„Giselle“ (or „The beginning of a new era for the Vienna State Ballet“), revisited: Vienna State Ballet (Wiener Staatsballett), Sep. 19th, 2025.

„Giselle“ (or „The beginning of a new era for the Vienna State Ballet“), revisited: Vienna State Ballet, Sep. 19th, 2025.

Trenary triumphs in her Vienna Début.

Foreword: Unprecedentedly this is a review that contains nearly no references to Ballet as a technique; therefore, no technical achievements will be mentioned, as I sometimes, when necessary, will do. This evening meant a great deal to me. In a completely different way.

Copyright: a t t i t u d e /Ricardo Leitner

Please don’t worry about the programme’s cover and the “wrong” tutu in it (Not a romantic Ballet’s one, for sure). This is a show, which I strongly recommend, and has nothing to do with this mistake made by the (Graphic) Arts department.

This was what one could call a special evening. And it felt like it. Though not a Première, there was an effervescent, almost celebratory atmosphere in the air. It reminded me of the tingling sensation of Champagne bubbles - created by carbon dioxide (CO2) - often associated with joy and festivity.

Yes, this physical reaction happens as “pressure” in a bottle is released.

Reflect on this metaphor and draw your own conclusions.

Back to yesterday's joyful evening, I must say that I did not expect to see the „perfect performance ever“, as we all know that it takes quite a while to revitalize a company. Especially one in which many dancers are new to the ensemble – Principals, Soloists, Demi-Soloists, and Corps de Ballet. It may not be common knowledge, but it is not just putting all good dancers, wonderful ballet Masters, great choreographers, costume and set designers, and musicians together under the perfect „tutelage“ of a Ballet legend (whose talents, knowledge, experience, internationality, and „savoir-faire“ are unique) and then you have to have the perfect ensemble. Happy-End. All is perfect...

No.

Ballet life is not like that.

It takes a while, if not years, to bring a company to that special state of „near“ perfection.

It takes a long time for dancers to get used to each other, to learn how to dance together and develop that so necessary „feeling“ of togetherness. That does not happen overnight. Be sure of that and take my word for it.

Later on in this review, I will show you a two pictures that describe the unique partnership of Alessandra Ferri and Julio Bocca. Once more working together, they coached this production's Principals and Soloists. Just before I continue, I must add that it must have felt wonderful for the Dancers to be coached by such legendary Talents – two dancers who were not only the epitome of fine dancing for my generation but created an unforgettable partnership.

To expect too much, to await (and take for granted) the so-called „absolute perfection“ (As I heard a Lady, who was sitting close to me, say, referring to yesterday's performance) from the newly reorganized company, after just two weeks of work together, is not only an assumption I don't agree with but more than unrealistic. As I wrote above: Ballet life is not like that... To realize that things are looking up is a logical observation and conclusion. This is based not only on hopes for the company, but (for me), since yesterday, based on concrete facts. As I have been saying for a while (since the news of Miss Ferri taking over the Artistic Director position): „Happy days are here again“.

And, by the way, just a “reminder” (Although I am sure that you know that): Miss Ferri’s coach for her first “Giselle” was Elena Tchernichova. Now Alessandra Ferri is coaching other “Giselles” in Miss Tchernichova’s version. The circle closes somehow poetically. Nice.

One of the „changes“, which contributes so much dramaturgically to the mise-en-scéne, brought in by Miss Ferri is the reduction of Giselle's dancing in the first act. It not only gives other dancers the opportunity to shine (as for example on the newly „reinvented“ Pas de Quatre) but is extremely understandable. The logic reflection of common sense. She has a (heart) condition.

Also, the reinvented „Pas de Quatre“ (Not a Pas de Six, as some stubbornly insist), in especially excluding Albrecht, (who would be dancing with the peasants, who are supposed to be either farmers or simple agricultural labourers, makes sense to the storytelling. And how. A clever move.

Copyright: Ashley Taylor / Vienna State Ballet

I am not quite sure about another visible change, as I still cannot make up my mind if it was done as wished by Miss Ferri or if it was overseen by the Ballet Master who passed it to the Corps de Ballet. But I will mention it anyway. I hope to find this out someday:

In the second act, it was quite unfamiliar to see the erect upper-body postures (see photo above) during the arabesque hopping, especially for those of us who had seen this before. The Willis used to lean forward, gaze always down. Tchernichova insisted on that . It gave the Willis a certain subservient posture. Only during Hilarion's presence should they be more proud and dominant in their posture, to logically demonstrate power over him. Contrast.

This is a slight, tiny, little detail, which alters (visually) the effect and (emotionally) the psychology of the group altogether. A subtlety of Elena Tchernichova's version, which is personality-defining to the Willis.

I know that people, being afraid of being judged „politically incorrect“, don't and won't talk about certain issue. But the Corps de Ballet is, no question about that, visually much more homogenous. Body types are much more similar, a fact that brings more harmony altogether.

But something else, which is much more important, has happened with the whole ensemble, in this short rehearsal period of two weeks: Movements are beginning „to show“. They are not just „superficial“ but studied from their roots. Think of group scenes. For example, Giselle's „madness scene“. „Why am I moving my hand?“, „What made me do that and react this way?“. And in doing that, a dancer is not just „imitating“ fear, disturbance, care, or whatever, but feeling it and therefore feeling them and performing!

Dance is an intentional and artistic movement that uses not only the body but its expression to communicate feelings, emotions, and ideas, which is why it is necessary to understand where the roots of the movements are, where they are, as so to speak, “born”.

When we talk of Natalya Butchko (especially later in the second act as „Moyna“) and her lovely arms, classical looks, and well-proportioned physique, so admired by the audience, we are talking of a dancer who is reinventing herself. All is used to its best advantage; one can feel that some kind of inspiration has touched her. Her stage „persona“ carries, all of a sudden, more depth and truth in every movement because they make sense in a whole. It is amazing how inspirational good coaching can be. Gala Fredianelli, a surely promising young dancer, but still in urgent need of breaking the „fourth wall “ and projecting more, after the 4th row, to the spectators who are not sitting close to the stage.

Vladyslav Bosenko (whom I had seen many times in Bratislava) and Duccio Tariello and their respective, very successful role début (Mr Tariello) and Vienna State Opera (Mr Bosenko) début. On different levels, but with very good control, precision, musicality, and, most of all, stage presence. The lovely, „reinvented“ Pas de Quatre in the first act served as a beautiful vehicle to highlight talents.

Rinaldo Venuti, also débuting as Hilarion, was a bit „too soft“ while still presenting his character at the beginning of the first act. He recovered. Soon. His „final scene“ in the second act was filled with suffering and, at last, some dance (which the choreography didn’t allow at first). But even if this character dances too little, a good, strong dancer is required for the part. Mr Venutti fits perfectly into this description.

Franziska Wallner-Hollinek, as Berthe, also added more truth and suffering to her role. An extremely experienced professional who knows very well what stage effects are all about, she created an impactfully strained look caused by taking care of a „problematic“ (I mean in the health department) daughter, worrying about her, and seeing her having a total breakdown (and therefore „go mad“). All this showed on her face. A beautiful aned very touching portrayal.

Strangely enough, yesterday, as I saw this production's death scene, of all people, Marcia Haydée came to my mind. She and the most uninspiring comment that could have been made when she wrote her „Giselle“ for the Stuttgart Ballet back in 1992, more or less at the same time as Tchernikova’s work (I remember Birgit Keil as Giselle, Rick Cragun as Hilarion, but I can't remember who was Albrecht in this most disappointing of shows). She said bitterly, „Nobody dies of love“ (That's why she had Giselle killed by mistake by a sword – either from Hilarion or from Albrecht, while they were duelling). In doing so, she took away all the inspiration from the public, from all involved in the production, but especially from all dancers. I don't know if this version is still being shown anywhere. It lacks the magic, the romance, the inventiveness of the plot. Choreography is not Miss Haydée’s forte.

But talking about inspiration, nothing more appropriate than mentioning Ketevan Papava and her „Début“ as Bathilde – a new chapter in her career and story. A very loved Artist, a „Darling“ of the Viennese public, Ketevan always fascinates with the total surrender to the roles she plays. Bathilde is no exception. A role that is sometimes mistakenly thought of as easy, while it is not. Have you ever stopped to think that she is also a real victim of Albrecht? He also lies to her.

Bathilde's personality contains not only grace, poise, charm, dignity, and the controlled natural „elevation“ just granted to those who are well-born. She also shows care, compassion, and generosity. All these emotions and character traits within such a short time on stage. All these miscellaneous parts of a character, dressed impeccably (and glamorously, let's admit that!), adorn the beauty of Miss Papava. A great choice.

Rosa Pierro (Another Début at the State Opera) portrayed a singular version of Myrtha. Normally seen as Giselle's „Nemesis“, Miss Pierro's interpretation gave us a more subtle version of the character. She was a „softer“ Myrtha – and this fit not only her appearance, the beautiful use of her arms, her harmonic body proportions and clean, pin-pointed technique but also gave another „reading“ of a character who can be portrayed in many ways but tend to be reduced to the prototype of the „elderly virgin“, the one who died on a „certain age“ and had never been loved during her lifetime. That is why she became obsessed with destroying men. Revenge. Miss Pierro went further than that. She was not Giselle's enemy; she was nearly a “friend”, or better said, an ally. A new reading. Definitely.

Davide Dato, whom I have seen many times in this role. Yes, I have been „accompanying“ his journey for quite a few years, and I am touched by seeing his Albrecht open the second chapter page. Yes, for „his“ Albrecht is no longer the starry-eyed lover who is foolish enough to betray Giselle (and Bathilde) at the same time. He is not yet a cynical playboy who plays deliberately with the emotions of two women, but he is in between. A new page opened.

Technically, Mr Dato is in that rare moment when your body reaches maturity, when you are suddenly able to understand the complexities of demanding characters, but you are still young enough to „do everything“ that technique, agility, and fastness ask from you. Another „Public's darling“ for years, it is a delight to realize how the public is not only devoted but faithful to him. On top of that, I “see” a stage partnership beginning. I see it so much that I can't separate the mention of Miss Cassandra Trenary's début from this paragraph.

Seeing Mr Dato with such an intelligent and sensitive Artist made me aware of how she somehow prolonged his performance. Mr Dato is a dancer whose emotional intelligence is very high. Unconsciously, he asks from his partner to give him more feedback as he not only wants to have the feeling of „acting“ but finds intense satisfaction in „reacting“. Both have extended each other marvellously. The energy that interacted between them was enormous.

Miss Trenary, must have been under some kind of very understandable pressure. A new country, a new city, a new language, everything new, and on top of it all, a new „House“ in the form of the State Opera in Vienna, which has absolutely nothing to do with the U.S.A. I don't mean this only externally. The work itself and the way it is handled in a European Repertoire Company that belongs to an Opera House is very different from the work you'll find at American Ballet Theatre (ABT), a Ballet Company, and only one, par excellence. And, don’t forget, the pressure of the public’s (and colleagues’) expectations of seeing an ABT-Star gives her Début in the Vienna State Opera. A bit too much. But she conquered us all. The public’s reaction and the Bravos during the curtain calls say much more than my words.

Miss Trenary, although technically gifted, chose to play her Giselle in a low profile, according to the romantic era of „Giselle“, of the ballet itself. No over-extensions (as I've seen sometimes now, even at The Royal Ballet), no „bravuras“, and no making spectacles of herself. She chose to play „her“ Giselle as it should be played. Giving the ballet “star-billing”, she stepped back. She remained humbly faithful to its style. This brought a certain „calmness“ to the scene, and every gesture, evaluated to its best effect, became of great importance.

From the moment she entered the stage, I began to believe her, and I wanted to learn more of this „story“, as told by her.

Then, she did something very powerful that „caught me“ forever. When Giselle saw Bathilde and Albrecht together for the first time, she tore them apart. Just to immediately excuse herself most humbly, as if saying, „I touched you, excuse me. I had no right. You are much better than I am. I am nobody. You are a Noble Woman“. I am a peasant.” That was the moment in which I definitely knew that she “had it”. She completely caught my attention, emotionally, in a way I hadn’t experienced for a long time.

I realized this today, re-reading my notes.

As I mentioned before... not a single reference to ballet as a technique, as the „tool“ that brings you to Artistry. My notes were just about Artistry and its perception by a spectator. Me.

In short, a triumphal Début.

It is surely interesting to take a look at two photos. Alessandra Ferri and Julio Bocca coaching the Principal pair, Cassandra Trenary and Davide Dato, and an ABT photo way back in the 1980s of Miss Ferri and Mr Bocca displaying their emotions (and savoir-faire) as Giselle and Albrecht.

We could go on and highlight many positive details of yesterday's performance (Even with the uneven and sometimes very slow conduction of direttore d’orchestra Luciano Di Martino, whose empathy towards the dancers and their needs should be refreshed - there’s work to do on that). But this is nothing, absolutely nothing, when compared to the „richness“ (and level of professionality) that has been brought after a long period to the State Opera's stage, in what Ballet is concerned. A sense of respect and truth, and when I mention that, I mean specifically the reason, the reasons of a movement. Be it in dance or just gesticulating while mimicking, there was no „imitation“ of a character or role, even if still searching for it.

There was more heartfelt honesty in portraying, more truth, and the audience felt this. It could relate to it, feel it, and identify with it. That is the way it should be. There is no question that the public's response at the end of the evening confirmed my expectations. There's no other way of reacting after some hours in the dark, having a story, beautifully told by people who believe or are trying to believe in it.

Predicate: Highly recommendable - a must!

Ricardo Leitner

a t t i t u d e

Vienna, September 19th, 2025

P.S. As I have mentioned before:

There is still a long way to go.

The road may be filled with beautiful views, landscapes and sunsets but also contain „here and there“ some stones. That is normal. But, the thing is, this is a fascinating road. No question.

I am glad to witness that. To be here at this precise moment.