Giselle: July 11-16, 2005

[carbro]

I think Kronstam's comment about Bournonville's reasoning sums up why it doesn't matter how the dancer portrays Albrecht -- no matter how it's sliced, it an old story of an aristocratic man who misrepresents his station to get what he wants.  If she doesn't die, he doesn't need to express remorse and receive forgiveness . . . 

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Oberon, in the original "Giselle" Bathilde, Wilfrid and the whole hunting party came in, found Albrecht, and took him home.

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Well, this is a stark, stark contrast to the ending of Sylphide, where Anna, Gurn and Effie (now Mrs. Gurn) walk past James! James has lost his chance for a rosy future; Albrecht is transformed and has a shot at happily-ever-after.

[carbro]

carbro..I'm looking forward to hearing about Kent and Carreno 

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Sorry for the delay. My take on closing night.

I've already commented on Liceica and Tidwell's more than pleasant Peasant PdD.

A few words on some other Act I standouts: As FauxPas noted, Karin Ellis-Wentz mimed clearly and acted a strong but very loving mother. When she describes the winged spirits of spurned maidens then turns those pale blue eyes on the audience, we understand her warnings! The role is only as pivotal as the person who fills it, and for the first time in a long time, I saw a Berthe who was an important part of the drama. Also, the Maria Bystrova's Bathilde wearing her aristocratic air most naturally. I thought she felt genuine affection for Giselle, until Albrecht's duplicity was revealed.

Now to the principals. I still don't like Julie's Act I -- a Giselle who died of shyness. The dancing was fine -- hops on pointe solid, and I liked the way she turned her gaze from her mother to Albrecht during that passage. Jose seemed off form. Actually, the form was fine; it was the content that was missing. It pains me to say this, because he's my favorite dancer. His usual passion was not there. I was also thrown in the "outing" scene when, sword in hand, he runs after Hilarion, then does a huge, Bolshoi-style saute in retire. He looked magnificent, but it was out of place.

Julie's Act II was actually much improved over the one I saw her do two years ago. I loved the curved line she, softening her usual angular, modern look. Michele Wiles has also begun to make Myrtha her own, finding interesting, fitting accents, flying assertively through the air. Quiet shoes would have made made all the difference. Shame to do all that beautiful work and have the illusion shattered with every loud landing.

I enjoyed Melissa Thomas' lyrical Moyna. Part's Zulma brought the role to a whole new level for me. It makes me realize that most dancers form their conceptions of their roles as if through language. But dance is a non-verbal form, and Part understands that on an instinctual level, and her process seems not to involve mental verbalization. It's almost animalistic, yet highly, highly civilized.