Programa

Adolphe Adam/Jean Coralli/Jules Perrot, Giselle

I: Obertura

I, 1: Pheasants' entrance/Entrance of Hilarion

I, 2: Albrechts' entrance

I, 3: Giselle's entrance, Giselle and Albrecht first meet and are discovered by Hilarion

I, 4: Peasants return from grape harvest/Giselle waltz and group dance

I, 5: Mother looks for Giselle

I, 5a: Hilarion plots

I: Peasant Pas de deux - Adage, pas de deux

I: Peasant Pas de deux -Boy's first variation

I: Peasant Pas de deux - Girl's first variation

I: Peasant Pas de deux -Boy's second variation

I: Peasant Pas de deux -Girl's second variation, Coda

I: Exit of the court

I, 6: Hilarion comes out of hiding

I, 7: Dance of the Peasants joined by Girlfriends

I, 8: Giselle's Variation

I: Galop général - Girlfriend's dance, Ensemble dance

I: Finale, Hilarion summons the return of the courtiers

II, 9: Introduction to Forest scene

II, 10: Appearance of Myrtha, Queen of the Wilis

II, 11: Myrtha's First Variation/Myrtha summons the Wilis

II, 12: Ensemble Dance of the Wilis

II, 13: Myrtha summons Giselle

II, 14: Giselle's Entrance and Variation

II, 15: Wilis exit

II, 16: Pas de deux, Giselle and Albrecht

II, 17: Hilarion is killed by the Wilis

II, 18: Giselle and Albrecht Pas de deux

II, 19: Albrecht's Variation

II, 20: Giselle's Variation

II, 21: Mytha commands Albrecht to dance till he dies

II, 22: Finale, Giselle tries to save Albrecht

Giselle de Marius Petipa, música de Adolphe Adam

Opéra National de Bordeaux

Suscriptores

Casting

Marius Petipa  — Coreógrafo

Jean Coralli  — Coreógrafo

Jules Perrot  — Coreógrafo

Eric Quilleré  — Coreógrafo

Adolphe Adam  — Compositor

Matali Crasset  — Escenógrafa, diseñadora de vestuario, escenógrafa, accesorios

Yannick Fouassier  — Iluminador

Marini da Silva Vianna  — Giselle

Sobre el programa...

The pastoral realism and fantastical imaginary worlds of the iconic French ballet Giselle come alive in designer Matali Crasset’s colorful staging at the Opéra National de Bordeaux. Composed by Adolphe Adam on a libretto by Théophile Gautier and Jules-Henri Vernoy de Saint-Georges, Giselle recounts the tale of a young peasant girl who falls in love with Albrecht, a nobleman in disguise, but dies of heartbreak when she discovers her lover’s true identity. Now transported to the realm of the Wilis — the spirits of young, unmarried women — Giselle sets out to save Albrecht from his unusually morbid fate after the Queen of the Wilis condemns him to dance to his death.

Originally created by Jean Coralli and Jules Perrot, and later revised by the great Marius Petipa, the charming choreography is elegantly interpreted against an original backdrop of geometric wooden tree sculptures. Crasset’s staging is not just a pretty picture: the visual elements of her production represent two worlds coming together — the real and the fantastical, the low and high echelons of society from which Giselle and Albrecht respectively emerge. The conical form of the tutu, echoed in the shape of the tree’s branches, reminds us what lies at the heart of the ballet: dance, the source of both Albrecht’s death and his redemption.

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