Review: Varna International Ballet, Swan Lake, Bristol Hippodrome – ‘Who can resist the amazing technique from the young performers?’

Founded in 1947 and renowned for its award-winning soloists and magnificent corps de ballet, Varna International Ballet has delighted audiences at home in Bulgaria and abroad.

Led by Artistic Director Daniela Dimova, with Music Director and Chief Conductor Peter Tuleshkov, Varna International Ballet have presented three nights of programmes in Bristol, first with Romeo and Juliet, then The Nutcracker and finally Swan Lake.

Swan Lake was first performed in Moscow at the Bolshoi Theatre in 1877 and in this production, Varna have shortened it to just over two hours, condensed into two acts.

In many ways it is a safe choice, with Tchaikovsky’s haunting and unforgettable score swirling around the auditorium while the straightforward telling of the story allows both newcomers and seasoned balletomanes enjoy the spectacle. There are no quirky interpretations on offer, allowing the sellout audience to wallow in a faithfully presented story of love and loss.

The basic love story features young Prince Siegfried (Vittorio Scole) and Odette who is transformed into the White Swan (Martina Prefetto). The Black Swan Odile (often played by the same soloist, but in this case by Mara Slvaggio) is conjured up by the evil Baron Von Rothbart (Konsta Roos) to seduce the Prince, ensuring the two young lovers are doomed.

Varna International Ballet, Swan Lake at New Wimbledon Theatre, London – photo: Elliott Franks

This telling dispenses with any intention of the prince and his best friend Benno (the excellent Giacomo Ammazzini) to hunt the swans, and instead starts with the prince reading a book to learn the fairy story about a swan who fell in love with a noble night and had a child, Odette, who later fled the evil sorcerer who killed her parents.

Partly due to the restrictions of such a compact tour, the set is a simple one – and this at times detracts from the beauty of the dance. An animated projected backdrop changes from a forest scene to a moon-lit lake with glistening water and serves as a way of telling the story rather than adorning the set.

What does not disappoint is the ability of the performers themselves. Both Odette and Odile are stupendous, spinning with both grace and a dizzying effortlessness. Siegfried himself is commanding, and matches both Odette and Odile for grace in their pas de deux. His acrobatic leaps, spins and wide-eyed innocence are a perfect study.

Varna International Ballet in rehearsal – photo: Elliott Franks

As so often in Swan Lake, the highlight is the arrival of the cygnets, their precision and quick-fire pas de chat bringing yells of approval.

The final defining moments are full of dramatic flow and imagery, with the forsaken Odette surrounded by the Black Swan Corps de ballet and shrinking into herself. The version on offer follows the (spoiler alert) happy ending, and when she responds to Siegfried’s attempts to comfort her and consigning the evil Von Rothbart to his fate, the performance is complete.

There are some very traditional, almost old-fashioned elements to the show, including frequent breaking out of character to bow to the audience, and along with the clumsy representation of the Jesters and primitive backdrop, it doesn’t quite have the impact that the dancing deserves.

However, who can resist the score and the amazing technique from the young performers? The appreciative audience roar their approval, and I expect audiences on the tour will do likewise.

For all upcoming events at Bristol Hippodrome, visit www.atgtickets.com.

All photos: Elliot Franks for Varna International Ballet

Read next:

• Review: Birmingham City Ballet – The Swan Lake, Bristol Hippodrome – ‘Surpassed my wildest expectations’
• Review: Edward Scissorhands, Bristol Hippodrome – ‘Haunting, funny, evocative – it’s Matthew Bourne at his enchanting best’
• Review: The Nutcracker, Bristol Hippodrome – ‘A riotously kitsch fantasy show’