Sir Peter Wright’s production of Giselle, so lovingly interpreted as always by The Royal Ballet, has been crafted with great thought to the detail of this supernatural story. From the clarity of mother Berthe’s mime, warning of the nocturnal dangers presented to young men by the spirits of jilted brides-to-be (the Wilis), to the ethereal apparitions themselves, it all fits together seamlessly and is beautifully wrapped in John Macfarlane’s sumptuous and traditional designs.
This opening night performance was notable since it was – surprisingly – William Bracewell’s debut in the lead role of Albrecht, the aristocrat who poses as a commoner to woo the beautiful village girl, Giselle. His newness to the part contrasted with the considerable experience that Marianela Nuñez brings to her studied interpretation of the title role. She is full of expressive girlish charm and vivacity, in the throes of first love, and dancing both individually and in her divine pas de deux with Bracewell with impeccable technique and elegance.
The orchestra – conducted by Vello Pahn – played slowly in keeping with Nunez’s glacial yet fully controlled tempii. She performed the scene where Giselle’s distress leads to her death (commonly known as the “mad scene”) with far less mania than is the norm but her tendency towards less exaggeration makes the scene work even more poignantly.
Bracewell portrayed Albrecht with puppyish intensity, lost in infatuation for Giselle and bereft at his infidelity being the cause of her death. It always seems to me that Albrecht is generally portrayed as the good guy when in fact he is a scheming philanderer whose duplicity causes the death of a beautiful girl. In this era of post- “Me, too” perhaps the truth should be told.
By contrast, Hilarion – the faithful woodsman whose love for Giselle has been usurped by this newcomer – is often portrayed as a brutish hunk (something akin to Beauty and the Beast’s Gaston). In my book, he’s the good guy. Far from intervening in Giselle’s new romance out of jealousy, I prefer to see his intervention as warning Giselle about the potential peril of her new alliance. Lukas B. Brændsrød brought elements of a more sympathetic reading of Hilarion, especially in his early friendly, slightly mischievous interactions with Giselle’s mother, Berthe (strongly performed, as always, by Elizabeth McGorian). Brændsrød has an imposing physicality whereas Bracewell is a slender danseur noble: a fist fight between them would seem rather one-sided although Albrecht’s sword would surely make short work of Hilarion’s little dagger!
The corps de ballet was in exceptional form as the Wilis, moving in pinpoint precision, and led coldly by Claire Calvert as Myrtha, their queen. Calvert was exemplary in the role, ably supported by Annette Buvoli and Hannah Grennell as her lieutenants, Moyna and Zulme. Christopher Saunders was an imposing Duke of Courland and Christina Arestis portrayed his haughty daughter, Bathilde, Albrecht’s betrothed.
The pas de six was a delight, led by Sae Maeda and Joonhyuk Jun, and a word for Harris Bell who made the most of his supporting role as Albrecht’s Squire, Wilfred. He will be graduating up the roles in the not-too-distant future.
Sir Peter once told me that Giselle is buried in the woods (unhallowed ground) because she killed herself with Albrecht’s sword. He believes that the nocturnal woodland setting is crucial for the coming of the Wilis and had she died of a weak heart (as in so many interpretations) she would have been buried in the churchyard, well away from the spectral territory. It was part of a long conversation, some years ago, that showed a deep understanding and respect for the ballet and its origins. The Royal Ballet has been presenting and gradually adapting the Wright production of Giselle since 1985. This performance concluded with Sir Peter, now 99, joining the curtain
call to great acclaim and all-around affection.
The Royal Ballet production of Giselle continues at the Royal Opera House with performances until 20 March. Tickets available from rbo.org.uk or on 020 7304 4000.
