Aurora | Giselle

4 GISELLE

Cover: Danielle Marinho photographed by Carol Lancelloti.

Beauty by Vivi Borlido and Robertta Chapim. Costumes: Albertini Costumes. Production assistant: Jessica Lacerda.

Contents 2

28

SEWN IN TIME

GISELLE’S ENCHANTMENT

BY CAROL LANCELLOTI

INTERVIEW WITH CLAUDIA MOTA

BY CAROL LANCELLOTI

4

A MESSAGE OF LOVE THAT TRAVELLED THROUGH CENTURIES

34

SPIRITUAL LOVE

BY JULIANA MEL

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40

A POEM THAT BREATHES

MEMORIES OF A SPIRITUAL LOVE

BY MILENA PONTES

INTERVIEW WITH TATIANA LESKOVA

BY CAROL LANCELLOTI

14

PURE SOUL

44

THE QUEEN

20

THE MAGIC OF GISELLE IN BRAZIL

BY ELIANA CAMINADA

50

THANK YOU

Sewn in Time

BY C A RO L L A N C E L LOT I

Giselle’s music always brings me a certain melancholy and “remembrance of something I didn’t experience”. It seems to transport us back in time like no other ballet. The feeling is that this ballet resurrects its ghosts every time it is danced.

The energy on stage must be indescribable! I wonder what it must be like for a professional dancer to relive this great classic, to the live sound of the orchestra, knowing that she is continuing a great work and keeping it alive and pulsating.

It’s all sewn in time. Looking superficially, we can easily date Giselle as a romantic ballet with no relevance to the present day. But then why is it that it survives so strongly in people’s -2-

hearts? Here is the power of stories, myths, lessons. Giselle is much more than a ballet “that addressed the ideals and afflictions” of the 19th century; Giselle is a ballet of all time.

It is possible to find so much between the lines, so many meanings, archetypes, that it would be extremely unfair to classify it just that way. It is necessary to look beyond the obvious, capture the symbolisms, the analogies, dive into research, open the mind beyond the “traditional” characters.

It is possible to find many conflicts, dreams and experiences lived by them in our current society. Giselle confronts us with issues such as duality, faith, death, desire, mistakes, love, female strength, forgiveness. A great thread that starts with folklore and the oral tradition of our ancestors and ends with the dancing bodies of today.

I find it so beautiful and fascinating, for example, to find the legend of the Willis in various sources and books, as this shows the power and strength of the stories. And if they survive, it’s because they are still relevant. Ballet is the guardian of many of these stories and retelling them, albeit with some transformations, is to keep alive the soul of humanity’s collective unconscious. It is to rescue more basic and universal visions and values. It’s about preserving some gems before everything is lost.

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ABOUT THE AUTHOR: Carol Lancelloti is an adult ballerina, Creative, Photographer, Communicator and passionate about ballet stories. She created Aurora magazine to share them with the world.

A Message of Love

that Travelled Through Centuries

BY JULIANA MEL

Giselle

Love,

betrayal,

revenge

and

forgiveness.

Many of the variants we see from production

These are the four pillars of Giselle’s history,

to production tend to happen in the first

ballet in two acts that premiered at the Paris

act, especially in the peasant grand pas

Opera in 1841. With music by Adolphe Adam

de deux. This part, which has become so

and original choreography by Jean Coralli and

popular and is widely performed at festivals,

Jules Perrot, it is one of the oldest ballets

was not composed by Adolphe Adam! It was

staged today.

incorporated into the ballet shortly before the debut with the purpose of highlighting

The title role is considered one of the most

the

difficult in the classical repertoire, after all,

songs by Friedrich Burgmüller, and it was

this sweet peasant woman shows several faces

very successful!

ballerina

Nathalie

Fitz-James,

with

throughout the plot: first, she overflows with joy, is in love and is crowned the queen of the

This choreography is usually presented in

vintage (which marks the end of the harvest of

different ways, starting with the number of

the grape). In other words, it’s the best day of

dancers on stage. In the Paris Opera version

her life! Afterwards, she is faced with a betrayal

and in the vast majority of versions, it is just a

and goes mad. When she dies, she becomes a

couple. The Dutch National Ballet and National

spirit, which should be vengeful, but retains

Ballet of Canada versions innovated with two

love in its essence and grants forgiveness to

couples. The Royal Ballet version introduces

the traitor... who finds out he loved her when it

us to three couples. The productions of the

was too late. This ballet consecrated Carlotta

Opera of Rome and Vladimir Vasiliev’s for the

Grisi and after her, incredible performers

Bolshoi bring four couples. And there is also

came! Among so many, four deserve mention:

Alicia Alonso’s version for the Ballet Nacional

Carla Fracci, Lynn Seymour, Alessandra Ferri

de Cuba, which puts on stage four men and six

and Marianela Núñez.

women in that choreography!

The musical structure of the work, in general,

Still on the peasant grand pas de deux, another

hardly changes, especially the second act.

element that differs between the versions is

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the theme for the ballerina’s variation. The original,

original ending, present in Mariinsky’s production.

composed by Burgmüller, is the most presented by

Another interesting passage is the moment when

companies and is usually the first variation learned

Giselle protects Albrecht from the Willis magic. In

by ballet students after starting pointe work. The

Alexei Ratmansky’s recent version for the Bolshoi, a

Mariinsky version and other Russian productions bring

part of this music that is not used in any other version,

an alternative music, taken from the ballet Cupid’s

but which exists in the original score, is rescued. In

Prank, from 1890. In Peter Wright’s version for Royal

this excerpt, Myrtha and the Willis perform a dance

Ballet, recorded in 2006, the variation is a mix of two

that demonstrates repulsion to Giselle’s attitude

songs composed by Adam, taken from the excerpt

before the pas de deux.

Pas de Vendanges, present in the original score, but

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excluded from the ballet. There is also the production

There were many reinterpretations made over time,

of Rachel Beaujean and Ricardo Bustamante for the

even the color of Giselle’s costume in the first act

Dutch National Ballet, which presents two variations

underwent changes. But it is only possible to discover

for the two ballerinas, the first of which I still haven’t

so many details by watching the different versions

discovered the origin of, and the second also comes

and allowing us to be moved by the message that this

from Adam’s Pas de Vendanges.

story left for the world.

Certainly, one of the most striking passages in the first act is the madness scene, in which Giselle discovers the truth about Albrecht and goes mad. Historically, there was a change at the end: originally, she killed herself with a sword, which caused quite a scandal at the time and for that reason, the cause of death was replaced by a heart attack. In this outcome, there is the moment when Giselle tries to commit suicide, but is prevented from doing it. Nowadays, one of the rare productions that keeps this original ending is Peter Wright’s, present in the repertoire of the Royal Ballet, Bavarian State Ballet, National Ballet of Canada and Ballet of the Theatro Municipal Rio de Janeiro.

The second act doesn’t usually have so much musical variety. If we stop to analyze it, it basically follows a standard in all productions. What differentiates this part of the ballet among the many versions is the orchestral arrangements. An example is the end of the

ABOUT THE AUTHOR

ballet, which sometimes has a melancholic melody,

Juliana Mel is a researcher, amateur dancer and dedicated

like the production of the Royal Ballet, and sometimes

to sharing information about Classical Ballet, preserving

brings a melody with greater impact and which is the

its memory.

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A Poem that Breathes THE CONCEPTION OF THE LIBRETTO FOR THE BALLET GISELLE

BY MILENA PONTES

Giselle or Les Wilis, woman and gang, remains in the ephemeral nature of her interpretations and the echo of her meticulous argument. The most romantic and human of traditional ballets, his records provide us with many answers about its conception, while promoting other gaps that only the imagination of each spectator can fill. It’s time to collect the lilies from the ground and retake the flight back to the -8-

village house.

In the book: Spirits, Fairies, Leprechauns, and Goblins – An Encyclopedia, by Carol Rose, we find an interesting description, summarized here, for the figure of Veela: “(…) spirits or fairies of forests, streams and lakes in the popular beliefs of the peoples of Eastern Europe, known as Vala, Vile, Vila, Víly, Vôlva or Willi. They are like the Dryads of Greek mythology, the guardians of the forests. They are described as beautiful young maidens with long flowing hair, dressed in white. They love making music and dancing in the moonlight. They are normally benevolent to humans, but if seen during dances, they can bring misfortune to the intruder. If a man saw a Veela, he would be so delighted that he would hunger for her to the point of death. They live in community, and can marry and have children with mortals (…)”.

What better argument for a ballet than the dance itself?

And for a romantic ballet, a legend in which the subject, action and cause are dance? To watch Giselle is to read

“The question was not so much how sincere or true these feelings were, but their intensity. It was interesting to understand what they transformed. In this way, we do not need to know how true Albrecht’s love for Giselle was, but what it incites and what its consequences are.”

Giselle

the corps de ballet, which essentially becomes

“imaginative” and the choreography and the

a choreographic poem. Girls in white gauze,

spectacle have, in the eyes of the poet, a very

what a beautiful sight for eyes tired of the dark

singular force. The dance brings the silence that

colors and soot inaugurated by the advances

the audience can fill as they wish, and which

of the time! Before Heinrich Heine’s poem De

guides their reverie through the unconscious

L’Allemagne, one of the main inspirations of

rather than commanding it.

Théophile Gautier (the librettist), the setting that would so passionately welcome this work

Giselle is, therefore, a ballet that integrates

was practically ready.

all

these

expectations

transformations, and

illusions:

meeting romantic

these and

To just say that Giselle is a romantic ballet seems

fantastic, but with such a strong premise,

like a bit of a frayed speech from its frequent use.

capable of breathing life into the art of dance

However, talking about Romanticism remains

for generations. This new aesthetic was given

useful to situate us in a context that went beyond

to the public’s pleasure as an antidote to

the ideals of love. Steam presses finally allowed

excessive reason.

the printing of several pages per hour, and the consumption of books became commonplace

With art so close to literature, authors and

by the new middle classes, the cultural industry

choreographers moved away from the ancient

advances and artists and poets are promoted,

gods and invoked new objects and sources of

manifesting a new sensibility that leads lyric

creation, such as Norse legends and more “exotic”

poetry to be the ideal vehicle to communicate the

legends. They placed the words “passion”,

second aspect of Romanticism: the affirmation

“daydream” and “ideal” at the center of their

of subjectivity in the construction of personal

works, giving rise to the style of “white ballets”

identities, the search for expressing feelings,

(in reference to the white acts, implemented in

while worshiping introspection; the search and

ballets exactly at that time).

reflection on strong emotions and authentic personal relationships. The question was not

The relationship between dance and literature is

so much how sincere or true these feelings

particularly privileged. Writing evokes, inspires

were, but their intensity. It was interesting to

and summons dance and vice versa. But for the

understand what they transformed. In this way,

outbreak of the supernatural component to have

we do not need to know how true Albrecht’s love

the desired effect, it was necessary to configure

for Giselle was, but what it incites and what its

a perfectly recognizable world – hence the

consequences are.

importance of the first act and the problematic of how Giselle would become a Wili.

The libretto leaves some gaps, but not by chance; the word “romantic” became synonymous with

“My dear Henri Heine, while flipping through

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your beautiful book “From Germany” a few weeks ago,

so in Giselle. He brought to the plot, together with the

I fell into a lovely place - and you just have to open the

work of Heine that is the basis of the plot, an excerpt

volume randomly: it’s the passage you’re talking about

from Les Orientales by Victor Hugo (1829). Specifically,

the Elves in the white dresses whose hem is always wet,

the poem Fantômes, which tells the story of a girl who

which show from their small satin foot to the ceiling of

loved dancing so much that it caused her death.

Wilis’ nuptial chamber to the complexion of snow, to the relentless waltz; and of all the delightful apparitions

The connecting point between the first and second act

you found in the Hartz and on the edge of the islet,

found its solution there.

in the velvety mist of the German moonlight – and I involuntarily exclaimed: What a beautiful ballet you

“Dead at fifteen! – loved, lovely, happy, gay,

would make of that!” – Gallica, digital collection of the

Leaving the ball; long, long to make us weep.

National Library of France. La Presse, July 5, 1841.

Dead! from her frenzied mother torn away

By Death’s cold clutch; e’en in her ball array,

Gautier wrote a kind of cover letter for the work for the

And in a coffin put to sleep

newspaper La Presse. Through it, he describes that at

Decked was she ready for another ball;

first the idea excited him, that he took a blank sheet

Death was eager such a price to have,

and with an excellent handwriting he wrote “Les Wilis,

Roses which garlanded her brows withal,

ballet”, then he documents that he started laughing

And bloomed on her at yester festival,

by throwing the sheet away, saying to himself, with his

Were scarcely faded on her grave”

experience as a serialist, that it was impossible for the

Excerpt from Les Fantômes (Phantoms), Victor Hugo -

theater to translate this “(…) vaporous and nocturnal

Les Orientales, 1829

poetry, voluptuously sinister ghostly (…)”.

Although the theme is consistent with what the romantic

This poem ended up being the piece that complemented

ballets presented on the stage, it was necessary to work

the story, but the authors thought of using it in different

on it to be a ballet that would deal with the emotions

ways. The final form ended up corresponding to the idea

of the spectators, making the best use of the machinery

of Vernoy de​​Saint-Georges, making the first act a kind

of the time. Before presenting the idea to the theater

of adaptation of the poem, using the main character’s

director, Gautier was quick to seek help from someone

death as a hook for the second act – contrary to what

who wouldn’t be just a co-author, but one who had

Gautier wanted, which it would be a kind of complete

knowledge of theater procedures in order to adapt

representation of the poem, the Wilis being the

the text to the scene. The man chosen was Jules-Henri

ghostly characters of the poem. This idea was joined

Vernoy de Saint-Georges, an author highly active in

by the image evoked by Heinrich Heine in the poem

the production of plays. He worked with all genres of

De L’Allemagne about the Wili, or Slavic night dancer,

stage art, ballet, opera and theater, and textual genres,

a young woman who dies before her wedding day and

producing over one hundred librettos and five titles in

reappears (like the nuns in the opera Robert Le Diable,

novel style. His contributions go beyond being a mind

who inspired the ballet La Sylphide) at night from her

that knew the opera’s skills and the public’s tastes.

grave to seduce unsuspecting male victims, who she

Known for a tendency to turn around in his works, he did

forces to dance to death.

Giselle

This whole story was nothing new for the stage

supernatural experiences. Ballet became a lifelong

at the time. It was also reminiscent of the Wilis of

obsession. He wrote novels and poetry, but was also a

the ballet La Fille de l’air (1837), and a few years

playwright, magazine editor, literary critic and art critic,

earlier Marie Taglioni had already danced Fille du

hence his predilection for ballet. The only great literate

Danube, also based on a Germanic legend about a

of his time to write about dance and be proud of it. He

young woman.

had personal contacts with the profession, knew the musicians, writers and artists who collaborated on the

The fact that the theme has already been used does

productions, and was himself an experienced librettist

not affect Giselle’s brilliance, even more so when we

and professed strong and original ideas about the

read the description of what Gautier divulged as his

potential of ballet. No other critic of his time had so

initial vision for the first act. We can see how great the

many letters in his hands, neither the poet’s sensibility

change in plot was, and the remarkable dedication in

nor the gift of description. Fact that can explain the

putting all the symbols in the work made its sources

level of details, records and references that this

of research and reflection endless.

ballet carries.

“We would have seen a beautiful prince’s ballroom:

These items, which were Gautier’s critical basis for

the chandeliers would have been lit, the flowers

dance, were perpetuated when dance critique was

placed in the vases, the buffets loaded, but the guests

made official as a profession. Therefore, Gautier’s

would still not have arrived; The Wilis would show

writings on dance are vital for art and dance historians.

themselves for a moment, lured by the pleasure of

And Giselle, his most emblematic ballet, is a more

dancing in a room glittering with golden crystals and

than important part of these documents.

the hope of recruiting some new mate. The Queen of the Wilis would have touched the ground with her

Giselle or Les Wilis does not just tell the tragic story

magic branch to communicate at the dancers’ feet an

of a peasant woman; it is the story of ballet itself as

insatiable desire for contradances, waltzes, gallops

total art. A breath of life, despite the irony, to the

and mazurkas. The coming of the lords and ladies

art of classical ballet. And despite the decadence

made them fly like pale shadows. Giselle, having

that would follow on stages around the world, from

danced all night, animated by the enchanted floor and

end to end, there will always be room for the Wilis’

with the desire to prevent her lover from inviting other

hypnotic crossing.

women, would have been surprised by the chill of the morning like the young Spanish girl, and the pale

Giselle became Gautier’s homage to Romanticism,

Queen of Wilis, invisible to all, would put her hand

inspired by Heinch Heine, Victor Hugo and the

of ice on your heart.” – Gallica, digital collection of

memory of La Sylphide. In his opinion, Marie Taglioni

the National Library of France. GAUTIER, Theophile.

figured among “the greatest poets of our time”.

Théâtre – Mystère, Comédies et Ballets. Paris: G.

Dancers would thus become spiritual and emotional

Charpentier, 1872.

interpreters

who

lead

the

audience

through

fantastic world.

Theophile Gaultier was attracted to dreams, fantasies (almost

always

erotic),

to

spirits,

ghosts,

and ABOUT THE AUTHOR: Milena Pontes is an amateur dancer, dedicated researcher of the history of Classical Ballet and content creator through her blog Tutu4Love.

a

pure soul

DA N I E L L E M A R I N H O A N D T H A I S DA N E L LO P H OTO G R A P H E D BY C A RO L L A N C E L LOT I B E AU T Y : V I V I B O R L I D O A N D RO B E RT TA C H A P I M COSTUMES: ALBERTINI COSTUMES

Giselle

Production assistant: Jessica Lacerda

The Magic of Giselle

in Brazil

BY ELIANA CAMINADA

The ballet Giselle, a masterpiece of Romanticism, created in 1841, is inspired by the Slavic legend of the Willis, with its possible connection with other traditions, particularly with vampirism and with the stereotype associated with women in that historical period, regarding to female madness.

Its action takes place in the Middle Ages and it was in - 20 -

the Middle Ages, with its legends and myths, that its librettists sought the theme of this ballet. In the chapter “Popular Traditions” of his work From Germany, Heinrich Heine called these supernatural beings elemental spirits, echoing a legend that had existed in certain parts of the Austrian territory.

Probably, its authors watched Nina or The Crazy Woman with Love, a ballet by Louis Milon, created in 1813 and staged until 1837. Milon was considered one of the precursors of Romanticism and some critics find in his creation elements that would later characterize Giselle as the masterpiece of the period. The protagonist’s madness with love, which would lead to her death, would perfectly justify the introduction of the Willis legend in the 2nd act.

With new elements, Giselle brought to the scene the diffusion of the values of society at the time. In the 1st act, Duke Albrecht’s boredom, which leads him to seduce and, who knows, fall in love, with a naive peasant woman, already signals the decay of the aristocracy in France.

Backstage: Ballet Company of Escola Maria Olenewa in Giselle, 2018.

Picture by Carol Lancelloti

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Backstage: Ballet Company of Escola Maria Olenewa in Giselle, 2018.

Picture by Carol Lancelloti

Giselle

Act 2 takes place in a dismal forest. The mythology

Carlo Blasis. Marietta Baderna Giannini and her

of the Willis, powerful women, who create, in

father arrived in our country in 1849, exactly

another dimension, an exclusively female world

when the Giselle season was taking place. While

deserves reflection. They kill through a frenzied

Marietta received an invitation from Teatro São

dance all the men they meet on their path,

Pedro de Alcântara to perform in Rio, political

between midnight and dawn.

reasons made her accept it quickly. In Italy, she and her father were followers of the leader of the

Giselle is a remarkable ballet, perfect. It is one

republican movement Giuseppe Mazzini, who had

of Western civilization’s greatest legacies to

been defeated by the royalists and the Austrians.

mankind. The contrasting and complementary

Forced into exile, they decided to come to Brazil.

aspects of its plot, its high drama, the harmony

As soon as she arrived, Marietta performed at

manifested between all the creators involved in

the ballet Il Ballo delle Fate, but had to assume

the work, exert a true magnetism on dancers

the lead role of Giselle, for the time necessary,

from all over the world. From Oriental dancers

having as Albrecht the same Eugène Finart.

to dancers in Harlem, from Latinos to Norses, everyone is attracted by the magic of Giselle.

The word “baderna”, with this sense of confusion, of riot, only exists in Brazilian Portuguese.

Brazil is no exception. We have always been

That’s because of Marietta’s supporters. When

fascinated by this work, which we met for the

she entered the scene, the audience applauded

first time in 1849, staged at Teatro São Pedro de

effusively, they stamped their feet on the floor

Alcântara, in Rio de Janeiro. Her interpreter was

and shouted her name. After the shows, the

Anna Trabattoni, whose partner was her husband

youngsters began to take the preference for their

Eugène Finart. It was the second repertoire

performances, causing street fights and making

ballet presented to the public in the capital. The

an uproar. Admirers of her formed almost a

first was La Sylphide, with the same dancers as

party: the badernistas. They were the ones who

the main performers.

contributed to her surname being included in the dictionaries of our language.

The Willis legend was not unknown to Brazilians.

The theme was used extensively by several of

It is worth noting the name of the most important

our poets in the 19th century. The ballet season

dance master who arrived here, Louis Lacombe, in

is supposed to have been a success, because,

1811, with the functions of teaching the nobility

as Anna Trabattoni became ill, it was urgently

and the Royal Family the ballroom dances of

necessary to find a replacement for the role.

the time and staging small dance numbers for

That’s when the name of Marietta Baderna

intervals between the lyrical montages. A whole

comes in, “Prima Danzatrice del Teatro Alla

preciously traditional story began to be built

Scala”, beloved disciple of the famous conductor

in the capital, making it atypical in relation to

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other states in Brazil. Nothing too weird. Our European

of Serge Lifar, had learned the choreography from him

court also brought many traditions that were unique

when he had been here working with the School of

to it, including ballet and ballet performances. Ballet

Dance/Company in 1934.

reenactments remained, forever, as a complement to our customs, at least in part of Rio society, from the

Lifar’s revival of Giselle, presented at the Paris Opera in

19th century to our days. On the other hand, ballet

1932, is considered the most important in the history

had been an effective part of the education of our

of dance. It was Lifar, too, who taught Tatiana Leskova

Empress Dona Leopoldina. Her motherland Austria has

the complete ballet. In his review of the ballet, he first

been an important center in terms of ballet since the

of all recovered the name of Jules Perrot as co-author

18th century.

of the choreography; he gave more consistency to the Albrecht character, giving him a passion that nullifies the

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The fact is that, throughout the 19th century, there were

character’s ambiguities; modified Albrecht’s entrance in

many dance masters, natives of Portugal, Italy, Spain,

act 2 – Albrecht entered the stage running to the grave

France and even England, who performed in Rio. Casa

and Lifar adopted a slow and sober entrance, with a grave

Real (royal family) maintained its custom of attending

and noble demeanor, wearing a long cape and holding

ballet and opera performances and its presence in 1883

a bouquet of white lilies in his arms. He also opted for

is recorded in various performances of Excelsior, a kind

a tragic ending, conferring psychological density and

of ballet/musical by the Italian Luigi Manzotti, about the

fascination to the character. Lifar’s entrance, with a dark

great inventions of the time, especially electricity, and

cape, chosen after examining the designs sketched by

which featured 345 artists.

costume designer and scenographer Alexandre Benois, was consecrated. Today it is used by all dancers, without

With the Proclamation of the Republic, the lyrical and

exception.

theatrical movement greatly diminished, but the reaction took place in 1909, when the Theatro Municipal do Rio

Giselle was again seen at the Theatro Municipal with

de Janeiro was inaugurated. Thus, with the Diaghilev´s

the Ballets Russes de Monte Carlo, in 1940, with Mia

Ballets Russes, which visited us for the first time in 1913,

Slavenska and Igor Youskevitch in the main roles. The

Rio de Janeiro could see Giselle in the interpretation of

Grand Ballet du Marquis de Cuevas visited us in 1948

Tamara Karsavina and Vaslav Nijinsky. Five years later,

and 1952 and, in both seasons, had in its program

in 1918, Anna Pavlova and her company brought Giselle

Giselle. In 1950, ballet appeared in the repertoire of the

as part of the repertoire, and presented the ballet on

Paris Ballet de l’Opéra and in 1951 with the American

the tour that began in Belém do Pará, went on to Recife

Ballet Theatre, with Alicia Alonso in the main role.

and later premiered at the Theatro Municipal do Rio de Janeiro.

But, in 1949, Leskova had already recreated Giselle for the Ballet Society, a company she created with Brazilian

The next production of Giselle, in 1935, did not present

dancers and with which she traveled throughout much

the ballet in its entirety, but only the pas de deux of the

of the Brazilian territory.

2nd act, with Maryla Gremo and Yuco Lindberg, both principal dancers of the Theatro Municipal, although the

In 1951, with Tatiana Leskova already in charge of the

company had not been made official. Maryla, a friend

direction of the Ballet of the Theatro Municipal, Giselle

Giselle

entered the company’s repertoire, in its magnificent

never ceased to be part of our life as dancers and

production, presenting anthological interpretations

of the ballet audience. The famous duos of dancers

of Brazilian artists. Leskova’s production, based on

who danced with the Theatro Municipal’s ballet corps

Serge Lifar’s version, as mentioned, has unfortunately

always did so with Leskova’s productions. They were

not been preserved. These replacements, which favor

Toumanova and Oleg Tupine in 1953, Violeta Elvin and

what is most staged in the world, constituted the loss

John Field in 1955, Alicia Markova and Oleg Briansky

of a precious and almost unique version in its entirety.

in 1957, Alicia Alonso and Igor Youskevitch in 1958,

Leskova’s Giselle was a heritage of ours, of Brazil, of

Margot Fonteyn and Michael Somes in 1959, again

the Corpo de Baile of the Theatro Municipal do Rio

Tamara Toumanova and Wladimir Oukhtomsky in 1961.

de Janeiro. Abandoning it would be like discarding Alicia Alonso’s productions for the Ballet Nacional de

The last complete company to visit us bringing Giselle,

Cuba: unthinkable.

in 1959, was the Ballet Nacional de Cuba with Alicia Alonso. In 1966, Leskova presented a new revival of

A few dancers know it. In France, home of Giselle,

Giselle with Bertha and Aldo. The Stuttgart Ballet

we can find dancers like Kaber Belarbi who turn to

would only visit us in 1968, when Marcia Haydée

the essentiality of researching the original of Giselle

performed Giselle, among other works that made

carried out by Serge Lifar. Among the Brazilian dancers

her famous as the greatest actress/dancer of the

who impressed the audience with their performances,

20th century.

I mention the anthological duo Bertha Rosanova and Aldo Lotufo. The chemistry between them was unique

A year earlier, in 1967, considering the importance of

in the history of the Theatro Municipal. As personalities,

the artists involved, Leskova’s production for Margot

they made an irresistible contrast. She had very black

Fonteyn and Rudolf Nureyev with the Ballet Association

hair, a definitely scenic face, an intuitive, Dionysian,

of Rio de Janeiro constituted an emblematic event.

powerful presence; he was blond, handsome, had a

Leskova’s work so impressed Nureyev that years

classic face, was cerebral. Bertha, as stated by Eugenia

later, as Director of the Paris Opera Ballet, he invited

Feodorova, was like a sponge that absorbed everything

her to restage Leonide Massine’s Les Présages for

from a character: style, choreography, psychology,

the company.

naivete, tragedy, the capacity to love, not to let love die, to forgive. She had a lot of technique, but it was

In 1978, Jorge Garcia staged Giselle for the Theatro

the emotion she conveyed that made her a unique

Municipal season, but it was not a successful show.

dancer in the company’s history. He studied every

Much more for the costumes and the scenography

detail of the character, did an analysis, a research of

than for the Garcia’s version. As of 1980, taking over

what he would have to play and applied what he had

the direction, Dalal Achcar brought Peter Wright’s

learned to his interpretation. Together, in a ballet with

version of Giselle which was staged by the Ballet of

so many nuances, they reached a level of excellence

the Theatro Municipal do Rio de Janeiro until recently.

that marked the audience forever.

But Giselle was not just a mythical ballet in Rio de Other

dancers

had

beautiful

and

outstanding

Janeiro. The Ballet of the City of São Paulo was

performances in Giselle, not least because ballet has

founded in 1968 under the name of Corpo de Baile

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Municipal de São Paulo as a classical repertoire

a magic aura, it is a work so well constructed, that it

company. Its director, then, was the principal dancer of

has become eternal. Like the Willis, who died but were

Theatro Municipal do Rio de Janeiro, Johnny Franklin.

never disconnected from life, the historical moment that

In 1970, Franklin brought to São Paulo the production

gave rise to the creation of Giselle is over, but the work

of Giselle by Dalal Achcar, restaged by Tatiana Leskova,

remains in the repertoire and, above all, in the soul of all

with Marcia Haydée and Richard Cragun in the main

those who love the Art of Ballet.

roles, and Marika Gidali playing Myrtha.

Giselle was also a milestone for the Balé Guaíra Foundation. In 1976, the ballet, in an excellent revival by Hugo Delavalle, launched Ana Botafogo, interpreter of the main role, to fame.

Giselle is restaged throughout Brazil, but in an amateurish way, by ballet academies, some with an excellent level of education, others less so. All take risks in staging Giselle, as well as other ballets in the classical repertoire. Sometimes it is possible to watch a complete, dignified show, but, in general, the montages are made only through videos, without the presence of any qualified professional who advises on the style, the occupation of the space, the sense of mise-en-scène, the adaptations that can be made while preserving the essence of the work, the contrast between the two acts, the significance of the romantic period, what to emphasize in the execution, etc., which obviously, in the end, does not allow it to present a good production.

“In conclusion, it is easy to see that Giselle exerts such a magic aura, it is a work so well constructed, that it has become eternal. Like the Willis, who died but were never disconnected from life, the historical moment that gave rise to the creation of “Giselle” is over, but the work remains in the repertoire and, above all, in the soul of all those who love the Art of Ballet.”

Contemporary performances inspired by the ballet theme – and often by the choreography itself – have been extensively performed all over the world.

Regrettably, choreographers seem to have forgotten that their inspiration comes from a work created in 1841, considered as the apogee of Romanticism in dance history.

And the names of the creators of the libretto, the music and the choreography are excluded from the credits.

ABOUT THE AUTHOR: Eliana Caminada is a retired dancer from the Municipal

In conclusion, it is easy to see that Giselle exerts such

Theater of Rio de Janeiro, researcher, writer and teacher.

Company of the Municipal Theater of Rio de Janeiro in Giselle, 2019.

Picture by Carol Lancelloti

Giselle’s Enchantment

BY C A RO L L A N C E L LOT I

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Claudia Mota as Giselle in a 2018 show, at the Municipal Theater of Rio de Janeiro.

Photo by Carol Lancelloti

Claudia Mota is a source of pride and a

Dancer Só Dança®, Claudia is passionate

symbol of resistance for Brazilian classical

about her craft and this is reflected in her

ballet, which survives despite a scenario of

words and her dance. In this interview, we dive

extreme difficulty. Current Principal Dancer

with her in her favorite ballet of the classical

of the Theatro Municipal do Rio de Janeiro,

repertoire and in the magic that is to embody

ambassador of Rio de Janeiro and Exclusive

Giselle on stage.

Do you remember your first contact with the

with happiness and all the emotion for being

ballet Giselle? What did you feel when you

able to live this moment in my career, the

had contact with this work for the first time?

dream of many dancers.

Giselle was the first ballet I watched at the

Tell us a little bit about the first time you

Theatro Municipal do Rio de Janeiro, with Ana

danced this ballet. How was the preparation,

Botafogo in the main role, the year I joined

which version, what did you feel?

the Maria Olenewa State Dance School. There, at only 8 years old, I already fell in love and

The first time I officially danced this role

was enchanted with all that magic. And it was

was under the direction of Richard Cragun

then I transported myself far away... feeling

in 2003, in the version of Sir Peter Wright,

the same sensation I feel until today, when I

at Theatro Municipal. I was Myrtha’s first

“live” Giselle.

cast and the opportunity came after one of the principal dancers got injured (I was First

The first time I actually danced this ballet

Soloist at the time) and Rick called me in his

I played Myrtha, but the role of Giselle

office and said he’d like me to dance Giselle,

always attracted me in a very strong way,

because he didn’t believe just in my technical

overwhelming I would say. It has always been

potential, but that my artistry was something

my dream and when the opportunity came, I

that impressed him, and from the first moment

remember receiving the news and crying a lot

he knew that I would be a “real Giselle”. Those

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Aurora

were his words. The rehearsals were still going on, until

in playing this character? Do you feel you get closer

I experienced the most special moment of all there

to her?

with the company: the day I rehearsed with the entire corps de ballet, rehearsal director and teachers the

I feel Giselle from the first chord of the orchestra.

complete ballet and, at the end of the madness scene,

When I put on the dress from Act One, I shiver and get

everyone applauded with emotion and embraced me.

emotional... I really cry. Giselle is everything to me... my favorite ballet, my most beloved character and my

I remember Rick coming with tears in his eyes, hugging

dream come true.

me and saying “I was sure I wasn’t wrong. You were

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amazing…”. It was, without a doubt, one of the most

In one of our conversations, you commented that you

unforgettable moments I experienced at Theatro

get into a very particular state of mind when you

Municipal. I remember playing Myrtha for 7 shows in a

dance this ballet, and that in the wings, you no longer

row in the first week and arriving at Theatro Municipal

identify yourself with Claudia. Something changes.

very early to take classes and rehearse Giselle before

Can you describe this feeling in words?

each performance, as I was scheduled as Giselle for the second week. It was the season that I worked

People say that I change when I start rehearsals... I

the most in all these years. I remember having my

can’t explain what happens. I think that 8-year-old

orthopedist in the wings because I was so physically

girl comes back and goes into a trance. The story,

worn out, but I also remember it being one of the

the time, just everything fascinates me. The music is

happiest times in my entire career.

splendid and even tiredness is pleasant to feel in this Ballet. The endless movements of the arms with the

Over the years, what do you feel that has changed

melody of the second act after all the load of the last

Claudia Mota as Giselle in a 2018 show, at the Municipal Theater of Rio de Janeiro.

Photo by Carol Lancelloti

Aurora

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Claudia Mota as Giselle in a 2018 show, at the Municipal Theater of Rio de Janeiro.

Photo by Carol Lancelloti

Giselle

scene of the first, is one of the details I like to feel the

the most... It is the dream of every dancer who is an

most... Because really the energy is drained away and

artist, who has a soul, who understands that Ballet is

only the lament and the search for strength remain to

art above all else. Because there are still many people

reach the end of the ballet, begging for a few more

who admire that in a dancer and know how to identify

minutes of life for her love, “Count Albrecht”, and still

when she touches the heart and soul of those who

for a few minutes of pleasure at being there fulfilling a

watch her. And that is not something you learn, but

dream, every time I live this breathtaking role.

you are born with.

Technically, what do you find most challenging in dancing Giselle?

I swear, I never worried about the technique in this ballet, despite those pirouettes en attitude in the variation of the first act and keeping the feet pointed with cramp, after so many jumps in the second act.

The biggest challenge of all for me, without a doubt, is to make the audience enter this universe with me and believe the story I’m living on stage. It’s not easy to play Giselle and it’s not the technique that will identify a “perfect Giselle” – far from it! We train for sure, but if technical excellence doesn’t happen at the moment, the important thing was accomplished: which is to tell the story.

Why do you think this ballet, one of the oldest, still lingers on stage and enchants the audience?

Because it is one of the most emblematic of all, if not

“It’s not easy to play Giselle and it’s not the technique that will identify a “perfect Giselle” – far from it! We train for sure, but if technical excellence doesn’t happen at the moment, the important thing was accomplished: which is to tell the story.”

Spiritual

Love

M AT H E U S B E N E V I D E S A N D D A N I E L L E M A R I N H O P H OTO G R A P H E D BY C A RO L L A N C E L LOT I B E AU T Y : V I V I B O R L I D O A N D RO B E RT TA C H A P I M COSTUMES: ALBERTINI COSTUMES

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Production assistant: Jessica Lacerda

Memories of a Spiritual Love

BY C A RO L L A N C E L LOT I

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Tatiana Leskova as Giselle and Arthur Ferreira as Count Albrecht in 1952.

Tatiana Leskova needs no introduction. But

to the Original Ballet Russe, which was later

it would be impossible not to mention pieces

renamed the Colonel Basil’s Original Ballet

of her trajectory in order to remind us of

Russe – one of the most important companies

her immense importance to classical ballet.

of the 20th century. She traveled the world as

Tatiana, or Dona Tânia, as she is affectionately

a dancer, arriving in Rio de Janeiro – first in

called in Brazilian lands, was born in Paris on

1942 and then in 1944, after an extensive tour

December 6, 1922, the daughter of Russian

of South America, when she finally chose to

parents living in France after the Revolution.

stay here because of a great love.

In 1939, at a very young age, she was admitted

La Sylphide

In 1950, Tatiana assumed the position of

as always, noting some important a technical

choreographer and maître-de-ballet of the

detail. But although she was enchanted by

Corpo de Baile (corps de ballet or, in this case,

this ballet, during her first years as a dancer,

the company itself) of the Theatro Municipal

Tatiana did not have the opportunity to dance

do Rio de Janeiro, acting as director of the

Giselle. She explains that the Original Ballet

Corpo de Baile. And this is where she begins

Russe did not have Giselle in its repertoire

her deepest story with Giselle. Responsible

because of the difficulties of transporting the

for the first complete production of this ballet

complex sets and machinery around the world

in Brazil, and with Brazilian dancers, Tatiana

on their tours. So, the first chance to dance

is a living and precious arsenal of memories.

Giselle came precisely in her first production

When I arrived at her house, she was already

of the complete ballet here in Brazil, at the

waiting for me with many photographs, books,

Theatro Municipal do Rio de Janeiro, with

notes and, at the height of her 98 years, with

Arthur Ferreira as her partner, in 1951. For

a huge vitality! That’s when I realized I was

this, she went to Serge Lifar to learn every

entering a true temple of dance.

detail first hand. The version that Serge Lifar taught to Dona Tânia was the version danced

Starting with her early memories, I ask her

in Diaghilev’s legendary company and she

what her first contact with Giselle was.

says that the score used for the production in

Leskova remembers that she heard about

Rio was full of notes made by himself about

the Willis legend around the age of 14, even

the music.

before she attended the ballet. But his first contact with this ballet was at the Paris Opera, also before she was 18, in Serge Lifar’s version. I was wondering – and daydreaming – what it must have been like to have your first experience with this ballet so profound in one of the most important opera houses in the world! And most importantly: where the ballet Giselle was actually born in its original version, back in 1841. “I liked it right away, especially the second act, because the dancer had a lot of elevation” – she recalls,

“The dancer who plays the role of a Willi has to fly. Are you a Willi because you jump or because you are flying?”

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Aurora

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Giselle

Before Giselle, came Coppélia, and Dona Tânia

She also points out that “the dancer who plays the

explained that she chose these great works because

role of a Willi has to fly. Are you a Willi because you

“I had just received the responsibility of directing the

jump or because you are flying?” - she questions. It

Corpo de Baile, in the 50s, and they were very raw.

is possible to see in her words that, even for the very

The dancers were still not so sure of themselves. They

demanding Dona Tânia, in Giselle, the importance

wanted to learn and to perform. Now, unfortunately,

of giving herself completely to the character is as

everyone knows even before they are born”. – provokes

fundamental as the technique. “In the first act, I’m

sarcastically. In Coppélia, she did not dance, as she

not going to think that I’m going to show my jumps,

was also dedicated to her group, the Ballet Society. “I

but that I’m a young peasant girl who is dating. In

spent 1 year and seven months without dancing, but

the first act, variation aside, you are more relaxed. In

taking classes”. – points out. But when it was Giselle’s

the second, it has to be clean. Great virtuosity is not

turn, Leskova felt fit to do it. I ask if she cared about

necessary.” – she completes.

the audience, if this ballet would be popular. “I didn’t think about the audience” – she replied firmly – “the

Leskova explains that, in order to dance the role of

audience also has to learn.”

Giselle, in addition to having the necessary technique, the dancer must have “the simplicity and drama that

A word describes the state of Dona Tânia when I ask

the first act asks for, but also, in the second act, she

her how was her first time dancing Giselle in Brazil:

has to be able to represent the deep love for a person

“scared!”. In fact, it was a lot of responsibility, after

who deceived her.” And who would be the most

all, Leskova put together the ballet, rehearsed the

memorable Giselle for her? “There are several… Alicia

corps de ballet and danced in the lead role. When I

Markova, Alicia Alonso, Olga Spessivtseva – which

ask about the challenges, she remembers: “at lunch,

unfortunately I haven’t seen live, only in movies, but

I rehearsed”, implying that she had very little time to

I’m sure she would be my favorite. She has everything

prepare - “And the two pirouettes en attitude, which

Giselle should have: big eyes, drama and technical

are actually one and a half, but we always try to do

quality. Because she has to have quality, not quantity.”

more, and the finishing is hard; you have to control the finishing” – she completes, humming the song with

Finally, I ask Dona Tânia what she thinks is most special

small pauses and moving her feet, as if, for sure, she

and timeless about Giselle; the factor that has kept

knows all the steps to this day.

audiences passionate about this ballet for centuries.

I thought it was going to be a difficult and thoughtful

Technically, Dona Tânia considers the first act more

question, but before I even finished asking it, she

challenging for the dancer who plays Giselle. As for

answered firmly: “Because it’s a ballet that speaks

the corps de ballet, she explains that “technically, it’s

of spiritual love. It’s a great ballet, which shouldn’t

not difficult. You have to have agility and rhythm. In

change”. – she finishes.

the first act, they are simple peasants and need to be very natural. Dancing for the pleasure of dancing.”

the

queen T H A I S DA N E L LO P H OTO G R A P H E D BY C A RO L L A N C E L LOT I B E AU T Y : V I V I B O R L I D O A N D RO B E RT TA C H A P I M COSTUMES: ALBERTINI COSTUMES

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Production assistant: Jessica Lacerda

Thank You ALBERTINI COSTUMES ALEXANDRE PRATES DANIELLE MARINHO JESSICA LACERDA JULIANA MEL LIANA VASCONCELOS MATHEUS BENEVIDES MILENA PONTES NATÁLIA SAMARINO ROBERTTA CHAPIM THAIS DANELLO VIVI BORLIDO

THANK YOU FOR MAKING THE DREAM COME TRUE.

LOVE, CAROL

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Creative Team

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