Coinciding with Giselle Week, Time Magazine released its latest update on the Giselle Syndrome: Sex. Lies. Arrogance. What Makes Powerful Men Act Like Pigs – May 30, 2011. Maria Shriver has the makings of a wonderful Myrtha, doesn't she? And oh, what a fab cad Arnold is turning out to be. So long as men roll in the mud, the ballet Giselle will always have an audience and will never run out of new players.
Last night Jose Manuel Carreño's Albrecht fell to his knee one last time – forgiven, redeemed, and still so deeply in love with his Giselle. All night long, he was a man at the crossroads. His interpretation of Albrecht is one of Haglund's favorites. He employs the diagonals of brisés instead of the more grand-standing entrechat six in Act II, and they are a more acute demonstration of Albrecht's desperation. They always will be. Carreño did not struggle with executing the elements last night. Perhaps there was less elevation in his jumps, but he still retains more than some principals who are much younger.
It was an all-around great performance from everyone. Julie Kent gave a wonderfully complete portrayal of Giselle. Ethereal doesn't say enough; she was celestial. Isaac Stappas as Hilarion has toned down his anger but was still a very strong force. Simone Messmer's Myrtha became more authoritative as the evening went on. Misty Copeland and Craig Salstein were fresh and engaging in the Peasant PdD. Luis Ribagorda was a Standout with a capital S as Wilfred. Melanie Hamrick was a beautiful Moyna. Leann Underwood nearly stopped the show with her expansive grand rond de jambe renversés in her variation as Zulma. And last but not least, the Corps de Ballet was as perfect as could be and created a fantasy for the audience that could only be matched by a drug-induced euphoria.
Carreño didn't have to reach far for his emotions last night. They've been bubbling at the surface since he stood before the curtain last season after giving his final performance of the Manon PdD with Diana Vishneva. Come June 30th when Carreño gives his final performance in Swan Lake, no one should expect composure from him in Act IV. This is a man who knows that he is giving up something that he loves dearly.
Haglund bestows this Christian Louboutin Golden Pump Bump Award on Jose Manuel Carreño all the while realizing that there isn't enough gold on the planet to give him as thanks for such a great 16 years:
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