This very agreeable studio-based production was filmed in 1986 for Canadian Broadcasting Corporation programming, and features primarily Canadian personnel attached to the National Ballet of Canada, including the piece's two leading dancers, Karen Kain (Giselle) and Frank Augustyn (Albrecht). These two achieved singular success in Moscow while participating at an international dance competition three years earlier before making this film where they not only were awarded medals but also were able to gain an abundance of poise from Rudolf Nureyev who demonstrated personal interest in the young Canadians. For this filmed performance, Kain and Augustyn are at their crest of physical prowess, each displaying pronounced technical skills, notably by their dramatically broad elevation, consistently firm attack (that likely would not have been essayed before a "live" audience), and a clear sensibility of Adolphe Adam's score that opens them to the extensive range of dramatic interpretation required for these roles. Whereas Augustyn is perhaps a better technician than actor, willowy Kain is as fine a Giselle for this effort as might be found among her contemporaries, and the first-rate production values offered by the generally undervalued Canadian troupe are also responsible for this tasteful example of superior film making. The ballet has been adapted here from a superb Peter Wright staging that is danced throughout the civilized world, the opening scenes establishing the principal roles, marked here by impeccable timing between Kain and Augustyn, with the two closely matched in physical terms, while her Giselle is from the start touchingly vulnerable, and the clash between her competing suitors, Albrecht and Hilarion (Hazaros Surmiyan) is clearly portrayed. It should be noted that Kain's flowing port de bras captivates all through without being overwrought. Choreography and stage "business" are well-realised, the corps having manifestly been well-trained and rehearsed. Original designing of costumes and decor are arranged by renowned Desmond Heeley and are a visual delight, greatly enhanced by the lighting proficiency contributed by Gordon Luker. The camera-work eschews unnecessary closeups for the romantic classic, with a consequence that a viewer is allowed to fully appreciate the corp's technicals, thereby adding to an eerie quality that must be present during Act II, at the same time easing the editing obligation for creation of phantasmal montage effects. Other excellent films of Giselle exist, but several noteworthy virtues place this well acted and danced version performed by Canada's National Ballet near the head of any list. Among these are: the inclusion of the complete Peasant Dance (here as a pas de quatre) near the end of Act I, and an entire component danced by Nadia Potts as the Queen of the Wilis (during a good deal of which she is en pointe) at the onset of Act II. The petite Potts is marvelously imperious here, and her Wilis execute to Adam's score as well as might be desired. Additionally, Giselle's suicide, accomplished by a plot line-engaged sword, is more effectively graphic than is the oft-scripted death from emotional trauma following ostensible romantic betrayal. Among numerous fine soloists shall be noted Mary Jago who excels in the Peasant pas de quatre, and also as being one of the mysterious Wilis. The score utilised for the film is an adaptation from Adam by George Crum, who ably conducts the top-drawer Orchestra of the National Ballet of Canada. The production has been released upon a V.A.I. DVD that delivers exemplary audio and visual quality with which a majority of viewers will be pleased.
2 Reviews
As with the other Giselles I've seen on DVD, highly recommended
TheLittleSongbird10 January 2013
Giselle is one of the ballet greats, so you always expect something at least good when watching it either live, on TV or on DVD. I'll start by saying that I have yet to see a bad production of Giselle, and this Giselle is a long way from bad at all. Like with the other productions, it is great. Some may prefer the spontaneity of a live performance, but that actually didn't bother me. My only complaint actually is some of the glides and lifts in Act 2 seemed a little too rushed through for my liking. However, I cannot complain about anything else. The costumes and sets are very detailed and beautiful looking, the village and forest scenes are very evocative while the costumes for the nobles, villagers and Willis are colourful and sumptuous.
The production values are complicated by the camera work, the production is one of the best shot Giselles and the unobtrusiveness and the attention to choreographic and dramatic detail really impresses here. The choreography is flexible and full of grace, technically this is difficult stuff. But the way it is danced is made so easy by the performers, who not only dance with elegant precision but also their acting is excellent too, no coldness in sight. Karen Kain is sublime as Giselle, technically and dramatically. In regard to the latter actually, while I loved all the Giselles for similar and different reasons I can only think of one Giselle slightly superior to Kain and that's Alina Cojocaru, who not only meets all the role's demands but also goes beyond them.
Frank Augustyn is an ideal partner for her, he is handsome and masculine with beautifully controlled legs and arms and excellent leaps and execution of lifts. He is a very good actor as well, and forms a more than convincing partnership with Kain. Nadia Potts is Kain's equal in the technical department and is both chilling and imperial as Myrta, Queen of the Willis. Overall, highly recommended and very impressive production in many ways. 9/10 Bethany Cox
The production values are complicated by the camera work, the production is one of the best shot Giselles and the unobtrusiveness and the attention to choreographic and dramatic detail really impresses here. The choreography is flexible and full of grace, technically this is difficult stuff. But the way it is danced is made so easy by the performers, who not only dance with elegant precision but also their acting is excellent too, no coldness in sight. Karen Kain is sublime as Giselle, technically and dramatically. In regard to the latter actually, while I loved all the Giselles for similar and different reasons I can only think of one Giselle slightly superior to Kain and that's Alina Cojocaru, who not only meets all the role's demands but also goes beyond them.
Frank Augustyn is an ideal partner for her, he is handsome and masculine with beautifully controlled legs and arms and excellent leaps and execution of lifts. He is a very good actor as well, and forms a more than convincing partnership with Kain. Nadia Potts is Kain's equal in the technical department and is both chilling and imperial as Myrta, Queen of the Willis. Overall, highly recommended and very impressive production in many ways. 9/10 Bethany Cox
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