I would rather leave a full detailed review to the more experienced reviewers.

All i will say was that Alina was magnificent, a truly memorable performance , with Kobburg a gracious attentive partner, whose dancing was also excellant.

A great pairing for this ballet.

Take care

David

And she and Johan are so well matched from their very first steps. Their partnership is really something special. The lifts were wonderful in their weightlessness.

And Johan himself, wow what a dancer! Those were just entrechat sixes right, because they looked like more! I just love how Judith Mackrell described him.

"Beneath his mild, handsome looks and heroically elegant dancing Kobborg always suggests there is unstable emotional ground, liable to erupt with hot passions and slow broiling obsessions."

I have the hardest time trying to get across to others who haven't seen him how much depth his dancing and acting has and I think that sums him up rather well!

I was also really impressed with how fantastic the corps were, not just their wonderful dancing but their menace in Act II as well. I'm in love with this production! Another perfect evening! This is what Giselle should be! My only gripe is how quiet the audience seemed to be, apart from cheering on Alina and Johan of course (and a flower shower too!) I keep thinking about what Natasha Oughtred said at one of the insight evenings about how much the dancers appreciate applause after a particularly difficult bit. I thought some dancers deserved a lot more than what they got like in the pas de six, but by now I'm used to that deathly pause before someone dares to start clapping and they probably are too. In any case I can't wait til Saturday - will there be many of us there?

Hmmm...wrote a bit more than I'd planned. Very hard to stop once I get going!

I've just been over to the thread that particularly covered this issue:
http://www.danze.co.uk/dcforum/news/1231.html

Perhaps I've missed something but I'm not sure anybody said anything particularly inappropriate or bad about Cojocaru on this issue - I see only regret and looking for information. I guess there is some bemoaning the fact that RB were not seen to change casting when it seemed forced and an apology may well be due there. But (afraid there is a but) many readers have known in the past that casting had to change because of an injury or whatever, and yet RB persisted in publicly maintaining original casting (on web and in box office) only to change it at the last minute. I know RB are much more alive to these issues now, but I'm sure they will understand if public perceptions, based on past experience, lag for a while RB's new commitments on casting change and accuracy.

But Alina did well and we are all united in being very proud of her I think.

Why do you think there should be an apology?

Just because Alina danced does not mean that she does not have an injury and there was a chance that she may not have performed

It seems to be common knowledge that Alina has an injury and Ismene Brown mentioned it in her article about injuries on Friday, saying how Alina was torn between following doctors advice to rest or perform - something which I also heard!

I know it is hard with all the injuries for the Box office and the web site to keep up to date but all posters wanted was up to date information. Is that too much to ask?

I'm sure if you checked the site today you would have found Marianela Nunez down to dance Queen of the Wilis but I don't believe she did as Zenaida Yanowsky replaced her due to injury. Don't believe it was last minute, it was on cast sheets, so perhaps it could and should have made it on to the web site.

In hindsight I don't think anything was done wrong here. The Guardian heard she was injured and thought she was out, and if she had been then yes I would have wanted to know about it since ROH is a bit unreliable in this respect.

As for ROH, I'm usually very critical in their failure to keep us informed right up until the last minute. The fact that they kept Por Vos Muero castings from being released right the way through made me very annoyed. But in this case it sounds like there was a lot of uncertainty over whether Alina would perform but ultimately it was her decision. On the one hand I have to travel a really long way to get to a performance - 3 hours there, 3 hours at ROH and 3 hours back eats up most of my day. Some people have to travel much further and for specific casts and if there is uncertainty they have a right to know so they can amend their plans. But it would look very bad for ROH if they couldn't give a definite answer and especially if it's for a first night. So in this case I do understand their point of view.

There seems to have been genuine doubt about the first night, so I don't think anyone was really at fault. Thank you for your opinions, everybody.

After seeing the two performances yesterday, ( Saturday 23rd March 2002 , matinee and evening ) Benjamin and Steifel , Rojo and Corella , go go go for this coming Wednesday's,peformance.

There is no comparison, Alina and Kobburg are the No 1 partnereship so far, they reign supreeme ,(especially Alina,her performance is to be treasured ), they are very very special together in this ballet, a partnership that should not be missed , a performance that stands out and will be remembered in your mind for a long long time , we in London are extreemly fortunate to have the opportunity to see them together in Giselle.

As a side note, the Corp are wonderfull, and Z Yanowsky reigns supreme as Myrtha .

Hope you enjoy.

Let us all know what you think of the performance

Take Care

David

Giselle, RB 21th.March 2002.

With only a very little sparkle of hope to find a last minute ticket, I felt the urge to grasp the opportunity to travel one day earlier to UK, trying to see Alina's Giselle. And I did find a ticket, although my phonebill will be a lot higher than the ticketprice ! Some ROH-operators need an urgent re-schooling : as the few places left were all restricted views, I opted for the only so-called 'clear front-view' : a standing place at the balcony. I ended up on C20, auditorium left......glad I could move a bit when performance started..so I had at least a glimp of Giselle's cottage-door too !
I was so fortunate to have Tomoko who pointed out a free standing place at the orchestra stalls for the second act.

So, I travelled over seas (eh...actually under seas...) and hectic roads to discover a star....and I have still difficulties to find the right words in the middle of all the luck I had : I found THREE ! Yes, 3 ! Alina, Johann and....the corps !!!
It will surprise many among you : I'm not familiar with this Giselle production. I saw several performances of the Eugène Polyakov choreography, which I adore. I was so mesmerized by the dancing that I need a video now to find out about all the differences. At a first glance it's more the Second Act and the part of the corps that's different, apart from some details in Act I. The peasants do wear very luxurious clothes and I can't call the picture at the end of the madscene : a lifeless Giselle in the arms of her desperate mother - a detail !
In the very beginning of Act II,Polyakov let Giselle appear in front of some gambling villagemen and we see Hilarion and Albrecht bringing flowers to her grave, before the corps starts their haunting task. The line-up is more strict and controlled in a lot of parts, while this version shows a more ethereal corps (I didn't know it was possible !), ghostly fluttering in one whole whirlwind. There must be a real balletomane out there, who can correct me here or add a more worthwhile opinion....I still have a lot to learn

Yes, I know, I keep talking and talking without telling something about the dancing... never thought it was that difficult to put into words the most emotional, most ethereal, most superb Giselle-performance I EVER saw before !
And I specially mention 'performance' because I don't want to make a shortcoming mistake towards the other 'stars' I've discovered that night ! A perfect performance is build up by all pieces of gems...and what kind of a treasurechest RB has opened on the 21th ! I need to consult my list of superlatives, enthusiastic exclamations etc...
Johann Kobborg is everything a dream-Albrecht needs : he is a wonderful, strong, perfectly trained dancer...he completely indentified himself in his role...a perfect, attentive partner...He is full of passion, on which he has a superb control...reveals it sparse at the beginning...to burst out in an overwhelming flood of desire..and despair...(hmm...is this typical Danish ?). He made it so easy for his Giselle to fall head-over-heels in love with him !
And about Alina Cojocaru, one need to reinvent words for her...the utterly fragile Alina simply seems to be a reincarnation of a great ballerina out of the Romantic Era. Impossible to copy -even at this young age- adding lovely details, the fragile posing of her head, a naughty glance, a passionate gaze... She is all motion and floats over the stage in an incomparable innocence. I agree about the non-appropriate high extensions...but this is only a minor detail...we only can blame her training for this ? I heard someone talking about the professional way in which she solved some small problems she had....but I haven't noticed any problems
Here we had all the best of available ingredients...and the stars were with us that night : we were offered a sublime, sparkling partnership ! Johann and Alina, what a perfect match !
Above all, this was an emotional partnership...and when emotions became almost tactile...I found myself in tears.
I don't want to be shortsighted on this...and have to be carefull not to be caried away too much by my enthusiasm : haven't we seen a partnership that will be noted down for eternity ?

The unison of the corps was breathtaking (an appropriate word in this context !). Although I still haven't seen them enough to formulate a real balanced opinion, to be honest...up until now I simply thought they couldn't match the POB-corps....but I have already made corrections to this !
The corps was in superb form and the dynamic choreography (in comparison to the one I know) added to the ghostly appearances.
And I almost forgot to mention Myrtha ! Is there a better, authoritative and more commanding Myrtha in the RB than Yanowsky ?
This was one of those rare evenings, all pieces of the puzzle fitted perfectly into place, one crossed the line of 'performance' and took us all towards another indescribable (ethereal ?) level.
London has to redesign his constellation-map

Now, I've started to wrap this gem very carefully...to keep it forever in my heart.
But gems can make you really greedy.....and I already heard a little devil in me..." what kind of role do you want to see Alina in next ?..."
Hmm......what about "La Sylphide" ?.... Oh dear.....dream on......

Thank you for this eloquent report, Viviane. I'm even more desperate to see it now! Fingers crossed for Wednesday......

>You liked it, then? (This is known as English understatement.)

Oh ! You English !!!! The more I travel to your country...the less I understand
Ofcourse, I'll keep my fingers crossed for Wednesday...have a safe journey !

I just hope that I can report similar ecstasy when Giselle is performed by San Francisco Ballet in early May, some performances which I may miss. But let me go on record saying the Muriel Maffre's Myrthe is something else, implacable!

I caught Yoshida and Putrov in Giselle on Wednesday night. Yoshida was really exquisite, so light and lovely on her feet throughout Act I and her smile lit up the back of the amphitheatre. Putrov failed to come across so well. I was with a lot of first-time ballet goers and during the interval, while the general consensus was that Yoshida was fantastic and very musical we felt that Putrov was too introverted, not nearly as expressive. One friend commented that she couldn't really see why Giselle would fall for his Albrecht.

Act II was as always superb. I can't say enough how good I think the corps are and how different they seem from the Shades of Bayadere. Yoshida was fantastic, so much restrained passion I thought. Putrov I think plays the sombre despairing prince much better than the joyful happy in love one (or the conniving cad, however you prefer to look at it). I would have thought he'd make a good Siegfried but I have some doubts about his partnering which was a tiny bit shaky at the start and the lifts weren't as smooth and weightless as...well Kobborg's but it's really unfair to compare the two so I'll stop right here. I read on another thread an opinion that he should be made a principal because of all the principal roles he's doing. Technically he's brilliant. His dancing towards the end of the ballet was amazing to watch. But I don't think he's ready to be a principal and think he has a long way to go in terms of expressing himself. He seems to hold something back when he dances. I don't see his personality, nor do I see the character of Albrecht. I think it's quite interesting that both Dowell and Stretton have cast him in Month in the Country and Stretton used him as an understudy in Margeurite & Armand. And it's good that he's been given so many principal role opportunities because I hope they push him to bring a little emotion into him.

Galeazzi was a little shaky at the start I thought but was wonderful as her solos progressed. I really enjoy her in this role.

The pas de six were not so good - Morera, Meissner, Davies, Raine, Cervera and Howells. Their unison was really off, their arms looked tense and they didn't look comfortable throughout.

The orchestra was pretty bad. There was a duff note right from the start that nobody missed and provoked much mirth where I was sitting. Those first-time ballet goers were mostly musicians and were stunned at the difference to the way the orchestra had played from the opera the night before. Still they adored Act II and continued to rave about it in the days after. Nice how many complete converts Giselle is churning out. I don't think the amphitheatre is ideal for Giselle. Act II looked fantastic but I was longing to see Yoshida's face in Act I. Her mad scene was very effective though.

When I arrived at the ROH, the programme seller told me, with an air as if he expected to be attacked, that there was a "slight cast change". The word "slight" gave me hope...it turned out that Galeazzi was replacing Yanowsky as Myrtha, which put Sian Murphy in the pas de six and Gillian Revie taking over as Zulme, so it wasn't all that slight, but at least it didn't involve Giselle or Albrecht.

In some ways I wish I had come to this performance without having read all the reviews or knowing that Alina was dancing with an injury. It's very difficult to know what I'd have thought if I'd heard nothing, but my feeling is that I would have been impressed, but not completely overwhelmed. Not long ago I saw another very young Giselle, Svetlana Lunkina of the Bolshoi, and was fairly disappointed - she was a lovely dancer, but she really couldn't put the character across. Alina was much better than that, but I feel nevertheless that there is probably more depth to come, if only she is allowed to develop at her own pace, and not forced like an exotic orchid. I think she was dancing a little cautiously - there was not quite the abandon that I have seen in other parts, but her freshness and air of utter innocence (she looks almost like a child) are very touching. I can't understand the critic who said there was something invulnerable about her - to me she seemed achingly vulnerable, almost breakable. I found that I didn't need my opera glasses because it is her body, not her face, that expresses what needs to be expressed. She is the only dancer I have seen for a long time who has an expressive head, a very valuable asset. Act 1 was a beautiful performance, but naturally it has yet to mature. I don't feel it is complete yet. It is a well-known paradox that only those with more experience of life can truly express youth and its tragedies. I do think that with luck and more experience this could be a legendary Giselle.

In Act 2 she looked ravishingly beautiful - a series of exquisite pictures, though I'm not certain that they were always fully connected, possibly because of the injury - and yet if I hadn't known about that, would I have thought about it? I doubt it. She has all the qualities needed for this act.

Kobborg, on the other hand, struck me as mature and complete - I don't know how old he is, but presumably not very - and of course this makes the story work very well. His dancing was for the most part exemplary - what a joy those ronds de jambe en l'air were! A real Erik Bruhn-ish quality. Above all, I felt he was dancing to some purpose, that of being Albrecht, without which the most perfect ronds de jambe are useless. A wonderful performance. A bit soon to talk about legendary partnerships, I feel, but we can hope.

Galeazzi did very well as Myrtha (actually I've never seen a really bad Myrtha), and I enjoyed Jaimie Tapper and Cervera in the pas de six (separately, not partners). The other two men wre a bit heavy. The corps were excellent. I loved Rosato's spoiled and petulant Bathilde, but am yet again puzzled by the casting of Muriel Valtat (Berthe) in "elderly" parts. How lovely, though, to see the long mime scene, which is so often omitted. In general, I like this production, sinister and romantic in the right proportions - you do feel after it that you have really seen Giselle as it should be.

It would be very interesting to hear from anybody who was there on both this night and the first one, and whether they differed much.

Finally, I must add what a delight it was to meet Jane Simpson and Roy, and Brendan and Suzanne. Apparently I just missed Eugene. It is always so fascinating to see what these mythical internet people are really like!

Yes of course you're right Helen! It's just that I went on Wednesday to see Alina and Johan on Wednesday as well so it's all a bit muddled in my head now! They were both incredible of course and Galeazzi was absolutely on top form.