Behind its tuneful music and sunlit village, Giselle is the tragic story of the struggle of two obsessed men for the hand of the girl they love, and the struggle of Giselle’s spirit to save the life of the man she still loves, despite the fact that he betrayed her.

Both Count Albrecht and Hilarion the woodsman can be presented in different ways. Albrecht is often the suave seducer from the palace who only realises belatedly that he really loves Giselle. Hilarion (Hans in this version from the Russian State Ballet of Siberia) is often a rough diamond, albeit with a good heart, whom Giselle would never consider as a possible husband. In this intelligent production Albrecht, (Nikolai Tchevychelov), tells us right from the start that he is madly in love, while Hilarion (Ivan Karnaukhov), who has been biding his time and hiding his passion, is presented as an eligible suitor. This makes it more of an equal contest, and heightens the tragedy, as we empathise with both of them.

Giselle, however, is always Giselle — fresh, young, over-sensitive, intoxicated by the attentions of a handsome suitor who has appeared from nowhere. She is in a euphoric state only attainable by the mentally fragile, and once betrayed, it is inevitable that she will die. And Anna Aulle is a Giselle to die for; well able to express all the complex emotions, including a very moving mad scene. In addition to her acting, her lightness and musicality through the wonderful choreography of Act I are a joy to watch. Technically she is strong, too, despite her lightness, and well in command of the difficulties. She is the only ballerina, other than the great Natalia Makarova, that I have ever seen able to perform the long series of chainees while delicately holding her skirt aside with each hand.

In Act II, as a Wili, she floats through the much loved dances like the spirit she is supposed to be. The little solo in which she draws Albrecht into the dancing that is intended to kill him is a miracle of soft fluidity.