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Pacific Northwest Ballet: Giselle (May/June 2014)
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Author:  Francis Timlin [ Wed Apr 02, 2014 10:40 am ]
Post subject:  Pacific Northwest Ballet: Giselle (May/June 2014)

Pacific Northwest Ballet performs "Giselle," May 30 through June 8, 2014 at McCaw Hall in Seattle. Broadway World previews the production.

Broadway World

Author:  Francis Timlin [ Fri Apr 04, 2014 10:21 am ]
Post subject:  Re: Pacific Northwest Ballet: Giselle (May/June 2014)

"Giselle" production photos from Broadway World.

Broadway World

Author:  Francis Timlin [ Sat May 24, 2014 11:57 am ]
Post subject:  Re: Pacific Northwest Ballet: Giselle (May/June 2014)

Casting for the May 30 through June 8 performances is now available.

Casting

Author:  Francis Timlin [ Sun May 25, 2014 6:51 pm ]
Post subject:  Re: Pacific Northwest Ballet: Giselle (May/June 2014)

Moira Macdonald previews "Giselle" for the Seattle Times.

Seattle Times

Author:  Francis Timlin [ Fri May 30, 2014 12:36 pm ]
Post subject:  Re: Pacific Northwest Ballet: Giselle (May/June 2014)

Rosemary Jones previews the new sets and costumes by Jerome Kaplan for the Seattle Examiner.

Seattle Examiner

Author:  Francis Timlin [ Tue Jun 03, 2014 12:29 am ]
Post subject:  Re: Pacific Northwest Ballet: Giselle (May/June 2014)

Moira Macdonald reviews the Friday, May 30, 2014 performance for the Seattle Times.

Seattle Times

Author:  Francis Timlin [ Tue Jun 03, 2014 1:00 am ]
Post subject:  Re: Pacific Northwest Ballet: Giselle (May/June 2014)

Philippa Kiraly reviews the Saturday evening, May 31, 2014 performance for the Sun Break.

Sun Break

Author:  Francis Timlin [ Thu Jun 05, 2014 9:42 pm ]
Post subject:  Re: Pacific Northwest Ballet: Giselle (May/June 2014)

Anna Waller reviews the Friday, May 30, 2014 performance for Seattle Dances.

Seattle Dances

Author:  Dean Speer [ Fri Jun 06, 2014 9:32 am ]
Post subject:  Re: Pacific Northwest Ballet: Giselle (May/June 2014)

Winged With Love
Pacific Northwest Ballet’s “Giselle”
Saturday, 31 May 2014, evening performance, McCaw Hall, Seattle

by Dean Speer

You can always tell when great love and sincerity go into something and this was very evident with the unveiling of Pacific Northwest Ballet’s new production of its 2011 “Giselle.” With divine new sets and costumes [by French designer Jérôme Kaplan], based on historic sketches from the 1841 original, it appeared fresh. Kudos to the production team all around.

Carla Körbes in the title role was in her element and it was a joyful occasion, as we welcomed her back to a major part after being sidelined for a good portion of the season. Her transformation from peppy, happy and trusting peasant girl, to the frailty of the mad/death scene, and then the inner resolve of a forgiving ghost in Act II was genuinely moving. Hops on pointe, excellent, as were her turns and jetés, and her batterie and quick hopping in a spinning attitude entrance of Act II, impressive. Act II’s romantic – and literally of the Romantic Era – pas de deux was lovely, with its soft backbends and overhead lifts. Like the Act III pas de deux of “Sleeping Beauty,” it’s what everyone has been waiting for and more than worth it.

I’ve been saying for years of Batkhurel Bold, “Does he realize just how good he is?” and so it was rewarding to see him fulfill the opportunity to portray a Silesian duke, the two-timing Albrecht. His pairing with Körbes was a true partnership and his solo work, also excellent, and his acting clear and believable.

[On a personal note, one of my great-grandfathers was from a town in Silesia. They moved to Sheboygan, Wisconsin in 1847 and later to a small town in western Minnesota, where my grandfather was born. I had this brief flash of envisioning an American mid-west/plains version of “Giselle” – lots of lakes and woods for wilis to hide and float about in.]

Some people find the Peasant pas de deux annoying as in the sense of interrupting the flow of the dramatic action, but my take on it is that its function and where it’s placed is actually very smart. You see this in plays and movies all the time – something light and/or happy happens right before things go south, and for Giselle, they soon do go downhill very quickly. This device is also used in Act II right before the wilis set their claws on their first moonlight victim – when some villagers stumble upon some of these female vampires who at first appear fetchingly in poses but when the wise old village codger, Ezra Thomson, dissuades them, they show their true, frightening selves and scare them off.

Liora Neuville and Benjamin Griffiths were ebullient and bright in every way – crisp strong technique, and sunny, sailing through their partnering and solo assignments with aplomb. I’m only sorry that we will not be able to see more of Neuville as her talents are taking her from the ballet to the nursing field next season.

Laura Tisserand’s Myrtha was appropriately cool and never wavering in her murderous intent, first inflicted upon Hilarion [William Lin-Yee], the peasant in love with Giselle.

Lead wilis, Moyna and Zulmé were danced by a pair I’d like to each see more of – Emma Love Suddarth and Brittany Reid.

With staging supervision by Peter Boal, aided by Doug Fullington with his historic research and reconstructions and a tuneful accompaniment of a score by Adolphe Adam [Peasant pas music is by Burgmüller], played by the mighty PNB Orchestra and conducted by maestro Emil de Cou, PNB’s new/old “Giselle” is a long-term keeper.

Author:  Francis Timlin [ Tue Jun 10, 2014 11:38 am ]
Post subject:  Re: Pacific Northwest Ballet: Giselle (May/June 2014)

In the Seattle Times, Lance Dickie reviews the Saturday, June 7, 2014 matinee performance of "Giselle," Kaori Nakamura's final performance in the title role.

Seattle Times

Author:  Francis Timlin [ Wed Jun 11, 2014 6:27 pm ]
Post subject:  Re: Pacific Northwest Ballet: Giselle (May/June 2014)

In the New York Times, Alastair Macaulay reviews three performances of "Giselle," Saturday matinee and evening, June 7 and Sunday matinee, June 8.

NY Times

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