马林斯基剧院, 大剧场

吉赛尔

两幕梦幻芭蕾舞剧

Performers

指挥:

安东·托尔别耶夫

Giselle: Katerina Floria
Count Albrecht: Viktor Mulygin
Hans: Sergei Zolotarev
Myrtha: Anna Samostrelova
Classical duet: Lilia Berezhnova, Shizuru Kato

 

Credits

作曲:阿道夫·亚当
编剧:朱理斯•亨瑞•维尔努瓦•圣乔治、泰奥菲勒.戈蒂埃、让·科拉
编舞:简·科拉里、朱尔·佩罗、马里乌斯•彼季帕

Staged by Eldar Aliev
Set design by Igor Ivanov
Costume design by Irina Press
Production reconstruction consultant: Yuri Slonimsky
Assistant Choreographer, Repetiteurs: Tatiyana Eremicheva

SYNOPSIS

第一幕
一个宁静和平的小山村。阿尔伯特伯爵爱上了美丽、单纯的农村姑娘吉赛尔,但他想隐藏自己的身份,乔装成农夫。看林人汉斯一心追求吉赛尔,但吉赛尔并不喜欢他。为了阻止吉赛尔与阿尔伯特相爱,汉斯从屋里搜出阿尔伯特标着伯爵纹章的佩剑,证明阿尔伯特原是贵族,企图说服吉赛尔不要受骗。然而吉赛尔仍义无反顾地与阿尔伯特双双坠入爱河。打猎的贵族们上场了,其中有公爵和他女儿、阿尔伯特伯爵未婚妻巴蒂尔德小姐。他们决定在这个村子里休息一会。巴蒂尔德喜欢吉赛尔这位纯朴美丽的乡下少女,送给她一条珍贵的项链。

猎人们离去,农民们开始举行自己的节日——收获季节。人们正在欢欢喜喜地纵情舞蹈时,汉斯突然闯了进来。他提着剑,当众宣布阿尔伯特是一个骗人的贵族。吉赛尔不想相信。汉斯愤怒地吹响了号角,把巴蒂尔德唤了出来。吉赛尔顿时觉得天旋地转,神智昏迷,悲愤地离开人间。

第二幕
深夜。汉斯来到吉赛尔的新坟。汉斯害怕了,因为他看到“维丽丝”女鬼们。一群生前被负心的未婚夫遗弃的女鬼们在四处寻找复仇的机会,她们曾多次围住走进森林的男青年,强迫他们跳舞,一直跳到力竭而亡。

“维丽丝”女鬼们的鬼王米尔达让吉赛尔从墓中缓缓升起,伴着她们起舞。

阿尔伯特伯爵也来到吉赛尔的墓前倾诉心曲。吉赛尔心软了,答应原谅他。汉斯被“维丽丝”女鬼们围住,弄得他筋疲力尽,被她们推入湖中,惩罚至死。

女鬼们又抓住了阿尔伯特,眼看他就要难逃厄运了。吉赛尔请米尔达准伯爵离去,可是,米尔达企图把他诱入死亡的舞蹈圈。

黎明的钟声敲响了,女鬼们支配的时间已经过去。由于善良的吉赛尔全力相助,才得以幸免。

吉赛尔与阿尔伯特依依不舍地告别,隐入坟墓之中。

ABOUT THE PRODUCTION

Giselle is one of the first and the most beautiful French romantic ballets. It is based on quite a popular story of that time – a story about an aristocrat deceiving a poor girl who dies and returns from heavens to her unfaithful lover as a mythical creature (a similar theme was used in Mermaid by Alexander Dargomyzhsky and Undine by Albert Lortzing). But Giselle gained its unfading fame not only due to the popular romantic motif of the two worlds, the way the authors implemented the idea was unique.

Giselle was brought to life by the famous Italian ballerina Carlotta Grisi. Even the story of making this ballet masterpiece is like a captivating novel. Teophile Gautier, a French poet, was bewitched by the beautiful Italian ballet dancer. Together with Henri Vernoy de Saint-Georges and Jean Coralli they wrote the libretto of Giselle. Adolf Adam who adored ballerinas created an incredibly exquisite and ethereal music score with dramatic themes portraying characters and a through-line development of the story. But the key figure of this artistic alliance was choreographer Jules Perrot. Being a student of the famous god of dance Auguste Vestris, Perrot coached young Carlotta Gisi and choreographed her part in the ballet. This role absorbed all new elements of a swiftly developing dance technique, reaching the highest levels of mastery. That’s why today this role is still a dream role for all prima-ballerinas.

In the Romanticism era the art of ballet was called an art of flying. Jules Perrot, taking the legendary elevation technique from his teacher Auguste Vestris, taught it to his gifted students Marie Taglioni Carlotta Grisi. It was then ballerinas got on pointes which allowed them to be more authentic in portraying mythical unearthly creatures.

The history of production of Giselle is also quite intriguing. The original version of the ballet that was triumphantly performed in the best theatres of that time, stayed in the Marrinsky repertoire due to Marius Petipa. It was Petipa who managed to preserve Perrot’s version inspired by Carlotta Grisi, he who worshipped female beauty on stage mounting the prima-ballerina in the chorus like a diamond. By the beginning of the twentieth century this version of the ballet was lost for France and then made its glorifying return to Paris with Anna Pavlova performing the leading role. Today Mariinsky Theatre’s Giselle is considered a model and sets a reference for other theatres.

Nadezhda Koulygina

 


World premiere: 28 June 1841, Théâtre de l´Académie Royal de Musique, Paris
Premiere Marius Petipa´s version: 5 February 1884, Bolshoi Theatre, St Petersburg
Premiere in Vladivostok: 23 October 2015

Running time: 2 hours 10 minutes
The performance has one interval

Age category 6+

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