Dance Review by Howard Kissel

IN FROM THE COLD, BOLSHOI GISELLE

Years ago, when Moscow’s Bolshoi Ballet visited New York, it had a mystique drawn in part from the isolation of the Soviet world, but largely from its reputation as the guardian of classical ballet.

Now, in its first visit here in a decade, the Bolshoi showed in its initial offering, Giselle, that it still maintains extraordinarily high standards...

The title role, for example, was taken by the superlative Nina Ananiashvili, trained at the Bolshoi and its prima donna. In olden times, she would have been seen only with them. But in this international era, she has appeared with ABT, Houston and last summer - danced at Jacob’s Pillow.

Her dancing is awe-inspiring. She can perform the most dazzling technical feats without ever losing Giselle’s nobility.

And it is not only her technical skills that impress. The great 19th century operas have survived because of their music; many of the great 19th century ballets have survived in spite of it. In the case of Giselle, composer Adolphe Adam contributes a score that rarely rises above the pretty. Hence, the deep poignance Ananiashvili achieves in her mad scene is entirely her own doing.

Sergei Filin, who plays her wooer, Albrecht, is a gifted dancer, but his technical finesse is not matched by emotional power...