Adam - Giselle / Svetlana Zakharova, Roberto Bolle, Vittorio d'Amato, La Scala Ballet [DVD]

It is piti, that Svetlana Zakharova left her home Mariinsky theatre.

I put off buying this DVD for quite some time because of some of the negative reviews, but I finally decided to chance it and see for myself. I'm glad I did. I can understand most of the complaints by some of the other reviewers, though I think in all instances they are too severe. This is now the favourite of my many Giselles. I could do with a few less close-ups than provided, though I am happy with the amount of time spent showing the dancers's whole body and the work of the corps. I was impressed by the lead and found her in no way antiseptic. Her peasant girl demeanour was charming, her mad scene was wonderful, her ability to be both spirit and humanly present was gently convincing. Bolle strikes me as someone who might be more at home in a more extrovert part, but that makes his performance all the more appreciated for what he actually gives us. I do find conversion for him at the end of Act 1 and throughout Act 2, but it's the conversion of this particular personality, not someone else's. The only real short-coming I found in his acting was for a few moments in Act 2 during which he ceases to be Albrecht and becomes an attentive support to his partner in their pas de deux. Before and after those few moments he is in character. I am perfectly capable of being disappointed by a Myrthe - and have been - but not here. In fact, I enjoyed this Myrthe very much - especially some lovely "swan-like" arm movements that softened the avenging fury aspect of the character. There were still a few traces of humanity left in this Myrthe and it was a gain overall. The choreography of this production had some carefully worked out touches that made sense of the story and helped the story make sense, in both acts, in a way which makes other productions just a little more forced or stilted. SO - will this be your favourite "Giselle"? I haven't a clue. All I can say is that this is, over-all, the most affecting of all the ones I own; and I think I will continue to have a soft spot in my heart for it for as long I manage to hold on. These things are so personal that, really, the only way to know what you'll feel for this production is either to rent it first or simply take the plunge and buy. But I repeat: I'm extremely glad I did buy it, and it is now my favourite. There are other performances in which various aspects might individually please me more, but this is the one that throughout, and in every way, gives me the most pleasure.

It has been quite a long time since the ballet world has been blessed with a ballet duo the likes of Zakharova and Bolle. Their ability to perform with technical excellence and emotional intensity is very rare--and breathtaking! We are blessed with some nice releases on dvd by them(Swan Lake and La Bayadere). Perhaps it is in Giselle that we can experience the most realistic portrayal of human emotion in ballet, and Zakharova and Bolle do not disappoint us! This version has the most sizzling emotional intensity of any I have seen, both in act one and act two. In act one Zakharova displays youthful warmth and innocence and in act two, intense love, pain, and grief. Bolle also gives a very appropriate portrayal, showing real intensity throughout. All the scenes are equally magnificent, as is the supporting cast. It is a complete Giselle with the peasant pas de deux and all the group dances, as well as extensive choreography for Myrtha and the other wilis. Finally, the music, costumes, and scenery are also of the highest standard. The image quality and sound are likewise superb. It is packaged with a booklet. Unfortunately, there is no bonus material on the dvd. This is definitely one of the finest Giselle performances on dvd.

The La Scala proudly presents Giselle, internationally renowned ballet choreographed by Jean Coralli and Jules Perrot and music by Adolphe Adam. Worthy representative of Romanticism, Giselle excites women with their mushy love story, the beautiful and poor peasant girl who falls for a noble cad. The music captivates, is in the head and the choreography is a unique beauty. Success since its debut, there are plenty of dancers who danced Giselle and made it his warhorse. Svetlana Zakharova accepts the challenge of being Giselle. The Russian technique is remarkable, from an impressive solidity and security. Your beauty radiates throughout the stage, the maranjos drool. However lack a sense of character: she cares and dance, and does very well. But the emotion, the feelings are not always present. Alicia Alonso, the grande dame Cuban knew how to interpret Giselle. The strength and technique were not always present, but it's thrilling. Gave himself body and soul to character, danced and acted. Svetlana Zakharova, however, forget the character of Giselle. Often seems distant, if not superficial. Can notability in Russian Ballet, his Swan Lake by Tchaikovsky borders on perfection. But when it comes to Giselle gets her due. Roberto Bolle makes a prince Albrecht monotonous. The handsome has the difficult role of showing the different facets of your character: passionate, sad, sorry, cold, warm. Very expressive and more concerned with the technique of ballet, so it Bolle, did not bother to show feelings. Its role is complex and requires the dancer's skill and great stage presence. Bolle owes. The queen of Willis, Myrtha, is danced by Marta Romagna. An icy coldness, worthy of the North Pole. Hillarion, the wronged and always faithful to the beloved, tries to warn the tricks Giselle Albrecht. If nobody gave good advice was, sold. She chooses the handsome nobleman, save it and still leave the poor guy's Hillarion be ousted by Willis. Vittorio D'Amato shows the faces of his character, despite the injustice and suffering, we must not anger him by letting the romance of pigeons flow. Mission accomplished. The corps de ballet of La Scala presents beautiful pessagens with precise timing. The quality of the sets and costumes is unique. Standard Scala quality. The orchestration of David Colleman is accurate. Adequate light and choreography following the original model, not inventions. The video was recorded in 2005, excellent image and sound. A video of a ballet of great plasticity, but lacked emotion to the soloists.portuguese: O Scala de Milão orgulhosamente apresenta Giselle, balé de fama internacional com coreografia de Jean Coralli e Jules Perrot e música de Adolphe Adam. Digno representante do Romantismo, Giselle emociona as mulheres com sua melosa história de amor, da bela e jovem camponesa pobre que se apaixona por um nobre cafajeste. A música cativa, fica na cabeça e a coreografia é de uma beleza ímpar. Sucesso desde a estréia, existem inúmeras bailarinas que dançaram Giselle e fizeram dela seu cavalo de batalha. Svetlana Zakharova aceita o desafio de ser Giselle. A técnica da russa é notável, de uma solidez e segurança impressionante. Sua beleza irradia por todo o palco, os maranjos babam. Falta no entanto o sentimento da personagem: ela se preocupa e dançar, e o faz muito bem. Mas a emoção, as sensações nem sempre estão presentes. Alicia Alonso, a grande dama cubana sabia como interpretar Giselle . A força e a técnica nem sempre estiveram presentes, mas ela emocionava. Entregava-se de corpo e alma a persongem, dançava e atuava. Svetlana Zakharova, entretanto, se esquece da personalidade de Giselle. Muitas vezes parece distante ,quando não superficial. Consegue notabilidade nos balés russos, seu O Lago dos Cisnes de Tchaikovsky beira a perfeição. Mas quando o assunto é Giselle ela fica devendo. Roberto Bolle faz um príncipe Albrecht monótono. O bonitão tem o difícil papel de mostrar as diversas facetas de seu persongem: apaixonado, triste, arrependido, frio, caloroso. Pouco expressivo e mais preocupado com a técnica do bailado, assim é Bolle, não se preocupou em mostrar os sentimentos. Seu papel é complexo e exige do bailarino técnica apurada e grande presença cênica. Bolle fica devendo. A rainha das Willis, Myrtha, é dançada por Marta Romagna. Uma frieza glacial, digna do Polo Norte. Hillarion, o sempre injustiçado e fiel à amada, procura alertar Giselle das artimanhas de Albrecht. Se conselho fosse bom ninguém dava, vendia. Ela opta pelo nobre bonitão, salva-o e ainda deixa o pobre coitado do Hillarion ser defenestrado pelas Willis. Vittorio D'Amato mostra as caras de seu persongem, e apesar da injustiça que sofre, temos raiva por ele não deixar o romance dos pombinhos fluir. Missão cumprida. O corpo de baile do Scala apresenta belas pessagens com sincronia precisa. A qualidade dos cenários e figurinos é única. Padrão Scala de Milão de qualidade. A orquestração de David Colleman é precisa. A luz adequada e a coreografia segue o modelo original, sem invenções. O vídeo foi gravado em 2005, imagem e som excelentes. Um vídeo com um balé de grande plasticidade, mas faltou emoção aos solistas.

Zakharova and Bolle are fantastic together - finally a Giselle movie which makes me cry for all the right reasons.

A wonderful performance; beautiful Svetlana is a ballerina asoluta; she is perfect in every way and very, very, beautiful. Roberto Bolle is a great danceur. The recording, itself, was of very good quality.Bernard

Wery good production!Svetlana Zaharova and Roberto Bolle-Best!

This is my absolutely favourite version of Giselle. Zakharova's extensions are unbelievable and the chemistry between the principal dancers is wonderful. Giselle has always been my favourite ballet, and this production is beautifully produced. The corps de ballet is precise and ethereal and a joy to watch.

« Giselle », le plus célèbre des ballets romantiques, créé en 1841, est un des plus anciens du répertoire. La chorégraphie originale de Perrot et Coralli ne s'est maintenue que dans la version modernisée par Petipa vers 1890. Même si l'esprit en est assez proche de la version originale, la signature brillante du grand chorégraphe transparaît en de nombreux endroits. Malgré tout, le vocabulaire chorégraphique reste volontairement un peu archaïque dans ce ballet-pantomime (ce que ne signifie nullement que cela soit plus facile à interpréter pour les danseurs !). Comme l'intrigue se limite à presque rien et que les seconds rôles ont peu de consistance, on pourrait presque dire qu'une représentation de « Giselle » vaut à peu près ce que vaut la principale interprète.Et en cela, on est comblé. Zvetlana Zakharova, révélation des années 2000, aujourd'hui plus grande ballerine du monde, émerveille autant par sa technique sans faille que par son talent d'actrice. Avec sa célèbre scène de folie, « Giselle » est aux ballerines ce que « Lucia de Lamermoor » est pour les cantatrices : un Everest où l'on doit affronter les plus célèbres danseuses de l'histoire (Grisi, Pavlova...). Éblouissante autant dans la pantomime que dans la danse, Zakharova nous donne ici une interprétation insurpassable. Même quand elle ne danse pas, elle laisse le spectateur époustouflé.Elle est secondée par Roberto Bolle, son partenaire habituel à la Scala, avec qui elle forme toujours un couple idéal. Le beau Roberto se montre très brillant, et il n'est pas donné au premier venu d'enchaîner trente-six entrechats six (à la fin de l'acte II, quand la reine des wilis lui ordonne de danser). Les décors et costumes sont très jolis, dans l'esprit du dix-neuvième siècle. Le corps de ballet est solide et homogène (comme la chorégraphie de l'acte II est plus simple que celle des actes « blancs » des grands ballets de Petipa, les vingt-quatre fantômes n'ont pas trop de mal à rester synchronisés). Enfin, tout est remarquablement bien filmé par la RAI, qui sait toujours filmer la danse en plan large et cadrer la pantomime en des plans plus serrés.Ma seule petite réserve porte sur les seconds rôles (pas de de deux de l'acte I, Myrtha et les deux wilis solistes de l'acte II) qui ne proposent rien d'inoubliable. Il faut dire à leur décharge que l'on paraît forcément terne quand on doit danser à côté de Zakharova !

母も私も、「ブルメステイル版　白鳥の湖」でボッレとザハロワの大ファンになりました。もともと、私が「ブルメステイル派」なので、たまたまこっちも買ったのですが。実は私は、ザハロワが２４歳の時に「キーロフ＆ボリショイ　合同ガラコンサート」というので“ジュリエット”でバルコニーを演じ、「凄いバレリーナが出てきたもんだな」とたまたま録画したＶＨＳを見て過ごしていました。それから１０年あまり。まさか、また映像でお目にかかれるとは。母が日本国内ＤＶＤを毎日のように見るので、今回は輸入版で済ませました。もちろん「白鳥の湖」も２枚買いしました。なんと言っても「この二人は“本気”なんではないか？」とも思わせるような舞台。この後もいろんなジゼルを集めましたが、結局残ったのはコジョカル（マリアネラのミルタのファンだからね・・・）とこれだけ。でも、ザハロワのジゼルを観ると他の１幕は退屈で仕方がなくなります。まったく演技も表現力も伴わないし、悲壮感もつまらないし、ボッレの表情もザハロワに負けずにしっかり入っているし・・・。お互い手抜き一つなし。それは、「チャイコフスキー・ガラ」を見ればよく分かります。だって、イタリアのダンサーもセミでは当のボッレも全くやる気なし。８割しか力を出してない。

This is a version of Giselle that rises or falls on one point, the sheer class of Svetlana Zakharova. It rises to heights. While she may not be the best Giselles dancing today, Svetlana Zakharova is, unreservedly, one of the best ballerinas alive and this alone would be reason enough to buy this ballet. She will not break your heart but she will leave you knowing that you have just watched sublime beauty.From a purely personal perspective I would add this. Svetlana Zakharova is Ukranian and life in the Ukraine is hard for women, but it makes them what they are. They do not buckle when times get tough. It is in their DNA. This characteristic seems to come through with her, and it is evidenced in this rendition of the role of Giselle. She adds something unique to the role and something that only she could. I appreciated/enjoyed/admired it.Mind you it comes with extra bonuses. Roberto Bolle, as in other ballets, is a great dancer who dances a role but plays himself. And while I was wondering at first about the La Scala corps, their portrayal of the Wilis was actually very, very good.This is better than 4 stars, but not quite 5. As I had to pick, I gave it 5.