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Siegfried touches her cautiously when she steps in to partner with him. After a turn, she immobilizes her body by holding her wrists that stretch out in a V-shape. It is so fragile that this bond they have established; it’s all about trust. And throughout, the beautiful pantomime, simple yet clear, adds to the dance a rare kind of poetic courage and urgency. When Odette crosses her wrists in front of her body, it signifies death and is not ethereal about it. No gray lines. Death means death.
Of course, Odette loses her faith in Siegfried after meeting Von Rothbart’s deceitful daughter, Odile, on the ball stage. Here, Ratmansky strays from the black swan image—Odile’s dark hairless gown is bathed in hues of green and purple like an iridescent fish dipped in glitter. (The idea is true, but it looked a little cheap.) Siegfried is taken aback by her resemblance to Odette and begs him to marry her, which of course is the wrong move.
As Odette, Carranza was talented, if a little vague, and her Odile was not glamorous. But it was still fascinating to watch the development of the choreography, including a pose in the pas de deux where Cerdeiro kneels before him and extends his leg in an arabesque. She suddenly let go of his hands and she placed her hand on her front knee. She was so weird, yet it made sense. In a way, this is part of her seduction: Odile forcibly knocks Siegfried down.
But the strength of Ratmansky’s “Swan Lake” lies in its use of groups. The Act 1 peasant waltz, in which dancers ascend and descend on footstools with their arms up and down, is the most exhilarating thing you’ll ever see, until a few moments later a pole stands up and layers of dancers spin around it to form one. human carousel. The pictures they create are very cheerful, very sweet. Part of that has to do with how warm and graceful these Miami City Ballet dancers are. As George Balanchine once said, dancing Tchaikovsky’s ballets is like flying. they fly.
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