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Giselle- Spring 09 Season


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I saw last night's Giselle with Vishneva/Corella.

Diana was absolutely beautiful! There were times that she just made me stop breathing. I remember reading somewhere that she practiced Giselle's entrance at leat 500 times before she felt that she got it right. She didn't just dance Giselle - she was Giselle. Every movement - even when she was just standing on stage was poetry.

Angel was good. I saw Diana and Angel back in 2006 and I thought he danced the part better three years ago, but he was still a very good Albrecht. He looks really wild on his spins this season.

I agree with everyone else - I did not like Michele Wiles either. This is the second or third time that I have seen her as Myrtha. I prefer Gillian Murphy (who I saw back in 2005) among the ABT Myrthas that I have seen. (I wish I could see Veronika Part as Myrtha.) Outside of ABT, I liked Sofiane Sylve, who I saw last November with the San Francisco Ballet at the Kennedy Center in DC.

I always dread the Peasant Pas de Deux. Why? The first time I saw Giselle was back in 2005 with Julie Kent and Julio Bocca. The Peasant Pas de Deux was performed by Herman Cornejo and Xiomara Reyes. It was magnificent. Since then, every Peasant Pas de Deux has let me down. But last night - WOW! Daniil Simkin and Sarah Lane were fantastic.

The Wili Corps was much, much improved from past years.

But - I will say it again - I LOVE DIANA!!!!

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I so look forward to your complete impression of Ricetto's Giselle. I heard from my son (ABT corp member) that she was flawless. This is one performance I this season that I dearly regret missing.

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I'll try and write more later (especially if no one else reports, or if their opinions were significantly different than mine) as I have almost no connection now but WHAT a pleasant surprise today's matinee with Ricetto and Hallberg was! For those who do like a traditional Giselle, Ricetto certainly filled the bill--and this was only her second go at it, I for one look forward to seeing her grow in this, and I would not have counted myself as an enthusiast (I got the ticket back when this was still billed as Hallberg/Abrerra).

In fact with the exception of Lopez in the peasant pas this all corps and soloist cast (excepting David) hit it out of the ballpark.

Also, kudos to Ricetto for extreme graciousness. Forget giving your partner a rose, she gave David the whole bouquet :wink::) :)

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Isaac Stappas bungled key blocking (blowing the hunting horn in Act I) and seemed unfocused in his acting. Some good dancing and less business with props saved him in Act II.
I'm surprised by this because I've always enjoyed Stappas as Hilarion. I always enjoy his engaging, thoughtful performances.

I enjoyed Ricceto's dancing in the peasant pas de deux Monday night and would have liked to have seen her dance Giselle today because . Her balances were beautiful. In reference to a comment above, I imagine it must be difficult to develop one's characterization in a role when there are such long periods of time between performances.

I saw Monday's performance and loved Nina and Marcello. I'm sad to see her retire.

I thought Gillian was great as Myrthe. Her bourées are amazing. I probably said this in years past, but I love the way that Gillian rolls through her back at the beginning of several of the phrases in her opening solo. I'm afraid I don't know what the step is called. It's like a reverence at the beginning of some of the phrases, but where other Myrthes do the step, Gillian rolls through her back on the way up, giving the movement an other-worldly quality.

I loved Marcello's acting at the end of the ballet. He collapsed on Giselle's grave and when he got up he looked as if he couldn't tell whether his encounter with Giselle and the Willis was real or a dream.

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I saw Tuesday night's performance with Vishneva, and all I can say is, this is why I watch ballet. :wink:

I had been looking forward to this performance for months; it would be my first time seeing Vishneva in a full-length ballet, and I went in with extremely high expectations. Thankfully, Diana was Diana, simply divine, and she completely surpassed even my sky-high expectations! Wow!

The crowd was certainly appreciative, and I'm not surprised to hear the theater was packed. In fact, outside of the theater when I was waiting for my friends, two people came up to me and if I had extra tickets!

During the curtain call, at least 4 bouquets were thrown at Angel (but none for Diana?!), and during the second one, Angel and Diana came all the way out to the left side of the stage, to the right side, and back to the center to take their bows.

As for the others - this was my fourth ballet of the season, and I count myself lucky that I've seen Daniil Simkin in everyone. He's simply amazing. I enjoyed Stella Abrera very much, but agree that Wiles was not my cup of tea.

I agree with Ceeszi - I love Diana; in fact, since I was so impressed last night, I just changed my vacation plans so that I can be back in NYC in time to see her and Marcelo Gomes in 'Romeo & Juliet.' If it's anywhere as good as their pas de deux was in the opening night gala, I think it should be fabulous!

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Irina's Giselle last night was wonderful.

I thought that having Diana's still in my head would probably make me dislike this performance a bit, but it wasnt like that at all. I would rank Diana's better but Irina danced it very strongly as well.

Part's Mirtha was better than ever, so confident again, much stronger technically.

Her upper body is just majestic, so beautiful jetes !

She has added a lot of details that really make a big difference.

Awasome, not to mention her comanding stage presence and beauty.

I wish she were cast with Diana next year.

Vishneva/Gomes/Part would make just the perfect Giselle :wink:

Lean Underwood caught my attention once again.

She was Zulma, her variation was danced with such power and at the same time so musical.

Her penches were like, wow ! I love how much risks she takes, seems like no fear at all.

Her line also looked beautiful.

I remember she blew me away as a shade in La Bayadere last year and I loved her as

an Odalisque in "Le Corsaire" two weeks ago.

I wonder how old she is and if she is going to have the chance of dancing a soloist part anytime soon. According to abt website she should be pretty young since she is a member of the corp since 2007 (and was an apprentice in 2006). I really love this new girls who have no fear at all and are willing to take big risk so they can caught people's attention. Thats how you go up in the ladder. Brava.

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I saw the Tues. performance. What do I remember? Details and a few differences.

Pppd: Technically was fine, but one reviewer I read somewhere noted that Simkin danced for himself, not his partner. I agree. The partnering was perfunctory. It was there, it was professional, but they weren't a pair. He danced for himself, or at her, NOT with her. And when that happens I just see steps. Regarding Sarah Lane: I don't have a problem with her expressions or her smile because she always looks secure (in her technique) and happy/relaxed to be onstage. So I'm happy and relaxed too.

Diana's technique was secure throughout the performance. I, too, loved her moments of interpretation within the choreography to explore/explain character, such as those pauses in the hops en pointe. I'm not sure I understand the differences everyone noticed in Diana's interpretation in Act 1. I thought it was MORE emotive than previously. This was the first mad scene I've seen in a long while where I thought "the poor girl has truly lost it", not simpy had her heart broken. She would be manic one minute, then collapsed inward and desolate the next, only to rise totally desparate at the end seeking solace, oblivion, escape, release?. What a ride! No wonder everyone was shocked.

Angel's interpretation of Albrecht has changed in the last couple of years, but I would never say "bland". He's always aware of the moment and his partners. And now his Albrecht is less the cad, and more truly involved. I also agree with the poster who described it as "careless not cruel", more heartfelt than heartless. Technically it was clean, but missing the lightness and elevation of previous years. Previously, he tossed off the jetes en attitude in his solo with a nonchalant beauty of form, elevation and speed, but this year I think the technique was more deliberate(d).

ACT2:

DV: I remember the Fabrizio Ferri ABT program book's essay about why Giselle does those arabesque en dehors turns when released from the grave, and Vishneva was the embodiment of those words. I have never seen such speed; an effect outwardly of total release/freedom/abandonment; but inwardly (of course), one of total control of technique. I held my breath, then sighed with relief. Later, I did worry about how much romantic technique I would see in those long arms of hers, but they have softened over the years.

The penche at the beginning of the pdd was perfection because, not only was it slow, it was concentrated, and allowed the rising leg to slowly push her forward. The developes around kneeling Albrecht were exquisite because they were held and not rushed to complete the fouette into arabesques. In the Grand Pdd, she remembered the rounded arms when en promenade, and didn't do the Russians' grand penche arabesque prior to the lifts across the stage (which, because it is "out & down" motion, I think ruins the upward float wanted in that part of the pdd. I guess Nina still did them the night before.) Vishneva's technique was perfection throughout, but some of that was also due to her partner...

AC: Ok previous years the jumps were lighter and higher, maybe further and faster, but overall his technique was still clean, controlled, and recognizably him. I saw no problems with partnering at all in this act. That iconic overhead lift was still timed perfectly (though this time I thought he stood a little too close at the prep) so that Giselle simply floated up and took him with her. Angel was so still beneath her: No extra steps, or tilts, or shifting. Still and perfect, and so was she aloft. Later, she barely touched the floor en pointe before being lifted again in those small develope en avant hops back. In fact, the placement and phrasing of all those low quick lifts, (a killer to the--his--lower back), musically and technically enhanced the effect that his partner was weightless. And finally, for the first time, the Gpdd's arabesques/lifts across the stage were timed similar to the Mischa/Gelsey version I saw 25 years ago and always remembered--the long note was used for the LIFT not the arabesque, so that she barely touched the stage inbetween, again giving the effect of a weightless being gliding across the stage. As to his line: he still uses epaulement and mirroring more than anyone else I know at ABT. Case in point: look at the photo of Marcelo and Nina posted online (from NYTimes?) versus Angel and Nina previously ('07 or '08?).

MW: Michele Wiles is very strong as Myrta, and therein lies some of the problem. It was TOO classical. I kept seeing Odile and Aurora, a pointed scintillated diamond, not a glimmering rounded moonstone. There was little or none of the rounded, circular, inward, downward Romantic technique visible. Just once, I wish someone at ABT would remember when this ballet was conceived and actually incorporate the Romantic technique more into the coaching. The corps were ok; sometimes fine, and then a little ragged at times.

I was happy to see Stella Abrera dance. And Julio Bragado Young.

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Thank you 4mrdncr for your very detailed notes and impressions!

I agree that Diana's arabesque en dehors turns were simply amazing! I've seen a video of her doing those turns in her performance with Marcelo Gomes and the Mariinsky in March, but it seemed like on Tuesday she was even faster and more (seemingly) out of control!

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Re last night's performance (Dvorovenko/Beloserkovsky/Part), I have to agree with Classic Ballet about Leann Underwood. She was beautiful. Those legs are so long! I think of her as very tall, so I was surprised seeing her standing next to Melanie Hamrick, that Underwood isn't really any taller than Hamrick. I guess it's those long long legs and arms, which she uses to beautiful effect. And very musical. "Graceful" is the word that most comes to mind.

I also especially enjoyed the peasant pas de deux with Isabella Boylston and Mikhail Ilyin. Boylston was lovely, and Ilyin was a huge improvement over Lopez in the afternoon performance.

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I went last night to the Hererra - Bolle performance. I enjoyed their Act I together. Paloma did a great job with the hops on toe, and held the final one for a long time. Roberto Bolle seemed to feel the guilt of his deception from the outset. When Giselle's mother relates the story of the wilis, he looked down to the ground in a very sad way. He also looked very upset/guilty when Paloma did the he loves me he loves me not routine with the flower. Throughout the mad scene he had his face buried in his hands as though crying and ashamed of what he had done. Also, during the mad scene when Albrecht is taking Bathtilde's hand and Giselle breaks between them, Roberto Bolle held on to Paloma's hand for a long time. It was a very touching detail. There were numerous instances during the first act where he gently touches her arm or shoulder. He was very romantic in his portrayal. Unfortunately, Act II wasn't as fulfilling as it might have been. To her credit, Hererra has improved in this role since I saw her last year. Her arms and upper body are more fluid. However, I think she still has a long way to go in capturing the upper body fluidity that is need for the role. Despite very fine partnering from Bolle, she simply wasn't ethereal. She can certainly can jump high and turn quickly, but the light, airy quality was lacking. Like his Act I portrayal, Bolle was grief stricken and gult ridden upon his entrance in Act II. His acting in Act II was excellent. He elected to do the entrechat six jumps, and by my husband's count he did 32 (I lost count). They were not as high as Marcelo's on Monday, but they were pretty impressive nonetheless. So, on balance, it was a good performance, but not as satisfying as others I have seen. I'm looking forward to seeing Bolle in other roles this season. by the way, Stappas (Hilarion) managed to blow his horn at the right time last night.

On to Nina-Carreno tonight! In view of the extremely romantic portrayal Bolle gave last night, I am looking forward especially to his Swan Lake w. Part.

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In view of the extremely romantic portrayal Bolle gave last night, I am looking forward especially to his Swan Lake w. Part.

Part and Bolle. Wow. Has it been a more physicaly perfect couple in the whole history of ballet...? I mean, they just look like runway models ! :clapping:

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Going back a few days to Wed matinee. There have been comments about Riccetto but no mention of Hallberg. How was his Albrecht? He seems perfectly suited for the role of the nobleman in disguise.

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Going back a few days to Wed matinee. There have been comments about Riccetto but no mention of Hallberg. How was his Albrecht? He seems perfectly suited for the role of the nobleman in disguise.

Hallberg was perfect. He portrayed Albrecht as being truly in love with Giselle. When Bathilde appeared on the scene, you could see him struggling with his emotions -- stricken, ashamed, barely able to raise his eyes to meet Bathilde's greeting, his heart with Giselle but realizing the hopelessness of the situation. There was a small detail that stuck in my heart -- when he dashed offstage after Giselle's death, distraught, at the very last moment before he disappeared into the wings, his head suddenly was thrown back. It was a dramatic gesture that underlined the intensity of his grief, that even as he rushed away from the scene his grief was growing and was literally tearing him apart, that he was no longer in control of his body.

Going to last night's performance (Ananiashvili/Carreno/Murphy), Isabella Boylston subbed for Maria Riccetto as Moyna (I guess to give Riccetto the night off before the matinee). She was so beautiful. I hate to be fickle and change my "corps favorite" mid-season, and Hee Seo was lovely as Zulma too, but I've been seeing so much of Isabella, and she's doing everything right.

Daniil Simkin and Sarah Lane did peasant pdd. I agree with everything that's been said about Simkin in terms of his dazzle, freshness, and promise. He could relate to his partner in a deeper way, but I'm sure that will come with more experience. Sarah Lane danced well, but I have trouble really warming up to her.

I was thrilled to see Ananiashvili. Carreno was a great partner for her. The curtain call was prolonged. Nina's fans want to say goodbye!

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Hi everyone. As always, thanks for the reviews. I went to see Giselle last night (Ananiashvili/Carreno/Murphy). I am so happy that I went because I thoroughly enjoyed the entire performance but I am also very sad that I won't get to see Nina perform Giselle anymore. It's a shame that there is no DVD available for purchase of her in Giselle. I never get tired of watching the Don Q and Swan Lake films.

Nina danced beautifully in act I. Despite her age, her acting was wonderful and she portrayed a young Giselle very genuinely in my opinion. I always love Nina and never have anything negative to say about her, ever. I really liked Kristi Boone as Bathilde, she is so pretty and elegant. It was nice to see her as Bathilde since I enjoyed her dancing as the Siren alongside Angel Corella two weeks ago. Gennadi is a great actor and his dancing is excellent as well. What I did not like much was the Peasant Pas de Deux for reasons not related to the dancing. Sarah Lane is beautiful and dainty and it surprises me that for someone so tiny she moves very well across the stage and uses her space effectively. Her pirouettes are beautiful and she dances with such ease. I always like her! I felt the opposite about Simkin. It appeared that he over-danced his variation and over-jumped everything. It surprised me that with his super high jumps and extra accentuated beats (especially in the double cabriole) he was able to keep everything under control. At times he seemed kind of wild with the jumping. Besides that, I didn't enjoy him as a partner. As someone had mentioned before, it appeared that he was dancing for himself, and the entire Peasant PDD was about him. Having said that, there were no major partnering errors but there was little connection between him and Lane. I think she would have looked even more beautiful had he presented her more effectively and been more involved as a partner. Enough on that. The mad scene was great! I sat a little too close so I was able to see Nina's expressions very clearly. She is amazing. Something weird was going on with her hair though. Maybe since her hair is normally short she wore a hair piece that looked a little strange. I guess that's what I get for sitting so close. As for Carreno, he was wonderful. I enjoy watching him in all of the full length ballets. He is such a solid and well rounded dancer and he dances so well with Nina. It was evident last night that they really enjoyed dancing together and there was such a great connection throughout the entire ballet.

I liked act 2 better than act 1. Gillian Murphy was spectacular as Myrta in her own way. I can't say that she is a true romantic ballerina but she impressed me in so many other ways. Her jumps were high and her control was excellent. She is so musical and her technique is so impressive to me. I really wish she would change her pointe shoes, so badly. What impressed me the most about her was her portrayal of Myrta. I could almost feel the evil queen coming out of her. Her bourrees were captivating. I am seeing her Swan Lake for the first time in two weeks and I can't wait. I was never a fan until recently and I have no idea why. I always avoided her performances and now I feel like I've missed out. After yesterday, I am officially a fan. Though she could improve her upper body to fit into the romantic style of ballet, I think she dances Myrta much better than Wiles. I saw Wiles as Myrta last season and am not a fan. I absolutely loved the PDD. To me, it was perfect. I was sitting at the edge of my seat soaking up every minute of it. Nina was in a zone. I don't have much to say about the corps because I didn't really pay attention to them because I was too focused on Nina and Jose. The lines looked a little sloppy but I sat too close and didn't have a full view of them in action. Hee Seo was beautiful and I hope to see more of her in the upcoming years. She floated around so delicately. I guess that's all I can think of. Oh one more thing, it appeared that Nina almost tripped on her grave while exiting the stage and it totally freaked me out. Did anyone else notice that? The audience went wild at the end and Nina got many curtain calls, which she definitely deserved. Many flowers where thrown on to the stage and cameras were flashing. I stayed until the very end because I didn't want it to end! All in all, it was the best performance I've been to all year (ABT and NYCB).

I hope to read what others thought of this performance.

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I was there last night too—apologies for being longwinded, I'll probably split posts...

About the Peasant pdd

I find Giselle the most perfect dramatic ballet, with no narrative interruption, IF the peasant couple acts as if they are in love. Then, there is a wonderful dramatic contrast between their sunny, uncomplicated love of equals and Giselle's doomed mismatch. Simkin's own dancing was spectacular (over-the-top and pulling it off), but he did a disservice to the narrative flow of the act and to Lane. Standard promenades and pirouettes had off timing where her lovely positions were not allowed to flower, and rotations were not drawn out and molded to the music. It happened, but it didn't HAPPEN, though there was enjoyable dancing from both. Looking through my opera glasses, I decided that her fixed smile has indeed become a bad habit. I believe she is holding tension in her face that does not come out in her dancing, which has sweep and clarity. It's an unenviable position, going up against the virtuosity of Simkin and Cornejo. For me she would be completely up to the task if she can relax her facial expressions and they are a bit more gallant.

Favorite Act I moments

Nina's first entrance: the trick of timing where she ended her phrases up on point, attitude, hand to her ear listening for him. Her eagerness is on the music. The first run-in between Hilarion and Giselle and Albrecht: the sweetness and gentleness of her smile and hands as she indicates she's in love with Albrecht.

Nina's Romantic style

Nina's Giselle was not the most dramatically convincing Giselle I have seen. For guilelessness, a pure soul too good for this world, I liked Amanda McKerrow, and Julie Kent and even Xiomara Reyes (in her best role) are also good in this vein. For a totally unique and compelling contemporary take on the role, I loved Vishneva's female Rimbaud of a few years ago, burning the candle at both ends and bursting forth as a loving spirit. There was such a through-line between the two halves; it's a Vishneva trademark that she can never appear as a passive actor, she is always an agent in her own destiny. I suppose I agree with Leigh Witchel that Nina is dancing the idea of Giselle, because I am conscious of the ballerina's art throughout. But what a transcendent experience! Stylistically the second act was the best I've ever seen, a ballerina master class I wish I could see dozens more times. I would need to in order to fix in my mind everything she did. If she is wafting through a book of lithographs, then it is a 32-volume Encyclopedia Britannica. The final pose of the pas de deux: she reaches the arabesque behind him, but she and the music are not finished, she is still moving. Quite by accident I found a quotation by Maina Gielgud in a danceviewtimes interview:

"In relation to phrasing, I can always remember how, for example, Markova, Alonso and Rosella Hightower, or Nina Vyroubova in another way, would sustain 'living' positions on pointe (I mean not dead balances), which made it look as though time was suspended. One had simply no idea of what was going to come next. The unexpected."

I'm off to Osipova/Hallberg/Part. Last night was probably impossible to follow. More on Nina, Murphy and Carreno later, plus new cast.

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I just returned from an absolutely unforgettable night of dancing. Natalia Osipova was in short amazing, and although I've heard of her amazing jumps, her speed, her turns, to actually see them in person is another matter. I have never seen a ballerina with such natural elevation -- it seems as if she literally flies across the big Met stage. Even her hops on pointe in the Spessivtseva variation seemed to have this moment of suspension in the air. Her Giselle is a generous, happy girl in Act 1, less emotionally intense than Diana Vishneva (whom I saw on Tuesday). But you like this Giselle, so the inevitable betrayal stings. Osipova's Giselle doesn't seem to have a weak heart -- in the Mad Scene she has sudden cardiac arrest and goes limp more realistically than any other Giselle I've seen.

What a difference a good Myrtha makes in a Giselle! Wiles on Tuesday was dull and her movements jerky, and her solos went for nothing. Veronika Part, on the other hand, has this natural buoyancy and fluidity of movement, as well as a commanding stage presence that gave the whole second act a wonderful energy. Even the Wili corps seemed energized by their wonderful leader. Osipova's second act wasn't lithograph pretty, but instead a frenzy of pure dance. Her initiation as a Wili was so quick and ferocious that she drew gasps across the audience. Osipova's Giselle wasn't the stern, implacable Wili of Diana Vishneva. Instead, she was simply a continuation of the exuberant, irrepressible girl in Act 1. Everything about her was feather light -- her entrechats have this wonderful openness to them, and her developpes were solid, if a bit quick. Her grande jetes resembled flying. The only negative to Osipova's Giselle was that I didn't sense any deep tragedy in the story. With Vishneva, her Giselle had such a strong character, such an implacable spirit, that the story became a battle of wills between Myrtha and Giselle. Osipova's Giselle doesn't have that emotional impact yet. But that's ok -- I'm sure that with time, the interpretation will deepen. In the meantime, I can just revel in her breathtaking dancing.

David Hallberg was a wonderfully classic Albrecht. He naturally looks aristocratic, and he plays Albrecht as slightly aloof from the start. He did an amazing sequence of entrechats in the second act. Despite the fact that this is the first time they danced together, I thought Osipova and Hallberg partnered beautifully together.

ABT is very lucky to have Natalia Osipova. :wub:

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Gillian Murphy was spectacular as Myrta in her own way. I can't say that she is a true romantic ballerina but she impressed me in so many other ways. Her jumps were high and her control was excellent. She is so musical and her technique is so impressive to me. I really wish she would change her pointe shoes, so badly.

What bothers you about her shoes? It seems many dancers wear Gaynors, including Osipova, Part, Boone, Riccetto, Fang, Cornejo and Tanatanit--just to mention ABT dancers, former dancers and guest artists.

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I just returned from an absolutely unforgettable night of dancing. Natalia Osipova was in short amazing, and although I've heard of her amazing jumps, her speed, her turns, to actually see them in person is another matter. I have never seen a ballerina with such natural elevation -- it seems as if she literally flies across the big Met stage. Even her hops on pointe in the Spessivtseva variation seemed to have this moment of suspension in the air. Her Giselle is a generous, happy girl in Act 1, less emotionally intense than Diana Vishneva (whom I saw on Tuesday). But you like this Giselle, so the inevitable betrayal stings. Osipova's Giselle doesn't seem to have a weak heart -- in the Mad Scene she has sudden cardiac arrest and goes limp more realistically than any other Giselle I've seen.

What a difference a good Myrtha makes in a Giselle! Wiles on Tuesday was dull and her movements jerky, and her solos went for nothing. Veronika Part, on the other hand, has this natural buoyancy and fluidity of movement, as well as a commanding stage presence that gave the whole second act a wonderful energy. Even the Wili corps seemed energized by their wonderful leader. Osipova's second act wasn't lithograph pretty, but instead a frenzy of pure dance. Her initiation as a Wili was so quick and ferocious that she drew gasps across the audience. Osipova's Giselle wasn't the stern, implacable Wili of Diana Vishneva. Instead, she was simply a continuation of the exuberant, irrepressible girl in Act 1. Everything about her was feather light -- her entrechats have this wonderful openness to them, and her developpes were solid, if a bit quick. Her grande jetes resembled flying. The only negative to Osipova's Giselle was that I didn't sense any deep tragedy in the story. But that's ok -- I'm sure that with time, the interpretation will deepen. In the meantime, I can just revel in her breathtaking dancing.

David Hallberg was a wonderfully classic Albrecht. He naturally looks aristocratic, and he plays Albrecht as slightly aloof from the start. He did an amazing sequence of entrechats in the second act. Despite the fact that this is the first time they danced together, I thought Osipova and Hallberg partnered beautifully together.

ABT is very lucky to have Natalia Osipova. :wub:

While I too think she is an amazing dancer with a rare sense of space for which her jumps seem to go on and up forever, still I found this entire performance to be strangely unmoving. I'm sure I'm totally in the minority here, but I found her first act cloying and a bit "weepy". Hard to get a handle on it, but I didn't feel much rapport between Osipova and Hallberg. While he does seem aloof at times, he seemed to be having a tough time relating to her. She just sort of dances for herself. Beautifully, but...... Her second act was one expression throughout, rather like a mask. I sensed a lack of "soul" to the performance. Compare with Nina's final "Giselle" when she broke our hearts, not once but twice. Osipova is young and will most definitly improve and grow. I also would prefer a bit of color to her first act dress which looked like a frilly nightgown all in white. Very girlie, girlie.

mimsyb

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Her second act was one expression throughout, rather like a mask. I sensed a lack of "soul" to the performance. Compare with Nina's final "Giselle" when she broke our hearts, not once but twice. Osipova is young and will most definitly improve and grow. I also would prefer a bit of color to her first act dress which looked like a frilly nightgown all in white. Very girlie, girlie.

mimsyb

That's interesting. I found her performance quite moving and was not bothered by her first act dress. Perhaps that's because I forgot my opera glasses. :wub: I loved her mad scene.

I enjoyed the entire performance and thought Part danced beautifully. I had forgotten what a commanding presence she is as Myrthe.

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I thought Osipova & Hallberg were both stupendous. Absolutely gorgeous dancing from both of them, great chemistry together and I found the performance very moving. Her 2nd act wasn't as ghostly as some but the lightness, buoyancy and height of her jumps suited it well. I've never seen Giselle's series of entrechats done so beautifully and it looked like she was doing something different with her feet - like holding them in the pose for a second as she moved backwards - but I don't know technique well enought to explain exactly was she did. Her whole performance was just gorgeous with some very individual touches. Boy do I hope she becomes a regular guest artist with ABT.

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Just came back from the Met. Osipova's debut for the ABT went very well, I think. Her dancing was absolutely sublime and she did seem to be flying over the stage. To me, her Giselle looked otherworldly from the start, deeply introverted, totally immersed in her inner world. Albrecht for her is somebody from this "other world" too. Thus the tragedy. I agree that she's not playing somebody who has a heart problem. No, when the truth about the lies comes out, the whole universe collapses around her, and she just dies with it.

The second act is a continuation and the development of the same line. A true spirit, a ghost, a vision. Yes, a bit monochromatic, but I thought it was dictated by her Giselle's "character's arc", or rather, lack thereof.

I really liked Part - she's just perfect for this role, was not impressed by Hallberg (where are the brises?), and thought the corps keeps improving. The Peasant pdd was uneventful.

There's no question in my mind that Osipova is on her way of becoming a major international star, but I guess everybody knows that already. Hope ABT signs her up like forever:)

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I've seen many 'Giselles' but I never saw what I saw last night: Giselle grew up and got over the guy! I found Osipova's peasant Giselle to be the girl who was always the best looking girl in the village, probably the smartest, certainly the best dancer but she always told to put a lid on her abilities by a mother who feared for her supposedly fragile heart and to not upstage any of her potential suitors. The moment where Giselle goes to Myrtha with the flowers to plead for Albrecht's life, it happened: she realized that Myrtha was as stuck as she used to be, just doing something for the sake of doing it and Giselle was over that and she simply said "Fine, who needs you, I'll save this guy myself and when I'm done, I'm taking these Wilis and we're outta here." She saves Albrecht but she's no longer in love with him, wishes him well and says good bye because she has found a purpose and that's to put an end to the senseless violence that has been plaguing the forest.

Granted, I hate tragedy and I like looking at things from a more hopeful angle, so this could just be my feminist, optimistic self coming through but I found it to be a marvelous performance by Osipova and ended things on a much brighter note.

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...was not impressed by Hallberg (where are the brises?)....

Gomes and Bolle didn't do the brisés either. They do the entrechats that I believe Nuryev introduced as a varation.

I thought Hallberg danced beautifully, but you don't seem to like him (at least you didn't in On the Dnieper either).

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Another vote for one of the most incredible Giselles I've seen (have not seen Aniashivilli, but Vishneva). I agree that her character was maintained thru the 2nd act, and felt a sense of loss as she wafted from the stage leaving the bereft Albrecht. I was disappointed in the peasant pas. Hee Seo and Hoven were not always together, and I didn't feel much connection. He seemed to be struggling a bit.

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I was at the Osipova/Hallberg/Part Giselle and it was an exciting evening. In their respective roles, Osipova and Hallberg are a work-in-progress--great things will come. The two had a beautiful rapport---astonishing since this was their first performance--it would be easy to believe they had danced the role together many times. Some of the more memorable images of Osipova were the plumb line of her opening arabesque in the Act 1 variation and the entrechat-quatres after the Act 2 PDD---NEVER have I seen them performed better--as light and airy as a souffle. However, I was not 'moved' by her performance--perhaps because the last great performance of Giselle I have seen was still dancing in my head---Vishneva and Malakhov of a couple of years ago. I add my hurrahs to all the other comments about Part's Myrtha. In the Act 2 Moyna and Zulma variations--the girl who did those exquisite renverses should be commented on--was it Hamrick or Underwood??

Just a note--but those two magnificent Russian Wolfhounds in Act 1 are a hard act to follow. :wub:--and yet another note--Osipova's curtain call (in front of the downed curtain) was reminiscent of Nora Kaye's Russian Ballerina in Tudor's 'Gala Performance'---she bowed in the center stage---walked far to the right and bowed----then far to the left--she had a hard time leaving her adoring audience.

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