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
