RB 'Giselle' reviews 'Giselle' reviews Kobborg in reviews Cojocaru in reviews recent RB reviews

With only a very little sparkle of hope to find a last minute ticket, I felt the urge to grasp the opportunity to travel one day earlier to UK, trying to see Alina's Giselle. And I did find a ticket, although my phonebill will be a lot higher than the ticketprice ! Some ROH-operators need an urgent re-schooling : as the few places left were all restricted views, I opted for the only so-called 'clear front-view' : a standing place at the balcony. I ended up on C20, auditorium left......glad I could move a bit when performance started..so I had at least a glimp of Giselle's cottage-door too ! I was so fortunate to have Tomoko who pointed out a free standing place at the orchestra stalls for the second act.

So, I travelled over seas (eh...actually under seas...) and hectic roads to discover a star....and I have still difficulties to find the right words in the middle of all the luck I had : I found THREE ! Yes, 3 ! Alina, Johann and....the corps !!! It will surprise many among you : I'm not familiar with this Giselle production. I saw several performances of the Eugène Polyakov choreography, which I adore. I was so mesmerized by the dancing that I need a video now to find out about all the differences. At a first glance it's more the Second Act and the part of the corps that's different, apart from some details in Act I. The peasants do wear very luxurious clothes and I can't call the picture at the end of the madscene : a lifeless Giselle in the arms of her desperate mother - a detail ! In the very beginning of Act II,Polyakov let Giselle appear in front of some gambling villagemen and we see Hilarion and Albrecht bringing flowers to her grave, before the corps starts their haunting task. The line-up is more strict and controlled in a lot of parts, while this version shows a more ethereal corps (I didn't know it was possible !), ghostly fluttering in one whole whirlwind. There must be a real balletomane out there, who can correct me here or add a more worthwhile opinion....I still have a lot to learn

Yes, I know, I keep talking and talking without telling something about the dancing... never thought it was that difficult to put into words the most emotional, most ethereal, most superb Giselle-performance I EVER saw before ! And I specially mention 'performance' because I don't want to make a shortcoming mistake towards the other 'stars' I've discovered that night ! A perfect performance is build up by all pieces of gems...and what kind of a treasurechest RB has opened on the 21th ! I need to consult my list of superlatives, enthusiastic exclamations etc... Johann Kobborg is everything a dream-Albrecht needs : he is a wonderful, strong, perfectly trained dancer...he completely indentified himself in his role...a perfect, attentive partner...He is full of passion, on which he has a superb control...reveals it sparse at the beginning...to burst out in an overwhelming flood of desire..and despair...(hmm...is this typical Danish ?). He made it so easy for his Giselle to fall head-over-heels in love with him ! And about Alina Cojocaru, one need to reinvent words for her...the utterly fragile Alina simply seems to be a reincarnation of a great ballerina out of the Romantic Era. Impossible to copy -even at this young age- adding lovely details, the fragile posing of her head, a naughty glance, a passionate gaze... She is all motion and floats over the stage in an incomparable innocence. I agree about the non-appropriate high extensions...but this is only a minor detail...we only can blame her training for this ? I heard someone talking about the professional way in which she solved some small problems she had....but I haven't noticed any problems Here we had all the best of available ingredients...and the stars were with us that night : we were offered a sublime, sparkling partnership ! Johann and Alina, what a perfect match ! Above all, this was an emotional partnership...and when emotions became almost tactile...I found myself in tears. I don't want to be shortsighted on this...and have to be carefull not to be caried away too much by my enthusiasm : haven't we seen a partnership that will be noted down for eternity ?

The unison of the corps was breathtaking (an appropriate word in this context !). Although I still haven't seen them enough to formulate a real balanced opinion, to be honest...up until now I simply thought they couldn't match the POB-corps....but I have already made corrections to this ! The corps was in superb form and the dynamic choreography (in comparison to the one I know) added to the ghostly appearances. And I almost forgot to mention Myrtha ! Is there a better, authoritative and more commanding Myrtha in the RB than Yanowsky ? This was one of those rare evenings, all pieces of the puzzle fitted perfectly into place, one crossed the line of 'performance' and took us all towards another indescribable (ethereal ?) level. London has to redesign his constellation-map

Now, I've started to wrap this gem very carefully...to keep it forever in my heart. But gems can make you really greedy.....and I already heard a little devil in me..." what kind of role do you want to see Alina in next ?..." Hmm......what about "La Sylphide" ?.... Oh dear.....dream on......