On the 20th of October the RB opened its new season with the 13 years old production of Swan lake. Outside the theatre the posters were all showing the two French stars Guillem and Le Riche in Marguerite and Armand: but wasn't it the event of the previous season? Anyway inside it was packed with celebrities of the British ballet world so I sat with very high expectations. When the courtain went up I thought I was looking at a different ballet, maybe Nutcracker. But then I decided to be openminded and consider the possibility to see something unusual: many bright colours, a crowd of supers and a lot of realism. Siegfried's entrance let me with mixed feelings: I hate dancers wearing dark tights (only pale ones allow a perfect detection of the footwork). The overcoat must look ridiculous on a dancer less tall than Bolle and the same can be said of the silver belt and the silver stripes on the boots which cut the figure in three segments. Luckily Bolle has a body who can afford such offences. The pas de trois was superb. Hatley, Revie and Persson enlightened the choreography and I was left in awe especially by Revie's amazing footwork. I just started complaining about the lack of space on the stage. But then the first accident arrived. There was one ribbon missing in the pole in the middle of the scene so that a couple had to dance the waltz awkwardly. In the meanwhile Siegfried had only a short solo and a lot of drinking: maybe he was going to perform Lescaut's role? The arrival of the swans had no poetry, there was no reason for the abrupt change from realism to supernatural. Bussel's entrance was wonderful: with her large dancing she was both queen and swan. The pas de deux was sparkling, the first thought in one's mind being: Bussell and Bolle should always dance together. The same feelings were created by the the adagio in the 3rd act, while the variations looked flat and the coda even scaled down. My mood at that point was rather low and I thought: is all that? When I saw Bolle in the Black swan pdd one year ago in Florence he had thrilled me with the perfection of his performance, even if his partner wasn't good, and I couldn't believe that that evening wasn't equalled if not surpassed. Anyway the lowest note had yet to come. In the 4th act the difference between the costumes of the corps de ballet and the queen made Siegfried's quest for his love meaningless. The final pdd was marred by a strange choice of the music and a misunderstanding in a lift. I was disappointed and for another whole season there will be no chance to see this partnership stretched to its full possibilities.