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
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SEWN IN TIME
GISELLE’S ENCHANTMENT
BY CAROL LANCELLOTI
INTERVIEW WITH CLAUDIA MOTA BY CAROL LANCELLOTI
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A MESSAGE OF LOVE THAT TRAVELLED THROUGH CENTURIES
34
SPIRITUAL LOVE
BY JULIANA MEL
8
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
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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 deSaint-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
CAROL LANCELLOTI CHIEF EDITOR, CREATIVE DIRECTOR, DESIGNER & PHOTOGRAPHER
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