Silent Heartbreak at the National Ballet Of Canada

Harrison James and Svetlana Lunkina with Artists of the Ballet in Giselle. (Photo:Aleksandar Antonijevic)

Giselle is more than just a ballet; it explores themes of love, betrayal, and redemption that have enchanted audiences for nearly two centuries. Originally choreographed by Jean Coralli and Jules Perrot in 1841, this latest production of Sir Peter Wright’s acclaimed interpretation by the National Ballet of Canada, performed at Toronto’s Four Seasons Centre for the Performing Arts on November 20, brought this classic tale to life with remarkable artistry.

On opening night, company principal dancer Svetlana Lunkina stepped into the title role with a profound presence that resonated throughout her performance. From her stunning debut at age 18—where she became the youngest Giselle in Bolshoi history—to her acclaimed interpretations in London and New York shortly thereafter, Lunkina has made this role her own while continuing to evolve as an artist over the past two decades. As a protégé of the legendary Soviet-era ballerina Ekaterina Maximova, she infused Giselle with a captivating blend of innocence and complexity that made her portrayal compelling. Her coaching by Evelyn Hart, a distinguished ballerina who has also embraced this role, further connected her performance to a lineage of great dancers. Last week’s performance may have been Lunkina’s last bow in the role, making it particularly noteworthy.

In Act I, her interpretation of Giselle was marked by a lightness that captured her character’s innocence and joy. Her movements flowed effortlessly as she danced among the villagers during the vibrant harvest festival, each step reflecting Giselle’s youthful spirit.

As the story shifted to Act II, Lunkina transformed into a figure filled with longing and sorrow. After succumbing to despair and taking her own life, Giselle existed as a spirit among the Wilis—female spirits who died before their wedding day and now seek vengeance against unfaithful men. In her bright white tutu, she moved across the stage with grace that conveyed both purity and heartbreak. This poignant transition emphasized Giselle’s tragic fate, allowing Lunkina to explore themes of love and loss with quiet strength.

Harrison James, in his farewell performance with the company before joining the San Francisco Ballet as a principal dancer, was an exquisite partner. His ability to support Lunkina was extraordinary—he was attentive and capable of revealing Albrecht’s complexities. His departure represents a significant loss for the National Ballet and a gain for San Francisco.

 Artists of the Ballet in Giselle. (Photo: Daniel Neuhaus)

Donald Thom delivered an engaging performance as Hilarion, effectively embodying the character’s swagger and rough-around-the-edges demeanour. His expressive miming vividly illustrated Hilarion’s unrequited love for Giselle, showcasing his frustration and longing. In the poignant scene at the graveside, Thom’s portrayal deepened the sense of tragedy as Hilarion came face to face with the vengeful Wilis, ultimately becoming a victim of their wrath.

Genevieve Penn Nabity commanded attention as Myrtha, Queen of the Wilis—the very figure who ordered Hilarion’s death sentence. Her penetrating stare and unyielding presence heightened the menacing atmosphere of Act II. Selene Guerrero-Trujillo and Miyoko Koyasu effectively contributed as lead Wilis Moyna and Zulme, capturing both beauty and danger inherent to their roles without overshadowing the central narrative.

Altogether, the corps de ballet delivered a rock-solid performance that significantly enhanced the supernatural atmosphere of Act II. Their synchronized movements created a spellbinding backdrop that deepened the onstage drama.

Stephanie Hutchison made a notable debut as Giselle’s mother, bringing depth to her character and adding genuine warmth that enhanced the emotional impact of her role.

In Act I, the pas de six showcased an exciting array of talent from company members—Emerson Dayton, Hannah Galway, Jason Ferro, Kiera Sanford, Noah Parets, and David Preciado—each displaying exceptional technical skill while contributing to an exhilarating ensemble performance.

Desmond Heeley’s original set and costume designs (recently restored) created an immersive environment that beautifully complemented the ballet’s themes. The subtle variations in shades of white between Giselle’s tutu costume and Myrtha’s visually reinforced their contrasting natures without being overt. Under David Briskin’s direction, the National Ballet of Canada Orchestra rendered Adolphe Adam’s score with clarity and expressive detail.

The production as a whole reaffirmed Giselle’s status as a cornerstone of Romantic ballet. It was a privilege to witness the National Ballet of Canada deliver such an exceptional rendition, highlighting the company in exceptional form.

– Deirdre Kelly is a Toronto-based journalist, author and internationally recognized dance critic and style writer on staff at The Globe and Mail newspaper from 1985 to 2017. She writes for Dance Magazine in New York, the Dance Gazette in London, and NUVO in Vancouver, and is a contributor to the International Dictionary of Ballet and AWOL: Tales for Travel-Inspired Minds. The best-selling author of Paris Times Eight and Ballerina: Sex, Scandal and Suffering Behind the Symbol of Perfection, she is a two-time recipient (2020 and 2014) of Canada’s Nathan Cohen Prize for outstanding critical writing. In 2017, she joined York University as Editor of the award-winning The York University Magazine where she is also the publication’s principal writer. In 2023, she published her latest book, Fashioning The Beatles: The Looks That Shook The World.