'Giselle' a beautiful tragedy at the Met

All eyes remained on Christine Shevchenko and Calvin Royal III during American Ballet Theatre's production of "Giselle." (Photo by Rosalie O’Connor)

The most romantic of the Romantic ballets, “Giselle,” can be one of the more difficult to pull off. If its fragile love and tragic outcome are not expressed with sincerity, the 1841 ballet becomes an exaggerated melodrama, with mediocre score that audience mainly endures.
 
American Ballet Theatre’s production, now on stage at the Metropolitan Opera House through June 28, was not one of those. At Saturday’s matinee, this version swept audience into the fatal tale of betrayal and divine forgiveness. This high-quality staging – with glorious settings and lighting -- was memorable for its leads, Christine Shevchenko as Giselle and Calvin Royal III as Court Albrecht. Their love, that was ultimately tainted by class – he a royal and she a peasant – was deeper than any social divide.
 
It was a beautiful, tear-inspiring rendering because Shevchenko and Royal imbued their characters. They only had eyes for each other and therefore the audience only had eyes for them.
 
Their playful flirtations and tentative touches were pure elation. And then when it was revealed by Hilarion, a jealous suitor danced by Andrii Ishchuk, that Albrecht was a noblemen betrothed to a princess, Giselle descends into madness and dies. Their palpable affection makes this loss a devastation to all.
 
The second act moves the action to the cemetery where Hilarion erects a cross on Giselle’s grave. There, he is snagged by the wilis, angels of death, who seek vengeance because they died before their wedding days. Hilarion becomes entrapped in their nightly ritual, killing men who enter their realm by forcing them to dance to death.
 
As they summon Giselle to join them, with their leader Mryta as danced by Fangqi Li, Albrecht appears. But as Mryta coldly points to him, a command for the wilis to strike him down, Giselle rises from her grave to protect him until the dawn when the wilis’ lethal power dissolves.
 
With scenery designed by Gianni Quaranta and lighting by Jennifer Tipton, the second act is atmospheric. Lighting flashes as the wilis take aim, first at Hilarion and then Albrecht. The dancing is staggering as the wilis and Mryta glide silently toward their prey. Dressed in their flowing white tulle skirts, they float like clouds – quiet pillows of death.
 
So too does Giselle. Shevchenko marvels as she glides to surround Albrecht with her invisible shield. He senses her, reaching for her in his grief. Though he stumbles and falls, her love lifts him to live another day. Their vibrant love not only crosses class but otherworldly barriers.
 
This excellent version was staged by Kevin McKenzie, former principal who danced the role of Albrecht and later served the company as its artistic director from 1992 to 2022. McKenzie’s version is pure, heartfelt gold.