Review: Benois’s painted sets still draw gasps in La Scala’s Giselle

La Scala’s latest production of Giselle has reaffirmed the enduring power of traditional ballet staging, drawing audible admiration from audiences upon the reveal of its exquisitely painted sets. The production honors a rich heritage of design and choreography, featuring the celebrated backcloth and gauze wings originally created by Alexandre Benois for the 1924 Paris Opéra Ballet, which remains a cornerstone of classical ballet aesthetics.

This revival traces its lineage to Benois’s designs first conceived for Michel Fokine’s 1910 production under Sergei Diaghilev, which starred luminaries Tamara Karsavina and Vaslav Nijinsky. The 1924 iteration, crafted for Olga Spessivtseva, has since been preserved in the Paris Opéra Ballet’s repertoire and now finds renewed life at La Scala. Notably, the production was shaped by Paris étoile Yvette Chauviré, who initially developed this adaptation in 1950 at La Scala, drawing on her deep familiarity with Benois’s vision both as a corps de ballet member and as a principal dancer.

This staging benefits from a direct familial connection to Benois, as his son Nicola served as La Scala’s head of stage design from 1937 to 1970, ensuring continuity in the aesthetic traditions that define this production. The scenic design impresses with delicate, hand-painted details such as thousands of autumnal leaves on gauze panels and carefully crafted thatched cottages, immersing the audience in a richly textured rural landscape.

The visual transformation from the warm, rustic village in the first act to the eerie, moonlit forest of the second is achieved through subtle yet dramatic shifts. The initial act’s vibrant harvest tones complement the costumes and spotlight the protagonist’s contrasting midnight-blue attire. The transition introduces gnarled trees and shafts of light that heighten the supernatural atmosphere essential to the narrative’s second half.

On stage, Alice Mariani inhabits the role of Giselle with a blend of youthful radiance and nuanced vulnerability. Her portrayal captures the character’s innocence without tipping into naivety, delivering moments of strength when confronting both the protective Hilarion and her cautious mother. Mariani’s technical precision and expressivity elevate her performance, making her a standout presence.

Navrin Turnbull, cast as Albrecht, offers a poised and competent counterpart, though Mariani’s emotive clarity naturally garners greater focus. Their interactions suggest a well-rehearsed familiarity, reinforcing the believability of their complex relationship. Supporting roles, including the peasant pas de deux and the figures of Hilarion and Berthe, are skillfully rendered by Giordana Granata, Alessandro Paoloni, Marco Agostino, and Licia Ferrigato, each contributing depth to the narrative fabric.

The second act shifts into the ethereal realm governed by Myrtha, Queen of the Wilis, spirits of women who died before their weddings. This character symbolizes vengeance, providing a stark contrast to Giselle’s theme of forgiveness. Maria Celeste Losa’s commanding presence as Myrtha, marked by dynamic jumps and swift movements, embodies this otherworldly authority with precision and energy.

While Mariani’s performance in Act II is somewhat less compelling, her technical execution remains flawless, displaying the delicate balance of lightness and control required for the demanding choreography. The corps de ballet excels in their portrayal of the Wilis, delivering impeccably synchronized sequences that evoke a chilling, spectral army.

More than seventy years after its inception by Chauviré, this rendition of Giselle at La Scala continues to resonate as a treasured work within the company’s repertoire. The preservation of Benois’s original designs alongside committed performances upholds a tradition that remains both visually arresting and emotionally stirring, affirming the ballet’s timeless appeal.

The production, as reported by gramilano.com, exemplifies how classical ballet’s heritage can be both preserved and revitalized, inviting contemporary audiences to experience a work that remains as evocative today as it was nearly a century ago.