Hi, I'm new to this forum and I know this is quite an old thread but I read it's okay to reply This topic is of great interest to me as yesterday my DVD of Giselle arrived in the post. The dancers are Galina Mezentseva and Konstantin Zaklinsky.
I purchased this DVD because I have a weakness for the older versions, and particularly for the Russians. I had read various comments about Mezentseva's interpretation, some praising, others highly critical. But I also own The Children of Theatre Street, in which the famous Swan Lake pas de deux is danced by GM and KZ. Both dancers were young but there was already something rare and beautiful. I admit I felt Mezentseva lacked expression facially, but her body said so much.
I have only seen Giselle live once, performed by the ST Petersburg Ballet Theatre, with Irina Kolesnikova dancing Giselle. Simply her entrance brought me to tears-although this was the first time I saw russian ballet and it was an overwhelming experience. Kolesnikova's acting abilities are incredible, not to mention her flawless technique. I know the company will be selling a DVD shortly, which I intend to buy. But I was still intrigued with Mezentseva so as soon as I found a version of her Giselle I bought it without hesitation. And, after watching, without regret.
I understand why some people do not find her physically beautiful; she does not conform to the normal features of a Kirov ballerina, despite the long, long limbs and delicate thinness. I have read in this post that some considered her stiff, not flexible. Firstly I myself cannot relate to this; her back is beautifully supple, as are her arms, feet and legs. As for fluidity, this comes down to interpretation. The russians are famous for their 'singing' quality (which Kolesnikova has in abundance), but there are other qualities to appreciate. I was saddened by the comments reffering to her tears in the mad scene. Ballet is an art and little about it is natural, but how distant should it become before no one can relate to it? Tears are the most recognised form of sorrow-an emotion Giselle is pained by. The mad scene is probably one of the most challenging scenes for dancers, not just dramatically, but because audiences have come to expect so much. Giselle allows for more interpretation than say, Sleeping beauty (IMO), and yet ballet audiences want to see the best. Different, more daring interpretations may cause confusion and dislike-not because they are wrong, but because they are new. As others have said, I think Mezentseva was different.
In Act 2, I was awe struck by Tatiana Terekhova's Myrtha. But this did not make Mezentseva's Giselle any less credit worthy. One thing about her which I found haunting was her arms. Long and thin, trained in the purest Russian technique, I found them more expansive, more expressive than words. Even her fingers would direct my gaze to where she intended, and this is simply on DVD. She commanded the stage and I recognised her tragedy....her love for Albrecht. I always think they fall inlove too quickly, but ballet is ballet and Giselle is even more than that.
To those who do not like Mezentseva, your views are what makes ballet so interesting. I love how some dancers can be both adored and disliked-it exemplifies what we call art.
