Latest news with #Giselle
New Statesman
2 hours ago
- Entertainment
- New Statesman
Miyako Yoshida's Giselle is a transfixing triumph
Photo by Tristram Kenton Miyako Yoshida first performed the title role in Giselle with the Royal Ballet in 1997. Now, as the artistic director of ballet and dance at Tokyo's New National Theatre, she returns to Covent Garden with the very same classic. It's the UK debut of a National Ballet of Japan production – the company's first overseas tour in 16 years. Giselle's romantic tragedy plays out in a 19th-century village fashioned on stage by the award-winning designer Dick Bird and in sound by the composer Adolphe Adam's airy, whimsical 1841 ballet suite. The beautiful peasant girl Giselle (Yui Yonezawa) falls in love with Prince Albrecht (Shun Izawa), only to die tragically of heartbreak. After her demise, she joins a flock of the Wilis – vengeful, heartbroken wraiths who lure young men to their deaths. All of this unfolds in a whirl of aproned skirts and tight-laced stays that turn into gauzy, virginal dresses when the score slips into the minor keys of the second and final act. This is a resplendent marriage of characterisation and Marius Petipa's late-19th-century choreography. The dancers rise to the challenge of a demanding repertoire: the polished synchronisation, the hauntingly beautiful sequences of Wilis in the foggy, moonlit graveyard of act two, and the footwork whose intricacy requires immense stamina, of corps and principals alike. In homage to the classical ballets of the 19th century, the dancers elegantly deepen the narrative by drawing on the traditions of mime – a secretive and silent communication that has fallen sadly out of favour on stage. The audience was transfixed. The house filled with a cacophony of applause on more than one occasion, amid variations that kept us in awe. Classical ballet came late to Japan's stage, only arriving after the Second World War, and Japanese ballet has, in turn, been late to ours. It would be a pleasure to watch the National Ballet of Japan here again; let's hope it doesn't take another 16 years. Giselle The Royal Opera House, London WC2 [See also: 150 years of the bizarre Hans Christian Andersen] Subscribe to The New Statesman today from only £8.99 per month Subscribe Related
Hype Malaysia
8 hours ago
- Entertainment
- Hype Malaysia
aespa's Giselle Amuses Fans By Revealing Unexpected Phone Lockscreen
Lockscreens are the first thing you see when you unlock a phone, providing a small but telling glimpse into someone's personality. Many people choose photos of loved ones or close friends, using these images as a daily reminder of what's important to them. Others might select a favourite character from a beloved show or a minimalist design that matches their style or mood. Whether intentional or not, a lockscreen often reflects a person's interests or sources of inspiration. aespa (에스파) member Giselle (지젤) is known for her bold and outgoing personality on stage and her private social media reflects this side of her. She keeps up with the latest memes and often shares her sense of humour. For example, in May 2025, she revealed in an interview that her lockscreen was a popular meme of singer Nicki Minaj. Two months later, she switched it up with a new, equally hilarious lockscreen. During a fan signing on 29th July (Tuesday), Giselle amused MYs (aespa fans) by revealing her current phone lockscreen, sparking laughter throughout the audience. It showed a screenshot from an 8-year-old YouTube video of a couple smoking and crying while listening to music, a clip that had become a widely recognised meme. Many assumed she chose it because the girl in the video looks strikingly similar to her. Some fans in the comments even mistook it for a real clip and criticised her for smoking. Others quickly stepped in to clarify that it was just a meme. The moment showcased not only Giselle's dry, self-aware humour but also how easily internet jokes can be misunderstood, especially when they hit close to home. Overall, the reactions were positive, with many fans seeing it as a reminder that, despite Giselle's confident and polished stage presence, she still has relatable, lighthearted moments like anyone else. Sharing something so oddly specific and humorous gave fans a glimpse into her quirky side, one that tends to shine more in casual, off-stage moments. It also reinforced what draws so many people to her—not just her talent and visuals, but her authenticity. In an industry often built on carefully curated images, Giselle's willingness to poke fun at herself and engage with internet culture in such a real way makes her feel approachable and genuine, further deepening her connection with fans. Source: Twitter Zaima Humaira contributed to this article
The Citizen
3 days ago
- Entertainment
- The Citizen
Edenvale ballerina Chiara Szabó wins gold at SA ballet competition
Chiara Szabó (16) from Edenvale began her ballet journey at the age of four and hasn't looked back. A dedicated dancer, she has competed in the South African International Ballet Competition (SAIBC) in Cape Town for the past three years, earning a silver medal in 2023 and a gold medal in 2024, along with two scholarship awards. She will compete again from July 28 to 31. 'I had it in my head from a very young age that I wanted to be a ballerina. 'My mom told me I had to wait until I turned four to start lessons, and on the morning of my fourth birthday, I marched into their bedroom and demanded ballet classes,' Chiara said. ALSO READ: The pros and cons of ballet classes for little girls She trained for most of her childhood at Molfessis Studio of Dance under Penny Molfessis, who inspired her deep love for ballet. 'I am lucky to have grown up in such a nurturing ballet environment, as ballet can often be overly competitive, even toxic in some situations. 'For the first few years of my ballet training, I did not compete in any large competitions, and I feel that this helped me to realise early on that there is much more to ballet than simply winning medals and prizes.' 'I grew to love the stage at an early age, as I did not associate it with competition, but with performance. 'Dancing to bring the audience joy rather than to win a gold medal. That's a pearl of wisdom Penny taught me that I will carry forever.' Chiara's passion for the stage blossomed early. At ten, she performed in Giselle with Joburg Ballet. 'It was my first taste of life in a ballet company. I even tried to learn the entire ballet in case an extra dancer was needed. I was very ambitious. This was one of the most special moments of my childhood. It was from that point on that I knew I wanted to join a ballet company someday,' she said. After Penny emigrated to London post-pandemic, Chiara moved to Carstens-Ireland Ballet School (CIBS) in Bedfordview, where she now trains under Natasha Ireland, Sandra Carstens, Anya Carstens, and Angela Revie. 'From 2022, I started training seriously, focusing on strength and technique.' ALSO READ: Should your little girl do ballet? In 2023, she won the prestigious Val Whyte Bursary, which opened the door to the Joburg Ballet Academy, the company's pre-professional programme. She performed in Romeo and Juliet at just 14, en pointe alongside company members. 'It was intimidating but unforgettable. That opportunity solidified my dream to dance professionally.' She has since performed in Don Quixote, The Nutcracker, Sleeping Beauty, and Charlie and the Chocolate Factory by Mario Gaglione, where she was cast in the solo role of the 'Oompa Prima'. Currently, Chiara trains six days a week for at least four hours a day, and more during competition season, covering ballet technique, contemporary, and Spanish dance. 'Balancing school with ballet is tough, but my academics are also a priority,' said the Assumption Convent School learner, who praised her school for being incredibly supportive. Discipline and resilience are key. 'I'm very self-motivated, which can be a double-edged sword. I've had to learn it's okay not to be perfect. Some days are better than others, and it's important to listen to your body and rest when needed.' She added, 'I'm grateful for my ballet friends and supportive family. They help me through tough days. My biggest challenge is my mindset; I tend to overthink and get stuck in negative thoughts. I'm learning to stay optimistic yet realistic.' Chiara credits the Bedfordview community and CIBS for being instrumental in her journey. 'The encouragement from my teachers, classmates, and school has made it possible for me to chase both academic and ballet goals.' ALSO READ: Watch this new contemporary dance combo of Hip-Hop and Ballet Her aspirations include joining a professional company overseas, ideally the Royal Ballet. 'I recently achieved a High Distinction in my RAD Advanced 2 exam, qualifying me for the Fonteyn Competition next year. 'I also received a sponsorship to visit the Royal Ballet in London through the Dance Narrative Grande Nationale competition.' Outside of ballet, Chiara has a strong interest in mathematics and computer science and hopes to study at university while dancing professionally. To young dancers with dreams of going pro, she said, 'Always remember why you dance – to share joy with your audience. Don't get caught up in competition. Ballet is an art form, not a sport. Technique matters, but it's your love for the art that will carry you through.'
New York Times
5 days ago
- Entertainment
- New York Times
In London, the National Ballet of Japan Steps Onto the World Stage
Crooked crosses poked out of the ground and moonlit, diaphanous mist swirled across the forest floor. A ghostly figure appeared above a tree, terrifying the man standing below. It was a proper horror movie-thrill moment in the National Ballet of Japan's 'Giselle,' a wonderfully atmospheric production that opened at the Royal Opera House in London on Thursday to an audience that seemed delighted by the superb dancing of a company rarely seen outside Japan. The five-show run here (through Sunday) is a European debut for the National Ballet of Japan, and a homecoming for its director, Miyako Yoshida, who spent nearly three decades in England as a principal dancer with both the Birmingham Royal Ballet and the Royal Ballet. In an interview, Yoshida said bringing the company to London was like saying thank you 'to the amazing directors who taught me to dance, to act, how to express my feelings onstage.' 'Giselle,' she added, 'the role where I first learned all this, is the history of my ballet life in England.' The stakes are high for Yoshida, who has directed the National Ballet since 2020. (Founded in 1997, the company is based at the New National Theater in Tokyo.) 'This is our first real tour as a company,' she said, 'in front of a sophisticated international audience, and the people who knew me as a dancer.' She paused. 'Scary!' Want all of The Times? Subscribe.
Telegraph
5 days ago
- Entertainment
- Telegraph
Who needs the Russians when the Japanese can dance like this?
Three years ago, not long after Russia (re-)invaded Ukraine, I wrote: 'The effective home arrest of Russia's (often touring) Big Two' dance companies – ie the Bolshoi and the Mariinsky – 'has now left a fascinating power vacuum on the international stage, not least in Covent Garden's summer schedules. Who will fill it?' The root cause is miserably ongoing, of course, and yet we do have three very definite answers to date. In 2023, the Australian Ballet visited the Royal Opera House for the first time in 35 years; last August, a few streets away at the Coliseum, the State Ballet of Georgia made its charming UK debut. Now, at Covent Garden, the National Ballet of Japan is here for the very first time. And you know what? They may well be the pick of the visitors so far. The company's Giselle is a complete and particularly beautiful success. On one hand, this perhaps shouldn't come as a complete surprise: western classical ballet has existed in Japan for at least a century, and a great many Japanese-born dancers go on to have illustrious careers in the West. But fair's fair: given that this troupe was founded as recently as 1997, the polish, professionalism and assurance of the production and performance alike are astonishing. So, what is this Giselle actually like? In the extensive programme notes, Miyako Yoshida – a Royal Ballet star from 1995-2010, NBJ's director since 2020, and the show's producer – says: 'I felt drawn to a more traditional approach, but infused it with a sense of Japanese spirit'. Frustratingly, she doesn't elaborate on what the last part means. (An enhanced sense of the proximity between the 'real' and spirit worlds, conceivably?) But traditional, it certainly is. Back in the day, Yoshida danced in Peter Wright's pitch-perfect staging for the Royal Ballet, and that version's heightened aesthetics and complete respect for the 1841 source material clearly got under her skin. Opulently and painstakingly designed by Dick Bird, and with unobtrusive embellishments to the Petipa/Coralli/Perrot choreography by Alastair Marriott – Britons both – this is in fact as 'western' a Giselle as you may ever see, a heartbreaking, almost immersively atmospheric Rhineland ghost story – from Tokyo. Full marks, too for the dancing, across the ranks. Giselle – the dance-obsessed peasant girl in love with Albrecht, an already-betrothed count masquerading as a fellow commoner – is one of the great ballerina roles, and on the opening night Yui Yonezawa made it fly. Intensely musical, and almost impossibly light on her feet, she lends Giselle just the right dash of intensity and fragility, the sense of there being a vulnerable thread just waiting to be fatally unpicked by a lover's betrayal. Her handling of the 'mad scene', in which her jealous would-be paramour Hilarion (Masahiro Nakaya, excellent) unmasks Albrecht and her heart gives out, is marvellously original; her Giselle seems to turn into a wraith before our very eyes, even before the moonlit, magical Act II has begun. She and Shun Izawa's Albrecht – not in quite the same league, but a gutsy, full-blooded interpretation nonetheless – make a convincingly smitten couple in the earthbound Act I. And together they considerably swell the pathos in Act II, when Giselle's ghost, putting love over retribution, sets out to defend her errant ex from an army of 'Wilis', the vengeful spirits of women who were jilted on their wedding days. And what an eye-widening army they are. In the Act I ensembles, on Thursday night, the corps were already displaying a rare cohesiveness; in Act II, they were positively unheimlich. I'm not sure I've ever seen such an utterly uniform, eerily hall-of-mirrors clutch of spectres in any Giselle, such a potent illusion of physical ethereality and subtly martial malevolence. (Incidentally, these oh-so-western wraiths make a beautiful contrast with those of Wimbledon-born Akram Khan's 2016 version for English National Ballet, which he effectively recast as ' yurei ', the lank-haired Japanese phantoms that have haunted many a terrifying movie.) I suppose a cynic might argue that while Wright's Giselle remains a cornerstone of the Royal Ballet's repertory, this is all a bit coals-to-Newcastle. But when those coals are burning this very brightly, you won't hear me complaining.
