The fine PNB dancers seemed not to have the choreography living in them yet, so they concentrated on performing the steps rather than their emotional expression. Even the orchestra led by Emil de Cou seemed less sure-footed when it came to tempi. In sum, there was much that was pretty (especially in Peter Farmer’s scenic and costume designs) and lowercase romantic, but not much truly Romantic, or as emotionally resonant, as you might hope. Continue reading PNB Unveils a Giselle That’s Mainly Something Old