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Giselle, Act II
Giselle is the most famous ballet originating from the Romantic Era. The beloved version known even today was staged by Marius Petipa in 1884. Giselle has been performed by nearly every celebrated ballet company worldwide and the role of Giselle has always remained one of the most sought after in ballet. In Act I, Count Alberecht, not wishing to be recognized, has disguised himself as a peasant and goes to stay in a small village. He flirts with a young girl called Giselle, and Giselle falls completely in love with him. Another young man in the village, Hilarion, is also in love with Giselle. He is very jealous of Alberecht and also very suspicious. He warns Giselle against trusting Alberecht, but Giselle refuses to listen and drives Hilarion away. A sounding of horns announces the arrival of a hunting party, Alberecht's fiancee is among them. They celebrate with a grape harvest. During these celebrations, Hilarion breaks into Alberecht's hut and finds a sword with his true identity engraved on it. He shows it to Giselle, who doesn't believe him. But as Alberecht and his fiancee arrive and kiss, it is too much shock for her. Heartbroken and out of her mind, she dies from madness. Act II begins in the forest. Hilarion visits Giselle's grave. As she killed herself she had to be buried in the forest grounds and not in the church graveyard. Suddenly a host of female spirits come and frighten Hilarion away. They are ghosts of girls engaged to be married but jilted on their wedding day. At night, they come from their tombs and seek revenge by dancing to death any man they encounter. Giselle is called from her tomb and welcomed by ghosts, they quickly disappear. Alberecht comes looking for Giselle's grave. As the Count grieves at the tombstone, Giselle appears before him. He cannot believe his eyes. He begs her forgiveness. Giselle can see how unhappy he is and forgives him. Hilarion enters pursued by the host of female spirits. They trap him and sentence him to die. When he is dead, they surround Alberecht and also sentence him to die. On bended knees he begs for forgiveness, but they will not listen. As Alberecht dances, Giselle tries to protect him with her love. Alberecht dances with Giselle defending him. As the sun rises, it is clear that Giselle has saved him, but he cannot save her. He carries her body back to the grave where her soul, released from its earthly ties, rises up to heaven. Ballet Yuma's performance of Giselle, Act II is sure the delight the classical ballet lover and showcase the fine dancers of Ballet Yuma.
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The Nutcracker Tchaikovski’s familiar score for The Nutcracker has become one of the most recognizable works of classical music, period. It is a testament to the popularity of the ballet that upon hearing just a few notes, one is compelled to conjure images of dueling mice and soldiers, snow fairies and dancing flowers, the Snow Queen and the Sugar Plum Fairy, and, of course, the beauty of the holiday season itself. Such is the magic of The Nutcracker. The story is almost universally known. The initial setting is a grand Christmas Eve party at the Stahlbaum home. Young Clara and her brother, Fritz are excited as guests arrive including the mysterious, magical figure, Herr Drosselmeyer, whom has brought gifts including a soldier nutcracker for Clara. She dearly loves the present, but her brother becomes jealous and breaks it. Herr Drosselmeyer mends the nutcracker, and Clara’s attachment to the small soldier is only increased. When the evening comes to an end, Clara falls asleep with her nutcracker by the family Christmas tree, and it is in her dreams, seemingly orchestrated by Drosselmeyer, that the magical excitement begins. There follows a great battle between a Mouse King’s minions and the now life size nutcracker’s soldiers. The gallant nutcracker is transformed into a handsome prince who accompanies Clara on a journey through the enchanting Land of Snow to the Land of Sweets. Along the way, the two are met and entertained by amazing characters of all stripes (and flavors). Ballet Yuma’s presentation of The Nutcracker is rooted in classic tradition but also surprises from year to year with new and delightful ‘wrinkles’. This year, the most notable variation is Jon Cristofori’s innovative reworking of the familiar dramatic high point - the fight scene. You may also notice something novel at the ballet’s onset: our cherished maid seems to have developed the notion that the entire party (and the gifts) are to be for her . . . |
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