Just weeks after Akram Khan’s modern take on Giselle stunned audiences at the London Coliseum, a more traditional version of the great romantic ballet is back on stage at the Royal Opera House. This production, first staged by Sir Peter Wright for the Royal Ballet back in 1985, holds no surprises but gives opportunities for the entire company to shine.
On opening night, the tragic heroine was danced by Marianela Nunez. Cheers, along with applause, greeted her first appearance, and though now in her early forties, she still managed to convey a youthful innocence and freshness. Her elevation is superb and she was well-matched with William Bracewell making his debut as the duplicitous Albrecht. When he swears he loves her – always an ominous sign in ballet – we know it isn’t going to end well.
Act I concludes with the famous mad scene – Nunez was utterly heartbreaking but Bracewell seemed a little muted in his response to her breakdown. His partnering is magnificent and given time, he will grow into the role and expand the acting to equal his already outstanding dancing (those balances!).
The corps de ballet were on good form, criss-crossing the stage in the pretty peasant dances and showing real involvement in bringing the story to life. They have been finely schooled in the romantic style: arms are softer, more rounded, and legs do not shoot up high around the ears – Giselle made its first appearance long before classical ballets such Swan Lake or Sleeping Beauty, and the different technique is very evident.
The golden, earthy hues of the autumnal countryside in Act I are replaced in Act II by an eerie forest glade, shrouded in mist as the Wilis – young maidens jilted before their wedding day – arise from their graves and dance to death any unlucky man who crosses their path. Led by Myrtha, their Queen, the ghostly corps were superb, moving in unison and looking both beautiful and terrifying. Myrtha was danced by Claire Calvert, on fine firm with outstanding jetés as she traversed the huge Opera House stage with ease. She also brought – and I have never seen this before – a touch of vulnerability to the role, making her seem less one dimensional than is often the case. It made me want to know what Myrtha’s backstory was, and how she had ended up leading the Wilis.
Nunez’s dancing in Act II was creamy soft, with meltingly beautiful port de bras, allowing her to show real forgiveness to Albrecht. Praise must go to Lukas B. Braendsrod for portraying a menacing Hilarion – his height made him look like he would make mincemeat out of Albrecht, given half the chance.
This run of performances features several debuts in a variety of roles, so it will be good to see young dancers seize the opportunities that this particular production affords.
I do have one minor quibble: do we really need a trigger warning that this ballet deals with mental health issues? Whatever next – a warning to be careful if you have any spindles at home when coming to see Sleeping Beauty? I can understand warnings before MacMillan ballets (all the sex, suicides and drug abuse) but I believe anyone can watch Giselle in complete safety.
Royal Ballet
Royal Opera House
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