RB Giselle reviews RB Giselle Performances? Durante in Reviews Mukhamedov Interview

After her successful debut with the ABT Durante makes a much welcomed return to London. I personally thing she is the best interpreter of Giselle today. It is her extraordinarily powerful acting ability then makes her so good. Sometimes I think she comes on too strong and therefore I prefer to see her from a distance – i.e. without my binoculars. It is however a very conventional interpretation – a lively if rather frail peasant girl in the first act and a deep impassioned spirit in the second act. That is meant with no disrespect – originality does not automatically imply better!

It is clear that Durante is not everyone’s taste. But I think there is no denying the extraordinary effect when partnered by Mukhamadev. The performance becomes very special. It is the glorious pas de deux in the second act that I can never forget. The lifts were ravishingly beautiful to watch. In fact this is the best pas de deux I have seen in any ballet! It was the highlight of the evening. This is entirely due to the deep understanding the two dancers have for each other.

Irek Mukhamadev does not have the power he use to have – but he shows remarkable stamina. Although noted for his Bolshoi power (which he no longer really has) he has developed into a very refined and graceful dancer. His powerful acting ability and sensuality complements Durante perfectly. I think there is still some more dancing years left in his body.

I was delighted at the performance of Christine McDermott. It is curious as to why she does not receive the same attention as other first soloist such as Hatley and Wildor. I think she is just as good! As Myrtha she had more grace, speed and ballon (the attribute I prize more then any thing else in ballet) then Yanowsky. I think McDermott should be the “first” Myrtha of the Royal Ballet.

I am afraid to say that Sara Gallie really does show up Nicola Roberts in the peasant pas de deux. She was stronger, and lighter then Roberts. She also demonstrated a much higher technical standard. Quite frankly I think it is time to put Ms Roberts to pasture. She has been with the company for more then 18 years so she has had a good innings. But it is clear that she is not the dancer she use to be!

The more I see Wright’s production the more I am impressed by it. I particularly like the use of the pas de six as a replacement to the out of place pas de deux. It is very effective in the way it leads the all the ensemble dances. The result is a more naturalistic Giselle. Definitely Wright’s Giselle plays to the RB strength which is dramatic ability. I have seen many Giselles but this one is the best of them all! I have not seen the San Francisco version. It has received rave reviews from Jenny and Dancing Times. But I think the RB version will be hard to beat!