The Bolshoi Ballet Company in Giselle [VHS]
by Vladimir Grave

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Category: VHS Video
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VHS Movie Reviews of The Bolshoi Ballet Company in Giselle [VHS]

Movie Review: A Wealth Of Effective Choreography Raises This Performance To A High Level.
Summary: 5 Stars

Movie Review: A Classic!
Summary: 4 Stars

Movie Review: disapointing version of a grand romantic ballet
Summary: 1 Stars

Movie Review: This Ballet Gives Me the Wilis!
Summary: 5 Stars

This ballet is classified as Romantic because it is about the pursuit of the Romantic ideal. It is about a tender love that exists for a fleeting moment and about the heartbreak of it slipping away. This ballet is also classified as ballet-fantastique because it involves supernatural beings called "Wilis." These are girls who died before their wedding day. They love to dance, and they have a score to settle with men. If you scroll up to the top of the product page, you can click on the picture to see a zoomed in view of one. Beware men: you do not want to cross their paths!

This is a production by the Bolshoi Ballet of Moscow. The musical score is by Adolphe Adam. Artistic Director Yuri Grigorovich has added a few of his own touches to the original choreography. The lead cast includes Natalia Bessmertnova as Giselle; Michail Lavrovsky as Count Albrecht; and Galina Kozlova as Myrtha, Queen of the Wilis. This is a studio production, not a live performance. Consequently, there was opportunity for multiple outtakes to get everything polished up just right.

For purposes of comparison, I have studied two other interpretations of this ballet while writing this review. The first is American Ballet Theatre's (ABT) live performance from 1977 with Natalia Makarova and Mikhail Baryshnikov. The second is the Kirov Ballet's live performance from 1983 with Galina Mezentseva and Konstantin Zaklinsky. All of these productions are very commendable, and they all have their own different special pleasures. I like this one the best, however, and I'm about to tell you why.

Natalia Makarova of ABT has earned a stellar reputation for her portrayal of Giselle. But from what I have seen on video, I would have trouble picking an overall superior performance between her, Mezentseva and Bessmertnova. Whatever slight edge in adage work that Makarova may have, Bessmertnova makes up for as a better leaper and with more convincing theatrics in the mad scene. Mezentseva is clearly the most photogenic and best theatrically of the three, and she cries actual tears when she learns of Albrecht's deceit. In the United States, Bessmertnova isn't the household ballet name that Markarova is, but don't be afraid to give her a chance. Nobody becomes a lead in the Bolshoi unless they have quite a lot going for them, and Bessmertnova's dancing is exquisite.

As far as the premier danceur goes, the ABT version probably has the most to offer, as Baryshnikov's variations are indeed outstanding. Yet, his partnering work with Makarova does not satisfy the way that the Kirov and Bolshoi versions do. In the Russian productions, the partners are more well matched and they dance together more uniformly. The strength of Lavrovsky's performance as Albrecht lies in his ability to portray his emotions so effectively.

The real genius of the Bolshoi production is Grigorovich's special, protective handling of the mood in the second act. The Bolshoi's second act begins with a three minute cut to the musical score and the libretto. Nothing of consequence has been omitted. The ABT version begins with Hilarion fumbling and bumbling around at Giselle's grave sight. This is a weak start to the second act. Grigorovich instead opens with Myrtha softly and slowly bourreeing across the gigantic Bolshoi stage in her white wedding dress, with moonlight streaming through the huge willow-like trees, accompanied by a sweet melody of string instruments and harp arpeggios. The first fourteen minutes are pure mood music, including variations by Myrtha, her two assistants, and some oustanding corps work. Grigorovich's change is a brilliant way to set the mood for the second act!

Furthermore, Grigorovich doesn't let the mood get lost along the way, like the other two productions do. In both the ABT and the Kirov versions, this happens during one especially wild scene of dancing by Giselle. Bessmertnova's dancing of that part is more temperate: fast, but controlled. Secondly, the Bolshoi production has the most effective scenery and lighting for enhancing the mood. The most distracting thing, however, is the crowd noise during the live performances. In the ABT production, there is thunderous applause from the adoring New York fans whenever Baryshinkov makes a big leap. The applause is indeed deserved, as he is an extraordinary dancer, but it wrecks the mood of the scene. This is particularly true of the ending. In the Bolshoi version, I feel a gentle hush as the words "The End" appear on the screen at the end. To me, that's the desired effect. You stay in the moment right up until you push stop on your VCR remote. By contrast, the raucous New York crowds go wild in the ABT version at the end. I'm not blaming them. If I was in the audience, I would be clapping and showing my appreciation too. But, the fact is that there are enough different videos of this ballet that you have a choice: studio or live. Live is great for a ballet like "Don Quixote," but I don't find it desirable for a ballet of this character. Consequently, I prefer a studio version of "Giselle" to a live performance.

Grigorovich's triumph is that he has produced an improved second act by the way that he has cared for and protected the mood of the ballet. Out of the three different interpretations that I have discussed in this review, I prefer this Bolshoi production the most, and I highly recommend it. Why not buy a copy and enjoy it for yourself? It will give you the Wilis!

Movie Review: Romantic ballet
Summary: 4 Stars

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