The stunning choreography of David Nixon and the powerful music of Tchaikovsky create a brilliant platform for the talents of central Ohio’s premier dance institution, BalletMet Columbus, as the company begins its 2004-05 season with Swan Lake.

Created by Nixon, former BalletMet artistic director, in 2000, this version of Swan Lake — which opened last night at the Ohio Theatre — remains true to the heart of the story but builds on the traditions of classical ballet to give it added depth. The twists and turns of the plot are clear and easy to follow, the choreography is intricate yet advances the story, and the characterizations are strong and consistent.

By ballet’s end, as the famous theme of Odette pours forth from the orchestra one last time, it is impossible not to be moved by the impact of the tragedy.

High marks go to Yoko Ichino, who set the choreography on the company in this reprise. A former Joffrey Ballet and American Ballet Theatre dancer (as well as Mrs. Nixon), Ichino has a gift for meaningful detail and expressiveness, which she has bountifully imparted to the dancers. In general, the company’s grasp of classical technique and style reaches a pinnacle in this production.

Nixon’s Swan Lake has two important female roles, Odette and Odile, and three important male roles, Prince Siegfried, Count von Rothbart and Benno.

The floating, endlessly expressive arms of Jamie Dee make her portrayal of Odette, the Swan Queen, exceptionally believable and beautiful. And her careful execution of each step underscores Odette’s shy fragility.

Carrie West brings the flirtatious, duplicitous Odile to life and dances brilliantly in this flamboyant, virtuosic role.

The Prince, though the male lead, dances the least in this production, yet Daryl Brandwood made the most of every phrase.

Dmitri Suslov, as Benno, the Prince’s confidant, is dancing better than ever, in spite of several recent injuries, and always projects that wonderful air of confidence that seems to be the natural equipment of Bolshoi dancers.

Jimmy Orrante, BalletMet’s favorite villain, weaves many spells as Rothbart, not the least from his own strong dancing.

The Dance of the Four Little Swans is often a big hit, and it did not disappoint last night. The character dances in the ballroom scene were given added spice by romantic intrigue and strong national flavor.

Set in autumn, the first-act hunting party is beautifully outfitted and colorful against the gorgeous fall scenery.

Some observers have written that this ballet, at its essence, is really about Odette and that the swans represent the soul of Russia. Tchaikovsky’s score suggests as much because he reserves his mostpoignant, and most-Russian, music for the swans.

The Columbus Symphony Orchestra, conducted by Gary Sheldon, also was in fine form last night. Tchaikovsky’s score challenges in its many important solos for virtuoso violin, harp and the principal woodwinds. The music was beautifully realized, with a true partnership developing between the orchestra and the dancers.

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