On the evening of June 30, the Tbilisi Ballet Festival 2024 hosted an extraordinary performance of Swan Lake by the Principal Dancers of The Royal Ballet. With Fumi Kaneko as Odette-Odile and Vadim Muntagirov as Prince Siegfried, the production held at the Tbilisi Opera and Ballet State Theater was a masterclass in ballet artistry, drawing audiences into the timeless tale of love and deception.
Fumi Kaneko: A Dual Triumph
Fumi Kaneko’s portrayal of Odette-Odile was a testament to her remarkable range and technical prowess. As Odette, Kaneko exuded a delicate fragility, her movements soft and flowing, capturing the Swan Queen’s ethereal beauty and sorrow. Her arms, reminiscent of fluttering wings, and her exquisite port de bras embodied the grace and tragedy of the cursed princess. Each arabesque and pirouette was executed with precision, yet imbued with a haunting melancholy that resonated deeply with the audience.
The transformation to Odile showcased Kaneko’s versatility. Her Odile was a striking contrast—bold, sharp, and irresistibly seductive. The Black Swan pas de deux was a highlight, with Kaneko’s technical brilliance on full display. Her fouetté turns were not only perfectly executed but also infused with a confident, almost menacing energy that captivated and enthralled. The dramatic shift from Odette’s vulnerability to Odile’s cunning seduction highlighted Kaneko’s exceptional ability to inhabit two starkly different characters within the same performance.
Vadim Muntagirov: Noble Elegance
Vadim Muntagirov’s Prince Siegfried was a paragon of noble elegance and technical excellence. From his first entrance, Muntagirov’s regal bearing and commanding presence set the tone for his portrayal. His grand jetés and cabrioles were executed with effortless grace, each jump soaring with precision and control. His classical line and form were impeccable, adding a layer of sophistication to his performance.
Muntagirov’s Siegfried was not just technically superb but also deeply expressive. His interactions with Kaneko’s Odette were tender and poignant, their chemistry palpable. The lakeside pas de deux was particularly moving, with Muntagirov’s supportive partnering allowing Kaneko’s ethereal movements to shine. His ability to convey Siegfried’s inner conflict and ultimate despair through his dance brought an emotional depth to the character, making his journey from innocence to tragic realization profoundly affecting.
The Ensemble and Orchestra
The supporting cast contributed significantly to the production’s success. Marcelo Soares as the Evil Genius brought a powerful, menacing presence to the stage, his every move filled with dark intent. Kaito Hosoya’s Beno was lively and engaging, providing a buoyant counterpoint to the more somber themes. Mariam Eloshvili, Marharyta Sodorkina, and Tea Kopaleishvili delivered strong performances, each adding depth and texture to the court scenes.
The Tbilisi Opera and Ballet State Theater Orchestra, under the baton of Levan Jagaev, provided a rich, dynamic interpretation of Tchaikovsky’s iconic score. Jagaev’s sensitive and nuanced conducting allowed the music to flow seamlessly with the choreography, enhancing the emotional and dramatic impact of the ballet.
The evening was a masterful blend of technical excellence, emotional storytelling, and collaborative artistry that will be remembered as a highlight of the Tbilisi Ballet Festival.
By Ivan Nechaev
