City Ballet of San Diego, a company known for its sleek Balanchine productions, retained historical details and deep emotions in its attractive revival of "Giselle" at the Spreckels Theatre over the weekend.

Staged by Elizabeth Wistrich after Perrot, Coralli and Petipa, it was a full production with a live orchestra, directed by John Nettles, and rich costumes and sets courtesy of Sacramento Ballet. Ariana Samuelsson and Gerardo Gil as the doomed lovers Giselle and Albrecht brought the tragedy to life with sharp dancing and expressive acting.

As the village girl Giselle who is seduced and betrayed by the nobleman Albrecht, Samuelsson was full of new-love jitters and wonderfully comfortable in gestures. She plucked petals from a flower to determine if the incognito nobleman really loved her. Her hands and face were so expressive that we could almost hear the dialogue, which helped move the dramatic action along. A smart and musical dancer, Samuelsson performed steady hops en pointe in her solo in Act I, and thrilled us with deep, purposeful extensions, developees, and light beats in Act II.

"Giselle" debuted in 1841, and viewers used to hard and fast contemporary works may have found it all too slow, even awkward, particularly the miming, But those moments were eye-catching and historically authentic. The choreography was connected, not accented with bursts of modern stunts.

When Giselle discovered that Albrecht was engaged to another woman, she went mad and died of a broken heart. Samuelsson's portrayal in the mad scene was chilling. She throbbed and gasped as she relived her courtship with Albrecht. The fascination was watching her rise from a carefree maiden with a weak heart to the fearless defender of the man who deceived her. Her mother, portrayed by Summer Jones, warned that she was weak and if she died, she'd be forced to join the Wilis - ghosts of young women who died before their wedding days. When she crossed her arms, we sensed impending disaster.

Gil, who has danced Albrecht with the National Ballet of Mexico, was a suave and attentive partner. Emotionally present in both the first and second acts, his embraces felt sincere, and his final sobs at Giselle's grave were touching. When he and Samuelsson danced side-by-side in a vow of love, he seemed happy to have her as his equal. He exploded when he clashed with the regiment of Wilis and his rival, the gamekeeper Hilarion, danced by Leo Goykhman.

A guest dancer, Goykhman has trained with former Bolshoi members and it showed. As the desperate man Giselle rejects, he inserted just enough bravado. He was also one to watch in gestures and solid scissor leaps as he battled the Wilis until he died of exhaustion.

Tara Formanek was a refined and stately Bathilde, the other woman engaged to Albrecht. She was enchanted with the gullible and innocent Giselle, but emphasized her snobby aristocratic standing, particularly when she recognized her finance Albrecht.

As peasants and Giselle's friends, the corps de ballet was especially pleasing in the first act; it was a nice surprise as the first act is often just filler for the second. Emily Kirn and Geoff Gonzalez were noteworthy in the Peasant Pas de Deux on Friday. (Janica Smith took the female role on Saturday and Sunday).

Giselle and Albrecht are the stars of the ballet, but we can't forget the Wilis. Long and lean, Brook Ogle was a towering Myrtha, Queen of the Wilis, and held long poses like an ice statue. Lined up on the diagonal, the veiled women hovered on toe and held their arms in L formation till they ached. When Gil as Albrecht challenged them, they raised their palms in unison, as if to say, "Talk to the hands." There were a few timing problems and an unfortunate slip on Friday, but the women recovered instantly. Their slow, elongated movements were mysterious and beautiful, and not as evil as they should have been. In the iconic chug-2-3-4 in arabesque penchee, they looked like wasps skimming across a steamy lake.

In the end, Albrecht finally collapsed just as the sun came up, and the Wilis disappeared. In the original ballet, Albrecht then placed Giselle on a mound of flowers, and she was pulled into the earth just as the Prince and Bathilde arrived. City Ballet chose the more modern and painful climax where true love endures beyond life itself. Giselle found peace in her grave, and although the two-timing nobleman's life was spared, he was left alone and overcome by grief.

The City Ballet Orchestra was a pleasure. As it is a young ensemble, there were a few squeaks on Friday. Still, the live music fueled the dancing. It was another essential detail that preserved the historical integrity of this fine revival. Adolphe Adam's score was a bit of a yawner (it's not a Nutcracker), but it distinguished characters, and its varied tempos encouraged and challenged the dancers in this talented company to take risks.

City Ballet of San Diego's 17th season continues at the Spreckels Theatre with "The Nutcracker" Dec. 11-20, 2009, "Peter Pan" Mar. 20 & 21, 2009, and "Celebrate Balanchine" May 7-9. 2010.

Program1

Program2

Orchestra