Giselle
March 7
Covent Garden Opera House
The Royal Ballet
Ballet aficionados around the world perked up at the news that the Royal Ballet would be staging Giselle as part of its 2025/26 season as this meant Natalia Osipova, a Principal at the company, would revisit her infamous interpretation of the titular character. For Australians, this was particularly exciting news as Osipova would partner with Patricio Reve, in the role of Albrecht, who has leapt across oceans, from the Queensland Ballet to the Royal Ballet, as a Principal.
It’s been over 10 years since the release of the Royal Ballet’s cinema release of Giselle with Osipova and Carlos Acosta, a Cuban dancer like Reve, performing the lead roles. Acosta is now the Creative Director of the Birmingham Royal Ballet but Osipova is still dancing with fortunate longevity at 39 years of age. But perhaps her luck is running out as she had to retire from both March 7 and 13 performances due to injury.
Marianela Nunez, with a similarly impressive reputation and tenure, stepped in to the role of Giselle for both performances. Though she’s Reve’s senior, Nunez transformed into a naive youth the moment she stepped out of Giselle’s humble wooden hut in the rural village the ballet is set in. She was excitable, trusting and eager to please Albrecht, dancing for him whenever she was with him rather than other villagers or fourth wall. Reve matched Nunez’s ability in both technique and performance. He was played the philandering noble Albrecht to perfection, gleefully tossing away the ‘loves me not’ daisy after fixing the result and taking every chance to try steal a kiss from Nunez. He had no care for the dire consequences of his actions until Giselle lay dead from heartbreak in his arms.
Nunez’s flawless embodiment of Giselle in Act One made way for a stoicism more apt for the Queen of the Willies in Act Two. This saw the emotional meat of Act Two flounder, as Giselle’s motivation to protect Albrecht, her continued love for him even in death due to his betrayal, was not apparent. But Act Two was no less enjoyable than Act One in part due to the grandiose scale of the Willies only a few companies, like the Royal Ballet, can deliver; 27 dancers on stage moving as one. These moments create a magic, and in this case haunting atmosphere, that cannot be replicated outside of the black box of the theatre.
It was unsurprising that Nunez had exemplary technique, though still a treat for this Australian to witness as Nunez has not toured shows to Australia like Osipova has. Her movement’s unfolded in an unhurried, smooth fashion, like moving through melted chocolate. Reve had a clear focus on precision, forgoing riskier opportunities for showmanship, but it was still wonderful to watch his deft and graceful delivery. However, both Principals and the company as a whole felt as if they were playing it safe, leaving a gnawing urge to find their collective dial and turn it up a notch of two.
And with Osipova’s reputation as an emotive and wild performer, this energy on stage (or lack thereof) ensured her presence was felt like a spirit, like Giselle herself.
-Jenna Schreder