The Teatro Colón Ballet began its season on Tuesday, April 5, under the brand new direction of Mario Galizzi and with a legendary title: Giselle, in a version created years earlier by Gustavo Mollazoli based on an original work by Jules Perot.
Was a bright and auspicious start And with work on the go, perhaps one of the most beautiful-together Sylphide– which have survived from the repertoire of the 19th century.
From its premiere at the Paris Opera in 1841 to the present day, never stop being on stage, True, constantly improved by choreographic repositors and our old acquaintances among them Marius PetipasWho recreated it in Russia in 1884. But the passage of time and the final additions didn’t take away its freshness, and the hero’s vicissitudes kept us going.
Giselle. The leading pair of Macarena Jiménez and Juan Pablo Ledo. Photo Maximo Parpagnoli / Colon Theater
prima ballerina, central axis
One of the fundamental aspects of the work is the manner in which each dancer embodies the central character. In this premiere, macarena giménezwho have already proved their talent in other important roles, Played Giselle for the first time,
However, it seems that their representation was the fruit of maturation intertwined with time, so deep and moving was his explanation (And we leave the technology that dominates, the really shiny).
The period of French Romantic ballet, born in . happened with the premiere of Sylphide The decline in 1832 and around 1870 was characterized, among other things, by the antagonism between two worlds: one real – not as natural as the real but in the sense of not being fantastic – and the other ultraterrestrial.
in Giselle This conflict is set up between the first act, which takes place in the village where the protagonist lives with his mother, and the second act, which takes place a haunted forest Populated by Willis, the vengeful spirits of young women who have died from love disappointments.
Between one and the other, Giselle falls in love with Duke Albrecht (who introduces himself not as such, but as a farmer), is deceived, dies And turns into Willie.
The character brings together many different traits: he is very lively but also a bit shy; She is naive but passionate and determined. And in the second act, having transformed into spirit, she embraces Willis’s distant coldness, but is driven by the suffering of the repentant Albrecht.
a desired role
Giselle. Scene from the first act. Photo Arnaldo Colambaroli / Colon Theater
It’s easy to imagine why so many ballerinas in the 19th, 20th and 21st centuries loved the role and the wealth of emotion it contained.
macarena giménez All the nuances of the character are covered with utmost sensitivity and artistic intelligenceReally everyone. Giselle is very famous in the history of academic ballet and Macarena seems to have embraced that tradition as well as found her own personal way of doing it. Bravo for that!
The choreographic substitution was done in an extremely convincing work by Martin Miranda and Nestor Assaf and the dance core, for its part, really great performance,
Juan Pablo Ledo as Duke Albrecht best role he remembers: more introspective, more sensitive and more nuanced.
As in all ballet of the nineteenth century The role of a man weighs much less than that of a woman, even when it is the trigger of tragedy, as in this ballet. However, the interpreter can give him a vital presence and here Ledo manages that his Albrecht can receive it.
It is necessary to mention Camila Bocca (she will do Giselle in future works) and Maximiliano Iglesias, who shared the first acting festival Pas de Paysan and did it very beautifully. And also for Aileen Sanchez in Mirtha, Queen of Willis, though she’s such a tough character, icy but not perverted, that sometimes her intentions are unclear.
Others in the next performance will be Giselle: Nadia Muzika (on the 6th and 19th), who says goodbye to her career work; Camilla Boca (8, 12 and 16) and Russian Natalia Osipova14 and 17. Macarena Jiménez has two more works for his part: 9 and 13.
Giselle. Final scene of the second act. Photo Arnaldo Colomeroli / Colon Theater
company: Teatro Cologne’s Steady Ballet Director: mario gallizzi Choreography: Gustavo Mollazoli on the Originals by Jules Perroto music: adolf adam Stage: Köln (Libertad 621), until 19 April, on different days and times.
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Reference from clarin www.clarin.com