Dreamy. Magical. Fairytale-like. Enchanting. That’s Giselle.

Lead by artistic director and choreographer Angel Corella, the Pennsylvania Ballet’s production brings the romantic ballet back to life at the Academy of Music in Philadelphia this spring. 

 As the title reveals, the ballet follows a story of Giselle, a peasant girl who becomes a love interest of a nobleman Count Albrecht – at the March 15 performance embodied by Dayesi Torriente and Sterling Baca. Hiding his fancy clothes and true identity, Albrecht woos Giselle, although he is betrothed to someone else. A local man Hilarion (Aleksey Babayev), who is in love with Giselle, angrily watches Giselle falling for Albrecht. Being a girl of a weak heart and a naive spirit, Giselle does not withstand the revelation of truth and dances herself to death.

The orchestra opens the night with a beautiful composition and from the moment the curtain rolls up, I am in awe.

Jean Coralli and Jules Perrot’s original 1841 choreography, accompanied by Adolphe Adam’ composition, comes alive in full force.

The stage turns into the most charming little village with gorgeous cottages and a painted background that transfers the audience to the edge of a forest during a harvest festival. All the costumes are simply beautiful.

There is only one bewildering thing – all the male dancers look half naked. Whether their thighs are transparent or missing is not obvious from the balcony where I sit.

Torriente is phenomenal. Even if I didn’t know beforehand what the plot is about, I would easily understand that Giselle is a shy beauty, trying to not fall for Albrecht, although she eventually gives in. She is naive, innocent, trusting – all well recognizable from Torriete’s careful, yet light and flawless movements across the stage.

Unlike the visibility of thighs, the electrifying feelings between Baca and Torriente on stage transmit all the way to the upper balcony.

Giselle’s weak heart does not go well together with her love for dance. Giselle’s mother, who is constantly trying to keep her restless daughter still, is unable to save her when Giselle finds out the truth about her lover and madly dances until her heart gives out.

The second act, transferring us to a graveyard, is even more mystical and magical than the first.

Albrecht to be forgiven and Hilarion to mourn, both men visit the graveyard in search of Giselle’s grave. To my confusion, I am unable to recognize these two men from each other because they are dressed too similarly. The search for any signs of familiarity that would help me decipher the mystery distracts me from being able to fully enjoy the second act and follow the rest of the plot.

When the corps de ballet appear all at once – all in white and all identical – it becomes also difficult to single out Giselle and recognize her from Myrtha (Sydney Dolan), the queen of the Wilis – ghostly spirits of maidens betrayed by their lovers.

Knowing the plot becomes helpful at this point. Albrecht and Giselle appear on stage alone right before sunrise hits the graveyard, and Giselle’s heart – although weak, but good even “on the other side” – forgives Albrecht.

It is a very odd kind of a happy end, yet I feel happy. May Corella bring Giselle back to Philadelphia soon again.

Performances through March 17, Academy of Music, 240 S. Broad St. Tickets:$40-$159, Information:215-893-1999,paballet.org.