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Dutch National Ballet Giselle UK screening 21 Jan 2024 14:00
We do not get to see enough of the Dutch National Ballet in this country which is a shame for many reasons. It is one of the world's great companies and it is the company outside the Anglosphere that is most similar to the Royal Ballet and the Birmingham Royal Ballet. There are many links between the National Ballet and the two Royal Ballet companies For example, Northern Ballet's new Director, Federico Bonelli, danced with the National Ballet between 1996 and 2003 and the Junior Company's Artistic Director, Ernst Meisner, trained at the Royal Ballet School and danced with the Royal Ballet for many years. The links between the companies go back to at least 1940. The Sadler's Wells Ballet was touring the Netherlands when it was invaded by enemy forces.
Yesterday's screening of Rachel Beaujean and Ricardo Bustamente's Giselle in the United Kingdom enabled British balletgoers who did not already know the company to see just how good it is. The lead roles were danced by former Bolshoi principals Olga Smirnova and Jacopo Tissi, This was the first time that I had seen them. Both impressed me considerably with their virtuosity. Smirnova's Giselle reminded me strongly of Osipova's, particularly in the scene when she is summoned from the tomb by Myrtha where she rotates with the speed and energy of a Catherine wheel.
Giorgi Potskhishvili was possibly the best Hilarion that I have ever seen. His passion was palpable. In this production, he pulls a knife on Albrecht which causes Albrecht to reach for where his sword should have been. I had never seen that detail before and it explains a lot. At a pre-performance talk when I saw the ballet in Heerlen I put it to Beaujean that Hilarion had a rather raw deal in the story (see "Mooie!" 16 Nov 2018). "He may have been jealous, even a bit stupid," I argued, "but he was not the one to deceive two women. Did he really deserve to die?" I don't think I would have asked that question had I seen Potskhishvili's performance then.
Myrthe was danced by Floortje Eimers whose career I have followed closely for the last 10 years. Although it is not regarded as the leading female role I have often thought that it makes or breaks the ballet because it is Myrthe rather than Giselle who dominates the second act. Eimers danced the role well and the second act was gripping. Particularly the last scene before the bell struck when Tissi lay exhausted on the floor.
There were many other commendable performances but as the programme listed only the four leading roles, I can't remember exactly who danced what, The only one I can remember is Sho Yamada in the Peasant Pas de Quatre. The other three who danced with him merit congratulations but while I remember their faces I cannot remember their names, Similarly, I should commend those who danced Moyna and Zulma.
One of the reasons why this production is so impressive is that the sets and costumes were designed by Toer van Schayk. His name was not on the cinema programmes but it should have been because van Schayk is a genius. He is as distinguished as a painter and sculptor as he is as a dancer and choreographer. He has designed the sets for many shows of all kinds. Often a set is lost on camera. In this film, the high peaks and meandering valley in the first act and the mysterious and menacing forest in the second were captured faithfully,
The ballet was filmed by Pathé Live which used to present the Bolshoi. I tended to prefer Pathé's transmissions to the Royal Opera House's largely because of the skills of its presenter, Katerina Novikova. She could switch effortlessly from one language to another and she charmed her interviewees with her smile. She never used an interpreter and translated their replies as soon as her interviewees stopped speaking. Pathé did not introduce Giselle and there was no interval. Instead, the ballet started promptly at 14:30 and continued without a break until the reverence.
That was a missed opportunity. The company is used to giving pre-performance talks when on tour or in Amsterdam as I mentioned above. I usually learn something new about a ballet even though the talks are given in Dutch. The company always gives a good account of itself on World Ballet Day. I would have enjoyed short interviews with Beaujean about the choreography, van Schayk about his designs and Smirnova, Tissi and Eimers on their characters.
Giselle may be a very short ballet but it is too long to appreciate in one sitting. The contrast between acts one and two also requires some time for adjustment. In the theatre, the audience would have at least 20 minutes to grab a coffee, visit the loo, read the programme, purchase an Igone de Jongh or Michaela de Prince tee-shirt or some other merchandise and chat about the performance. Cinema audiences need that break too especially if it is their first experience of ballet. If the Dutch National Ballet ever contemplates another screening I hope it will include breaks and interviews with the artists and creatives,
