Review: National Ballet of China’s Giselle – dazzling Act 2, but Hong Kong return had its disappointments
Troupe’s female corps de ballet were brilliant, and 20-year-old Qiu Yunting is clearly destined for stardom, but a lacklustre Giselle and plodding score took some of the shine off
After a lengthy absence, the National Ballet of China has returned to Hong Kong as part of the 20th anniversary celebrations of the handover. While both its strengths (good technique, beautiful bodies) and its weaknesses (acting, musicality) have seemingly changed little in the decade since it was last here, an impressive crop of talented young dancers promises well for the future.
National Ballet of China shows for Hong Kong handover anniversary celebrations range from the romantic to red classics
The company’s production of Giselle is supposedly the version that was staged for the American Ballet Theatre in 1940 by Sir Anton Dolin, one of the most celebrated Albrechts of his time (although he is not credited in the programme, nor are the designers).
It’s a classic, conventional production and while there are a few minor departures from the text generally used today, the essential choreography (Marius Petipa’s reworking of the original Romantic ballet by Jean Coralli and Jules Perrot) is the same.
The costumes were pretty, although Giselle should not be wearing such a transparent skirt – she’s not that kind of girl.
The old-fashioned sets, however, take up too much space, again demonstrating how badly Hong Kong needs a theatre with a bigger stage for ballet and opera.
The company shone in Act 2, with immaculate dancing from the female corps de ballet as the vengeful Wilis and an outstanding performance from Qiu Yunting – a 20-year-old soloist clearly destined for stardom – as their queen, Myrtha.
Myrtha is one of the most technically demanding roles in the classical repertoire and Qiu’s effortless virtuosity – footwork, balances, jumps – together with her elegant style and beautiful line were breathtaking.