Posted 19 May 2007 - 06:02 AM
Last but not least, the Orchestra was very good. I've heard SF Ballet's and NYC Ballet's orchestras this year and I'd have to say Boston's was better. It sounds strange to say, but they played in tune and followed the conductor who followed the dancers. Too many orchestras (maybe it's the conductors) seem to plod along like there's no ballet on the stage behind them. I really felt that the orchestra was at the service of the ballet that night. Bravo to conductor Jonathan McPhee.
Oh, the house was almost full too. That's great news for ballet in Boston!
Posted 19 May 2007 - 09:53 AM
I saw Feijoo in 1999 when she toured with Ballet Nacional de Cuba, and she is my favorite Giselle of those I've seen live. I'd love to see her again, after she's had eight more years of experience in the role.
Posted 19 May 2007 - 11:43 AM
Reyneris Reyes in the peasant pas de deux was great. I actually heard a few people around me gasp at some of his leaps. The audience was very enthusiastic in general--there was much applause and (positive) shouting throughout the ballet.
The sets were just beautiful, and most of the costumes were as well--except for those of some of the peasants which were, well, too orange for me. The set for the second act was marvelously eerie, and I loved the part near the beginning with one Wili, then another, and perhaps another, dancing across the back as though a vision. One in particular--I wish I knew who she was--seemed to float the whole way across.
This staging ended the first act in an interesting way I'll describe for the sake of comparison. When Giselle dies, Albrecht seems to realize what he's done and tries to go to her. But Wilfrid won't let him, and leads him away, and they disappear on the path that leads to the back of the stage. A few moments later, just as the curtain starts to come down, Albrecht suddenly runs back towards Giselle and stands a little ways away, looking on, grief-stricken. Wilfrid follows, slightly behind Albrecht, one arm outstretched, still trying to persuade him to leave although knowing it's not that simple.
Overall, I really enjoyed the production, and I heard similar audience comments on the way out. (Although one man, noticing a poster in the lobby, exclaimed, "Ooh, when is Riverdance coming?"
Posted 20 May 2007 - 04:27 PM
Posted 21 May 2007 - 04:26 AM
The man sitting next to us wiped tears from his eyes as the ballet came to an end. It was a very affecting performance.
Yuri Yanowsky was a worthy partner. I especially liked the expression on his face in Act I when Giselle and the Princess learn about each other.
Posted 23 May 2007 - 01:07 AM
Posted 23 May 2007 - 02:19 PM
And in Act 2... very tight very fast en dehors pirouette en attitude when 'released from the grave' and superb elevation/ballon afterwards. And while that Romantic soft-roundness wasn't always emphasized, it was still visible. But what I was overjoyed to see was that FINALLY, she (and Yanovsky) timed the pique arabesque lifts in the Grand Pas like Gelsey and Baryshnikov did twenty years ago--on the LONG note reaching out and stretching the line. Mischa & Gelsey also did a low/long lift on that note, but Feijoo's glorious extension was almost the same effect.
Myrta--always a strong character and dancer was danced/portrayed that way effectively...BUT needs to work on Romantic technique which was really missing; it was a much too Classical style: all up & out, not down/round/in.
I greatly preferred the sets, costumes, lighting in BB's Act 1 versus ABT's. It looked like an amber lit woodland village during harvest time even without German castles in background. And I liked all that pumpkin/burnt orange vs. what I call the "popsickle/creamsickle pink-oranges" that somehow got mixed into ABT's pale green/blues--noticed same color-blind costuming errors appeared in ABT's S.L. but hopefully won't in S.B..
BB's Act 2 was more murkily lit, but yes, the wilis flitting across the stage behind the scrim did create an effect of ghosts appearing/disappearing. Also having them RISE from their graves through the fog upstage, and Giselle (by elevator?) in the hollow tree behind the gravestone--rather then just entering from the wings--again, really gave the effect of the "undead", not just some country girls in white. I heard one little girl in the next row ask "Are they good ghosts?" Not sure what answer she received, but overall they were good dancers.
The costumes were also those beautiful LONG Romantic skirts, not the shorter ones ABT uses (saving the longer length ones for Les (and La?) Sylphides.) However, I still think ABT's Act2 Albrecht costume is THE best ever created: correct for time period, and rich without being overdone--and of course silver (vs. gold) thread is always better in moonlight.
Yes, I am VERY glad I saw BB's "Giselle" again, and finally saw Lorna dance. I saw Larissa last time they did "Giselle" some years ago. How did Erica Cornejo do?
Posted 23 May 2007 - 02:29 PM
The moments I took away from Feijoo's performance weren't emotional, but physical - but they were stunning. In her Act II coda, she did some ronds de jambes en l'air that fluttered like moth wings - they took your breath away.
Posted 23 May 2007 - 02:46 PM
Posted 23 May 2007 - 03:56 PM
Posted 25 May 2007 - 04:52 AM
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