Adam used several "leitmotifs" in the ballet. A "leitmotif" is a short musical phrase that is associated with a certain character, event, or idea. Adam's leitmotifs are heard several times throughout the ballet. A leitmotif is associated with Giselle, and another with Albrecht. Hilarion's motif marks his every entrance. It suggests the Fate theme in Beethoven's "Fifth Symphony". Another leitmotif is associated with the "he loves me, he loves me not" flower test in Act 1. This leitmotif is heard again in the mad scene, and in Act 2 when Giselle offers flowers to Albrecht. The Wilis have their own motif. It is heard in the overture, in Act 1 when Berthe tells the story of the Wilis, and in the mad scene. It is heard again in Act 2 when the Wilis make their first entrance. The hunting horn motif marks sudden surprises. This motif is heard when Albrecht is exposed as a nobleman.
The music was completely original with Adam. A critic noted however that Adam had borrowed eight bars from a romance by a Miss Puget and three bars from the huntsman's chorus in Carl Maria von Weber's opera "Euryanthé". In addition, two pieces by Friedrich Burgmüller were put into the ballet. One was a waltz called "Souvenir de Ratisbonne". The other music was a group of dances performed by Giselle's friends. It is unknown who put these pieces into the ballet.
One dance historian writes:
Jean Coralli and Jules Perrot designed the dances for "Giselle". Perrot and Carlotta Grisi were lovers, and Perrot designed all of Grisi's dances and all of her pantomime. Everyone in the Paris dance world knew that Perrot had designed Grisi's dances, and Coralli said so, but Perrot was given no official credit in the printed materials such as posters and programs. This was most likely done to prevent Perrot from collecting royalties (money, profits) on the ballet. Perrot liked bold touches and planned several rapid aerial swoops on wires in Act 2 for Giselle. Grisi was afraid of these swoops. A stage hand was brought in to test the swoops. He crashed face-first into the scenery. The swoops were abandoned.
Cyril Beaumont writes that "Giselle" is made up of two elementsdance and mime. Act 1 features short mimed scenes, he points out, and episodes of dancing which are fused with mime. In Act 2, mime has become fused entirely with dance. He writes that the choreographic vocabulary is composed of a small number of simple steps:
Beaumont speculates that the simple steps were deliberately planned to allow the "utmost expressiveness."
Parts of "Giselle" have been cut or changed since the ballet's first night. Giselle's Act 1 pantomime scene in which she tells Albrecht of her strange dream is cut. The peasant "pas de deux" in Act 1 is cut back a bit. The Prince of Courland and his daughter Bathilde used to make their entrance on horseback, but today they walk on. In the original production, the Prince and Bathilde were present at Giselle's death, but now they leave the scene before she dies. The machines used to make Giselle fly and to make her disappear are no longer used. A trapdoor is sometimes employed to make Giselle rise from her grave and then to make her sink into it at the end of Act 2.
At the end of Act 2, Bathilde formerly entered with the courtiers to search for Albrecht. He took a few unsteady steps toward them and collapsed into their arms. This moment was an artistic parallel to the Act 1 finale when the peasants gathered about the dead Giselle. Now, Bathilde and the courtiers are cut, and Albrecht slowly leaves the stage alone.
Ethnic music, dance, and costume were a large part of romantic ballet. At the time "Giselle" was written, people thought of Germany when they heard a waltz because the waltz was of German origin. Giselle makes her first entrance to the music of a waltz, and the audience would have known at once that the ballet was set in Germany. Adam wrote three waltzes for "Giselle": two for Giselle and one for the Wilis. Adam wrote that the "Giselle Waltz" in Act 1 has "all the German color indicated by the locality." People agreed. One critic wrote: "A lovely waltz ... in the Germanic spirit of the subject".
At first, Gautier thought that some of the dancers in the Act 2 waltz for the Wilis should dress in ethnic costume and dance ethnic steps. Adam put bits of French, Spanish, German, and Indian -sounding music in the waltz for this purpose. Gautier's "ethnic" idea was dropped as the ballet developed however, and it has not been picked up by modern producers. Today, Act 2 is a "ballet blanc"a "white" ballet in which all the ballerinas and the "corps de ballet" are dressed in full, white, bell-shaped skirts and the dances have a geometric design.
The historical period for "Giselle" is not indicated in the story. Paul Lormier, the chief costume designer at the Paris Opéra, probably consulted Gautier on this matter. It is also possible that Pillet had the ballet's budget in mind and decided to use the many Renaissance-style costumes in the Opéra's wardrobe for "Giselle". These costumes were said to have been those from Rossini's "William Tell" (1829) and Berlioz's "Benvenuto Cellini" (1838). Lormier certainly designed the costumes for the principal characters. His costumes were in use at the Opéra until the ballet was dropped from the repertory in 1853.
"Giselle" was revived in 1863 with new costumes by Lormier's assistant, Alfred Albert. Albert's costumes are closer to those of modern productions than those of Lormier, and were in use at the opera until 1868. The ballet was revived again in 1924 with scenery and costumes by Alexandre Benois. He wanted to revive the costumes of the original production but dropped the idea, believing the critics would charge him with a lack of imaginative creativity.
Pierre Luc Charles Ciceri was the chief set designer at the Paris Opéra from 1815 to 1847. He designed the sets for the first production of "Giselle". Gautier was not specific about the ballet's locale, but placed it in "some mysterious corner of Germany ... on the other side of the Rhine". This would have been the eastern side.
"Giselle" was two months in rehearsal. This was a very long rehearsal time for the period. Even so, Ciceri did not have enough time to design sets for both acts and focused on the second act. The sets for the first act were actually those designed for the 1838 ballet, "La Fille du Danube" by Adam. An illustration from "Les Beautés de l'Opera" of 1845 shows Giselle's cottage with a roof of straw on the left, and Albrecht's cottage on the right. The two cottages are framed by the branches of two large trees on either sides of the stage. Between the two cottages, in the distance, appears a castle and slopes covered with vineyards. Although this scene was not designed for "Giselle", it has remained the model for most modern productions. Ciceri's set was in use until the ballet was dropped from the repertoire in 1853. At that time, Gautier noticed that the sets were falling apart: "Giselle's cottage has barely three or four straws on its roof."
The Act 2 illustration from "Les Beautés" shows a dark wood with a pool of water in the distance. The branches of aged trees create an arch overhead. Beneath these branches on the left is a marble cross with 'Giselle' written on it. From one of its arms hangs the crown of grape leaves Giselle wore as Queen of the Vintage. On the stage, thick weeds and wildflowers (200 bulrushes and 120 branches of flowers) were the undergrowth. The gas jets of the footlights and those overhead suspended in the flies were turned low to create a mood of mystery and terror.