In the fictional realm of Swan Lake – a well-known and beloved ballet composed by Peter Ilyich Tchaikovsky – lurks an evil presence. Despite the fact the main heroine, Odette, takes the form of a white swan during the day, she has a sinister counterpart, Odile. Odile is a creation of Rothbart, the sorcerer who cast a spell on Odette and turned her into a swan. During the course of the ballet, Prince Siegfried falls in love with Odette, but Rothbart tricks Siegfried into pledging his love to Odile. If the audience looks past the naiveté of the prince, they can see how Odile manages to cloud Siegfried’s judgement and blindsides him. The coveted role of Odette/Odile has been portrayed by numerous dancers, and Odile’s character requires a sensual and exotic nature.
One such ballerina who exhibits this exotic nature is Royal Ballet principal, Marianela Nunez. Marianela’s technique is flawless; the precision with which she executes her steps resounds of brilliance. She takes her profession seriously but is also able to convey the role she is carrying. Marianela does not appear to be a natural “bad girl”; rather, if you watch her interviews, she possesses a sweet nature that belies the trickster side of Odile. Marianela portrays beauty and glamor, and with each echappe and soutenu, the audience easily becomes enraptured with the attention Marianela gives to her role. The Royal Ballet has no shortage of stars, and another black swan emerges from the wings of the theater’s curtains…
Natalia Osipova, the firecracker of Russia and guest artist with the Royal Ballet in London, swoops into the scene. Natalia becomes the living embodiment of any of her characters, but especially so in the case of Odile’s persona. She poses in a sensual nature and jumps with startling energy. Her dark features cause her eyes to spark, enthralling the audience. Natalia, like Marianela, has a stellar technique and wraps herself into the character of Odile. Her performance makes you truly believe that she is a seductress attempting to lure the prince away from his beloved Odette. Natalia sells the story and hypnotizes the men and women in the cushioned chairs of the theater. She is the envy of thousands of ballet students; who aspire to become the next Natalia.
Another well-loved and esteemed Odile is Tamara Rojo, artistic director of the English National Ballet. Tamara attacks this role with a sassy and spunky air. She’s not quite as seductive as Marianela or Natalia, but she entices the prince and the audience all the same. Tamara glides through the air and revels in her time as Odile; the maturity and grace of her movements is an inspiration. Her artistry displays a royal quality, and she pulls the viewers into the dance. Tamara’s arms flap in the persona of a swan while her legs and feet remain incredibly strong and balanced. Simply by her essence, Tamara demands the level of respect given to a queen. With her elegance and focus, this ballerina is well-equipped to accomplish the coveted role of Odile.
While thousands of dancers around the world strive to embody Odile, it certainly takes time and talent to come across as sinister and beguiling to the world. Even though it is an act, there needs to be something inside a dancer to successfully pull off this role, something… sneaky. Maybe it’s the desire to be a “bad girl” for a brief moment in time, or having the chance to act rebellious when, typically, good behavior is expected. It is rather fun to set aside the golden girl role for a moment and embrace the evil nature of Odile, perhaps because it is not common for girls or women to be wicked in everyday life. It could also be due to the fact the dancer knows that it is all pretense – a falsehood meant to entertain. Despite the fact, Odile’s character remains mysterious, craved, and appealing.