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(The following is as it appeared on the Ballet.co Postings Page)
When I arrived at the ROH, the programme seller told me, with an air as if he expected to be attacked, that there was a "slight cast change". The word "slight" gave me hope...it turned out that Galeazzi was replacing Yanowsky as Myrtha, which put Sian Murphy in the pas de six and Gillian Revie taking over as Zulme, so it wasn't all that slight, but at least it didn't involve Giselle or Albrecht.
Photograph by Asya Verzhbinsky
In some ways I wish I had come to this performance without having read all the reviews or knowing that Alina was dancing with an injury. It's very difficult to know what I'd have thought if I'd heard nothing, but my feeling is that I would have been impressed, but not completely overwhelmed. Not long ago I saw another very young Giselle, Svetlana Lunkina of the Bolshoi, and was fairly disappointed - she was a lovely dancer, but she really couldn't put the character across. Alina was much better than that, but I feel nevertheless that there is probably more depth to come, if only she is allowed to develop at her own pace, and not forced like an exotic orchid. I think she was dancing a little cautiously - there was not quite the abandon that I have seen in other parts, but her freshness and air of utter innocence (she looks almost like a child) are very touching. I can't understand the critic who said there was something invulnerable about her - to me she seemed achingly vulnerable, almost breakable. I found that I didn't need my opera glasses because it is her body, not her face, that expresses what needs to be expressed. She is the only dancer I have seen for a long time who has an expressive head, a very valuable asset. Act 1 was a beautiful performance, but naturally it has yet to mature. I don't feel it is complete yet. It is a well-known paradox that only those with more experience of life can truly express youth and its tragedies. I do think that with luck and more experience this could be a legendary Giselle.
In Act 2 she looked ravishingly beautiful - a series of exquisite pictures, though I'm not certain that they were always fully connected, possibly because of the injury - and yet if I hadn't known about that, would I have thought about it? I doubt it. She has all the qualities needed for this act.
Kobborg, on the other hand, struck me as mature and complete - I don't know how old he is, but presumably not very - and of course this makes the story work very well. His dancing was for the most part exemplary - what a joy those ronds de jambe en l'air were! A real Erik Bruhn-ish quality. Above all, I felt he was dancing to some purpose, that of being Albrecht, without which the most perfect ronds de jambe are useless. A wonderful performance. A bit soon to talk about legendary partnerships, I feel, but we can hope.
Leanne Benjamin as Giselle
Photograph by Asya Verzhbinsky
Galeazzi did very well as Myrtha (actually I've never seen a really bad Myrtha), and I enjoyed Jaimie Tapper and Cervera in the pas de six (separately, not partners). The other two men wre a bit heavy. The corps were excellent. I loved Rosato's spoiled and petulant Bathilde, but am yet again puzzled by the casting of Muriel Valtat (Berthe) in "elderly" parts. How lovely, though, to see the long mime scene, which is so often omitted. In general, I like this production, sinister and romantic in the right proportions - you do feel after it that you have really seen Giselle as it should be.
It would be very interesting to hear from anybody who was there on both this night and the first one, and whether they differed much.
Finally, I must add what a delight it was to meet Jane Simpson and Roy, and Brendan and Suzanne. Apparently I just missed Eugene. It is always so fascinating to see what these mythical internet people are really like!
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