I totally agree that Durante is something else as Giselle.
I was lucky enough to see both her and Guillem in the role. Both were excellent but Durante has the edge.
I am not totally sure why this is. I can see why people are not keen on Guillem's use of extension when dancing the role. However this is part of her style and I do agree that she adds something because of it in the second act to the impresssion of being ethereal.
This is not to say that she doesn't bring more "earthly" touches to her role. Her mimes with her mother (Gerd Larsen I think) are very touching and add to the impression that it is a real girl who is in LOVE suffers and then kills herself.
However, it is in the mad scene and second act that Durante really marks herself as a caste apart. I did view her closely through binoculars and the look on her face as she discovered the deception of Albrecht and as she danced to some invisible music as she went mad was revelatory.
So too was her interaction with Mukhamedov in the second act. The pas de deux was wonderful - simply because you genuinely believed he was a foolish young man who now realised that a girl he loved was dead as a result of his stupidity.
Christina McDermott (who I admit I have not always been a great fan of) was terrific as Myrthe. She was a graceful menance of a phantom bringing plausibility as well as technical elegance to a difficult role.
In short, I loved Durante but appreciated Guillem in the role. The real test was that Durante and Mukhamedov made me cry which (good as they were) Guillem and Hilaire didn't.