Giselle

After one year of waiting, Queensland Ballet finally had the chance to debut the classic Giselle to a full house, rounded out by very well-deserved applause and a standing ovation. Originally titled ‘Giselle, ou Les Wilis’, this is one of the masterworks of classical ballet.  A romantic ballet with music by Adolphe Adams, it was first performed in Paris, France on 28 June 1841.

Not only is it one of the world’s most often performed classical ballets, but it’s also one of the most challenging to dance, particularly the role of Giselle, which Mia Heathcoate makes appear effortless.

The story is of a beautiful young peasant girl who falls for Albrecht, a nobleman who has disguised himself to seduce her.  Her suitor, Hilarion, played tonight by Vito Bernasconi, is suspicious and when he discovers Albrecht’s identity, reveals it to the villagers. When Giselle discovers the truth, she is heartbroken and takes Albrecht’s sword to stab herself. As she dies, the curtain comes down on Act One with Giselle doomed to become a Wilis and Albrecht to die.

Act Two opens to a forest scene with both Hilarion and Albrecht visiting Giselle’s grave.  The ‘Wilis’, ghosts of young women who have died before their wedding day after being betrayed by their lovers, gradually appear on stage. Led by Myrtha, the Queen of the Wilis they dance the doomed men to death by exhaustion. Hilarion falls victim to their wiles and, having danced himself to exhaustion, drowns.

Yanela Piñera shines as Myrtha, Queen of the Wilis, beginning with her first rapid stage crossing, in which her gossamer veil floats about her face in an otherworldly manner. Piñera projects Martha’s power with a relentless and imperial manner and dances the role with compelling majesty.

Principal artist, Mia Heathcoate as Giselle is the consummate ballerina – petite, graceful and passionate. Her presence as Giselle immediately dominated the stage, standing out starkly from the corps de ballet dressed in earthy browns and umber, Heathcoate’s Giselle was full of innocence and light. Upon Giselle’s betrayal, Heathcoate launched into madness with ease. Her performance of Giselle’s ghost truly endeared her to the audience. Weightless and melancholic, she drifted about the stage in a wisp. Receiving rapturous applause at curtain call, it was an utter treat to see Heathcoate give this performance.

In the space of this two-act ballet, Giselle evolves from a flirtatious, charming peasant girl to a dedicated and philosophical spectre in the second act. Paired with Patricio Reve as Albrecht, there was a perfect dynamic. A match made in heaven – they were paired with athleticism and strength, lifts were effortless yet intensely passionate, the sautés controlled, and the overall characterisation for both performances was one of elegance and power.  A series of entrechat jumps performed by Reve during the second act was truly a triumphant moment in the production.  

Opening night was accompanied by Camerata - Queensland's Chamber Orchestra with conductor Nigel Gaynor at the helm. The sound resonated perfectly with the artists on stage and was an extra touch of magic to enhance the performance.

As the people around me would summarise, as we all gave a standing ovation, ‘that was absolutely perfect’. If you have a chance to see Giselle before the seasons closes, we would highly recommend it for young & old alike.

Mel Newton

Photographer: David Kelly