Daffy1

I think the version she does in the Mikhailovsky version isn't invalid given that I'm pretty sure I have seen other dancers do it too. For example, Nadezhda Gracheva (variation starts at 1:24, hops begin at 2:22). Of course, whether a dancer does it because she simply can't hop or because she feels its adds value artistically might be different things. But if a dancer is all in other respects a fine Giselle than this modification (unlike hopping the whole diagonal on demi-pointe), for me personally, would be acceptable.

What did Kristina Shapran perform with Polinun in Big Ballet 2012 besides Marguerite and Armand? I assume the pieces were all chosen to emphasis her strengths.

I think she danced Manon too? Remember thinking she was a little green for that kind of role (at that point in time) but anyways I think they were all dramatic and/or contemporary pieces.

For a slightly more complete picture of Shapran's Giselle, here is the Act 2 PDD from the same performance. Personally, though the tempi is at various moments too draggy for me (that seems to be a general mariinsky thing when it comes to legato dancing) and though videos are often inaccurate representations, I think Act 2 is a somewhat better fit for her.

Her Giselle on video as compared to say her Juliet (which I felt showed a dancer capable of complexity and nuance rather than just being very very pretty), seems more conventionally shaped. Nothing wrong with that but perhaps in time she will leave a more individual mark )

Shapran has many qualities, consistent hard-hitting technique (the double pirouettes are decent but the hops are a mess) unfortunately is not IMO one of the them.

I thought her a wonderful Juliet and Shyrin on the recent (nov-dec 2015) Japan tour but I also think that dramatic or even more neo-classical roles lie more naturally within her range (as opposed to say strictly classical ones with all its academic rigor).

Still, I would be curious to know how she does with Odette-Odile.