Giselle

I am a big classical music/opera/ballet fan, and I loved this production of Giselle. Adolphe Adam's score is sparkling and very beautiful often, while Giselle's story is timeless, passionate and quite poignant in some ways.

Where this production succeeds is in its sets and costumes. The sets are simple but beautifully crafted and atmospheric still, and the costumes especially Giselle's are things of true beauty especially under the lighting. The orchestra play wonderfully and with sensitivity under the wing of a very able conductor.

The choreography is superb, with some real balletic show-stoppers and some difficult moves especially in the mad scene. And the dancing is equally wonderful, Natalia Bassmertnova especially is a perfect Giselle, with grace and beauty and captures flawlessly Giselle's traits of innocence, love and outwardly.

In conclusion, a beautiful production. 10/10 Bethany Cox

Natalya Bessmertnova, Bolshoi Company prima ballerina over three decades, performs splendidly in the title role for this worthy and largely successful attempt at recovering, within a studio setting, many past glories from a truly classical (as well as romantic) ballet. Filmed at the Bolshoi Theatre in Moscow, an appropriate site for one of the Bolshoi's most admired pieces, the performance benefits quite strongly from the lack of applause that is normally tendered by live audiences revelling in infatuation for individual favourite dancers, bringing productions to a halt. A great leaper, Bessmertnova is alike successful with acting, specially to be noted here in the Act I mad scene, while the emotional forcefulness of her partner, Mikhail Lavrovsky, as Count Albrecht decidedly contributes toward the stirring presentation of the work's sundry musical climaxes. Juri Grigorovitsch, husband of Bessmertnova, creates here continually challenging choreography, a manifest blend of past Bolshoi triumphs along with his own innovations, and although the popular Peasant Pas de Deux from the end of Act I was completed during this production, one will forgive its subsequent removal as not being concordant with an elegiac mood that the choreographer establishes immediately upon progression into the second act. This mood becomes the most dynamic element of the film, enhanced through smoothly achieved artistic montage and lighting effects from cinematographer Konstantin Apriatin. During the more than a century and a half of Giselle's history, a good many sterling dancers have performed as Albrecht, but few who could maintain the role's cardinal accent upon emotional strength with the force that does Lavrovsky in this film. And it is Lavrovsky, in company with Grigorovitsch, who provides the artistic casing that enables Bessmertnova, justly celebrated for her interpretation of the tragic innocent, to reveal only the merest hint of that romantic sense of mystery that comprises Giselle. Bessmertnova's emotive skills, and her technique throughout, up until her final seconds with Albrecht by her grave (while she displays a perfect arabesque penchée) never seem well-trod during the course of this excellent Kultur VHS release. Adolphe Adam's score, less than gratifying for the concert hall but note perfect for the ballet, with each number apt to the gifts of well-schooled dancers, is performed without a clinker by the Bolshoi Theatre Orchestra ably conducted by Alygis Zhyuraitis. Regal Galina Kozlova, as Myrtha, Queen of the Wilis, dances with her customary efficiency, and the corps is correctly trained for a balletic event wherein cultural homage is paid not only to the choreography of Petipa but to the costumes of Bakst as well. A DVD version has been released for a label other than Kultur but, while narrative development and the impeccable lifts of Lavrovsky are, of course, identical, the VHS taping is far superior to the DVD relative to visuals, sound, and in general quality. Although out of print, The Kultur release can yet be found, and will be preferable to balletomanes.