English National Ballet, Akram Khan Giselle, Sadlers Wells, September 2019

[annamk]

This opened yesterday evening, I was at the matinee today. 

 

I've seen it at every revival and I still find it a mesmerising, raw and powerful piece, perhaps even more than I did when I first saw it. 

 

Personally, I find it better not to spend too much time trying to work out the detail of what is happening; it wasn't entirely clear at the premiere and it still isn't. But for me the broad brush of the story line is there and is more than enough to be satisfying. 

 

The hypnotic beat of the music (brilliantly played by the ENB orchestra) drives the ballet forward and enhances the sense of raw and ferocious tribal energy in the opening choreography. I love the choreography: there is a frantic intensity for much of the corps in Act 1, but moments of stillness too. In Act 2 the Willis are terrifying, but the final pdd for Giselle and Albrecht is sublime, full of tenderness and forgiveness. 

 

I found this afternoon's principle performers simply superb: Giselle (Fernanda Oliveira), Albrecht (Aitor Arrieta), Erik Woolhouse making a stunning debut as Hilarion. 

 

The second circle was filled with many young teen school kids and it must be a huge tribute to the quality of the performance to note that even in the quiet moments you could have heard a pin drop (except for a mobile phone going off which I cannot say belonged to the kids) !

[Quintus]

I saw the working stage rehearsal a couple of days ago, which was fantastic - top cast of Rojo/Streeter/Quagebeur/Cirio. It seems even sharper and more dramatic than last year - perhaps there have been some further tweaks. Just as when I go to Mizu I always have the yaki udon despite the extensive menu, when I see this Giselle I always want Stina Quagebeur as Myrthe despite the fine alternatives available.  She absolutely owns that role.

[alison]

I'd been desperately hoping to make the matinee today, but circumstances were against me - I'll have to try and see if I can get a return, or something   Thanks for the report, Anna.

[Nogoat]

Having bought the DVD of AK's Giselle the day it came out - which has permitted me to get my 'fix' of this modern masterpiece anytime I have wanted since then - I thought the edge might have been taken off seeing it again at Sadlers Wells. Never have I been so happy to be so wrong!

 

It remains as powerful and affecting as the first time I saw it - in fact, its impact on me seems to have grown. I put this down to two things. 

Firstly, this is an onion of a ballet - not only for its ability to make me well up, but also because it contains layer upon layer of narrative nuance that have been gradually revealing themselves to me with repeated viewings (if that means I'm a slow learner, then I'm happy to stay so!). 

Secondly, in a world increasingly distorted year on year by the consequences of inequality and exploitation, by rampant materialism, and by the rise of self-serving populism by those that seek to rule us, the 'political/societal' dimension of this ballet becomes, for me, ever more relevant and prescient.

 

I've said it before - I think this is a very 'angry' ballet! And, like many angry outbursts, there will be decibels involved! It might be because Wednesday's performance was the first I'd seen from the second circle - which probably acts like an ear trumpet to gather and concentrate the sound - but I don't think I've ever heard it louder. There were a couple of crescendos that literally felt like being cuffed around the ears - it was wonderful! Oh to have a sound system that big (and a suitably-sized house in which to play it). There are also interludes of near silence - just a gentle crackling akin to a dusty vinyl record between tracks. And it was near silence throughout the auditorium, too - the audience were rapt in their attention.

 

A couple of other broad observations have stayed with me since Wednesday.

From the appearance of the landlords in the middle of Act 1 up to the murder of Giselle (and her unborn child!) at the end, I don't think I've ever seen bettered the developing series of interactions between the protagonists that is superimposed on the often frenetic ensemble dancing. Maybe it's the elevated view from the second circle, but it reminded me of patterns and particles swirling around some sort of invisible attractor - perhaps stars around a black hole, where their dance to destruction is awesome in its viewing and irresistible in its unfolding. The gradually accelerating music only added to that feeling.

The other was to be reminded just how convincingly constructed was the alien world inhabited by the Wilis in Act 2. Their domain had its own hierarchy, behaviours and 'rules', which were simultaneously familiar yet alien and terrifying. I find it amazing what ballet is able to convey!

 

I thought I was being indulgent in getting tickets for three performances. I'm now selfishly asking myself - 'why only three?'

 

Here's a picture from the stage calls at the end of opening night. It absolutely had to have Maestro Sutherland in it!

 

[annamk]

11 hours ago, Nogoat said:

 

I've said it before - I think this is a very 'angry' ballet! And, like many angry outbursts, there will be decibels involved! It might be because Wednesday's performance was the first I'd seen from the second circle - which probably acts like an ear trumpet to gather and concentrate the sound - but I don't think I've ever heard it louder. There were a couple of crescendos that literally felt like being cuffed around the ears - it was wonderful! Oh to have a sound system that big (and a suitably-sized house in which to play it). There are also interludes of near silence - just a gentle crackling akin to a dusty vinyl record between tracks. And it was near silence throughout the auditorium, too - the audience were rapt in their attention.

 

 

I think there is definitely something is seeing it from the Second Circle which increases it's power. I asked ballet friends for advice on Sadlers seating and both said they enjoyed it most from the second circle and I absolutely agree with them. Not just that the music is powerful but to see the patterns of the corps too. 

[Bluebird]

12 hours ago, Nogoat said:

 

I've said it before - I think this is a very 'angry' ballet! And, like many angry outbursts, there will be decibels involved! It might be because Wednesday's performance was the first I'd seen from the second circle - which probably acts like an ear trumpet to gather and concentrate the sound - but I don't think I've ever heard it louder. There were a couple of crescendos that literally felt like being cuffed around the ears - it was wonderful!

 

I seem to be the only one who had problems with, to my ears, this over-amplified sound.  I've seen the production many times from the Second Circle and this is the first time that they've amplified the sound so that it comes through huge speakers.  If I hadn't been able to see the orchestra down below, there were times when it would have felt as if I was listening to recorded sound with the volume turned up too high. 

 

During the first half I only managed by putting my hands over my ears. Even with the earplugs I obtained in the interval (from a programme seller) there were times when the music was still too loud.  It's interesting that the programme sellers are provided with earplugs to give out (free of cost) to audience members who have problems with over-amplified sound. 

 

Of course I realise it's possible that I have extra-sensitive hearing.  The friends I spoke to in the interval agreed that it was very loud but didn't think it a problem.  I'd be interested to know if anybody else had a problem with it.

Edited September 21, 2019 by Bluebird

[annamk]

2 hours ago, Bluebird said:

 

I seem to be the only one who had problems with, to my ears, this over-amplified sound.  I've seen the production many times from the Second Circle and this is the first time that they've amplified the sound so that it comes through huge speakers.  If I hadn't been able to see the orchestra down below, there were times when it would have felt as if I was listening to recorded sound with the volume turned up too high. 

 

During the first half I only managed by putting my hands over my ears. Even with the earplugs I obtained in the interval (from a programme seller) there were times when the music was still too loud.  It's interesting that the programme sellers are provided with earplugs to give out (free of cost) to audience members who have problems with over-amplified sound. 

 

Of course I realise it's possible that I have extra-sensitive hearing.  The friends I spoke to in the interval agreed that it was very loud but didn't think it a problem.  I'd be interested to know if anybody else had a problem with it.

 

I agree it was incredibly loud but like your friends it wasn’t a problem for me. 

[Tebasile]

2 hours ago, Bluebird said:

 

I seem to be the only one who had problems with, to my ears, this over-amplified sound.  I've seen the production many times from the Second Circle and this is the first time that they've amplified the sound so that it comes through huge speakers.  If I hadn't been able to see the orchestra down below, there were times when it would have felt as if I was listening to recorded sound with the volume turned up too high. 

 

During the first half I only managed by putting my hands over my ears. Even with the earplugs I obtained in the interval (from a programme seller) there were times when the music was still too loud.  It's interesting that the programme sellers are provided with earplugs to give out (free of cost) to audience members who have problems with over-amplified sound. 

 

Of course I realise it's possible that I have extra-sensitive hearing.  The friends I spoke to in the interval agreed that it was very loud but didn't think it a problem.  I'd be interested to know if anybody else had a problem with it.

I was at the front of the stalls and found it almost unbearably loud at times. Wish I’d known about the earplugs!

[JNC]

Perhaps with audience feedback they may reduce the sound levels?

[Lizbie1]

I sometimes wonder whether there's a mismatch between the professional background of the sound engineers and some of the creatives at Sadler's Wells, and the habits of a proportion (including me) of its audience. What may seem a desirable sound level to someone who frequently works at or goes to pop or rock concerts might be intolerable to someone used to an unamplified live orchestra.

 

I'm rarely exposed to amplified live music - it's just not my thing - so have never really developed a tolerance for it; it sounds like I'm not the only one.

[Bluebird]

37 minutes ago, Tebasile said:

I was at the front of the stalls and found it almost unbearably loud at times. Wish I’d known about the earplugs!

 

I found out about them by chance. I was at a performance which had an orchestra for some items and taped music for others. The taped music was so loud that I started to develop  earache. As I was on an aisle next to the door I was able to leave without disturbing anyone. I explained to the staff outside why I was leaving and they gave me some earplugs and told me to go back in and see if they would help. The earplugs helped a bit but I still had to put my hands over them!

Edited September 21, 2019 by Bluebird

[Bluebird]

On 21/09/2019 at 14:13, JNC said:

Perhaps with audience feedback they may reduce the sound levels?

 

I wrote to them last week and have just received the following reply:

 

"Our Head of Sound has advised that the show artistically has been created with moments of high orchestral drama, and therefore the volume is of a louder nature than a traditional classical score. A good portion of sounds produced in this show do not come from the orchestra but from a computer, therefore the computer sounds and orchestral music is balanced to all sound correct leaving the loudspeakers rather than what is heard acoustically from the orchestra pit. Please also be assured, the sound levels were measured and are in line with the guidance set out by the Health and Safety Executive. This is not a Sadler’s Wells production, and therefore the intentions behind the way the music is presented to the audience will stem directly from choreographer, composer, conductor and then fed to the sound designer"

 

[capybara]

I was really near to one of the 'mikes' at two shows last week and had no problems. Whereas, for ENB's "In the Middle.......", I could hardly bear it.

[San Perregrino]

I have repeat problems with the sound levels for performances at both Sadlers Wells and the Peacock. That earplugs are so freely available at both venues would indicate that management are aware of the issues but prefer to turn a ‘blind eye’ or in this case a ‘deaf ear’ to the unsuitability of their sound systems to the recording levels of visiting companies.

It seems perhaps that there is a whole generation of choreographers who spend every moment of their waking lives wearing earphones listening to music and believe loud is best. I wonder if their hearing has become distorted as a result?

Personally I don’t like being beaten around the head and having my ears boxed by overloud music. I want to be drawn towards a performance not repelled by it.

[Nogoat]

Saturday evening's performance featured Erina Takahashi as Giselle, Joseph Caley as Albrecht, Ken Saruhashi as Hilarion and Sarah Kundi as Myrtha. Although their interpretations inevitably differed from opening night (Rojo/Streeter/Cirio/Quagebeur), their combined effect was as devastating and moving - in no small part aided by the sheer motive power of that unique score, thankfully undiminished in its volume as it carried the plot careening forward (in fact, we noticed signs up in the foyer warning that the performance contained loud music and 'haze'!).

 

I just love Takahashi's Giselle. She had an obvious love for life, and an obvious love for Albrecht, but her independent, strong-willed, steely core also shone through; the way she faced up to Quagebeur's Bathilde during the 'glove' scene - her jaw jutting forward in righteous defiance - spoke volumes in the quiet of that palpably tense interlude. And of course, the stronger something is, the more catastrophic is its failure when it is asked to bear too high a stress. Takahashi's mad scene was all the more hard-hitting for that - and that, in turn, was magnified in the reenactment in the second act. The way she forced Hilarion to confront the consequences of his actions was the most convincing I have seen - repeatedly holding her splayed hands out in front of her in a questioning, angry desperation, as if to say 'look at what your hands have wrought!'

Takahashi was also superb in the final PDD. Although that PDD is obviously different in its choreography compared to the traditional version, Takahashi made crystal and shockingly clear one other major difference. In the traditional version, Giselle is an ethereal, gossamer-light spirit. In this modern version, her spirit has a much greater connection to the real world, to the extent it seems to possess her body; during the middle part of the PDD (the bit during which Albrecht lays her at the edge of the stage with her arm over the edge) Albrecht is dancing with a lifeless corpse - Giselle's spirit having temporarily lost contact and control. I thought Takahashi did this so well it was quite disturbing in its implications!

 

Caley's Albrecht sported a beard - possibly to make him look a bit older? His partnering was pretty flawless, and his characterisation convincing. The forceful way he threw Giselle to the ground when choosing to rejoin Bathilde was quite shocking, and gave him a lot to do to try to win both her forgiveness and our sympathy. That he managed to do this in Act 2 is a credit to him. His redemption and freedom was complete just before the final curtain when the oppressive, irresistible, crushing march of the wall towards him was reversed on finding and retrieving the 'memento' of Giselle ( a thread; the thread of life?) from his back. 

 

I was also impressed by Saruhashi's Hilarion. Cirio's Hilarion on opening night was a scheming chancer, with feet firmly planted on the 'workers' side of the wall. Saruhashi seemed much more aligned to the 'landlords' side of the wall - his Hilarion assumed his privileged position less from aspiration and more from entitlement. His stand-out moment, for me, was in the second act when he was forced to confront the horror of his actions in Act 1, and to replay them; I almost felt sorry for him as he was led off-stage to his fate, as I felt that he felt remorse.

 

Kundi's Myrtha, in isolation, was effective. But, unfortunately, in the majority of the performances I've seen, Quagebeur has played Myrtha and, as others have pointed out, she 'owns' the role. Quagebeur's Myrtha is a bristling, hissing warrior-queen, and the epitome of focussed, cold, remorseless revenge. In comparison, Kundi's portrayal was more regal and, as a consequence, less menacing.

 

The impact of this production on me remains undiminished and has joined the small number of ballets that I feel I could never tire of. I am not alone in this; before the performance we were chatting to someone who is an extremely avid theatre-goer, who had gone to the opening night performance. They commented it was probably the best two hours they'd spent in a theatre - high praise indeed! This production really is a gift that keeps on giving!

 

 

[alison]

I love Takahashi's Giselle anyway: it'd be nice to see her perform the "proper" version again before she retires.

[maryrosesatonapin]

Well, I finally succumbed to going to see this tonight (Cojocaru/Hernandez/Cirio).  I missed the first run because I am very fond of the traditional ‘Giselle’ and usually don’t like modern meddling with old favourites, but reports had been so good I had decided to overcome my prejudice and see what the praise was all about.  The auditorium was as packed as an overstuffed handbag and the audience seemed appreciative if a little bemused.  Cojocaru was her usual captivating self, or at any rate as much as she could be within the role she was given. Hernandez danced well; in fact the whole company was on excellent form.  The (equivalent of the) Wilis scene was at times genuinely spooky and atmospheric. But those are the only good things I can say about it.

 

I know I’m in a tiny minority in my opinion of this enthusiastically received ‘C21st classic’, but I found it almost unbearable.  The ‘sound design’ [sic] was a cacophony in which echoes of Adam’s admittedly facile but delightfully melodic original score were a reminder of how obnoxious the current noise was in comparison.  And don’t even mention the excess volume, relieved at one point by a minute of near-silence, with just a faint crackling sound, leaving one wondering if this were a mistake or whether it held some deep artistic significance. Looking at the glum faces of the superb but largely unused ENB Philharmonic prompted sacrilegious thoughts of what a misuse of talent this was.  It was also a waste to give such good dancers so little chance to display their hard-won skills.  Alina can do far, far more than totter around holding a stick in her mouth! 

 

Khan’s background is, I believe, in Kathak dancing – the word ‘kathakar’ meaning ‘storyteller’.  This particular story was largely incomprehensible however. I am all for works that highlight societal inequality, but to do that successfully they have to have some clarity.  Some of the costumes were downright silly.  The ‘scenery’ was ugly.  The lighting was frequently too dim to see the performers. There was a lot of standing around, or walking slowly across the stage.  Yes, there were some memorable formations and compelling grotesquery too – it struck me that if the choreography could be used in two shorter modern works, without the misleading name ‘Giselle’ attached, then it might be more pleasing or at any rate less insulting to the memory of one of the world’s most exquisite ballets.  Above all, for me, ballet is about beauty and emotion. By the end of traditional productions of Giselle I am frequently moved to tears.  At the end of this one I felt mostly relief.

[bridiem]

I continue to find this production absolutely thrilling and unbelievably moving. I think that if you know the story of the traditional Giselle, the big themes and elements are all there in this production (and I think clearer now than in the first performances, though I couldn't say what changes have been made). Khan is a man of the theatre through and through, and although the Wilis (and Giselle) dance on pointe in Act II it's not really a ballet, it's a magnificently theatrical dance production. The quality of the movement is so rich and so embedded in the themes and the score and the designs that the experience as a member of the audience is all-enveloping.

 

For me the heart of the work are the two long pas de deux for Giselle and Albrecht. The first in Act I, so full of love and tenderness; Giselle is clearly with child, and the child is already with them and binding them together. A couple full of light and hope and bathed in the golden light of dawn. Knowing what is to come, I find it almost unbearable to watch. The second pas de deux in Act II, so full of love and pain; of loss and regret, but also of forgiveness and so still of some element of hope. A couple who have lost (nearly) everything, still together but now in the relentlessly dark underworld and dancing from the memory of love. And as performed by the magnificent Tamara Rojo and James Streeter, every nuance of feeling, imagery and physical and emotional expressiveness is exploited to the maximum.

 

I did miss Stina Quagebeur as Myrtha this evening; Sarah Kundi was very good but lacked the power and distinctiveness that Quagebeur brought to the role. Ken Saruhashi was excellent as a violent, scheming Hilarion. And the Wilis were brilliant and terrifying - truly lost souls and so full of foul bitterness that I could almost smell them from the Upper Circle.

[Sim]

Interesting to read such different views, and all very well put. Thank you all for posting. 

[Pas de Quatre]

I posted my views sometime ago, and am also in the minority who dislike this work. There were some good  choreographed moments, but these were then repeated so much they became boring.

[Richard LH]

On 24/09/2019 at 01:06, maryrosesatonapin said:

I am very fond of the traditional ‘Giselle’ and usually don’t like modern meddling with old favourites

I agree. I really dislike attempts to trade on the familiarity of well-known, beloved classic works by using their  titles as the basis for supposedly clever modern "re-imaginings".  

 

On 24/09/2019 at 01:06, maryrosesatonapin said:

I know I’m in a tiny minority in my opinion of this enthusiastically received ‘C21st classic’, but I found it almost unbearable.

You are not alone! I found it horrible, as did Mrs LH. 

[bridiem]

50 minutes ago, Richard LH said:

I agree. I really dislike attempts to trade on the familiarity of well-known, beloved classic works by using their  titles as the basis for supposedly clever modern "re-imaginings".  

 

I generally agree with this (especially if the aim is to produce something 'clever') because the likelihood of achieving something of a quality similar to the original is vanishingly small. But the classics have become classics partly because of the power of their themes, generally harnessed to a superb score, some brilliant choreography, and evocative designs; if a new version can use the same eternal themes and adapt or change other elements, a new classic telling of the same truths can emerge. More often than not it doesn't, and the new version simply reveals a dearth of imagination and/or talent. For me, this Giselle comes very near the power and beauty of the original whilst bringing its own new and brilliant elements. There are echoes of fairy tales, of Greek myths, of Biblical themes; the music is thunderingly powerful yet maintains some of the beauty of the original; the designs are both ancient and modern; and the choreography is in Khan's unique and wonderfully expressive and imaginative style. But, some of this is a matter of taste - if Khan's choreography doesn't speak to you, it won't work; if you don't like loud music, it won't work; if the designs don't resonate with you, it won't work. For me, it all comes together magnificently.

[capybara]

7 hours ago, Sim said:

Interesting to read such different views, and all very well put. Thank you all for posting. 

 

Agree and I am 'liking' posts because they are so well-expressed and make me think, not because I necessarily agree with the views expressed. This is the Forum at its best!

[Rob S]

Really enjoyed last night's performance

 

 

 

 

 

Edited September 25, 2019 by Rob S

[bridiem]

Great photos! Thank you, Rob S.

[LinMM]

I agree with Capybara above about how well people are expressing their views makes interesting reading even if I disagree with some of their points. 

I can't get to these current performances but would if I could. 

I see this production as a variation on the theme of Giselle and so don't compare it with the original but the overall effect was thrilling as I remember it ...although if they have suddenly put the sound volume up TOO much I probably wouldn't like that .....music can be effective without being deafening.

I saw it for the first time at the Mayflower Theatre in Southampton and it was rather loud in parts but not overwhelmingly so.

However I went to a matinee that day and there were a lot of little girls ...probably mostly "ballet" girls ...and Mums  Aunties Grannies etc who I think we're expecting to see the more traditional Giselle so would have been interesting to know what they thought of it all! 

Thanks for the piccies I would like to have seen the Cojocaru cast this time around.

 

[alison]

ENB have tweeted that this afternoon's performance was the last by Crystal Costa before she takes a break:

 

https://t.co/iKst9ec6vS">pic.twitter.com/iKst9ec6vS</a></p>&mdash

 

Okay, my attempt at embedding totally failed to work, but I trust the link works!

[Nogoat]

This run of Akram Khan's Giselle closed last night with another top-notch cast (Cojocaru as Giselle, Hernandez as Albrecht, Cirio as Hilarion, Brouwers as Bathilde, Quagebeur as Myrtha) delivering a similarly top-notch performance (which resulted in a sizeable proportion of the audience giving a standing ovation at the end).

 

I've seen three casts during this run and it's testament to the breadth and depth of the company that not one of them really stands out any more than the others - I'd happily see any and all of them again (and again, etc). Having said that, for me the 'ownership' of a couple of the roles could be claimed by a couple of dancers - though the irony of promoting 'ownership' in the context of inequality highlighted by this very modern version of Giselle does not escape me! 

 

I'd already decided, like many others, that Quagebeur 'owns' Myrtha, but last night I decided that in my mind Brouwers 'owns' Bathilde; her demeanour of entitled arrogance - with her so obviously residing at the centre of her own self-centred universe - was perfectly conveyed by bare-minimal movement and expression. This came across in the way she responded to Giselle on finding out she was being 'two-timed'; actually, that is probably the wrong phrase, for it suggests Bathilde's view of Giselle was that of a rival in love. In fact, such was the imagined gulf between Bathilde's world and that of Giselle's, she seemed merely puzzled by and curious about this 'distraction' - Giselle was as much of a threat to her relationship with Albrecht as him getting a new pet or taking up a hobby.

 

But nobody 'owns' the role of Giselle, Albrecht or Hilarion. Each cast member I've seen played them slightly differently, and each made beautiful sense as their stories unfolded.

 

Last night, Hernandez played Albrecht as the youngest, most naively smitten of the three I saw. This is partly down to his looks (he was clean-shaven and tousle-haired) but it also came to the fore when he had to choose between Giselle and Bathilde. His conflict - between the person he loved and the parental pressure to 'come back to the fold' (exerted by a superb Junor Souza looming over him in that pivotal scene) - was conveyed in heart-rending fashion. His rejection of Giselle - pushing her in resigned acceptance to the floor - was rewarded by a paternal pat on the back by Souza.

 

From her smiling face - which has the power to light up an auditorium almost like no other - to her albeit rather tatty pointe shoes*, Cojocaru is simply adorable.  She deployed that 'look' to great effect last night; yes, her Giselle was strong-willed, but she was also the kindest, most tolerant and good-natured of the three I saw. She tried to understand and see the best in everything; even when Hilarion pestered her at the start of the first act, her response was less a repulsive push away and more a hand-waving, half-curious, smiling dismissal.

Again, when Albrecht abandons her for Bathilde, she sat motionless on the ground (no attempt to crawl after Albrecht or grab his leg), trying to comprehend.

I don't know if was Cojocaru or just my state of mind, but Act 2 really brought home just how difficult it was proving to get Giselle to make the transition from the 'real' to the 'spirit' world. Her 'induction' into the spirit world seemed to be proving more problematic than normal for Myrtha, and once Myrtha tried, unsuccessfully, to get Giselle to bow to her (drawing wonderful parallels with the attempt by Hilarion in Act 1 to get her to bow to Bathilde), and then oversaw Hilarion reenacting his murder of Giselle, I even entertained the idea that this was an opportunity seized on by Myrtha to get Giselle to accept the fact that she was dead, as well as getting Hilarion to face up to his actions and accept his punishment. That's part of the genius of ballet and of ballet dancers - we are given a coded, incomplete set of information and our imaginations are let loose to do the rest!

 

Last night, Cirio's Hilarion seemed much more relaxed and 'natural' than the constantly-scheming, edgy fixer I recall seeing on opening night, and I thought this telling was as good if not better. I got a real sense of his real affection for Giselle and for the conflict between his emotional connection to this part of his 'working-class' background and his more status-driven ambitions in relation to the landlords.

When Bathilde 'insults' Giselle by dropping the offered glove, his rush to intervene is initially protective and reflects his feelings for Giselle, but those feelings conflict with and do not override the other side of his nature when he then attempts to get her to bow to Bathilde.

When Albrecht leaves Giselle for Bathilde, Cirio's offer to take his place has less the air of an opportunist and more of one who actually cares.

In Act 2, his collapse into sorrow on being made to face up to his crime also garnered my sympathy - much as Saruhashi's did the previous week.

 

Once again, the orchestra provided the pulsing, industrial-strength heartbeat to drive forward the action (though the speaker array popped a couple of times in a not-part-of-the-score, worrying way!). Gavin Sutherland received heartfelt thanks from Cojocaru, applause from the cast, and a thunderous reception from the audience as he skipped across the stage and blew a kiss to the orchestra. 

 

I love the score, I love the choreography, I love the dancers and their interpretations. I also love the fact that these sell-out, enthusiastically-received performances suggest it will be staged again sooner rather than later.

 

 

* I quite like tatty pointe shoes. They are the ballet equivalent of F1 tyres - they are the focal point through which the forces generated by the sleek, powerful body above are transmitted to the unforgivingly-solid ground below to mediate the incredible, dynamic movement we all pay money to go to see. Theirs is a sacrificial role - they suffer so we can enjoy the spectacle! 
 

[ChMeBa]

I've as yet to see a live Performance and have only watched the recorded one.  I'm one of those who hate too drastic fiddling with our beloved classics, thus I approached the modernised Giselle with trepidation. Disiked it on my first viewing, but once I got onto the story, it somehow got under my skin with repeated viewing. I grew to like the myriads of gestures in the story-telling, e.g. how Hilarion stroked Giselle's belly tenderly in the mad scene, as though to say "I'll look after your baby, too", or Myrtha jerky movements resurrecting Giselle, as though giving birth, etc. - although I'm at a loss as to the significance of the bamboo borne between the bellies of Myrtha and Giselle. Also found it a stroke of genius to have the reconciliation Giselle/Albrecht danced to the music of Albrecht's entry in Act II in the original. The plaintive strains perfectly captures the underlying sadness of their finding each other again.   

 

I think if we can get away from the idea of an innocent maiden, it'd work better. Maybe the title should be "Dreams - like Giselle". Just like John Neumeier's take-off on Swan Lake is called "Illusions - like Swan Lake". By the way ,a truly marvellous and unfortunately relatively unknown work. 

 

But going back to Khan's Giselle - I found Hilarion the most interesting character. But all the others valid and real-life persons. 

[jonac]

Have seen this Giselle twice and got the DVD. Can any one advise me why in Act 2 the Wilis hold the bamboo canes in their mouth?

[Jan McNulty]

24 minutes ago, jonac said:

Have seen this Giselle twice and got the DVD. Can any one advise me why in Act 2 the Wilis hold the bamboo canes in their mouth?

 

I've merged your post with the latest existing thread Jonac.

 

I've got no idea why the Wilis hold the bamboo canes in their mouths but AK also used this device in Until the Lions so I assume it is an effect he likes.  Member @Irmgard may know.

[alison]

I have a feeling there was a reason given at one point, but can't remember what it was.  Not for social distancing, that's for sure.

[Irmgard]

9 hours ago, Jan McNulty said:

 

 

 

I've got no idea why the Wilis hold the bamboo canes in their mouths but AK also used this device in Until the Lions so I assume it is an effect he likes.  Member @Irmgard may know.

Unfortunately I had no idea, as Khan's version is  far removed from Mary Skeaping's production which I look after.   However, I have asked my good friend Stina Quagebeur, who created the role of Myrtha in the Khan version, and she said  Khan wanted them to have weapons as they seek revenge and he thought that holding them in the mouth made them belong to another world, not the real world.  Of course, the need for them to have weapons is completely contrary to the original legend of the Wilis, who were meant to ensnare their victims with their beauty (which is why in the Skeaping production designed by David Walker the Wilis look beautiful and feminine).  Personally, I am not at all fond of the ladies having to hold bamboo poles in their mouths as it cannot be good for their teeth!