ART ISN’T EASY
Art can sometimes be a realization difficult to grasp. At the Spreckels Theatre recently…not so much. Susie Reese and I love wrapping ourselves in a cloak of exquisite beauty and here on this stage we find ourselves in glorious comfort. GISELLE, as interpreted by the lithesome, accomplished dancers in CITY BALLET OF SAN DIEGO’s production, delivers a gift to the audience and all of us find ourselves richer for it.
Who doesn’t savor one of these romantic, classical ballets like GISELLE which could shoulder the designation of “warhorse”? Yes, it’s a staple in the classical ballet repertoire, yet it has much to offer not only about balletic technique, but also the emotional engagement needed to pursue romantic ideals.
Elizabeth Wistrich designs the choreography after Jules Perrot, Jean Coralli and Marius Petipa. Of course the principals shine individually, but it is the work of the Corps de ballet which rises like cream to the top. Not only that, but the gorgeous music of Adolphe Adam is grandly interpreted by the doting attention of the City Ballet Orchestra as conducted by veteran John Nettles.
So grateful for the pre-show orientation by Artistic Director Steven Wistrich at the SPRECKELS THEATRE this evening. His insights into the “Wilis” drew us into a keener understanding of Giselle’s emergence from the Wilis and the connection she still feels for her former lover.
As many already understand, “Albrecht”, a nobleman, danced joyously by Iago Breschi, finds himself hopelessly in love with the peasant girl “Giselle”, danced expressively by the ballerina Ariana Gonzalez. Love happens with reckless abandon in romantic ballets and in this case, despite his being betrothed in an arranged marriage with “Bathilde” (Bethany Green), a member of his own “class”, decides to risk it all by pursuing his love with the delicate Giselle. Unfortunately, “Hilarion”, the medieval German gamekeeper danced by Geoff Gonzalez, also has designs on Giselle and that spells doom for the Albrecht/Giselle relationship. Ultimately, the betrayal of her lover, together with her weak heart, leads to inconsolable tragedy for Giselle and her mother “Berthe” (Kimberly Roberts).
In Act II, though, the Wilis emerge from the forest to punish the men who have caused such torment in their lives by abandoning their lady before the nuptials. Led by “ Queen Mertha” (Megan Jacobs), they exact their punishment en masse, forcing the offending men to dance until death. Jilting one’s lady has consequences.
Iago Breschi commands the stage as the nobleman bored with his meaningless life to be smitten by the youthful peasant girl who is the delicate bloom admired by all in her community. His attentions in disguise are passionate and sincere. It is a performance of range displaying the necessary exuberance, but also the determination and ardor when challenged by the Wilis.
Ariana Gonzalez also envelops the stage in an aura of blushing joy as she yields to the attention of the generous new neighbor who is sweeping her away in love’s gentle embrace. She effortlessly reveals her willingness to yield to the exhortations of “Loys” (the disguised “Albrecht”). The ballerina impresses as she receives the news of the betrayal, sinking into the abyss of lost love and hopelessly displaying her fragility before her last breath. When she is about to be initiated into the Wilis, her constancy of love and the generosity of her willingness to forgive both rise to the surface during her defense of suitor Albrecht. She is a lady who loves wholeheartedly in death just as in life. Ms. Gonzalez is able to navigate both the fragility of her character’s condition and the strength required to confront the demands of the Wilis.
Geoff Gonzalez effectively captures the jealous nature of Hilarion and is masterful in his dance to death when enveloped by the Wilis in Act II. A mention is in order as well for the Ryosuke Ogura/Sumire Ito peasant Pas de Deux as a part of the harvest celebration. Well-received by the audience and rightly so.
Admittedly, what will always be most memorable about this ballet is the ethereal nature of the Wilis. Their dark, yet heavenly presence manifests as a force and evolves into menacing and controlling behavior as they exact retribution for the failings of the men who caused such incalculable pain. This Corps de Ballet writhes, contorts and challenges in pursuit of their goals. Brava!
So, until next time visiting the German bucolic hinterlands, I say goodbye to GISELLE, even while nurturing the images of a beauteous creation on the stage of the SPRECKELS THEATRE in my mind’s eye. Since the production is double cast, other principals bask in the limelight for the weekend’s final performance on Sunday.
Kickass Dancing…Commentary on Pirouettes, Hippin’ ’n Hoppin’, Splits,Tutus and Any Rhythmic Gyrations Guaranteed to Get the Toes Tappin’ or the Heart – a – Thumpin’
