Mariinsky Ballet, Swan Lake, The Kennedy Center for the Performing Arts, Washington, DC—June 28, 2014
The classical Russian style of dancing, while precise, elegant and admired by many as the gold standard for ballet technique, can for me at times seem too disciplined or even a bit too constrained. That is in part why, when choosing casting for the dual role of Odette-Odile in the Mariinsky's esteemed “Swan Lake”, I chose principal dancer Alina Somova—a ballerina who, at least from what I had read, seemed to depart a bit from the traditional Russian mold.
I suspected that Somova might bring something unique to the Mariinsky’s beloved classic. But I was also intrigued by the fact that she had elicited such controversial reviews, with some critics praising her as a rising star, and others criticizing her artistic choices as undisciplined and indulgent. One critic, in particular, caught my attention by questioning whether Somova was a “dancer or circus pony”. I wondered why this dancer, who appeared so beautiful in photographs, had invoked such differing opinions, and I wanted to see for myself what she was all about. If nothing else, her portrayal of Odette-Odile, alongside principal dancer Vladimir Shklyarov as Siegfried, promised to be interesting.
When Somova emerged as Odette from the sea of white swans impeccably danced by the Mariinsky's corps de ballet, I was immediately struck by her extraordinary physical gifts. Shorter than she appeared in photographs, she has disproportionately long and hyper-extended legs, willowy arms, beautiful feet, and extreme flexibility (which has become her trademark). Although criticized in the past for distorting classical lines with her flexibility, for me her stunning extensions and huge arabesques—even if not typical for Odette—enhanced rather than offended. Her extensions were well-controlled, never surpassing 180 degrees, and I thought to myself: if she’s got them, why not use them? That she did beautifully, embodying the choreography with gorgeous lines and an exquisite, youthful delicacy. While lacking a sense of tragedy brought to the role by other interpreters I have seen, Somova's Odette was ethereal and tender, as well as extremely musical, allowing the tragedy of the story to be evoked through Tchaikovsky’s score.
I wondered, however, how a dancer so flexible and seemingly weightless could summon the strength needed to master the technical demands of Odile. Her first entrance as Odile was convincing and strong, and I commented to my friend that she looked like a completely different dancer than the delicate Odette we had just seen. She fared well in the pas de deux, achieving a breathtaking balance with her foot well above her head a la seconde. But during Odile’s solo, technical issues, particularly with turns, began to prevent her from fully commanding the role, and pure grit and determination seemed to be what carried her through the famous fouette turns at the end of Act II. Still, the audience loved her; if less than commanding, her Odile was full of charm and personality and, of course, gorgeous lines.
I left the performance thinking that there is more to this dancer than can be seen in one performance. Akin to a circus pony only in her ability to “wow” an audience, Somova's dancing goes much deeper, and one gets the sense that she is still evolving. I would love to see her in a different repertoire and wonder how her energy would be suited to Balanchine or to other more contemporary choreographers. Although her Odile may still be a work in progress, her Odette made a lasting impression of a special dancer whose refined artistry will hopefully not go unnoticed.
Here is a video excerpt from a previous performance by Somova of Odette (available on YouTube):
