Guests, corps in brilliant display of skills

Published Apr 17, 2012

Share

Giselle

Production: Elizabeth Triegaardt

Cast: Members of Cape Town City Ballet with guest artists Daria Klimentovà and Vadim Muntagirov, Members of the Cape Philharmonic Orchestra conducted by Graham Scott

Venue: Artscape Opera House, until: Sunday

Rating: *****

At the beginning of this year, Elizabeth Triegaardt (CEO of Cape Town City Ballet) identified Giselle as the company’s top production for this year, and this staging of the work has surpassed expectation.

Its success is due not only to the obvious injection of brilliance from stellar guest artists of the calibre of English National Ballet’s Daria Klimentovà and Vadim Muntagirov; there is also a significant contribution from CTCB’s corps and soloists, as well as excellent musicianship from the Cape Philharmonic.

Opening night brought CTCB’s Megan Swart to the stage as Giselle in her adieu to ballet as she has chosen to retire early, and her performance confirmed her inten-tion of leaving “at the peak of her career”. With her new partner Thomas Thorne as Albrecht, Swart gave a lustrous account of her role: elegant, expressive and musically precise, she captivated the audience.

Thorne goes from strength to strength where technique is concerned, but he needs to over-come inhibition in conveying dramatic intensity. His dancing is delightful to behold, compensating to some extent for lack of facial repertoire.

When Klimentovà and Muntagirov appear as Giselle and Albrecht, the stage comes alive. Seldom have SA audiences been treated to such an exhibition of superlative balletic performance which satisfies on every count. Klimentovà’s Giselle is winsome, heart-warming and thoroughly plausible. Her seamless entente with her partner, the patent chemistry uniting them in artistic endeavour, make their pas de deux memorable.

As for Muntagirov, he stamps his authority on his role from first entry to final exit, technically dazzling yet never flashy.

His characterisation is impec-cable, with touches of unexpected impishness to leaven the work’s pervasive tragedy (such as samp-ling a grape from the harvest basket in Act I).

Secondary parts such as Hilarion and Queen of the Wilis are filled with aplomb by the likes of Ivan Boonzaaier, Xola Putye, Angela Hansford and Kim Vieira respectively.

Ignited by collab-oration with their distinguished guest performers and showing the discipline of rigorous rehearsal, each brings pleasing profession-alism and focus to roles that demand dramatic ability as well as technical prowess.

CTCB’s corps get full marks for their eye-enchanting unison in the ballet’s large ensemble of Act II; the collective grace of their arms, in particular, adds to the visual beauty of the background against which Albrecht and Giselle execute their serial pas de deux.

Bravo to all concerned.

Related Topics: