The coming season will include a preview of Akram Khan’s “Giselle” and a discussion with Renée Fleming.
Isabella Boylston’s natural domain seems allegro, Devon Teuscher’s, adagio. These unalike Ballet Theater dancers have grown immeasurably this season.
Natalia Osipova stood out among the dancers interpreting the role this season at the American Ballet Theater, showing how she has grown as an artist.
In Romantic drama it’s mainly women who go mad — usually because of love. But opera and ballet take their mad heroines in opposite directions.
In this variation from “Giselle,” the peasant girl Giselle turns into a woman, says American Ballet Theater principal Hee Seo, who dances a portion here.
The choreographer Dada Masilo’s “Giselle” mixes contemporary dance with traditional Tswana movement. But it is more about look than sensation.
In an East-meets-West Cold War tale, Magda Saleh danced “Giselle” with the Bolshoi and at home in Cairo, where calling a woman a dancer was an insult.
Mr. Hallberg, injured in Act 1, didn’t return for Act 2 at the Royal Ballet, but Ms. Osipova delivered a rivetingly original account of Giselle.
Mr. Khan’s “Giselle” will arrive next February with English National Ballet — the company’s first visit to the United States in 30 years.