Customer Reviews

Giselle

5 star:		(7)
4 star:		(1)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

This is a marvellous version of the ballet, very traditional, rich in mime (done properly, so far as I can tell, but I'm no expert).

The leads are both excellent, Laëtitia Pujol on top form, and with good 'chemistry' between them. Good camera work and direction allows us to see almost all the footwork, with a variety of angles - but no pointless changing angles every few seconds. The company, as ever, is superb, which shows not only in the second act, but in the villagers' dances in the first act too.

Dramatically, Giselle is well portrayed as the innocent maiden, and the 'mad' scene is horribly convincing, while her 'white act' is as good as any you'll find.

Albrecht changes seamlessly from 'bad boy caught out' to concern to guilt and then to horror; nice one, Nicolas Le Riche! Myrta seems technically fine, but not as strong a presence as in some versions, while Hilarion, always an ambiguous character, comes across as little more than a bully; perhaps that's why the Wilis show him no mercy?

Throughout, the direction is smooth, the camera work and lighting is good - though I felt the spotlight following the leads was overly bright and a little distracting in the first act.

I was very impressed by the orchestra and the sound quality; so often ballets on DVD are let down by poor sound

I've probably missed several key points here, but, all-in-all it really is an excellent Giselle; all involved clearly understood the ballet and respect its history and traditions. I suspect it'll be a while before we see a better one!

I have five versions of Giselle, this one, Royal Ballet's blu-ray version, and La Scala's DVD version. This one is second best, which is saying a lot. The staging and choreography is essentially the same as the La Scala version, but the dancing is somewhat better and the photography is far superior. Camera shots are judicious, presenting close-ups when appropriate, and wide angle shots when best. There are no jarring changes of view as is so often the case. The only one I know of that is superior is the 2009 production of the Dutch National Ballet, starring Anna Tsygankova, Jozef Varga, Igone de Jongh, Jan Zerer, Michele Jimenez.

Well, here it is. This company knows its good, they wear their confidence so well in every step and gesture. Paris Opera has given us basically a seat in front stage/center, not too close, in a comfortable seat, traditional choreography from those secure enough in their ability that they feel no need to shock, wardrobe and lighting artists that know what's pleasing to the eye, and dancers that are among the best in the world.

Laetitia Pujol's acting matches her note-perfect dancing in the lead and she deserved to be handed this role over some rather heady competition within her own company (Clairemarie Osta, Aurelie Dupont, Isabelle Ciaravola, and Marie-Agnes Gillot who dances/plays Myrtha). Appropriately sweet and girlish in the first act, and equally effective in her mad scene, I wanted to follow her even when she wasn't the center of the action. Gillot, who probably has danced Giselle herself over the last few years with the company, is just as bewitching as Myrtha. (I seem to recall reviewers who either loved the dancer who played Giselle, or the dancer who played Myrtha, but not both---yet one more indication that the wait for this company to produce the classic was a shared hope for many).

I love the first act with its peasant pas de deux more than the second act spectacular of the wilis. While some may feel the first act is a mere prelude for how well the corps can wow the audience, in addition to how well the Giselle can entwine her dancing technique with her acting, the finale is always a little bit anti-climatic for me simply because I love the first act dances so much. Every little detail charms me, and Paris does the details better than anyone. I don't think anyone will quibble with how the second act 'looks'. The lighting and filming of night scenes in ballets can be tight-rope dangerous, but here as in all else IMO, there are no flaws. And yes, that legendary corps lives up to their deserved reputation. This review needs a wordsmith here....all I can think of to say is that they're beautiful. Treat yourself and see this.

I am puzzled by the French critic who regards this performance as a major disappointment. Perhaps dancers are not without honor, save in their own countries. Since the critic seems to be an "insider" (claiming access to private management discussions), I wondered if he might have an ax to grind. In any case, I can only say that my high expectations were met. The music is rich and crisp, and the sound engineers placed the microphones wherever they needed to be to pick up every vibration of every air molecule. Viewers can judge for themselves from the live applause if the critic's major disappointment was widely shared. In addition to the fine performances of the etoiles, the doe-eyed Emmanuel Thibault, who is not (yet) an etoile, has a noteworthy solo in Act I. He doesn't seem to resent the "hierarchical" structure of the POB (what are most ballet companies-- anarchies?) and probably shares my belief that his talent will soon be rewarded with a promotion. Another reviewer felt that Romoli's Hilarion was something of a bully. What I noticed was that after he and Albrecht blame each other for Giselle's death at the end of Act I, Hilarion blames himself in Act II. Albrecht isn't the only one transformed by her death.

Based on Heine's De l'Alemagne (essays on german folklore)Giselle has seen many revisions since its creation in 1941.This Paris version is perhaps the closiest to 1887 St Petersburg Petipa's revised Giselle.I had the privilege to attend, at the age of sixteen, a performance of this ballet in Lisbon(1968),danced by Nureyev and Fonteyn.Having watched quite a few Giselles ever since, I do consider this version (after 1991 Paris Opera production) a serious document of dancing. Laëtitia Pujol's Giselle is devoid of gratuitous mannerism and one of the purest I have seen. In fact, if in Act I her mime and her most skillful dancing show a girlish yet sensitive Giselle, in Act II she becomes the embodied spirit of Willy-Giselle with her slow (hence extremely difficult), precise, beautiful and graceful movement. She almost floates on the air, half feather half spirit, no longer human, yet attentive to Albrecht's punishment, with only a glimpse of the heartful Act I Giselle, her eyes looking like those of Garbo in Mamoulian's Queen Christine. Her legs, her arms, her hands, each gesture convey an amazingly intelligent portrayal of the Willy she has in fact turned into. Nicholas Le Riche dances Albrecht most brilliantly, even if Petipa's choreography for this ballet scarcely allows male dancers to show their skills ( he does nevertheless two dozens of consecutive entrechats) and so does Wilfred Romoli. Myrtha is powerfully danced by Marie-Agnès Gillot, her technique flawless, her gesture and face those of a merciless, haughty Willy queen. Last but not the least, Emmanuel Thibault and his immaculate dancing glitters in the Pas de deux des Paysans like a true pearl. The Paris Opera corps de ballet proove once more its legendary quality and Adam's music is intelligently, sensibly conducted by Paul Connely. Filmed in HD, the blu-ray image is perfect. Absolutely not to loose.

I saw this production of Giselle live at the Opera Garnier, and was by far not the only one who found it sub-par. Even members of POB management, talking amongst themselves, commented on how dull it was.

Because of the hierarchical nature of the POB, it's generally the older ballerinas who get to dance lead roles, and Giselle calls for an Etoile who can lead the audience to believe that she is an innocent teenager. Alas, Mlle Pujol is incapable of making a viewer think she is a girl half her actual age. And as much as I admire Mlle Gillot (her dancing in Jewels, for example, is outstanding), she makes for an unconvincing Myrtha.

Paul Connelly's normally competent orchestral direction lacks enthusiasm.

I give the dvd one star for its technical polish, but as a work of art, it falls flat on its face. In this reviewer's opinion, the La Scala Ferri/Murru version remains the gold standard to this day.

There are ever so many productions of Giselle that it is difficult to single one out and say that 'This is the best, worst, average etc etc'. Neither can I say with such conviction like one reviewer before me who proclaimed that "This Paris version is perhaps the closiest to 1887 St Petersburg Petipa's revised Giselle". How is he so sure? Just a hunch? No further comments on this.

HOWEVER
This production of Giselle is definitely slightly different from most others that I have seen. I have seen more than a dozen of them in the last 2 decades on the Video.
Does it stand out? Actually, NO.
Lets examine it

MAJOR NEGATIVES:

1. This is one of the worst filmed blu rays that I have ever bought. I have over 60, all classical. The lighting is BAD. In the first act, Most of the scenes are Grainy. I had to recheck if Amazon had sent me a DVD instead of a blu ray. Only when there are close-ups does it resemble a blu ray disc. In the second act, many more scenes are shot as close-ups and therefore much better.

2. The costumes of the dancers in the first act are rather dull.

3. Pujol in the second act is devoid of any emotion on her face. The viewer has to take it for granted that all her feelings are ensconced in her heart rather than on whatever body or spirit that she is. Hey! We are watching a ballet, and a blank Alzheimer's disease expression during most of the act does not bring out the most important thing in a visual... namely, the feelings that ought to be conveyed to the viewing audience through subtle facial expressions and body language. Same goes insofar as Myrtha is concerned. Deadpan to say the least.

If one were to compare the much vaunted Marie-Agnes Gillot (Myrtha) to Marienella Nunez in the ROH production, you would know what I am talking about. In fact, Gillot can find a good friend in Marta Romagna in the La Scala production (Zakharova dancing Giselle), wherein Myrtha is totally expressionless (wooden) and therefore more acceptable as a Zombie, ie, if you would find this more apt for the role of Myrtha. Do we really want a Zombie expression on Myrtha, Giselle and the Willis who are totally passionate about seeking revenge on the disloyal fiancées who let down their women? This production portrays the Willis as ones with a mechanical insect brain rather than those who have emotions of the strongest and most virulent kind that the Willis are supposed to have. Pujol, poor thing, has I am sure, been forced to dance like a Zombie in the second act by the directors. If one were to compare this with her acting and dancing in the first act, which is brilliant, one would never accuse HER of the deadpan expressions in the second.

MAJOR POSITIVES:

The ballet is beautifully danced by the Corps de Ballet. The first act is just great if you can overlook the graininess not associated with a blu ray.
The audio recording is one of the best I have heard. So is the conducting. Bravo Connelley.
Fantastic Precision in the ensemble dancing. Not seen since Kirov and Bolshoi production of the 1970s and 80s

The BEST Mad Dance that I have seen.
Laetitia Pujol excels in the first act. One of the greatest Mad Dances that I have seen. So well brought out both expression-wise as well as in the movements of the body.

Excellent in terms of the First Act dances. Ensemble is brilliant and so beautifully danced.

COMPARISON

Between blu ray recordings of Giselle, I would rate the ROH with Alina Cojocaru and Nunez far ahead of this in terms of acting and conveying emotions goes. The Video in blu ray in the ROH production is much superior, but the audio is one of the most miserable I have heard...in this one, the audio is superb. In contrast, Pujol here, although so effective in the first act, totally screws it up in the second insofar as acting is concerned (am sure it is imposed on her by the director), although Pujol's dancing is far more mature than that of Cojocaru's. Myrtha - Nunez wins hands down. It is not the same Marie-Agnes Gillot of a decade ago. She is seen panting and seems in some strain throughout her dances in the second act. No emotions other than wooden come out of her all the time, unlike Nunez who has infused a different approach to Myrtha and therefore the Willis. There is not much to choose between the males in either production. Riche after-all, is a celebrity, and does what he can and should, as per the director.

Between two blu rays of Giselle between Paris and London, I can say definitely that London is far ahead in the quality of the picture, but bad on sound, and Paris is far better in terms of the Corps de Ballet and the sound, but lacks visual and emotional finesse.

As usual for the Paris Opera Ballet, their production values are first rate--from the set designs and costumes to the lighting--but the principal dancers in this production are definitely second-rate. And they are not helped by a DVD director who offers us a continual shift in perspective--from "you're on stage" views to medium distance shots to 45 degree overheads, even top-down views of the Willis, turning them into twirling parasols. All this cross cutting prevents one from gaining an organic sense of the dance narrative.

I've seen many versions of this over the years, both live and on film. This is the one of the most perfect I've seen in every way. Excellent picture, sound, camerawork and editing. Truly virtuoso dancing, not only by the leads, but by the corps as well. Rarely have I seen such perfection in dancing matched by emotion of acting and expression as well. I loved watching this!

Update 01/14/12:

Further thoughts on this after having just purchased and watched the new Giselle performed by Anna Tsygankova and Jozef Varga of the Dutch National Ballet. I still give this POB version 5* and feel it is artistically and aesthetically excellent. That said, the new blu-ray version with Tsygankova and Varga is a step above, a true masterpiece of chemistry, artistic sensitivity and technical virtuosity. Don't feel bad if you've invested in this, POB version, but by all means if you can, purchase the DNB version as well.

In terms of beauty of production, I think the Paris Opera Ballet's production of Giselle is the most beautiful among the major ballet companies. The first act set is rustic without being fussy. In the second act, the stage becomes almost completely bare, and as the POB Wilis emerge onstage in their long white romantic tutus, among a haze of mist, there might be few more beautiful sights in ballet. The only prominent piece of scenery in the second act is Giselle's grave, which is set by a trap door, so at the end of the ballet, Giselle can "descend" into her grave. The large cross by Giselle's grave subtly highlights the ballet's theme of forgiveness and redemption.
The POB corps are also up to their usual high standards. I've heard people complain about the austerity of the way they dance, but personally I love their obvious uniformity in training and style. Marie Agnes Gillot as Myrtha is wonderful as well. She's taller and more broad-shouldered than the typical classical ballerina, but she makes a formidable, stern, and yet wonderfully ethereal Myrtha.
Then why am I only giving this two stars? Well, because of the leads. Laeticia Pujol is simply weak as Giselle. It's a shame because there are several POB etoiles I could think of as being more convincing Giselles (Aurelie Dupont jumps to mind). Pujol is blond and petite, with a small, angular face with sharp, bird-like features that make her look somewhat like a young Natalia Makarova. In the first act, I thought okay, maybe she is simply more reserved and less emotive than many of the legendary Giselles. But in the second act, during the extremely exposed dancing, she was just technically weak. During Giselle's initiation, when she's called upon by Myrtha to turn furiously, Pujol does the slowest, shortest series of turns I've seen. Absolutely no sense of demonic abandon. In the pas de deux, she carefully avoids holding the exposed developpes for any amount of time. She has little elevation, and thus the sense of an ethereal spirit flying across the stage is gone. She also fails to inject the Wili Giselle with any character, any sense of individuality. There are many ways to do the Wili Giselle. I've seen Giselles who in the second act were demonic and stern (Diana Vishneva falls into this category), or loving and soothing (Alina Cojocaru). But what's important is that the audience has to feel Giselle's sense of purpose in saving Albrecht. Pujol fails to deliver the goods on almost every level.
Nicholas LeRiche as Albrecht is poorly matched for the tiny Pujol. He's tall and somewhat beefy, but frankly looks out of shape and makes up for his lack of beautiful classical line by hamming it up. His series of entrechats towards the end of Act 2 looked sloppy and tired.
Overall, beautiful production, beautiful corps de ballet, but a very disappointing performance by both the Giselle and Albrecht.