Giselle

Giselle at the Royal Opera House, starring Carlos Acosta, was something I’d been looking forward to for some time, as several of my previous posts will attest to. Unfortunately, my seat was at the back of the amphitheatre again, but I had a clear, unrestricted view and for the price, I really can’t complain (though my aunt was there with some of her family and seated in the stalls which did prompt a brief visit from the green-eyed monster!). Amusingly, before the performance begun, there was an announcement with some cast changes. They turned out to be reasonably minor, but the audience wide groan at the words ‘cast’ and ‘changes’ and the sigh of relief when the words ‘Carlos’ and ‘Acosta’ were not mentioned, was something else. Particularly the way everyone then broke into relieved and excited chatter, though the lights had already begun to dim. I mean really, I thought a ROH audience was above panto style reactions!

Anyhoo (don’t read this paragraph if you don’t want to know how it ends), Giselle tells the story of a girl who falls in love with the wrong man, Loys, who turns out to be the engaged Count Albrecht in disguise. Despite warnings from her mother and Hilarion (a forester who also loves her), she perseveres. When she finds out her lover’s true identity, she dies, stricken with a weak heart and driven mad with anguish. After her death she is called to join the Wilis, spirits of women who have been jilted and died before their wedding day. They prey on men, forcing them to dance through the night, until they die. Hilarion falls into their trap, as does Albrecht, but despite everything, Giselle still loves him. Though exhausted and near death, in the end her love saves him from the Wilis, saving her from becoming one herself in the process and allowing her to rest in peace.

The first act, if I’m honest seemed a bit uneventful for the most part, but then, that said, the opening sequence between Giselle and Albrecht was both sweet and amusing and I very much enjoyed it. The final scene of the act was also rather magnificent, particularly Giselle’s descent into madness.

The second act, I enjoyed far more. The Wilis were quite spectacular – 26 ballerinas, plus Myrtha, their queen, all dresses in white dresses and veils, making patterns across the stage. It reminded me a lot of the swans in Swan Lake; absolutely beautiful. Albrecht’s dance was also spectacular, though I think that was, for me, mostly down to the dancer rather than the choreography. Overall, the second act felt a lot less like ‘dancing for the sake of dancing’ than the first act, even though, to an extent, I suppose that’s really all it was. I guess the difference was that it was more to my taste and seemed more interesting to watch.

Tamara Rojo was spectacular as Giselle and, of course, Carlos Acosta was magnificent as Albrecht. Despite the fact this is the ninth ballet I’ve seen in about six months, I am by no means a connoisseur and I can’t really tell who is good and who is not. During the first act, whether I would have though anything much about Carlos Acosta had I not heard his name so often, I don’t know. The second act was an entirely different matter, however. He blew me away completely. He seems to have an inner strength and presence that I often find slightly lacking in the male principals, but there’s also something more than that, which I can’t quite put my finger on. My mum would probably call it charisma, though, to me, he does seem somehow more macho than a man in tights has any right to be!

Anyways, last night also heralded my first visit to the ROH stage door. I was there for almost an hour and practically had to chase Carlos Acosta down the street for a hastily scribbled autograph, but it was worth it. My programme was signed by Carlos and Tamara and I left with a smile on my face, as well as a determination to return after the next performance that I attend.

So, I laughed, I (almost) cried and I am definitely glad I came. I’m already looking forward to Swan Lake (along with the rest of the performances I have booked over the next few months, of course).

I’ve actually booked a ticket to see Stuart Matthew Price’s show on the Battersea Barge in Feb. I hadn’t really planned on it, but Caissie Levy and Hadley Fraser should be there and the tickets were selling out fast, so I figured ‘why not?’. Should be enjoyable, given how awesome I thought he was at Hadley Fraser’s Waterloo East gig, even if I have yet to hear the album that he will be showcasing. It was also rather cool as I tweeted Stuart to say I’d bought a ticket and he replied saying ‘Woop! Can’t wait to see you there!’, or something to that effect. I don’t think anyone’s ever tweeted me back before, never mind someone in the ‘celeb’ sphere. Even if he’s not exactly what one would call a celeb.

Anyhoo, more reviews on the way after tonight’s performance of Matthew Bourne’s Cinderella and tomorrow’s of Hamlet at the National. There’s also a random ramble about Tommy Joe Ratliff (who’s name has been sadly lacking in my last few posts) and my New York hostel drama to come, so watch this space.

Until next time, peace, loVe and glitter,

K xx