Graceful ghosts in Ballet Manila’s ‘Giselle’
Asked what attracted Mariinsky Ballet guest artist Renata Shakirova to her husband Aleksei Timofeyev, she cited his utmost care. Conversely, Timofeyev was captivated by her radiant smile. Their offstage personalities—she animated, he reserved—seamlessly translated into their onstage chemistry in Ballet Manila’s (BM) “Giselle.”
Although it was their first time performing together as the ill-fated lovers, Timofeyev, as Albrecht, was remarkably sensitive to Shakirova’s portrayal of Giselle. During their partnering, Shakirova floated effortlessly through the air, supported and lifted with ease by Timofeyev’s firm yet gentle grip. Their performance was marked by moments of quiet intensity, showcasing their pure classical lines and devotion to each other, leaving the audience in awe.
In partnering and overhead lifts, BM’s dancers demonstrate exceptional synchronicity, making their partners appear weightless. The shoulder lift in the Peasant Pas de Deux was a particular highlight of Shaira Comeros and Joshua Enciso’s debut, with Comeros mounting effortlessly on Enciso’s shoulder. It was as if he was just carrying a pillow.
Mental breakdown
BM’s “Giselle,” a perennial favorite, continues to improve with each restaging. This postpandemic production showcases the harmonious blend of the Russian dancers’ refined artistry and technique, honed by tradition and the strength and maturity of our homegrown talents, cultivated through hard work.
“Giselle” is the tale of a naive peasant girl who falls in love with Albrecht, an aristocrat disguised as a peasant. Drawn to her purity and effervescence, he becomes enamored of her. During the harvest festival, the peasants dance merrily while the Duke of Courland and his daughter, Bathilde, Albrecht’s fiancée, grace the event.
Amidst the festivities, Hilarion, the gamekeeper who is also in love with Giselle, reveals Albrecht’s true identity as a count betrothed to Bathilde. Overwhelmed by this revelation, Giselle, who suffers from a weak heart, experiences a mental breakdown and dies.
In Act 2, a remorseful Albrecht mourns at her grave. Meanwhile, the wilis, vengeful ghosts of betrayed virgins, led by their queen, Myrtha, seek to punish him by forcing him to dance to death. Giselle, now a ghost herself, pleads with Myrtha and forgives Albrecht. Through their famous pas de deux, she keeps him alive until dawn, when the wilis lose their power. As the sun rises, Giselle vanishes, leaving Albrecht despairing at her loss.
Shakirova’s dancing was imbued with a passionate fervor for the art. Her mad scene showcased her remarkable range, from shock and disbelief to anger and sorrow. Whether executing dainty pointe work, holding elevated arabesques and leaps or simply moving her head and shoulders, it was as if the music flowed effortlessly from her limbs.
Timofeyev embodied a strong, noble bearing. A supportive and self-effacing partner, he was correct and reserved until the climax of his solo, where he exploded into a series of clean, intricate jumps and soaring leaps with soundless landings and pirouettes
Attuned to each other
A veteran of several companies, Stephanie Santiago finally received her due as Myrtha. BM provided her with the opportunity to showcase her talents. Aside from her extraordinary buoyancy, her energy was palpable, extending all the way to her fully stretched feet in the air. Every balance was like holding one’s breath.
In the Peasant Pas de Deux, as a couple, Comeros and Enciso were attuned to each other, bringing out the lyricism in their duet. Despite a few wobbles due to gala jitters, Comeros mesmerized with her wraith-like upper body and nimble feet. Although visibly nervous, Enciso stayed with the music, striving to make the difficult jumps and turns appear graceful. With more performances, their dancing would become seamless and confident.
Real-life couple Mark Sumaylo and Abigail Oliveiro are natural actors. While he portrayed the patrician Albrecht in the matinee, he easily transformed into a coarse and angry Hilarion. The elegant Oliveiro as Bathilde was aloof and bored, making it understandable why a warm and devoted peasant girl would be attractive to Albrecht.
The synchronicity of the corps de ballet has always been impeccable in BM’s productions. In Act 2, the precision of their arms, legs, head tilts, shoulders and formations made them visually striking.
The entire cast made a concerted effort to make the audience understand each gesture and emotion in the dance. However, like other Philippine companies, production costs and a small ballet audience hinder companies from staging more performances, limiting the dancers’ opportunities to grow into their roles. The corps de ballet as wilis, though well-rehearsed, needed to be more wicked, exerting more pressure on Hilarion and coldly pushing him to his demise. Santiago could still amplify her coldness to create a more bitchy Myrtha, contrasting starkly with the compassionate Giselle.
Nevertheless, BM’s idealism and high standards of dance have the capacity to place the Philippines on the world map.
