Customer Reviews

Giselle [Blu-ray]

5 star:		(4)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

llet on video is like the fossil record: fascinating and informative, but frustratingly incomplete. Isadora Duncan, Vaslav Nijinsky were never filmed at all, and many artists were never filmed in their trademark roles (Lynn Seymour as Juliet, Erik Bruhn in Sylphide). Therefore it's always a delight when a portrayal as wonderful as Alina Cojocaru's Giselle is preserved on video. Alina Cojocaru, as I mentioned earlier in a review of her Sleeping Beauty, is not particularly glamorous looking, and her feet are wide and without much of an instep. But these aesthetic complaints are quickly forgotten the minute she starts dancing. In the first act, her Giselle is a shy but vivacious girl, and her fragile look adds a poignancy to her portrayal. One can believe that she does indeed have a weak heart. Her Spessivtseva solo, with its hops on pointe across the stage was not the smoothest I've seen, but her Mad Scene was heartbreaking.
In the second act, Cojocaru uses her beautifully airy jump and uniquely soft style to give the illusion of a true spirit. She is not technically perfect. When Giselle is first "initiated" as a Wili she is supposed to turn as if she were demented. Cojocaru's hopping turns don't have that feverish, demented energy that some Giselles can bring to the moment. They are somewhat slow and deliberate. (To see how it's done, watch Natalia Makarova, Diana Vishneva or even Carla Fracci.) But it's the overall beauty of movement that separates Cojocaru's Giselle from the "rest of the pack," as they would say. She is able to create a sense of a gentle, forgiving spirit. I particularly love the calm, effortless way she raises her leg in developpe. It seems to symbolize Giselle's sense of inner serenity.
As Albrecht, Cojocaru's offstage partner Johan Kobborg is not quite the dancer Cojocaru is. He goes the somewhat unconventional route and makes Albrecht an ardent and sincere young man from the start. I personally prefer Albrecht's to start off as cads, so their redemption is more dramatic and moving. He also is visibly extremely tired during Act 2. Unfortunately the close-ups expose the sweating. He and Cojocaru have a wonderful partnership -- you can see it in the gentle way he lifts her in the second act. Marianela Nunez is the Myrtha, and she seems to me an odd choice for Myrtha, other than being tallish and a strong technician. She's too inherently warm of a dancer to pull off Myrtha. She's not for a minute terrifying.
Peter Wright's production thankfully restores some mime passages that are often omitted in productions, such as when Giselle's mother tells the story of the Wilis. I found the sets overly fussy and thought they crowded the already-small Royal Ballet stage. I also disliked the dowdy brown dress Giselle wears in the first act. But these are minor complaints in an excellent video of my favorite ballet.

Giselle was the first truly great romantic ballet and the music by Adam is gorgeous. This performance is outstanding and does full justice to this ballet masterpiece -- enhanced by this Blu-ray presentation. Very highly recommended.

This is a very fine performance of Giselle. Cojocaru's dancing portrays the heroine as the lovable but fatally naïve country girl that she is and as her mother (excellent portrayal) so clearly understands. This fragility carries over convincingly to the second act where Nunez, as leader of the Willis in this act is not as cold-bloodied as some. As a result the element of redemption through love is relatively unimpeded here. The Willis are as effective as usual although those in an earlier Kirov performance were able to move as if on wheels. Astonishing! The two competing men here are well up to the task required of them although I always personally feel that the morally upright and justified Hilarion is appallingly sacrificed so that the real villain, Albrecht from a very privileged background, can escape proper justice.

Nevertheless, despite this irrelevant quibble with the plot, I would still recommend this as an outstanding interpretation which is also well staged with convincing scenery, costumes and supporting roles.

The problem for me concerns the sound quality heard in surround mode on good equipment. This shows the orchestra to be working in the dry acoustic that you would expect in a packed theatre which can be adjusted to in all respects except one. That is the booming and undefined sound of the bass drum. This becomes oppressive and totally out of balance with the rest of the soundstage and at odds with the delicate nature of the ballet. This is not a problem of musical scoring but rather that of poor recording.

Finally I should mention that this is available as a sharply defined Blu-ray which is how I own it. For some reason the Blu-ray version is not listed on Amazon UK but is available through Amazon Com as a free region issue (but with a cast list that confusingly lists the Paris version stars with this one). I replaced the Paris version with this and have been happy with the exchange despite the sound reservations.

Five stars for the ballet but 3 for the sound quality - so an overall 4 stars.

Giselle would have to be my favourite ballet of all time. It was the second ballet I was involved in back in the 60's.
This production from Covent Garden would have to be the definitive version on disc to date. I have just finished viewing this Blu-Ray presentation and it has left me spell-bound.
What a tour-de-force with the choreography, set design, costumes, dancing and music.
The staging is the best I have ever seen and the music is so alive and attentive to Adam's scoring. Boris Gruzin brings breadth and depth to the score without making it heavy and stodgy. He manages to bring out something extra from the Covent Garden Orchestra I have not heard from them before. Their playing is exceptional; it's like a completely new score.
In act one, the role of Berthe (Giselle's mother) has been extended to fill out the mime about the Willi's.
Giselle, danced by Alina Cojocaru have NEVER been danced with such grace and poise. She is like a floating piece of paper across the stage assisted by her acting ability. Her extensions and centre core are so stable, not a wobble anywhere. The role of Albrecht is dance by Johan Kobbog. This is no prince to be messed with, his extensions and scissor actions have to be seen to be believed and his straight arm presses leave one spellbound. He holds Alina aloft as though she weighs nothing.
Marianela Nuñez dances the role of Mytha, queen of the willi's, like I have never seen before. The roar of the audience is evidence of that.
Martin Harvey does justice to the role of Hilarion (I am only sorry he doesn't get to dance more. He only gets to dance his dance of death in act two. What a shame). The remainder of the cast are all exceptional.
What a magnificent Giselle and kudos to Opus Arte for providing a magnificent colour booklet to accompany this Giselle of Giselle's.
If you have other recordings of Giselle or if you have never seen or heard it at all, I urge you to purchase it immediately, you won't be sorry.
Thank you Covent Garden in association with the BBC and Opus Arte for bringing us your production of Geselle.

Giselle is one of the most popular ballets of all time, gets a new DVD version recorded in 2006 with the London theater production of Covent Garden.

The music of Adoph Adam is simple, with easy melodies, naive, sometimes even silly. But fell in public taste.

The composer had 3 weeks to write the book and used portions of another of his own ballet, Le Pirate.

The Covent Garden production is impeccable, perfect scenery and costumes were in keeping with the libretto.

The direction of images is excellent, shows all the scenes with clarity.

Light of a unique beauty and traditional choreography. The orchestra conducted by Boriz Cruzin has excellent sound, especially in the woods.

Alina Cojocaru is in a state of grace. Criticized his performance in Sleeping Beauty by the lack of emotion, but that the dancer Giselle shows all his artistic potential. Your body and facial expressions are perfectly adapted to Giselle. Dance with delicacy printing a naivety poor provincial girl. Her mad scene that closes the first act is to shatter. By becoming Willis jumps beautifully giving the illusion of being a troubled spirit.

Johan Kobborg shows Albrecht is a right, its best passages are when you the duets with Giselle. There is great chemistry between them, the end of the second act is remarkable.

Hilarion is the most wronged character in the history of ballet, a man of pure heart and love go all out to show that such Giselle Albrecht is just a sleazy second-rate and consegue.Mas the girl is in love and when that happens it seems she can not think. Proof of Giselle that the prince is preppy boyfriend of another, or a great liar. What does he gain from it, death. Will visit the girl in his grave and take a Pataquiva of Willis who send him to the cemetery. What does heroin even after her death to the man who tried to open their eyes? Nothing, let him go to hell without remorca. But Giselle in her passion breathtaking saves the scoundrel, who lied to her saying he was poor and without compromise and caused his death. He quite ready to live and she mortinha da silva. What love can stand so dirty!

Women of my Brazil you do this?

Hilarion is represented by Martin Harvey and boy does the job perfectly. Another highlight is always exciting for the participation of Marianela Nunez, ballerina roles accepts "small" and turns it into huge, Myrtha its technical quality is exceptional and emotional.

The corps de ballet of the Mountbatten participation has sometimes modest, sometimes interesting.

Giselle-Balé da Injustiça.

Giselle é um dos balés mais populares de todos os tempos, ganha uma nova versão em DVD gravada em 2006 com produção do teatro londrino Covent Garden.

A música de Adoph Adam é simples, com melodias fáceis, ingênuas , as vezes até bobinhas. Mas caiu no gosto do público.

O compositor teve 3 semanas para compor a obra e utilizou trechos de outro balé de sua autoria, Le Pirate.

A produção do Covent Garden é impecável, cenário e figurino perfeitos , condizentes com o libreto.

A direção de imagens está excelente, mostra todas as cenas com clareza.

Luz de uma beleza ímpar e coreografia tradicional. A orquestra regida por Boriz Cruzin tem excelente sonoridade, principalmente nas madeiras.

Alina Cojocaru está em estado de graça. Critiquei sua apresentação em Sleeping Beauty pela falta de emoção, mas nessa Giselle a bailarina mostra todo seu potencial artístico. Seu corpo e suas expressões faciais se adaptam perfeitamente a Giselle .Dança com delicadeza imprimindo uma ingênuidade a pobre moça interiorana . Sua cena da loucura que fecha o primeiro ato é de arrasar. Quando se transforma em Willis salta com beleza dando a ilusão de ser um espírito atormentado.

Johan Kobborg mostra-se um Albrecht correto, suas melhores passagens estão quando faz os duetos com Giselle. Existe grande química entre ambos, o final do segundo ato é memorável.

Hilarion é o personagem mais injustiçado da história do balé, homem de coração puro e apaixonado faz de tudo para mostrar a Giselle que esse tal de Albrecht não passa de um pilantra de segunda categoria e o consegue.Mas a moça está apaixonada e quando isso acontece parece que ela não consegue pensar. Prova a Giselle que o príncipe mauricinho é noivo de outra, ou seja, um grande mentiroso. O que ele ganha com isso, a morte. Vai visitar a moça em seu túmulo e leva uma pataquada das Willis que o mandam ao cemitério. O que a heroína faz mesmo depois de morta para o homem que tentou abrir seus olhos? Nada, deixa ele ir para o inferno sem remorços. Mas Giselle em sua paixão arrebatadora salva o pilantra, aquele que mentiu para ela dizendo que era pobre e sem compromisso e provocou sua morte. Ele vivo para aprontar bastante e ela mortinha da silva. Que amor aguenta tanta sacanagem!

Mulheres do meu Brasil vocês fariam isso?

Hilarion é representado por Martin Harvey e o rapaz dá conta do recado com perfeição. Outro destaque fica para a sempre emocionante participação de Marianela Nunez, bailarina que aceita papéis "pequenos" e o transforma em enormes, sua Myrtha é de qualidade técnica e emotiva excepcional.

O corpo de baile do Covent Gardem tem participação as vezes modesta, as vezes interessante.

Ali Hassan Ayache

This is the first review of the blu-ray version but there are many reviews of the DVD version. All the reviews justifully praise the performance and I won't add to that. I just want to worn you that the music if far from ideal. I have several CDs of this ballet with far better sound. If you listen to it through your TV then may be you don't mind or probably the music will sound good. On the other hand if you listen through high quality stereo then you will hear the boominess.
P.S. I didn't have a home theater system and I cannot say how it would sound there.

In writing a very negative review of another bluray Giselle, somehow that review became attached to this very fine performance and production. I just noticed it today and removed the misplaced review. I also noticed that there were other reviews under the heading of this performance that were actually of that other performance...what's what here?
I havn't watched this Giselle enough times yet to really comment except to say that on a first viewing it seemed admirable in all respects.