So that’s what ballet is about

Saturday’s opening night of Giselle at the Royal Opera House was a revelation.  After dipping a toe in the shallows of ballet with the odd attendance here and there, suddenly there it was: the revelatory performance that hits you with its thrilling combination of astounding technical precision and heartrending emotional intensity. Like an Anja Harteros or Jonas Kaufmann, when all details of vocal production drop away and it begins to appear effortless, Natalia Osipova danced the most remarkable performance I’ve ever seen.

All the other elements were a first-rate support to this central performance: Carlos Acosta was dashing, the music was conducted and played with appropriate shovels of drama, and the setting of the second act captured the Gothic mood well.  But it was that captivating central performance that will stay with me for a very long time.

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