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American audiences will be waiting and watching, meanwhile basing their judgment on Giselle. Criticism of Giselle often comes down to how convincing a dancer is at going mad. Makarova went mad well enough, though she did not project overwhelming emotion. The highest moments of dance, however, come when palpable bodies most perfectly meld with impalpable sound. Makarova produced many such moments. Critics who belong to the emotional school tend to give top marks —in Giselle—to Ulanova, Alicia Alonso and Margot Fonteyn. Her fellow ballerina in the Ballet Theatre, Carla Fracci. also belongs to this select group. The purists' candidate is Alicia Markova —and it is Markova whom Makarova most nearly echoes. Patricia Wilde, the ex-ballerina who is now company teacher at the Ballet Theatre School, says flatly: "Technically she is the best Giselle I've ever seen. She will, I think, find a place in the history books."