Standing ovation to the promising (young) ballerina, Ye Fei-fei, who captured us wholeheartedly with the famous regular 32 fuettes in Act 3. As Odile, she had pinned the famous 32 fuettes (spinning like a top with her one-foot en pointe) coupled with invigorating movements. As in the same way, here comes my heartfelt salutation to the other emerging ballerina, Wu Fei-fei. As Odette, she possessed the picture perfect technique to be able to reach the yielding and challenging travels with grace and discipline.
More often than, both the roles of the Black and White Swans have been played by the same ballerina; ever since the successful full-length debut of Swan Lake in St. Petersburg (1895), with the legendary Italian ballerina, Pierina Legnani, who also commissioned the 32 fuettes into the character of the Black Swan and thereby laid the archetype for succeeding productions.
Before the commencing of Swan Lake's afternoon matinee, we had a laissez-faire pre-performance talk led by the Director of Education and Outreach, Ms. Shirley Loong, from the Hong Kong Ballet. A respectable opportunity given to the young artists (in the company) to perform in the lead, we were introduced briefly to the different cast lists, especially with two ballerinas sharing the roles of Odette (Wu Fei-fei) and Odile (Ye Fei-fei).
Another noteworthy reference to the scene-setting activities of the group work with seamlessly unanimity applauded the Corps de ballet amongst the white swans, remarkably in Act 2 and Act 4 during their appearance before the Queen Swan (Odette). Perfectly coordinated to the lyrical and melodramatic composition by Tchaikovsky, festooned with the grand sets and bravura garbs designed by Peter Farmer, this classical production of the full-length ballet harvested critical respects. Swan Lake, the timeless classic of all classics, substantiated as an all-time favourite in the classical ballet realm; encircling the aspirations of many potential ballerinas to be.
「看舞‧析舞‧論舞——舞蹈賞析及評論寫作計劃」由國際演藝評論家協會（香港分會）和香港舞蹈聯盟合辦及統籌。
本網站內一切內容之版權均屬國際演藝評論家協會（香港分會）及原作者所有，未經本會及/或原作者書面同意，不得轉載。