Reviews of the Mariinsky Ballet in "Swan Lake."
Even if western audiences are apt to jib at certain elements of Konstantin Sergeyev's 1950 production – the Soviet-imposed happy ending, the relentlessly perky jester – this is a Swan Lake that allows the lyric sweep of Tchaikovsky's music and the poetic nuances of the Petipa-Ivanov choreography to take centre stage.
There’s a changing of the guard at the Mariinsky Ballet. In this London summer season, the celebrated St Petersburg company is promoting its young artists, showing off a new generation of Swan Queens and princes alongside the established stars. On the first night of Swan Lake, first soloist Oxana Skorik was distinctive but not yet secure as Odette-Odile.
The Financial Times
There is, in this continuing life of Swan Lake, something vitally true about St Peterburg’s ballet which speaks of the city’s formal grace, its grand yet harmonious aspect, and the aristocratic lineage of its dancers. So, on Friday night, it took the Covent Garden stage in splendour. An impeccable legion of swans. The dances of the first scene shaped with an unfailing elegance. A Siegfried (Timur Askerov) of quietly dignified presence, of commanding technical resource, of dramatic sincerity. And an Odette/Odile from Oxana Skorik of fine-drawn beauty. She possesses exquisite line – eloquent for Odette; dazzling for Odile – and an intriguing air of mystery, of an inner passion. I thought her fascinating.
The Evening Standard
You can see why the Russians saw potential: the long elegant limbs, handsome face, natural sense of line; he certainly looks like a prince (whatever that means — not Wills or Harry). He’s good, but he’s not yet the finished article.