Giselle *****

After universal praise for its new production of the Nutcracker, English National Ballet concluded its annual season at the London Coliseum with its traditional version of Giselle (not to be confused with Akram Khan’s excellent modern interpretation which the company also performs).

Mary Skeaping’s production retains all the usual elements and springs no surprises: the narrative is clear, the settings are beautiful (autumn golds for Act I, an eerie pale green hue for Act II) and most importantly, the dancing is beautiful.

Giselle, along with Odette/Odile, Aurora and the Sugar Plum Fairy is one of the roles any ballerina must tackle if she is to achieve greatness. It requires acting skills alongside a sure technique – something Erina Takahashi, who danced the opening night – has in abundance. She looks tiny and frail, which is perfect for someone who teeters on the edge of this world and just needs a devastating lover’s betrayal to tip her into madness.

Her lover, Albrecht, was danced by Francesco Gabriele Frola, who has an elegant, aristocratic presence which immediately singles him out from the other dancers. Fabian Reimair brought a level of sympathy to the role of Hilarion, whose love for Giselle is unrequited. We really feel for his loss at Giselle’s graveside. His horror at his inescapable doom at the hands of the ghostly Wilis (girls who have died before their wedding day) is truly chilling.

Alongside the principals, there were a couple of standout performances: Noam Durand excelled in the Act I peasant pas de deux, tackling the intricate footwork with aplomb. What beautiful petit batterie! Precious Adams was a commanding Myrtha, Queen of the Wilis. Haughty and imperious, her leaps became stronger and higher as the Act progressed. It is an exhausting role for any dancer, full of jumps, and the glamorous Adams dominates the stage with her presence.

Adolphe Adam’s beautiful score was conducted by Gavin Sutherland, who brings out the best from the English National Ballet Philharmonic.