© Erik Tomasson SFB 'Giselle' reviews 'Giselle' reviews Kochetkova in reviews Nedvigin in reviews recent SFB reviews more Renee Renouf reviews Discuss this review (Open for at least 6 months)

For cast three the struggling lovers were Kristin Long and Gennadi Nedvigin; for two, Maria Kochetkova and Joan Boada. Elsewhere I have written how I longed to see Nedvigin and Kochetkova paired; the two casts provided me with a fascinating argument beyond the facts of schooling and nationality. I can only explain my reasoning as one of emotional timbre; whether the artistic management of San Francisco Ballet is interested in pairing similar qualities of attack and interpretation or is intent in creating deliberate contrasts is moot.

Apart from the pristine classicism that sings in everything Nedvigin and Kochetkova do, there is an inward stillness, a fathomless soulfulness which permeates their characterizations, as if some ultimate intuition descended upon them which has been absorbed, filtered and considered prior to assuming the character, something of the eternal now. It was, of course, heightened by Pascal’s take on Hilarion; his characterization is one of the few I’ve seen which really makes me regret his death, dying essentially because his love has not been requited, and particularly because his reasoning triggered Giselle’s slender hold on reality. Pascal plunges into the role with his usual exuberance and energy.

Kristin Long and Joan Boada would make an equally well matched set of lovers, for the same reason, if differing in quality. Their characterizations are free flowing emotional fountains; phrases, variations happen in surging, impulsive emotion. Nothing wrong at all, it’s simply different. Long is quite a technician; if quibbling with her interpretation, I venture that, good as her phrasing is, and she is very musical, a microscopic bit more of pause or emphasis would chisel her portrait without diminishing her interpretation of the fated maiden.

Boada’s Albrecht is interesting, less natural aristocrat, but long lineage and old money for sure; thoughtful, clearly motivated, the dilemma of losing his cover registering clearly. I found the variation Helgi Tomasson inserted in Act I for Albrecht one of his best as also the closing moments in Act II, where, overwhelmed by his night’s vigil, he returns to Giselle’s grave.

Molly Smolen makes a wonderfully dramatic Myrthe, her initial bourrees almost like greased wheels they were so smooth. The look in her eye when Giselle protects Albrecht on her grave was telling, the shrinking of her hand, the registry of the special energy of the lovers quite apparent.

In her debut as Myrthe, Sarah Van Patten was impressive and she enjoyed added atmosphere. The dry ice had not evaporated when she commenced her bourrees, so there was the wonderful image of this white-clad creature floating in the dissipating billows. Would other Myrthes had the same luck.

Blanco and Andre both made atmospheric Wili lieutenants, possessing understanding of Romantic style.