Once Upon a Ballet: Giselle
Betrayal. Madness. Vengeful Ghosts.
No, this is not an advertisement for a new horror film. These are elements in the Romantic-era ballet, Giselle. And this is the first post of a series introducing you, our Gryphon readers, to various classical ballets.
Since Halloween is looming, I thought it might be fun to start with one of the ballet canon’s spookier stories. Truthfully, the words hauntingly beautiful are a more accurate description for Giselle, even though the story does, in fact, depict betrayal, madness, and avenging specters.
Consider this a “Cliff Notes version” of this tragic tale. The title character, Giselle, is a gentle peasant girl with a weakened heart. One day, royalty visits her village, and Count Albrecht, disguised as a peasant, pledges his love to Giselle. However, his true identity is soon revealed by Hilarion, the village huntsman who, unknown to her, also loves Giselle. Furthermore, it comes to light that Albrecht has double-crossed Giselle and is already engaged to a princess. Albrecht’s betrayal drives Giselle mad and she dies of heartbreak.
Act 2 features the avenging ghosts, known as the Wilis, a group of female spirits who were all betrayed by the men they loved. They now emerge in the forest at midnight and lure unsuspecting men into their domain, forcing them to dance until they die. After her death, Giselle is welcomed into this band of scorned, sisterly sprites by Myrta, their formidable leader.
Naturally, both Hilarion and Albrecht show up in the forest to pay respects at Giselle’s grave. Sadly, Hilarion is ensnared by the Wilis and meets his demise at their hands.
Their next intended victim is Albrecht but Giselle’s love is pure and true and she protects him. Her goodness and forgiveness spare him just as the clock strikes four and the Wilis lose their nightly power, proving that true love transcends death and forgiveness is stronger than revenge.
Giselle first premiered in Paris in 1841 with music by Adolphe Adam. Early versions of choreography were by Jean Corrali, Jules Perrot and Marius Petipa, notable names in ballet history.
The libretto or story by Jules-Henri Vernoy de Saint-Georges and Théophile Gautier was based on writings by Heinrich Hein and by Victor Hugo, who you may know as the author of The Hunchback of Notre Dame and Les Miserables.
Giselle is one of my favorite classical ballets. During a summer program one year, my fellow students and I learned one of Giselle’s solos from the second act when she is a Wili, and we strove to be graceful and light on our feet just as a ghostly sprite would be.
The role of Giselle demands much of the ballerina who portrays her as there is a drastic change between Act 1 and Act 2. In Act 1, she is a lively young woman who tragically goes insane - this requires convincing acting ability. Then in Act 2, Giselle is an ethereal, solemn, hurting, but still loving spirit. The various dynamics couldn’t be more divergent.
Though melodramatic, as many classic ballets tend to be, Giselle is moving and beautiful.
For a more in-depth synopsis of Giselle, please see American Ballet Theatre’s website where you can also enjoy several stunning photographs of this ballet.
You can also watch an exquisite excerpt of Giselle by the Royal Ballet here.
Happy Haunting! 🩰👻