Virtuosity in the Cuban Giselle

Por Cristina de Lucas, 12 mayo 2017

Descargando, espere, por favor...

Ver la programación

“Delgado’s solos were an example of virtuosity and panache that were a pleasure to watch”

Crítica hecha desde Teatros del Canal: Sala Roja, Madrid el 10 mayo 2017

Giselle (Jean Coralli, Jules Perrot, Alicia Alonso)

Ballet Nacional de Cuba

Anette Delgado, Bailarín

Dani Hernandez, Bailarín

Ernesto Diez, Bailarín

Ginette Moncho, Bailarín

A new Albrecht makes a polished Giselle shine even brighter

Deborah Weiss, 7th March

A last minute injury to Natalia Osipova does not mar the magic of Sir Peter Wright's Giselle as Marianela Núñez steps in to partner Patricio Revé.

****1

A Valentine’s Day Giselle in Atlanta: Romantic excellence

Rebecca Ehrhardt, 14th February

A lovely production of Giselle by the increasingly good and ever-growing Atlanta Ballet.

****1

The RB: Peter Wright’s Giselle is as near perfection as you can get

Amanda Jennings, 14th February

Sir Peter Wright’s Giselle was given a well-deserved, thunderous ovation on opening night. A near perfect rendition of the ballet from all quarters of the Company was deeply satisfying.

*****

La magie universelle de Giselle au Palais Garnier

Jade Larine, 6th October

La représentation du lundi 6 octobre, dédiée à Patrice Bart décédé quelques heures plus tôt, restera dans les mémoires des spectateurs présents ce soir-là, Sae Eun Park remportant un triomphe dans le rôle-titre.

****1

National Ballet of Japan’s Giselle: a triumphant London debut

Graham Watts, 24th July

National Ballet of Japan offer a 21st-century remake of this 19th-century Romantic classic with impeccable performances.

*****

American Ballet Theatre: Super-Giselle lives up to the hype (mostly)

Ivy Lin, 21st June

ABT's Giselle was the kind of glamorous, old-school ABT night of yore. You sensed the entire company leveled up for the occasion. One hopes that Smirnova will return in the future.

*****

Más críticas...

Cristina de Lucas

After a career in the legal field where she combined her job as an Attorney at Law with collaborative roles in various local and international cultural enterprises, Cristina de Lucas turned to dance research and criticism in 2009, when she moved to London. She obtained her doctorate from the Department of Dance at the University of Roehampton (London). Her fully-funded thesis focused on the confluence between dance and narrative in the repertory of the British choreographer Kenneth MacMillan. Her research has received several awards, such a full Vice-Chancellor scholarship and the 2014 SDHS Graduate Student Travel Grant. She also reviews dance and cinema, contributing regularly to several publications in Spain and UK.

Virtuosity without drama in the Cuban Giselle