A review of "Giselle", St. Petersburg, December 20, 1988

[Ilya]

On the occasion of ABT’s “Giselle” this week, here is my translation of a review from the Sankt Peterburgskie Vedomosti by N.M. Bezobrazov, from December 20, 1888 (yes, it is 1888---I made a mistake in the thread title and would be grateful to the moderators if they can tell me how to correct this error). I find it incredibly interesting. And yes, there are three glaring factual errors in this review—critic’s work was much harder back then, before Google and Wikipedia.

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It is customary to revive the ballet “Giselle” in those cases when the ballet repertory grows thin. This repeats periodically every five-six years. Almost no ballerina has succeeded in escaping this ballet with charming music and dramatic libretto, but according to the current tastes it is outdated. When Emma Bessone was engaged last year, she had to debut in “Giselle” whose mise en scène was refurbished for this ballerina; Ms. Cornalba succeeded in escaping the thankless role of Giselle during the last year’s season, but did not succeed in avoiding it now.

“Giselle” has many virtues. Measured by Adam’s music, it is one of the best ballets, measured by Théophile Gautier’s libretto it is as well, but it does not have anything that is nowadays required of ballet: very few dances, and those that it has are not diverse and are interesting only from the point of view of archiving the old past. “Giselle” was composed more than fifty years ago; choreographic art of that time and of the present day are two completely different things. What enraptured Taglioni’s contemporaries is not satisfying now, after the progress that the choreographic art has made. In the meantime, they stubbornly keep putting on “Giselle” in that very form in which it was staged for Taglioni. These dances are now not sufficient, yet it is not allowed to add anything new to “Giselle”, so that contemporary ballerinas, especially the Italian ones, have next to nothing to do in “Giselle”. It seems to us that, if it is really necessary to put on this antique and dated ballet, all the dances in it need to be staged anew, according to modern tastes. Another circumstance against the revival of “Giselle” is that currently there is no ballerina that is fully suited to this ballet. In the first act, a strong dramatic actress is necessary, whereas in the second, an airy dancer. This combination is rarely met in the same dancer, and that’s why no one can do “Giselle” well.

The last Giselle on our stage was Emma Bessone who danced this ballet during the Spring season. In the first act she was very good. Her expressive face and eloquent eyes gave her all the necessary tools to play the strong mime scenes in the first act; however in the Wili act Emma Bessone left much to be desired. With the current Giselle, Ms. Cornalba, as expected, it was the other way around. In the Wilis she was charming in the dances, epitomizing an unearthly, bodiless being, hardly touching the ground; however, in the first act she was hardly satisfactory. Motionless expression of the face, the same stereotypical smile both in the scenes of joy and in the scenes of despair and madness, made quite a weak impression. In the role of the Wili Ms. Cornalba had an expansive platform to show off her phenomenal ballon, and the strength of her pointework in the variations and solos. The ballerina’s partner, Mr. Gerdt, acted superbly, and danced so well that one can only feel sorry that he very rarely indulges the public with his refined dancing.

Ms. Nikitina tastefully danced with Mr. Karsavin the charming pas tyrolien, and there could not be a better fit than Ms. Johansson for the classical dances of the Wili. The corps de ballet was dancing quite poorly. They did not keep the lines, and every coryphee was improvising something. It would not hurt for the ballet master to take up the corps de ballet and, as they say, tighten it.

[canbelto]

With the current Giselle, Ms. Cornalba, as expected, it was the other way around. In the Wilis she was charming in the dances, epitomizing an unearthly, bodiless being, hardly touching the ground; however, in the first act she was hardly satisfactory. Motionless expression of the face, the same stereotypical smile both in the scenes of joy and in the scenes of despair and madness, made quite a weak impression. In the role of the Wili Ms. Cornalba had an expansive platform to show off her phenomenal ballon, and the strength of her pointework in the variations and solos.

I feel like this line could be written about any number of current Giselle's, but the one that comes to mind immediately is Osipova.

[Drew]

"Motionless expression of the face etc." does not sound like Osipova's Act I Giselle to me.

Thank you Ilya for the translation.

[sandik]

Oh, this is interesting -- many thanks for the posting!

As they say, the only constant is change. How different our perspectives are today.

"Almost no ballerina has succeeded in escaping this ballet with charming music and dramatic libretto, but according to the current tastes it is outdated. When Emma Bessone was engaged last year, she had (emphasis mine) to debut in “Giselle” ... Ms. Cornalba succeeded in escaping the thankless role of Giselle during the last year’s season, but did not succeed in avoiding it now."

But some things seem to stay the same.

"It would not hurt for the ballet master to take up the corps de ballet and, as they say, tighten it."

[alexL]

I think Alina Cojocaru comes close. As someone has said before, she's one of the most spiritual Giselle I've seen. But that's just my opinion!

[MadameP]

Probably the greatest Giselle performance I have seen is that of Olesya Novikova. Her act 1 portrayal of Giselle was wonderful - innocently in love and happy in her life and trust, and seemed to be foreshadowing the fate that was to befall her, with a really chilling mad scene, where she literally see her "seeing" and "hearing" the wills, and seeming to turn into one as death approached, and then terrified when she realised it, and shaking herself out of it. Her act 2 was really airy, with beautiful light jumps, exquisite batterie, exceptional speed in the "just out of the grave" section. Also, she was the Giselle I saw who MOST showed the INhuman part of Giselle in act 2. So many ballerinas show Giselle in act 2 as being overly emotional, yet she is not supposed to be human at this point. Olesya showed a Giselle who is only retains some humanity, but is not yet truly a Wili, - with emphasised poses in the section where she first circles Albrecht, slightly fixed arm positions, eerie expression but still retaining SOME humanity, and then the most wonderful contrast I have ever seen at the tolling of the bell where she realises Albrecht is saved and the most beautiful, peaceful but joyful smile came over her face. Really a MAGNIFICENT Giselle. So touching and beautiful. Novikova has everything for the part. If only she were a principal...

[meunier fan]

I will second MadameP. I saw Novikova dance Giselle with her husband (Sarafanov) with the Mikhailovsky in London a few years ago. She was simply breathtaking ... and beautiful to boot

[Birdsall]

Yes, Novikova is "simply breathtaking" and "touching and beautiful" as meunier fan and Madame P. say. She's terrific in every role she does!!!!