ABT's Nina Ananiashvili Shines as Giselle

Lindsay Live | Jun 09, 2009 | 0

Last night I had the privilege and pleasure of seeing American Ballet Theatre's Nina Ananiashvili perform one of her final performances of "Giselle" at the Metropolitan Opera House at Lincoln Center. She will perform her last performance on June 27 before retiring from the stage.

No ballet company pulls off the classics quite like ABT. From the youngest members of the corps de ballet to the senior principal dancers, ABT manages to fully embody 19th century style while simultaneously possessing 21st century mastery. They are artists as well as technicians, something you rarely see anymore. During "Giselle," which premiered originally in Paris in 1841, I temporarily forgot about things like email and Facebook, and found myself lost in the classic story of betrayal, heartbreak, revenge and forgiveness.

Marcelo Gomes danced the role of Albrecht, bringing masculinity, gallantry and drama to the role. During Act 2, the audience clapped wildly as he performed a series of entrechat six jumps before throwing himself down to the ground in agony. Seeing him dance makes you wonder why male ballet dancers are not granted the same respect (if not more!) as other athletes.

Ananiashvili and Gomes were brilliant together. Her jumps, particularly her tour jetes, almost matched his in height and power. But it's not her technique that makes Ananiashvili so lovely to watch-it's her radiance and it illuminates the stage.

She portrayed the quintessential Giselle, coy and coquettish in the beginning as she picks the petals from a flower playing a game of "he loves me, he loves me not." Even at the age of 46, Ananiashvili manages to accurately portray the glee and naivety of first love. When she discovers Albrecht's betrayal at the end of Act 1, she goes "mad," flinging herself around the stage in utter heartbreak. Her acting is natural and effortless, and it's a heartbreaking experience for the audience when Albrecht throws himself over her lifeless body.

In Act 2 she emerges as a member of the Wilis, "maidens whose fiances have failed to marry them before their death." They haunt the forest at night, bringing death by dance to any man who enters their territory. Giselle is initiated into the group by Queen Myrta, but  Ananiashvili makes sure that something remains pure and lively about her character. She's not the same as the other Wilis, and that becomes apparent when Albrecht visits her grave one evening. Giselle rescues him, proving not only the power of their undying love, but also the purity of her soul and spirit.

I'd be remiss if I didn't give special mention to the conductor and members of the orchestra, who did perfect justice to Adolphe Adam's epic score.

ABT's performance of "Giselle" was beautiful, and what made it even more enjoyable was the audience's warm reception. The balletomanes were out in full force, clapping enthusiastically and shouting "bravo!" during the excessive number of curtain calls. They couldn't get enough of Ananiashvili and neither could I.

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Ballet, Enthusiast, Performance, ABT, American Ballet Theatre, Nina Ananiashvili (all tags)