A while back, Ann Althouse asked the question “why don’t we eat swans anymore?”:
And it’s not because they don’t taste pretty darn good:
“If you want to know how it tastes, it’s “delicious ”” deep red, lean, lightly gamey, moist, and succulent.”
My answer to the question is that we don’t eat swans anymore because they’re too pretty, they dance too well, and they ask you not to shoot them (I was unable to format the following video so that it started at the proper point, which is around 3:45, but I suggest you start watching there, and fullscreen mode might be best):
Makarova was a magical Odette, and Nagy a wonderful prince and partner, and I had the great good fortune to see them dance in this very production many times. This pas de deux in the second act of “Swan Lake” is a brilliant exploration of the ballet’s themes of fear, flight, dawning trust, and loving surrender. Note, for example, the subtle part where the Prince goes around Odette as he tries to catch her as she tries to escape (around 5:00). I’ve never seen a prince do it better than Nagy does it here.
But there’s a common misconception about Odette, the Swan Queen, one that I’m exploiting in this post. People believe she’s a swan, but she is not a swan. She is a woman under a spell that makes her a swan by day and then allows her to turn back again to a woman by night, albeit a woman who retains some of her swannish (as opposed to swinish) nature. It is by night that she and Prince Siegried meet, so PETA can’t complain.
Some of the role’s great practitioners emphasize the woman aspect of Odette somewhat at the expense of the swan—Margot Fonteyn (fourth act pas de deux here with Nureyev), and Galina Ulanova (second act pas de deux here). Some do the opposite, and are much more swan than woman. Natalia Makarova, shown in the above clip, was wonderful for many reasons, but one of the reasons is that she gave equal measure to both swan and woman, becoming a sort of chimera of the two.
[NOTE: Here’s a previous post featuring clips of one of my absolute favorite moments in the entire ballet, the instant when Odette changes from woman back to swan.]

