His acting is contained: a matter of being rather than doing, of attitude rather than action. Vitally, Bonelli doesn’t overplay his hand. Bonelli has always been an elegant dancer here, inspired by his ballerina, he finds a chastened nobility and a tragic depth which are truly moving. Her Albrecht was Federico Bonelli, replacing the injured Vadim Muntagirov. As the deceived village girl whose love endures beyond the grave, she dances with heart-rending immediacy and transparency. This was confirmed last week by an opening-night performance by Marianela Núñez of uncontestable greatness. At a time when the Royal is loosening its hold on the classical canon, and the lustre of its erstwhile signature work The Sleeping Beauty is fading, Giselle shines undimmed. When Peter Wright mounted Giselle for the Royal Ballet in 1985, he created a masterpiece which remains the jewel in the company’s crown.
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