The role of Hilarion performed by soloist Yuri Yanowsky was technically amazing, with his smooth long lines, streamlined jumps, high extensions and flawless turns. In one word--beautiful. However, his artistry is completely lacking and his acting seemed extremely strained and forced; it was just not enough for the role of Hilarion. Patrick Armand's acting completely overpowered Yanowsky's, and made for lopsided encounters and a lackluster revelation of Albrecht's true identity. Yanowsky has the technical capability. He just desperately needs to work on his acting and artistry.

Nadia Thompson was a perfectly spiteful and cruel-looking Myrtha, Queen of the Wilis. Her cold gaze and severe gestures were fitting for the role. Although slightly stiff-looking at times, her jumps were strong and high and the sequence of bourresacross the stage at the beginning of the second act were executed very well. Her shriveling glance that sent Hilarion to his death, and condemned Albrecht to nearly the same fate, could not overcome the purity and gentleness of Giselle's love--the love that, in the end, overcame her own midnight curse.

Also of notice was the peasant pas de deux in the first act, performed by Jennifer Gelfand and Paul Thrussell. Gelfand's dancing is both technically superb and artistically refined. She has grown to be an extremely mature dancer with strong, perfect turns and a confidence in her technique that allows her to work on even the in between steps, linking every turn and jump to the next, so that her variation is one long, beautiful movement that never ends. Her partner Paul Thrussell seemed weak and definitely not at his best, as he is usually an amazing and very solid dancer.

While the corps de ballet of peasants in the first act looked slightly uncoordinated, the corps de ballet of wilis in the second act was excellently rehearsed--their lines and movements were perfectly coordinated, their legs and feet stretched and pointed and their heads and arms all bent at the same angle.

The costumes and scenery for Giselle were stunning. The first act had colorful sets of vineyards ready for harvest, and the reds and oranges of the trees reflecting the season. The richness of color of the costumes matched the scenery from the browns of the peasants to the deep reds of the visiting nobility in their hunting clothes. The real greyhound dogs were quite cute onstage, and definitely added to the overall scene.

The second act sets were equally beautiful, adding to the gloom and sorrow of the graveyard and representing both the betrayal of the past and the perpetual sadness of the present and future. The backdrop of dead and broken trees matched the single wooden cross marking Giselle's grave at the front of the stage. The simplicity of the sets complemented the pure white long tutus of the wilis and the bouquet of white lilies that Albrecht let fall one by one over Giselle's grave.

Boston Ballet's production was extremely beautiful overall, and should not be missed.