If you are willing to subscribe to THE AUSTRALIAN you can find a review here. (I only read the one paragraph that was free access.)
September 4, 2014 Thursday
Swan's maiden flight brings joy to the heart
BYLINE: Deborah Jones
LENGTH: 463 words
DANCE Swan Lake.
American Ballet Theatre, Lyric Theatre, Brisbane, September 3
IT'S always a big deal when a dancer makes her debut as Odette-Odile in Swan Lake. It's a bigger deal when that dancer is Misty Copeland, the first African-American in American Ballet Theatre's 75-year history to be cast as Odette. It shouldn't be so, but it is. Copeland, 31, has waited a long time for this. She has earned it, and yesterday claimed it.
No matter what the role, deep within every dancer's body are aspects of the story she is telling. They are an inextricable part of it. Copeland is tiny, but strong and womanly. She is not frail. Her Odette, then, instantly reminds one that swans are birds of considerable power as well as grace. Although she has been made a captive, she is not a victim. We are reminded, too, that Odette is not just a swan. She is the Swan Queen. Copeland's opening scene (apart from the brief prologue showing how Von Rothbart tricked Odette and enslaved her) was therefore individual, although a little too largely played on this first outing. But in her magisterial arms and shoulders, so evocative of a magnificent creature's wingspan, there is much promise. Already one could see Copeland had a clear and personal idea of Odette's character.
The pas de deux that followed was ravishing. The first slow section was expressed as if one long tender sigh and the rapport between Copeland and her Prince Siegfried - Alexandre Hammoudi also making a role debut - was electrifying. Hammoudi undoubtedly would have wanted to dance more cleanly than he did yesterday but his partnering and his connection with Copeland were tremendously satisfying.
Given Copeland's gifts, Odile would seem to hold no terrors for Copeland. Indeed not. Her dominion was amply demonstrated in a technical sense, but it was the little details that were so enjoyable: the avian stretches of the neck, the seductive expression, the sparkling eyes and, to top it off, the brief but super-sexy stroking of Siegfried's chest that clinched the deal between them.
A short time later Copeland reappeared as Odette, as in Kevin McKenzie's production the action shifts immediately from Act III's ballroom to the lakeside Act IV. At this season's opening night last week I found the denouement far too rushed, but Copeland and Hammoudi seemed to stretch time and were profoundly moving. The audience stood and cheered lustily, and rightly.
This was unfortunately Copeland's only Odette in Brisbane but it was enough to make the heart burst with joy.Tonight is the final performance of Swan Lake in ABT's Brisbane season, starring Paloma Herrera. Four performances of the triple bill Three Masterpieces begin tomorrow. Copeland is scheduled to appear in Twyla Tharp's Bach Partita tomorrow and Saturday night.