ABT’S GISELLE IS A TRU RENAISSANCE OF ROMANTICISM
Very few ballets have made their mark like Giselle, the jewel of Romantic dance. It emerged in 1841, at the height of an era when people were fascinated by the supernatural and women who seemed more spirit than flesh. Giselle actually redefined the ballerina: no longer merely a mortal technician of athletic fits but a sanctified specter in tulle. The story was created by poet Théophile Gautier who drew inspiration from Victor Hugo’s poem Phantoms, among other sources, choreographed by Jean Coralli and Jules Perrot, and set to Adolphe Adam’s hauntingly striking score.
Susan Jaffe, American Ballet Theatre’s artistic director and a former Giselle herself, steers the revival with a deep respect for tradition at the Metropolitan Opera House. Kevin McKenzie stages the production (incorporating Marius Petipa’s later additions) with music arranged by John Lanchbery. It is a true Renaissance of Romanticism.
Technically, Giselle is a rigorous rite of passage for ballerinas because the role demands both heart and stamina. In Act I, the dancer must show a young girl’s joy and innocence through light steps, cheerful hops, and fast footwork that require both speed and precision. In the version I saw, Christine Shevchenko danced it with clean technique: crisp jumps, strong pirouettes, and an open, joyful quality. In her mad scene, when Giselle discovers her lover’s betrayal, she danced with increasing abandon. Act II, instead, demands from Giselle the rare gift of weightless sorrow, and Shevchenko showed control with jetés and port de bras (arm movements) so airy to defy gravity. Her jumps were weightless yet accurate, her landings sure. Pirouettes unfolded with serene control, anchored by a steady core and finished with flair.
Christine Shevchenko in Giselle
Giselle’s story is simple: in a German Rhineland village, a lovely peasant girl with a weak heart and a passion for dancing is courted by a young man known to her as Loys. Her name is Giselle and Loys is, in fact, Albrecht, Count (or Duke) of Silesia, disguised as a peasant. Loys/Albrecht is played by Calvin Royal III who brings a noble bearing to the cheating character that never feels forced. His pas de deux with Shevchenko in Act II is beautifully danced, full of lifts, slow turns, and long geometric lines that emphasize both grace and grief. They move together with such harmony, as if they were made to share the stage.
Back in Act I, the lovers’ mood is shattered by the village huntsman who is in love with Giselle. As Hilarion, Andrii Ishchuk dances with sharp, grounded energy. His steps are quick and forceful, especially his beats where the legs cross in mid-air like scissors. Ishchuk’s physical style make him feel like a man of the earth, in contrast to Albrecht’s elegance.
Christine Shevchenko (Giselle) and Calvin Royal III (Albrecht) in Giselle
His character Hilarion senses deception and, fueled by suspicion, angrily vows to expose Loys for who he truly is. Giselle, however, remains unfazed. She joyfully leads the villagers in a celebratory dance to open the harvest festival. It is a bright, technical showcase for the dancers: crisp turns, articulate footwork, and spot-on musicality. It also included a peasant pas de deux, performed by Sierra Armstrong and Jose Sebastian, that feels like a mini-show within the show, lighthearted and full of charm.
Giselle’s mother offers a chilling warning: too much dancing and too much passion could be fatal for her fragile daughter. Nancy Raffa portrays the anxious mother with a perfect blend of tenderness, apprehension, and premonition. Her mime is precise and expressive, every gesture carefully shaped to speak volumes without a single word. A loyal squire to Count Albrecht (Cameron McCune) attempts to intervene, but his warnings are dismissed, and the deception continues unchecked. That is, until Hilarion uncovers the truth. He summons the Prince (Alexei Agoudine) and his daughter, Bathilde (Courtney Lavine), who arrive in the village with their entourage for a hunt. In a tense confrontation, it’s revealed that Bathilde is Albrecht’s fiancée. The truth shatters Giselle. Overwhelmed by the betrayal, she spirals into a frenzied dance until her body can bear no more. Love in Giselle, as it turns out, is fatal.
Fangqi Li in Giselle
In Act II, Fangqi Li is Myrta, the Queen of the Wilis, the “love avengers” of German mythology. Wilis are dead women who haunt the forest and exact vengeance on men who have wronged them in life. Li is regal, cold, and unrelenting; she commands the Wilis with icy precision and zero tolerance for sentiment. While Giselle is all about forgiveness, her character is all about justice. Her wannabes Zulma (Zimmi Coker) and Moyna (Breanne Granlund), with the corps de ballet as the ghostly Wilis, set an unforgiving standard of unison, with rows of arabesques and bourrées (tiny, fast steps on pointe) that glided across the stage like wind through grass. These ghostly spirits of jilted women move with chilling precision.
Gianni Quaranta’s sets give the ballet a fairy-tale look; costumes by Anna Anni, the legendary Italian designer, strike a balance between romantic lyricism and structural clarity, allowing dancers to look ethereal while moving freely; and lighting by Jennifer Tipton guide the eye, support the dancers, and breathe emotion into every scene, keeping the dancers glowing without distraction. Meanwhile, Ormsby Wilkins and the ABT Orchestra give a powerful, emotional performance that brings the score to life.
Since its 1841 premiere starring Carlotta Grisi, Giselle has evolved into a benchmark role, a test of physical dexterity and emotional nuance. As the ballet passed from one prima ballerina to the next, it became a vessel for changing styles, interpretations, and ideals of femininity. Today, Giselle continues to captivate for the same reasons it first stunned Paris: it fuses Romanticism’s longing with ballet’s precision, balancing the spectral and the grounded in every gesture. With ABT, it is where ballet transcends technique and becomes pure, aching poetry in motion.
photos by Rosalie O’Connor
ends on June 28, 2025
for tickets, visit Giselle
