A
ballet that captures the essence of the Romantic era, performed by a company
that prides itself on traditional performances. 'Classic ballet performed
the way it was intended,' boasts the programme. Yet within this determination
to stick closely to the 1884 alterations to the ballet, there is always
room for interpretation. Albrecht's immediate change of allegiance from
Giselle back to his fiancée and the lack of expression as she begs
him to tell her Hilarion is lying makes the interaction in the second
act all the more poignant. Contrasting with this is the energy of Giselle's
spurned lover.
An
occasionally slightly sluggish performance by the orchestra didn't seem
to hinder the fluidity of movement on the stage. The presentation of a
Giselle more than full of life in Act 1 led the atmosphere of earthy enjoyment.
Credit for stealing the act though must really be given to the perfect
peasant pas de deux.
Not
so in Act 11, where the lines of 'Wilis' in white and the dimmed lighting
created a real feeling of a spirit world. The chorus seemed unreal as
they swayed in support to Hilarion's anguished and fatal dance, then to
Giselle's life-giving dance with her love.
The
St Petersburg Ballet are proof that a performance does not need to be
daring, nor to break radically with tradition to feel vital and passionate.
C.
Robertson
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