My first outings to the ballet of 2011, and the performance
on both occasions certainly did not disappoint. 'Giselle' is charming if a little
pedestrian, and very enjoyable if not a ballet that leaves a resounding impression.
The switch between the charming village gaiety and hubbub of act one and the
haunting ethereality of act two is abrupt, through no fault of the RB, but they
build the story up very well during act one. The set, revamped for this run, is
very effective, bringing depth and detail without being intrusive.
Interestingly, the balance of the plot is held not by
Giselle, but the relative performances of Hilarion and Albrecht. At my first
visit, Rupert Pennefather made for a rather wet, if sufficiently charming,
Albrecht, while Gary Avis played a noble Hilarion. Pennefather fails to convey
the degree to which Albrecht has fallen for Giselle, and is trapped by his
circumstance, such that throughout Act II you can’t help but feel that Giselle
is dancing to protect the wrong man. Which rather takes the emotional
punchiness out of it. Contrast that with the performances of Johan Kobborg as
Albrecht (who is clearly distraught at the end of act one by the distress and
subsequent death of Giselle) with Jose Martin as Hilarion. Martin’s Hilarion
comes across as slightly malevolent, interfering almost, which in contrast with
Kobborg’s more heartfelt Albrecht, leads to a more comfortable perspective for
viewing act two. Furthermore, while I think Gary Avis is really fantastic as
Hilarion, his dancing is scrappy, and there is scope for the role of Hilarion
to be danced to full pelt, as it was by Martin – you know he is being danced
till he can dance no more, which effectively sets the scene for the Wilis
closing in on Albrecht.
Both Giselles gave excellent performances. Marianela Nuñez
(19/1) was exquisite, bringing a surprising amount of gravitas to the role. She
acted Giselle’s heartbreak and confusion at discovering the true identity of
Albrecht very powerfully, perfectly preparing us for act two. Her second act
was spell-binding, bringing a strong and resolute quality to Giselle as she
protects her Albrecht (Rupert
Pennefather) from the merciless Wilis. Alina Cojocaru (5/1) plays an altogether
gentler, more youthful Giselle, with equal effectiveness. While her second act
is less powerful than Nuñez’s, and thus lacks some of the driving energy, her
earnest interpretation is really heartrending at times, made all the more so by
the strength of her partnership with Johan Kobborg. The corps were also on
unusually fine form on both occasions, some beautifully precise formations and
timing pretty much ubiquitously spot on. Elsewhere, Helen Crawford and Hikaru
Kobayashi made passable Queens of the Wilis, though Kobayashi’s pointe shoes
made her sound more like an elephant than a spirit. Secretly though, I was
pining for Laura Morera…
Overall, this is a very polished production with some
fantastic dancing at all levels; significantly brushed up since 2009.
