The National Ballet of Japan made its UK debut performing Miyako Yoshida’s production of Giselle at the Royal Opera House, London. The first Japanese ballerina to be made a Principal dancer of the Royal Ballet, Miyako has been an inspiration to an entire generation of Japanese dancers. She continues to spread her talent through her role as the Artistic Director of Ballet and Dance for the New National Theatre Tokyo in 2020.
From beginning to end, Miyako’s passion towards Giselle and the ROH is made evident, and the dancers’ commitment to the performance reveal the respect that Miyako yields as a leader within the dance world.
Giselle is a romantic and sorrowful ballet that has moved audiences for over 180 years, remaining a staple in repertoires around the world: It tells the story of a beautiful peasant girl, Giselle, who falls in love with Albrecht, a nobleman disguised as a villager. When Giselle learns that Albrecht is already engaged to a noblewoman, she dies from heartbreak. In the forest at night, the Wilis—ghosts of young women who died after being betrayed by their lovers—seek revenge by forcing men to dance to death. Yet Giselle, breaking the cycle of hatred and vengeance, forgives Albrecht and protects him, returning to her grave in peace.
Miyako’s Giselle opens with a traditional setting: an autumnal, medieval Rhineland village, designed by Dick Bird, with soft, warm lighting by Rick Fisher. The audience is immediately transported to a world where superstition is unquestioned, making the supernatural tale of the Wilis feel eerily natural. The second act’s moonlit graveyard, scattered with ancient crosses, evoked the haunting magic of the Wilis’ domain with chilling effect.
Yuri Kimura’s Giselle conveyed Giselle’s pureness, youth, and unwavering devotion well. Her portrayal of the young girl was deeply moving. Her landings were silent, giving the impression she was as light as a feather, and her expressive port de bras captured Giselle’s emotional fragility.
Contrary to Giselle’s purity, Yui Negishi’s strong-willed and determined Myrtha was powerful, and she radiated strength, grace, and a calm coolness, as expected of the Queen of the Wilis.
Takafumi Watanabe’s Albrecht combined aristocratic poise with devotion towards Giselle. His leaps were the highlight, dazzling the audience with his power and height. His wine-red manteau, designed by Dick Bird, enhanced his nobility and sensuality, providing a striking contrast to Giselle’s blue-and-white dress which highlighted her innocence.
The corps de ballet of the National Ballet of Japan brought quiet power and unity to Act II, appearing as spectral Wilis in their ethereal white Romantic tutus. Their collective beauty and precision earned enthusiastic applause from the audience.
There was a wonderful rapport and understanding between the conductor Paul Murphy, and the dancers. The music was wonderfully in tune with the moments that the dancers presented a pose to the audience, leading to a satisfying marriage between dance and music where one highlighted the other.
It was an absolute triumph for the National Ballet of Japan at the Royal Opera House. Their success may well lead to a return visit, offering inspiration not only to British audiences but also to the company’s own dancers.
Ballet
Composer: Adolphe Adam (1803-1856)
Choreography: Marius Petipa after Jean Coralli and Jules Perrot
Director: Miyako Yoshida
Conductor: Paul Murphy
Set and Costume designer: Dick Bird
Lighting designer: Rick Fisher
Cast includes Yuri Kimura, Takafumi Watanabe, Yui Negishi
Until 27th July 2025
Running Time: 2 hours and 15 mins, including one interval
Photograph: © Tristram Kenton