July 20, 2011

In Memory of Roland Petit (1924-2011)

When English National Ballet asked me to write programme notes for their upcoming Roland Petit mixed bill (July 21-24), I didn’t realise the celebration would turn into a posthumous homage. The news of Petit’s death shocked the ballet world last week, and while it casts a shadow over this London run, there is perhaps no better way to remember him than to go to the Coliseum and explore three of his greatest works: Carmen, L’Arlésienne and Le Jeune homme et la Mort. Here is a short excerpt of my piece on his choreographic style to encourage you to attend:

Cover of the Roland Petit programme © English National Ballet

Cover of the Roland Petit programme © English National Ballet

Many have tried to emulate Diaghilev’s achievements with the Ballets Russes, but few come as close as French choreographer Roland Petit in terms of creativity. A product of the Paris Opera Ballet School, he set up on his own at barely 20 and took full advantage of the resources of postwar Paris in the 1940s and 1950s, bringing together some of the finest painters, poets and designers for his first creations. Armed with a lucid, intensely dramatic neoclassical style, he embraced narrative choreography with distinctive chic.

Le Jeune Homme et la Mort (The Young Man and Death) is Petit at his most concise, distilling the essence of existential despair. A restless young man in a Paris garret is visited by a woman, a femme fatale who taunts him into committing suicide. Their perverse game ruffled more than a few feathers in 1946, but Le Jeune Homme’s enduring appeal as a total work of art owes much to the collaborative effort behind it – Roland Petit knocked on Jean Cocteau’s door for a libretto, and the French poet shaped the “mimodrama” with his own blend of realism and fantasy. Designer Georges Wakhévitch provided innovative cinema sets for the premiere, and as the woman leads the hero away as Death after his suicide, the seedy room gives way to an arresting vision of the Parisian rooftops. (…)

→ Roland Petit programme, English National Ballet, July 2011.

You can read the rest in the programme English National Ballet will be handing out at every performance this weekend – please go and celebrate Roland Petit with them.

» English National Ballet’s website (book tickets here)
» Roland Petit’s official website
» Video: Roland Petit season in rehearsal (English National Ballet)

Jérémie Bélingard (Paris Opera Ballet) in Le Jeune homme et la Mort © Anne Deniau

Jérémie Bélingard (Paris Opera Ballet) in Le Jeune homme et la Mort © Anne Deniau





July 15, 2011

Review: Miami Light in Paris

Les Etés de la danse – Miami City Ballet
Square Dance, The Four Temperaments, Ballet Imperial, Theme and Variations, Liturgy, Promethean Fire…

Théâtre du Châtelet, Paris
July 2011

It was quite a bet: a little-known ballet company from Florida touring Paris for three weeks in the middle of the summer. And yet Miami City Ballet is pulling off some of the most refreshing performances seen here in a while. With 14 ballets scheduled, it may be an unprecedented undertaking for the company’s founder and director, former Balanchine star Edward Villella, but this tight-knit troupe has coped, and the audience’s reaction to the unfamiliar repertoire has been rapturous.

Under Villella’s guidance, Miami City Ballet has built a reputation for illuminating aspects of Balanchine’s style often overlooked by others. The dancers’ exuberance and faith in the steps are infectious, and theirs is an all-American musicality that sheds new light on ballets that have grown formulaic and dull on this side of the Atlantic.

Square Dance, one of their calling cards, sets the tone. At home in this whirlwind of spirited classical inventiveness and folk references, soloists and corps de ballet alike articulate the music and the choreography as one, striking notes so blissful that the action sometimes seems to stop for a millisecond. Similarly, their reading of The Four Temperaments, with its sharp contrast between soloists and assertive corps, greatly enriches the definition of each movement. (…)

» Read the full review in the Financial Times

Patricia Delgado & Carlos Guerra in The Four Temperaments © Joe Gato

Patricia Delgado & Carlos Guerra in The Four Temperaments © Joe Gato





Greetings from Russia – The New York Times introduces the Mariinsky

The New York Times published earlier this week a beautiful slide show designed to introduce local audiences to the Mariinsky Ballet, which is currently touring New York with Anna Karenina, The Little Humpbacked Horse, Carmen-Suite and Symphony in C. NYT dance critic Claudia La Rocco kindly asked me for my thoughts on casting, and you can read a few quotes of mine alongside very interesting comments from the dancers next to the photos:

» New York Times slide show: Greetings from Russia; The Feet Will Follow (Claudia La Rocco)

I’m mentioned in the introduction as well as p. 9 and 12. Enjoy!

Scene from The Little Humpbacked Horse © Natasha Razina

Scene from The Little Humpbacked Horse © Natasha Razina





July 8, 2011

Review: Les Enfants du paradis, from screen to stage

Les Enfants du paradis
Choreography: José Martinez
Paris Opera Ballet
Palais Garnier, Paris
June 30, 2011

Have ballet’s superproductions lost the plot? Like Christopher Wheeldon’s Alice in Wonderland, which had its world premiere at Covent Garden in February, the Paris Opera Ballet’s Les enfants du paradis is a balletic reinvention of a work of art made for another medium. The appeal is obvious: the audience knows the story and, where ballet is concerned, familiarity breeds contentment, particularly at the box-office. Squeezed between lavish designs, a commissioned score and convoluted storytelling, however, neither work has much time for its raison d’être: choreography.

Les Enfants du paradis, choreographed by étoile José Martinez in 2008 and now revived for the first time, follows nearly every twist and turn of Marcel Carné’s much-loved 1945 film. Similar black and white cinema sets attempt to recreate the atmosphere of the bustling theatre life of 19th-century Paris, where the heroine, Garance, is pursued by a mime, Baptiste, and by star actor Frédérick Lemaître. From the outré crowd scenes to the mix of period costumes and stunningly original tutus (designed by another étoile, Agnès Letestu), the idea of life as theatre and theatre as life is clearly developed, and Martinez makes clever use of the Palais Garnier with an abundance of metatheatrical devices – such as the Pierrot who welcomes the audience on the majestic staircase before the performance. (…)

» Read the full review in the Financial Times

Agnès Letestu in Les Enfants du paradis © Julien Benhamou

Agnès Letestu in Les Enfants du paradis © Julien Benhamou





July 5, 2011

Review: Jazzy Distortions (Wayne McGregor in Paris)

L’anatomie de la sensation
Choreography: Wayne McGregor
Paris Opera Ballet
Opéra Bastille, Paris
July 2, 2011

Don’t be put off by the pompous title or the strike currently playing havoc with Paris Opera performances: Wayne McGregor’s first evening-length creation for a ballet company, L’anatomie de la sensation, is a welcome surprise at the end of a rather pedestrian season. After a glacial first collaboration with the POB in 2007, Genus, this work for eleven soloists and a corps de ballet has uneven moments but brims with a more relaxed inventiveness.

Billed as a tribute to Francis Bacon, the piece intermittently references the painter, with silent screams among the corps de ballet and bursts of violence in one pas de deux. McGregor’s work, however, is too idiosyncratic to take the connection much further, and relies on his customary bright, minimalist sets and costumes for visual effect. Instead, the driving force in L’anatomie is the score, Mark-Anthony Turnage’s own homage to Bacon, Blood on the Floor. Its jazzy accents bring out a new playfulness in McGregor’s customary menu of fast, quirky, hyper-articulated twists and turns, and this light touch works particularly well in the eighth movement, “Crackdown”, where Alice Renavand’s zippy pointe work and seeming improvisations with Josua Hoffalt light up the stage. (…)

» Read the full review in the Financial Times

Jérémie Bélingard & Matthias Heymann in Lanatomie de la sensation © Anne Deniau

Jérémie Bélingard & Matthias Heymann in L'anatomie de la sensation © Anne Deniau





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