A Masterpiece of Romanticism
Interview |
Love, loyalty, death, betrayal ... everything that moves mankind can still be found here today.
Giselle is considered the epitome of romantic ballet. first performed at the Paris Opera in 1841 with music by Adolphe Adam, the work soon found its way to Vienna: from 1870, it was performed at the Haus am Ring in various versions - from Carl Telle to Gordon Hamilton and Alicia Alonso. The choreography by Elena Tschernischova has been shown since 1993. She was not only one of the few female directors of ballet at the Vienna State Opera (1991-1993), but also an important teacher of Alessandra Ferri. For the Italian ballet icon, the role of Giselle became one of the central roles of her career, which she performed alongside dancers such as Mikhail Baryshnikov - also in the film Dancers (1987) - and Rudolf Nureyev.
The dramatic plot is still moving today: the peasant girl Giselle is courted by the gamekeeper Hilarion, but falls in love with Duke Albrecht. When she realizes that he is to marry someone else, she dies of a broken heart - in the famously feared "mad scene". But this is only the beginning of her story: in the second, "white" act, she appears as Wili, one of the ghostly girls who - led by Queen Myrtha - make the men dance to their deaths in white tulle dresses. The magic of these scenes, especially when the corps de ballet moves across the stage in gliding arabesques, is unbroken.
On September 18, Giselle returns to the stage of the Vienna State Opera for the 96th time in this version. Luciano Di Martino, a young conductor, will be making his house debut, and a number of new dancers can also be seen in three different solo casts. In an interview with Iris Frey, Alessandra Ferri shares her thoughts on a work that she herself considers to be one of the great romantic ballet moments of her career.
Why are you opening your first season with Giselle?
I chose the ballet because it is a masterpiece of the 19th century. The beauty and purity of the second act, the way it tells the story through dance alone, is still unrivaled today. It is also a ballet with a very deep meaning - it is about transcendence, about self-transformation, about the search for true, unconditional love and thus carries a profound, existential message about human development.
What memories do you have of working with Elena Tschernischova?
I was coached in the role of Giselle during my time at the American Ballet Theatre by Elena Chernishova, who was the First Ballet Mistress at the time, when I made my debut at the age of 21 in Mikhail Baryshnikov's version. She had a wonderful eye and great artistic competence. I was very young and Elena was very caring and loving. She was a kind of adoptive mother to me. In Vienna, of course, she had a different role as director of the company.
What is special about Tschernischova's choreography and staging of Giselle?
Her version of Giselle does not differ significantly from most other classical versions. There are only small details that vary. However, I would say that Tschernischova's version is very minimalist, which is also reflected in the set. In terms of set and costumes, it is a very independent version with a special color dramaturgy, in which almost everything is black and white or grey-blue. I like the fact that Giselle and Bathilde are almost the only ones in the first act whose costumes stand out in color, which creates a visually impressive effect. Choreographically, she has greatly expanded Hilarion's role, especially in the second act. You therefore need a really good dancer for this role.
In the cast, it is noticeable that there is now a "pawn pas de quatre" instead of the "pawn pas de deux". What is the reason for this change and are there any other choreographic innovations?
The choreography itself will not change; it will remain true to Elena Chernishova's version. I have merely restructured the opening of the "pawn pas de deux" into a pas de quatre for two pairs of pawns. Giselle and Albrecht will only dance the adagio, while the variations and the coda will be performed individually by the other four dancers.
Dramaturgically, it seemed to me to fit better with the story that Giselle does not dance so many solos. Her original solo expresses her joy and love of dance, which her worried mother only allows at one particular moment because of Giselle's weak heart. The fact that she dances so extensively throughout the act is, in my opinion, out of character, as is the fact that Albrecht dances with the peasants. This small change also provides a wonderful opportunity for many young dancers to shine on stage - something that is very close to my heart.
You will be rehearsing Giselle in Vienna together with your former dance partner Julio Bocca. What does coaching dancers mean to you?
I have a great interest in and love coaching the dancers in a ballet that I myself have danced in many different companies - including in New York, London, Milan, Tokyo and Buenos Aires - as well as in different versions by Baryshnikov, Pierre Lacotte and Patrice Bart.
This ballet has been with me for around 40 years, it is a work that I know inside out. Working with the dancers is a gift for me because I get to experience the ballet for myself again by helping them to discover the true core, the deeper meaning of the piece. I think it is one of the most difficult ballets and it takes a lifetime to understand and perform it. As a mature person, you understand Giselle's journey, which is actually a journey for all of us.
We have to give up the idea of needing love or being needed, because love is greater than ourselves. It is a love that can forgive, a love that saves, a love that is absolutely unconditional. It is a spiritual journey.
In addition to the acting challenge, there are also great stylistic contrasts in the two acts - how do you deal with this?
Act one and two are so different stylistically, and working on that is also a challenge. It's about using the technique in such a way that you convey the feeling that a soul is dancing and not just a physical body. That takes time. But it's a really fascinating ballet for both Albrecht and Giselle. I would say they are probably the greatest roles of ballet in the 19th century.
You have been celebrated above all for your interpretations of dramatic roles, such as Giselle or Manon and Juliet. What is special about these?
These are roles that portray humanity - and I love that. It's not just about the story itself, but about the emotional level behind it.
What significance does Giselle have for you and the audience today?
Giselle will always remain an amazing masterpiece for me. It is the combination of beautiful choreography and a story that tells so much more beneath the surface. Even if you are not consciously aware of it, it touches you deeply. You should see this ballet as a transformative experience, a contact with your own soul, where life and love reside.
That is what Giselle is all about.