Russian Grace Meets Malaysian Stage

KUALA LUMPUR – Few works in classical ballet command the reverence of Swan Lake. Nearly 150 years after its 1877 premiere at Moscow's Bolshoi Theatre Tchaikovsky's masterpiece has endured, reimagined countless times across the world. A debut once deemed a failure for its noise and clumsy choreography, in 2025 is not just a ballet but a return to grace and timeless tragedy.

Swan Lake Act III pas de deux featuring Oksana Bondareva and Ivan Sitnikov-Koginov. (Source: Cheah Chee Wai Ipoh & Crescendo Asia)

Presented by Creschendo Asia and performed by the Saint Petersburg National Ballet Theatre, Swan Lake’s recent Malaysian encore was both a testament to the power of tradition and a spark of curiosity. Director Dimitri Montalto, in a press statement, described the encore tour as "for everyone who loved the magic the first time – and for those about to fall in love with it for the very first time." That statement perfectly captures the night's energy: a reverent celebration of classical beauty, rediscovered anew.

When the curtain rose and the familiar notes of Tchaikovsky’s overture filled the hall, time seemed to hold its breath. The production, led by former Mariinsky Theatre stars Oksana Bondareva and Ivan Sitnikov-Koginov, transported audiences into a world of moonlit enchantment, built on precision and centuries of artistic inheritance.

Bondareva's Odette was mesmerising, her movements delicate, every gesture embodying fragility and longing. As Odile, she was a mirror reversed: dynamic and seductive. Sitnikov-Koginov's Siegfried matched her poise with quiet vulnerability; his despair not theatrical but deeply human. Together, their partnership exemplified why Swan Lake has become the ultimate test of a dancer’s emotional and technical mastery. 

The corps de ballet, especially during the Dance of the Little Swans, delivered an exquisite display of unity and control; a rare moment when individual dancers seem to disappear, moving as one living organism. The lighting, awash in silvers and blues, and the carefully layered smoke effects created a dreamlike lake that shimmered between worlds.

For many in the audience, the production was their first encounter with ballet on such an international scale. Former dancer Aliya described how the performance's precision and artistry "inspire others to pursue their dreams, because art isn't easy– it takes real dedication." Her words cut to the heart of what makes ballet both fascinating and fragile: it demands everything, yet rarely receives the same level of recognition or support, especially in Malaysia.

Swan Lake Act IV: featuring Ivan Sitnikov-Koginov as Prince Siegfried. (Source: Cheah Chee Wai Ipoh & Crescendo Asia)

A group of English literature students from Sunway University, Genevieve, Humaira, Sarah, and Elly, attended out of curiosity and academic interest. "As literature students, we're familiar with Shakespeare, but we wanted to experience art in its purest form." Genevieve shared. For Elly, who had previously seen a local performance, the Russian production offered a revealing contrast:" Local shows incorporate Malay culture, which is beautiful, but seeing an international ballet like this opened my eyes to a whole different form."

Their reactions raise an important question — if international ballet can mesmerise audiences here, why do we see so few homegrown productions reaching similar heights?

Fareez Siwa, a graphic designer and a first-time viewer, offered a more critical lens. While praising the principal dancers, he found some ensemble scenes "a bit loose" and rated the overall experience a "6.5 out of 10." Yet, even he acknowledged the significance of such performances in Malaysia’s multicultural arts landscape: "It's good to have different art forms here. Russian ballet companies have been doing this for so long; they’re like the OGs. We can learn from them."

And perhaps that is the point. Swan Lake's stop in Malaysia is not just a spectacle to be admired, but a lesson in what consistent investment, infrastructure, and artistic culture can build over generations. Ballet in Russia is not just performance; it's national heritage. Meanwhile, in Malaysia, talented dancers often find themselves constrained by limited opportunities, underfunded training spaces, and audiences unfamiliar with the artform.

Swan Lake Act IV: featuring Ivan Sitnikov-Koginov as Prince Siegfried, and Oksana Bondareva as Odette. (Source: Cheah Chee Wai Ipoh & Crescendo Asia)