Name: Giselle - Royal Ballet at the Royal Opera House - Review
Start: 2026-02-14T19:00:00+00:00
End: 2026-03-20T21:40:00+00:00
Location: Royal Ballet and Opera

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Last Updated on February 15, 2026

In The Royal Ballet’s latest revival of Giselle, the dancing makes this performance unforgettable.

Giselle is all about the dance. The eponymous heroine is in love and dances her way through the first act with youthful exuberance and through the second with devoted passion, with one male lead dancing himself to death and the other very nearly doing so. It is the perfect vehicle for showcase performances. For it to work as a production, the principal roles need to be faultless and the corps totally on form.

Marianela Nuñez as Giselle in Peter Wright's production of Giselle ©2026 Helen Maybanks — Marianela Nuñez as Giselle in Peter Wright’s production of Giselle ©2026 Helen Maybanks

Originally titled Giselle, ou Les Wilis, it is one of the masterworks of classical ballet. A romantic ballet with music by Adolphe Adam, it was first performed in Paris, France, on 28 June 1841. It is the most famous ballet of the Romantic era, and the version performed by The Royal Ballet is a hallmark production by Peter Wright, who added to Marius Petipa’s choreography, which in turn was based on Jean Coralli and Jules Perrot’s choreography for the first Giselle, Carlotta Grisi. The Petipa version dates to revivals staged in the late 19th and early 20th centuries for the Imperial Ballet in St Petersburg.

Artist of the Royal Ballet in Peter Wright's production of Giselle ©2026 Helen Maybanks — Artist of the Royal Ballet in Peter Wright’s production of Giselle ©2026 Helen Maybanks

Not only is it one of the world’s most often performed classical ballets, but it is also one of the most challenging to dance, particularly the role of Giselle. In the space of this two-act ballet, Giselle, last night danced by Marianela Nuñez, evolves from a flirtatious, charming peasant girl to a dedicated and philosophical spectre in the second act. Paired tonight with William Bracewell, making his house debut as Albrecht, there was a perfect dynamic. It was hard to believe that Nuñez first danced the role of Giselle for the Royal Ballet in 2009, and even harder that the brilliant and perfectly characterised Bracewell as Albrecht was making his house debut in the role.

Elizabeth McGorian as Berthe in Peter Wright's production of Giselle ©2026 Helen Maybanks — Elizabeth McGorian as Berthe in Peter Wright’s production of Giselle ©2026 Helen Maybanks

The story is about a beautiful young peasant girl who falls for Albrecht, a nobleman who has disguised himself to seduce her. Her suitor, Hilarion (Lukas B Brændsrød), is suspicious, and when he discovers Albrecht’s true identity, he reveals it to the villagers. When Giselle discovers the truth, she is heartbroken and takes Albrecht’s sword to stab herself. As she dies, the curtain comes down on Act One, with Giselle doomed to become a Wilis and Albrecht to die.

Claire Calvert as Myrtha in Peter Wright's production of Giselle ©2026 Helen Maybanks — Claire Calvert as Myrtha in Peter Wright’s production of Giselle ©2026 Helen Maybanks

Act Two opens with a forest scene in which both Hilarion and Albrecht visit Giselle’s grave. The Wilis, ghosts of young women who have died before their wedding day after being betrayed by their lovers, gradually appear on stage. Led by Myrtha, the Queen of the Wilis (Claire Calvert), they dance the doomed men to death by exhaustion. Hilarion falls victim to their wiles and, having danced himself to exhaustion, drowns. Brændsrød is a good match for Bracewell and plays the jealous lover with passion.

William Bracewell as Albrecht in Peter Wright's production of Giselle ©2026 Helen Maybanks — William Bracewell as Albrecht in Peter Wright’s production of Giselle ©2026 Helen Maybanks

Albrecht is quickly surrounded by the Wilis, and it is clear that he is the next intended victim. Giselle, however, still loves him and, through that love, is able to protect him from his fate. It is in the second act that the corps de ballet really shines, with immaculate footwork and perfect synchronisation.

Marianela Nuñez’s Giselle is an endearingly shy, flirtatious village girl, charmed by Bracewell’s unquestionable elegance. The opening pas de deux is tender and almost intimate. A brilliant storyteller, Nuñez is overwhelmed by the arrival of the noble entourage, surreptitiously touching the fine fabric of their gowns and returning Bathilde’s gift of a necklace with a bunch of fresh flowers. It is a poignant moment because Bathilde is the woman Albrecht has already promised to.

Her solo at the end of the first act, as she slowly realises that her Loys is the nobleman Albrecht and is already engaged, moves between confusion, denial, terror, and memory. There is a fragility about Nuñez’s dancing at this point, and an overwhelming distress.

Bracewell’s Albrecht is totally convincing. Even as Loys, he has a touch of elegance and glamour that the stocky, powerful Hilarion cannot match. There is a fragility in the relationship with Giselle, built on deceit from the start. Not only is he in disguise, but he fakes the loves me, loves me not flower test, surreptitiously removing an extra petal to win over Giselle.

Lukas B. Brændsrød as Hilarion in Peter Wright's production of Giselle ©2026 Helen Maybanks — Lukas B. Brændsrød as Hilarion in Peter Wright’s production of Giselle, ©2026 Helen Maybanks

Brændsrød’s Hilarion is beautifully characterised. He is a powerful figure, towering over Albrecht, distraught at being unable to win over the woman he loves. His final solo, dancing himself to death under the power of the Wilis, is truly impressive, dramatic, and impassioned. The gamekeeper is hunted, and his solo conveys fear and defiance before he realises he is doomed.

By comparison, Bracewell as Albrecht, back in his noble costume, has a showcase solo with virtuosic jumps and turns, including a series of entrechats so immaculate that he seems to be lifted by some magic thread. Each variation pushes him closer to collapse, but in the end, Giselle’s love saves him.

Nuñez in Act II, now a Wilis, seems stronger. By now, the same passion that caused her own death provides her with the strength to defy Myrtha, the Queen of the Wilis. It is that brilliant character evolution that sets this performance apart.

Marianela Nuñez as Giselle and William Bracewell as Albrecht in Peter Wright's production of Giselle ©2026 Helen Maybanks — Marianela Nuñez as Giselle and William Bracewell as Albrecht in Peter Wright’s production of Giselle ©2026 Helen Maybanks

If the soloists were stunningly characterised, the corps de ballet in Act II was remarkable as one organism, with beautifully aligned footwork, arms, and heads. Almost hypnotic in their dance and totally credible. I have seen Giselle from up in the amphitheatre, and the corps from there is a truly fantastical sight. From the unforgiving proximity of the stalls circle, it had to be even more polished to work, and it did.

A notable pas de six and elegant dancing by the Queen of the Wilis and her attendants helped make the performance fabulous. The orchestra, directed by Vello Pahn, was on form, with some excellent solos. This is a beautiful revival, with producer Peter Wright, now 99 years old, appearing on stage at the end to take a bow with the stellar first night cast.