iselle,” a masterpiece of romantic ballet, was last week’s season opener for Ballet West. The unforgettable story of passionate love and betrayal was told beautifully through the artists’ interpretation of this timeless production.

	Ballet West's production of 'Giselle' faithfully communicated the emotion of the masterpiece.

Act I starred principal ballerina Maggie Wright in the title role. Wright has a delightful floating quality of movement and dances every step with seemingly delicate ease. A greater range of facial expression might have enhanced her flawless technique.

Stanislav Belyaevsky, a dancer with the Finnish National Ballet, appeared as a guest artist in the role of the young duke Albrecht, who falls in love with the peasant girl Giselle. Upon first meeting, Albrecht tricks Giselle into believing that he is only a villager named Loys, and they end up falling in love. Wright and Belyaevsky danced together with purity and sweet innocence, and interacted well with each other.

Tonia Stefiuk and Elye E. Olson were charming in the peasant pas de deux and danced with great precision and musicality. Stefiuk is always a joy to watch, and both dancers had an energetic attack that made this scene exciting.

Impressive work by the corps de ballet was one of the highlights of the evening. The artists danced together in unison and were aware of each other the whole time. Nobody missed a beat or a step.

The infamous “mad scene,” The turning point in which Giselle’s former lover Hilarion discovers Albrecht’s true identity, was captivating. One could feel the anguish and ultimate betrayal of the characters as they came to realize what was happening. The first act ends on a somber note, with Giselle having died from a broken heart and Albrecht in horror at what has come to pass.

The scene at Giselle’s grave site opened Act II. Myrtha, Queen of the “Wilis” (maidens who have died before their wedding day), summons her subjects to appear and initiate Giselle into their sisterhood. Christiana Bennett danced the role of Myrtha with authority and impressive technical strength. The Wilis wore veils and were dressed in white romantic tutus, creating a chilling, ghostly appearance. Again the corps de ballet delivered the goods, with perfectly straight lines and a feeling of connection between each dancer. As the two head Wilis, Michiyo Hayashi and Leslie Ann Larson danced their roles admirably, with a light, lyrical quality.

Wright excelled in this act, her delicate feeling conveying a wonderful sensitivity. Belyaevsky danced with virtuosity, displaying spectacular technical ability and at the same time showing great emotion.
Hope is in sight at the conclusion of the ballet as Albrecht’s life is spared through Giselle’s sustaining love for him. Before the Wilis’ commandment that he must die can be put into effect, dawn breaks and their power is lost. Albrecht is left to weep at Giselle’s grave, overcome by the generosity of her forgiveness.

Director Jonas Kage’s newly staged production of Giselle was an inspiring season opener. The enduring power of this ballet proves that it is here to stay.
marissa@red-mag.com