Alberta Ballet's Swan Lake mesmerizes

Alberta Ballet’s world premiere of Swan Lake was an enthralling reminder of why old ballets can still move contemporary hearts.

The doomed love story was grippingly captured, dramatically focused and a loving interpretation of Tchaikovsky’s romantic masterpiece.

Last Friday the company opened its stellar vehicle for a two-day run at Northern Alberta Jubilee Auditorium. And if special nods could be bestowed to a swan, they would go to Mariko Kondo, the principal ballerina for the second of two performances.

An exotic beauty from Hiroshima, Japan who came to Canada to study at the National Ballet, Kondo’s Odette/Odile characterizations were the perfect combination of fragility and strength.

A slender figure with eloquent arms and a technical form that has been a life’s calling, Kondo has the ability to make the audience believe they have stepped into a parallel universe filled with enchantment.

As Odette, the enchanted white swan princess, the delicacy of her pointe work and the serenity of her phrasing was breathtaking in its elegance and loveliness. And as Odile, the manipulative black swan, Kondo’s 32 whipping fouettĂ©s were an exquisite test of stamina that prompted the audience to thunderous applause.

In her doppelganger roles, Kondo’s face mimed every expression from joy and love to fear and despair even as elegantly arched feet, long extensions and pliant body conveyed heaps of emotion.

Alberta Ballet choreographer Kirk Peterson revived the original choreography that Marius Petipa and Lev Ivanov first staged at the St. Petersburg’s Mariinsky Theatre in 1895.

And while men may not always get the opportunity to show off their full range of abilities, Kelly McKinlay – as Prince Siegfried – delivered a powerful, clean technique complemented by an obvious passion for the role. You completely believed his love for the swan princess was an eternal pledge.

Physically his partnering skills were masterful in lifting Kondo, who appeared to float across the forest. Nimble and athletic, the Edmonton-raised McKinlay was also given an opportunity to preen a few crisply executed jetés and some quick turns of his own.

Throughout the four-act ballet, there were many signature performances big and small. David Neal as Von Rothbart, an evil sorcerer decked out in plumage, was deliciously malevolent, and Davidson Jaconello as Benno, Prince Siegfried’s friend, captured the roguish spirit of a man who delights in the company of court maidens.

And former St. Albertan Galien Johnston made a surprise appearance as the Queen Mother. Johnston had retired from the company last year, but was persuaded to return for a character role. And when she swept across the stage in regal attire, there was no doubt this formidable woman could tyrannize the hardiest courtier.

But the bedrock of this classical story was the corps de ballet, a collective expression crucial to the story. At one point there was a peerless rank of 18 swans on stage.

Every arm displayed the same ethereal line from shoulder to fingertip, every neck was identically poised and every arabesque was extended at the same height. The effect was unforgettable.

Special kudos to costume and set designer Peter Cazalet for creating an ambience similar to the classical Russian specialists, and for music director Peter Dala and the Edmonton Symphony Orchestra for a touching interpretation of Tchaikovsky’s poignant score.

As the last note died down, the audience jumped to a boisterous ovation. After all, it’s not often you are reacquainted with one of the world’s most cherished ballets.