Traditional pick for new year still seems fresh

For dance fans, nothing helps cleanse the palate like a classic.

In October, BalletMet pushed itself to the limits of experimentation with its cutting-edge collaboration with Ohio State University’s Department of Dance, “Parallel Connections.”

The following month, the company teamed with a trio of innovative modern choreographers for “Front Row.”

To start the new year, however, the troupe went all in with tradition.

BalletMet opened its new production of the 1841 twoact ballet “Giselle” on Friday at the Riffe Center’s Davidson Theatre.

As restaged by Artistic Director Edwaard Liang, the ballet contained all of the expected elements — fullthroated storytelling and pinpoint-precise technique. And, thanks to the eloquence and expressiveness of the dancers, this was one classic that was in no way creaky.

On opening night, Caitlin Valentine-Ellis balanced naïve jubilance and heartwrenching melancholy in her portrayal of Giselle, a wideeyed maiden who sets her heart on a two-faced nobleman, Albrecht (Miguel Anaya).

Equally remarkable was the ballerina’s endurance. Often dancing solo, she fluttered and spun throughout the evening, never once losing balance or skimping on technique. The audience clearly

delighted in her performance.

Anaya brought robust authority and athleticism to Albrecht, but also tenderness, as during Giselle and Albrecht’s first, tentative meeting — a poetic series of embraces and retreats beautifully staged by Liang.

No less-striking were dancers in the supporting cast. Martin Roosaare was boisterous as Wilfred, and Gabriel Gaffney Smith effective as Hilarion. An Act I highlight was the enthusiastic dancing of Jessica Brown, Arielle Friedman, Jim Nowakowski and Sean Rollofson, who appeared in the festive, folk-dance-like Peasant Pas de Quatre.

In Act II, the company’s female dancers made a lasting impression as the spectral-like Wilis, authoritatively led by a memorable Madeline Skelly and featuring ethereal solos by Brown and Sophie Miklosovic.

Erin Rollins’ brown and beige costumes gave a rustic feel to Act I, and the white, frilly dresses she chose for the Wilis contributed to the atmosphere of Act II. The sets were simple yet stylish.