Should we go see Giselle(s), the latest opus released from the collaboration of Marie-Claude Pietragalla and Julien Derouault?
If you're a ballet lover, don't.
On the other hand, if you like the show, get on board.
But fasten your seat belts.
This two-hour opus for 17 dancers, which the 1,700 spectators at the Colisée de Roubaix greeted while standing, is not in detail.
It is an understatement to say that we are the opposite of the romantic ballet delicately sewn by Jean Coralli and Jules Perrot.
Pietragalla connects Giselle to violence against women.
The tragedy of the little peasant girl broken by the inconsistent love of Albrecht and Hilarion logically opens, today, on this type of transposition.
To better demonstrate, Pietragalla and Derouault do not feature one Giselle, but four.
Their first act, which opens with a crash of thunder and a line of dancers equipped with electric lamps who probe the darkness, develops, in such a nuanced way that it...
This article is reserved for subscribers.
You have 84% left to discover.
Flash sale
-70% on digital subscription
I ENJOY IT
Already subscribed?
Log in