Very traditional Giselle in Paris.

 It seems like nothing has happened since Patrice Bart and Eugène Polyakov in 1991 copied this Giselle after the original choreography from Jean Coralli and Jules Perrot (1841) adapted by Marius Petipa (1887). So far no problem, but this Giselle is still very traditional and I am sorry to say, a bit boring. The high classical standard quality of the dancers where the soloists Aurélie  Dupont as always good also in this titelrole, but Tuesday October 6^th nothing extraordinary

. The amazing arabesques, who sometime can lift a part up to something wonderful was normal, even more boring than in other capitals in Europe this season. José Martinez as Albrecht showed in his wonderful soli in the second act how brilliant a dancer he is.

 

 

Emilie Cozette was brilliant as Myrtha with a wonderful control on all the small details, she directed and was a beautiful central figure in the second act.

The big surprise for me was Marc Moreau as the male soloist in Peasant pas de deux, this was extraordinary good.  During his soli he was sometime flowing. His partner Ludmilla Pagliero was beautiful. – Some times the music was too slow. I do know that this gives the dancers possibility to show their high quality in the slow parts, but then it needs to be done like they enjoy it, they didn’t look like they enjoyed it it looked like they did their “job”, and so it was well done.

The other big positive surprise was the music. The wonderful Orchestra Colonne under the baton af Koen Kessel sounded great in Adolphe Adams beautiful music. During the performance I enjoyed many wonderful soloists. In the second act the very long and amazing alto solo by the first alto Fabrice Leroux (?) was extraordinary and unforgettable. In addition the violin quartet together with the harp, Sandrine Longuet,  (?) in the opening of second act. Further one the many wooden blower soli and specially all the piccolo flute “accents” which was perfect played by Caroline Guilbert (?).

 

 

 

 

The costumes in the first act were beautiful for the peasants, but when the ducal delegation appears on stage they are from a different periode which not match the first costumes and then it dont works. The Scenography with every thing only painted even the houses, are too cheap.  

For the Opera Ballet in Paris, it is perhaps the time that they look around to find choreographers who can renew beautiful classic ballets in the traditional style, without making it to popart or contemporary ballet because we need to keep the classical ballets well preserved at the repertoire, but it don’t need to be boring. The dancers need a daily inspiration, also when it its revival of an old classical piece.  The normal audience as it was on Tuesday, don’t see it but if the company shall keep its high reputation also a traditional Giselle shall be some thing extraordinary.