Aroldingen has the height, angularity, and -- as I've said -- cheek bones for the Siren, but seems to be contriving her performance directly from a detailed set of detailed instructions about steps, positioning of arms and head, etc. There is little in the way of flow from pose to pose. I felt that I could see her thinking and preparing as she moves from one difficult pose or position to the next, especially during her dance and her seduction of the Prodigal. It struck me as having the quality of a a rehearsal.
All that follows quite naturally from the character, as I see it. I wouldn't agree that it seems like a rehearsal, though, but rather a 'calculated performance', very professional, such as this kind of experienced 'private dancer' would excel in. 'Doesn't do' certain 'affectionate gestures', etc., just keeps to business. The calculation only seems to enhance that attitude.
I've seen it fairly recently, I still like Baryshnikov very much in it. I've never thought of him as all that beautiful in the general sense, although he does look exquisite in this video. I think that the more beautiful the Prodigal looks, at least if he's smallish like Baryshnikov, the more touching--rather difficult to see Marcelo Gomes doing this part, isn't it? It's hard to see him taken in by her. I found him very effective here, although in 2004 I like Peter Boal a lot too.
I ask again. Did Farrell ever do the Siren? If not, I don't know why not. She could have done an amazing Siren.