rothbart. Siegfried rushes to the lake, and he and his Swan despairingly commit suicide in its cold waters.

RNZB productions of Swan Lake have traditionally been led by expatriate Kiwi dancers in the principal roles. On opening night in Auckland, the leads were superbly danced by expat Lisa-Maree Cullum and her partner Roman Lazik from Bayerisches Staatsballett in Munich.

Cullum was convincing as the Swan Queen with her conflicting loyalties and desires, her womanly half pulling against her swan half, her passion tempered by wariness.

As Odile she was all woman - sophisticated, sensual, seductive, and ultimately successful at forcing Siegfried to betray Odette. Technically powerful, her dancing was faultless.

As Siegfried, Lazik was elegant and convincing throughout, communicating a wide array of emotions. Technically strong, with lovely brio, his elegant footwork and bearing provide a model for the company's men to aspire to.

This is the third return season of arts laureate Russell Kerr's version of Swan Lake, showing us once again the hallmarks that make him one of the great ballet choreographers.

Kerr's rich musicality ensures we miss none of the emotional nuances of the score in the dancing.

His desire to see the space of the stage fully animated by movement brings us lavishly configured group dancing.

His commitment to the characters being created primarily through movement brings with it sensitive dancing from the whole cast - swans, courtiers, peasants and principals alike.

This is Kerr's final ballet, so it is fitting he ends with a triumph.

Review

* What: The Royal New Zealand Ballet's Swan Lake

* Where and when: ASB Theatre, Aotea Centre, Wednesday

* Season ends: June 17

* Reviewer: Raewyn White