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Editorial Reviews
Ballet great Rudolf Nureyev stara as Albrecht in a lovely production of the dance perennial. This was one of Nureyev’s greatest successes in his native Russia and he has performed the role around the world ever since. Giselle-perhaps the quintessential ballet heroine is danced by the great Canadian prima Ballerina Lynn Seymour. Nureyev’s production brings this timeless tradegy of love found, lost and redeemed to life.
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Most Helpful Customer Reviews
25 of 26 people found the following review helpful
First things first: I would not recommend this as anyone's first Giselle. The simple reason being that at this point in her career, the role of Giselle was simply beyond Lynn Seymour's technique and physique. Giselle in the second act is supposed to be ghostlike, almost floating through the air. Lynn Seymour was famous for her excellent dramatic abilities (she was Kenneth MacMillan's favorite ballerina) but throughout her career she struggled with weight issues and injury and repeated pregnancies. By 1978 (when this film was made) she is frankly out of shape. The many overheard lifts, so crucial to Giselle, have to be modified. Yet look hard enough, and you'll see the traces of a great Giselle. Lynn Seymour's Giselle is perhaps the most naturally peasant-like. In her first act dances she conveys a bubbly wholesomeness that is endearing. Not really a classical ballerina in the tradition of, say, Margot Fonteyn, Seymour dances with her whole body. In the Mad Scene, she lunges wildly, she cackles, she clings desperately to Albrecht, and she truly TUMBLES to the ground. She also has lovely feet and an enchanting smile.
The main reason to get this Giselle is as a document of Rudolf Nureyev's Albrecht. It was maybe a bit late in his career and he was past his best but you can tell why he was so famous in this role. Albrecht was the role that made him famous both at the Kirov and then at the Royal Ballet. It's hard to make Albrecht look like anything other than a manipulative, selfish jerk, and Nureyev understands the transformation Albrecht must make between Acts. In Act 1 Nureyev is arrogant, callous, and also, really in lust. Watch the way he feels Seymour's arm when they first meet. Or the haughty way he treats his sidekick in the beginning of the ballet. But Nureyev's Albrect is not without a conscience. In the Mad Scene he doesn't just stand there, slack-jawed. Remorse fills his face, and he hugs Giselle tightly. In Act 2, Nureyev's Albrecht is man haunted by remorse. For one, he truly PRAYS to Myrtha for forgiveness; you can understand, for once, why Giselle wants to save him. Technically Nureyev is also very impressive: in Act 2 he does a beautiful series of entrechat-sixes. His pirouettes are as ever erratic, and he clearly has trouble lifting Seymour, but like most Soviet-trained dancers has a powerful leap. Mostly, he really makes Giselle a story of a young man's redemption. There is almost something spiritual in his frenzied humility in Act 2.
The production is typical of ballet films of the time: small sound stage, paper trees, but at least the director doesnt try anything fancy (unlike the 1969 ABT film, which constantly cuts away and films at odd angles). Another reason to get this dvd is the Myrtha of Monica Mason. She is one scary, sinister Myrtha.
The main reason to get this Giselle is as a document of Rudolf Nureyev's Albrecht. It was maybe a bit late in his career and he was past his best but you can tell why he was so famous in this role. Albrecht was the role that made him famous both at the Kirov and then at the Royal Ballet. It's hard to make Albrecht look like anything other than a manipulative, selfish jerk, and Nureyev understands the transformation Albrecht must make between Acts. In Act 1 Nureyev is arrogant, callous, and also, really in lust. Watch the way he feels Seymour's arm when they first meet. Or the haughty way he treats his sidekick in the beginning of the ballet. But Nureyev's Albrect is not without a conscience. In the Mad Scene he doesn't just stand there, slack-jawed. Remorse fills his face, and he hugs Giselle tightly. In Act 2, Nureyev's Albrecht is man haunted by remorse. For one, he truly PRAYS to Myrtha for forgiveness; you can understand, for once, why Giselle wants to save him. Technically Nureyev is also very impressive: in Act 2 he does a beautiful series of entrechat-sixes. His pirouettes are as ever erratic, and he clearly has trouble lifting Seymour, but like most Soviet-trained dancers has a powerful leap. Mostly, he really makes Giselle a story of a young man's redemption. There is almost something spiritual in his frenzied humility in Act 2.
The production is typical of ballet films of the time: small sound stage, paper trees, but at least the director doesnt try anything fancy (unlike the 1969 ABT film, which constantly cuts away and films at odd angles). Another reason to get this dvd is the Myrtha of Monica Mason. She is one scary, sinister Myrtha.
19 of 20 people found the following review helpful
This GISELLE is certainly enjoyable, and presents two of ballet's greats, but I personally would not toss it up as a first recommendation. The ballet is very cut, in fact the entire DVD clocks in at around seventy minutes. The entire peasant scene is removed from Act One. The production is attractive, but very studio bound, a real 70's video tape ambiance, and a mite cheap looking here and there. I must say I agree with the other reviewers here regarding Seymour - a wonderful dancer caught late in her career in a role physically not terribly congenial to her at this time (she plays Giselle's mother in the trashy-but-fun film DANCERS, shot a few years after this.) There is a wanting of ethereal quality in Act Two. That said, her sincerity is often quite arresting, and she is a fine balletic actress, so this can still be a fun performance if you don't look too hard. I know I will be creamed for this, but I am not terribly fond of Nureyev in this particular outing. The technical skill is of course prodigious, I am less happy with him dramatically here. He does some sardonic faces here and there that border on camp, and for a couple of reasons (some I won't say out loud) he and Seymour aren't the most plausible love couple, even in balletic terms. The Myrtha of Monica Mason is excellent, cold as ice, hard as diamonds, and technically dazzling. A good group of Wilis too, the initial ensemble is taken at a rather rapid clip, and the corps rise to the occasion quite well.
Fans of these particular dancers will want this and should treasure it. For those looking for a good basic GISELLE video, there are other choices that might be more satisfying.
Fans of these particular dancers will want this and should treasure it. For those looking for a good basic GISELLE video, there are other choices that might be more satisfying.
15 of 19 people found the following review helpful
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If someone wanted to know what a classic performance was, this would be a great example. This performance and presentation are nearly perfect. The image quality is great and the sound quality is excellent. The only flaw is that the color intensity is a little weak, which gives it a slight sepia appearance, which is not really a bad thing for a period piece. The orchestral version used here is a little unusual. It may be the edition they used. It has a very clear chamber orchestra quality enhanced by excellent microphone placement and good engineering.
The peasant pas de deux is actually danced by Seymour and Nureyev, themselves, typically Nureyev. The choreography he uses for this part is quite interesting. Nureyev is in classic form here and he looks like he's enjoying himself, as is the rest of this excellent cast( the corps, too!). Nureyev was a very fine ballet actor and his mime(which includes all non-dance modes of expression) is great here. In the beginning of the first act he is very amusing in the way he tells his servant not to worry about his little adventure to come. Because this is in such great condition and a great performance, it is a fine choice for all audiences.
The peasant pas de deux is actually danced by Seymour and Nureyev, themselves, typically Nureyev. The choreography he uses for this part is quite interesting. Nureyev is in classic form here and he looks like he's enjoying himself, as is the rest of this excellent cast( the corps, too!). Nureyev was a very fine ballet actor and his mime(which includes all non-dance modes of expression) is great here. In the beginning of the first act he is very amusing in the way he tells his servant not to worry about his little adventure to come. Because this is in such great condition and a great performance, it is a fine choice for all audiences.
Most Recent Customer Reviews
Condensed Ballet
This DVD gave me the impression that the entire production was for the sole purpose of showing off Nureyev, most likely by Nureyev. Read more
Published 20 months ago by Dance lover
Mixed feelings...
This version of Giselle is a bit of a disappointment because so much dancing was cut from both the first and second acts. Read more
Published on April 15, 2010 by Ballet Fan
A common man's point of view.
I hope you have read all of the above reviews, because they all have good points to consider.
My only objection to the ballet is the length, as it is only 78 minutes. Read more
My only objection to the ballet is the length, as it is only 78 minutes. Read more
Published on January 24, 2009 by Richard Rawls
Andromeda
As an observer of art and appreciator of great artists, I found this to be a rare insight into the craft of these two dancers and how they did what they did in terms of their... Read more
Published on February 8, 2006 by Andromeda
MISCAST, YET INTERESTING
Having been a true balletomane for the past 45 years, I have, I think, seen many of the greats. Three of them are starring in this studio version of GISELLE. Read more
Published on December 27, 2004 by Jeffrey Bruce
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