May 22, 2010

The Muse, the Composer and the Choreographer

The recent Chroma / Tryst / Symphony in C Insight Evening at the Royal Ballet brought together quite a triumvirate of artists – Balanchine ballerina Patricia Neary, choreographer Christopher Wheeldon and composer James MacMillan – and I wrote a blog post about the evening for the Royal Opera House:

There is a very specific thrill to an Insight Evening – the emotion to see dancers up close, to learn how they rehearse, to see them take risks a few feet from you. Extra treats, however, were in store on 14 May to introduce the last triple bill of The Royal Ballet’s season, comprised of Chroma, Tryst and Symphony in C. One of the great Balanchine ballerinas of her time, Patricia Neary, was there to introduce the Balanchine masterpiece Symphony in C, and her presence in the studio seemed to energize dancers and audience alike. Tryst was then rehearsed by choreographer Christopher Wheeldon himself, later joined by Scottish composer James MacMillan for a discussion of the work’s score. An embarrassment of riches, and the rare opportunity to see ballets being passed on by a muse and a choreographer in the same evening.

Patricia Neary launched the evening with a delightful bit of history. Symphony in C was originally choreographed for the Paris Opera Ballet in 1947 as Le Palais de Cristal – instead of the white tutus and plain backdrop we know today, Balanchine had the four movements dressed in different colours. The ballet then entered the repertoire of the New York City Ballet the following year under the name Symphony in C, after the Bizet symphony it is set to, and Balanchine’s dancers always thought the two ballets were identical. When Patricia Neary was called to the Paris Opera Ballet to rehearse Le Palais de Cristal in the 1990s, however, she quickly realised they weren’t – Balanchine had apparently forgotten a good deal of the choreography he had created the year before, and he started from scratch when it came to New York, creating what Patricia Neary deems the better version of one of his most famous “tutu” ballets. (…)

» Read the full post on the Royal Opera House’s blog





March 24, 2010

From Ragtime to Judas – An Insight into Kenneth MacMillan’s Work

I recently had the pleasure to write a blog post for the Royal Opera House about the MacMillan Insight Evening which took place on 11 March – composer Brian Elias, répétiteurs Irek Mukhamedov and Julie Lincoln, Mara Galeazzi, Thiago Soares & others were all there to discuss and demonstrate The Judas Tree and Elite Syncopations, both part of The Royal Ballet’s latest triple bill, and a fascinating evening it turned out to be…

The 80th anniversary of Kenneth MacMillan’s birth has been an opportunity to re-discover the breadth of his creativity and the Insight Evening for The Royal Ballet’s upcoming MacMillan triple bill followed in this path last week. The event brought together artists who got to know Kenneth MacMillan intimately, from composer Brian Elias to former Royal Ballet dancers Irek Mukhamedov and Julie Lincoln, and all spoke with singular warmth of different facets of the British choreographer best known for his Romeo and Juliet or Manon. The one-act ballets introduced that evening demonstrated the scope of his inspiration, from The Judas Tree, an extreme tale of betrayal and guilt, to Elite Syncopations, a light-hearted romp to ragtime tunes – what emerged in the end was a unique vision of a choreographer fascinated with human nature and its contradictions, who pushed the boundaries of ballet far beyond expectations.

The evening started with a discussion around the music for The Judas Tree, commissioned in 1992 from Brian Elias. Barry Wordsworth, The Royal Ballet’s Music Director, led the conversation, explaining that he and Elias attended the Royal College of Music around the same time. The Judas Tree was the composer’s first ballet score, brought about by Deborah MacMillan, Kenneth’s wife, who arranged the collaboration after going to one of Elias’s concerts. MacMillan was actually very nervous about commissioning music, the audience learnt, as it used to be impossible to have a clear idea of what a score would sound like until the last rehearsals – and it became clear over the course of the evening that MacMillan knew what he wanted and kept close control over his creations. (…)

» Read the full post on the Royal Opera House’s blog





December 25, 2009

A Mariinsky Christmas!

The Mariinsky Ballet is already in Baden-Baden for their traditional Christmas tour at the Festspielhaus, and here are a few official photos from the scheduled La Sylphide and Gala as seasonal greetings. Merry Christmas everyone!

Joyeux Noël à tous – une fin d’année célébrée par le Mariinsky, comme le veut la tradition, par une tournée à Baden-Baden. Photos de La Sylphide et du Gala à venir en guise de calendrier de l’Avent tardif!

Evgenia Obraztsova and Leonid Sarafanov in La Sylphide © Natasha Razina

Evgenia Obraztsova and Leonid Sarafanov in La Sylphide © Natasha Razina

Evgenia Obraztsova and Leonid Sarafanov in La Sylphide © Natasha Razina

Evgenia Obraztsova and Leonid Sarafanov in La Sylphide © Natasha Razina

Leonid Sarafanov and the Mariinsky Ballet in La Sylphide © Natasha Razina

Leonid Sarafanov and the Mariinsky Ballet in La Sylphide © Natasha Razina

Ekaterina Kondaurova and Evgeny Ivanchenko in Robbins' In The Night © Natasha Razina

Ekaterina Kondaurova and Evgeny Ivanchenko in Robbins' In The Night © Natasha Razina

Elena Evseyeva and Filipp Stepin in Markitanka © Natasha Razina

Elena Evseyeva and Filipp Stepin in Markitanka © Natasha Razina

Anastasia & Denis Matvienko in Don Quixote © Natasha Razina

Anastasia & Denis Matvienko in Don Quixote © Natasha Razina

Viktoria Tereshkina and Vladimir Shklyarov in Theme & Variations © Natasha Razina

Viktoria Tereshkina and Vladimir Shklyarov in Theme & Variations © Natasha Razina

Many thanks to the Festspielhaus Baden-Baden.





December 4, 2009

Make Your Own Ballet Christmas in Paris

Dorothée Gilbert and Manuel Legris in Nutcracker © Sébastien Mathé / ONP, 2007

Dorothée Gilbert and Manuel Legris in Nureyev's Nutcracker © Sébastien Mathé / ONP, 2007

It’s that time of the year again, and the Paris Opera Ballet is celebrating in style with the perennial holiday favorite, The Nutcracker, and a Ballets Russes program comprising of four ballets rarely danced by the company today.  If you fancy a Freudian Sugar Plum Fairy, the original Petrouchka or simply a chance to go and see the Christmas lights in Paris, here are a few tips, starting with the usual dilemma: which dancers shall you see?

Tree growing at the Opéra Bastille – Nutcracker casting

Myriam Ould-Braham & Nikolai Tsiskaridze

© David Elofer / Dmitry Rozhkov

© David Elofer / Dmitry Rozhkov

Beauty and the Beast
19 December (evening), 22 December

Why you want to see them : strong contenders for most unlikely couple of the year, and yet – the petite, delicate Paris Opera soloist and the tall Bolshoi star who ranges from teddy bear to neurotic on stage might be magic together. Myriam Ould-Braham was filmed in the role two years ago, and it is an all too rare occasion to witness her lyrical, absorbing presence. Tsiskaridze could make the odd Drosselmeyer/Prince of this version work, and we would then be in for a truly Freudian Nutcracker, in the best Nureyev tradition.

Potential holiday fun : watching Nikolai Tsiskaridze trying to work his long legs and bravura Moscow persona around Nureyev’s insanely complicated petit allegro choreography. When inspired, he does also occasionally hang on to nearby curtains.

» Video : Nikolai Tsiskaridze in Yuri Grigorovitch’s Nutcracker (Bolshoi Ballet)

Natalia Osipova & Matthias Heymann

© Andrei Melanin / ONP

© Andrei Melanin / ONP

The Firecracker Competition
8 & 9 January (evening)

Why you want to see them : She is the It Russian Girl of the ballet world – he is the latest prodigy of the Paris Opera Ballet. Neither has danced Nutcracker before, and neither is entirely right for the ballet, but watching them outdo each other in terms of stage presence and technical tricks should be an experience in itself. Natalia Osipova, the Bolshoi star now in demand everywhere, is a rare treat in Paris, and her high-flying sense of fun can be a breath of fresh air.

Potential holiday fun : Matthias Heymann, the happy kid on the block, as Clara’s old, grey-haired, limping godfather Drosselmeyer. A hilarious first act should ensue.

Dorothée Gilbert & Matthieu Ganio

© ONP / Michel Lidvac

© ONP / Michel Lidvac

Hieratically French
11, 13, 14, 25 & 29 December

Why you want to see them : They are two of the brightest young stars of the company, and although they haven’t been paired very often, their elegant, hieratic styles should complement each other perfectly. Matthieu Ganio, hopefully back for good after several long-term injuries, is a beautifully understated dancer, who should bring dignity to Drosselmeyer and the Prince. Gilbert was made an Etoile in the role of Clara two years ago, and she is entirely at home in Nureyev’s combinations of combinations.

Potential holiday fun : Which one of them will regret first to have agreed to five performances (seven for Dorothée Gilbert), and throw Nureyev overboard for a version of the choreography that would actually be fun?

» Video : Dorothée Gilbert in the final Pas de Deux of the ballet, with Manuel Legris

Myriam Ould-Braham & Emmanuel Thibault

© David Elofer

© David Elofer

Phantoms of the Opera
5 & 9 (matinee) January

Why you want to see them : Both are so rarely allowed on stage, let alone together, that their partnership has almost become a legend. The atmostphere at every one of their appearances in classical ballets was electrifying, and I cherish the memory of their Don Quixote and Fille mal gardée. Ekaterina Maximova & Vladimir Vassiliev invited them to perform at their 50th Anniversary Gala. Old-school stagecraft is their secret, and dancing together they are a wonder, an 18th-century painting come to life.

Potential holiday fun : Emmanuel Thibault flying across the stage, but watching them have fun together should be enough for a bright New Year in any event.

» Video : Myriam Ould-Braham & Emmanuel Thibault in a Vassiliev Pas de Deux

Mathilde Froustey & Matthias Heymann

© ONP

© ONP

Ambitious Youth
23 & 26 December

Why you want to see them : Both are crowd-pleasers, and Froustey is the undisputed darling of the French audience, who has been waiting in the wings of stardom for a few years. A born Fille mal gardée, she knows how to capture attention, and her technique is both strong and light, despite her thinness. The youthful couple of the run.

Potential holiday fun : Seeing them flirt with you, dear audience, much more than with anybody on stage.

Outsiders : Mélanie Hurel, Christophe Duquenne & Alessio Carbone, three strong and experienced soloists; Ludmila Pagliero & Josuah Hoffalt, who have both just been promoted to the rank of premiers danseurs.

Back to the Ballets Russes, once more

Le Spectre de la Rose / Le Tricorne / L’après-midi d’un faune / Petrouchka

Petrouchka and L’après-midi d’un faune were last seen in Paris in 2001, and when Le Tricorne was performed for the last time, Brigitte Lefèvre wasn’t heading the company yet (prehistoric times, in other words).  This Ballets Russes offering is an occasion to see a whole new generation take on legendary leading roles, and some performances will be filmed, with broadcasts and a DVD to follow.

Don’t miss :

  • Nicolas Le Riche and Clairemarie Osta in Petrouchka, in different casts. Sadly, Manuel Legris has pulled off his scheduled performances in the ballet due to injury, but Nicolas Le Riche should bring maturity and experience to the title role. Clairemarie Osta, on the other hand, was born to dance the Ballerina, and her Ondine-like eyes and soft lines should work wonders on stage.
  • Emmanuel Thibault and either Delphine Moussin or Clairemarie Osta in Spectre de la Rose. Matthias Heymann will be featured on the future DVD, but Emmanuel Thibault is a special performer, all lightness and infallible style. This may be the last occasion to see him in this iconic role.
  • José Martinez and Eve Grinsztajn in Le Tricorne, in different casts. José Martinez has been dancing the main role since 1992, the year he was promoted to Premier Danseur, and he even took part in its Moscow premiere at the Bolshoi, in 2005. A lucky role for the Spanish dancer, who will be featured on the DVD. Eve Grinsztajn, on the other hand, will not, but the fiery Première Danseuse, who had early triumphs as the Street Dancer in Don Quixote, should bring all the needed weight and strength to the Meunière.
  • Nicolas Le Riche or Jérémie Bélingard in L’après-midi d’un faune. Pure sensuality ahead with these two – remember Le Riche in Béjart’s Boléro. Jérémie Bélingard was even in a commercial for Jean-Paul Gaultier not so long ago, and his very physical stage presence should fit the Faun like a glove.

Dancers of the American Ballet Theatre in Petrouchka © Gjon Mili / Time Inc. (1946)

The American Ballet Theatre in Petrouchka © Gjon Mili / Time Inc. (1946)



But it is sold out…

This being ballet-starved Paris, both Nutcracker and the Ballets Russes program sold out within hours. So what can you do if you are coming in December, or if you still want to?

  • Check daily, and even several times a day, the website of the Paris Opera. Once in a while, a few (usually top-price) tickets for one or more performances are made available this way, but you’ll have to jump on them.
  • Audience members will sometimes sell tickets they cannot use, and a lot of them do so on Dansomanie, a popular French website, via “post-it” posts on top of the main discussion board. Be aware though that the number of people looking for Nutcracker tickets is higher than ever, especially for Natalia Osipova and Nikolai Tsiskaridze’s performances.
  • If you are in Paris and want to see a performance, go and queue for returns at the box-office. They are sold at regular prices around 45 minutes before the performance, but the queue around Christmas gets absolutely huge, and if you want something you should plan to arrive several hours in advance. If you are eligible for concessions last minute tickets, don’t waste your time – these are only sold after everyone in the returns queue has been served, and as the French would say, hens will grow teeth before that happens in December.
  • Beware of the black market – you will undoubtedly find resellers around the entrance of each Opera, Bastille and Garnier, who try and sell cheap tickets at five times their regular price. Don’t accept.

Finally, if you can’t find anything, don’t be too disappointed – the Ballets Russes program will be broadcast live in French, Belgian and Swiss cinemas on 22 December (see the list here), with a DVD to follow. The Nutcracker was filmed two years ago with Myriam Ould-Braham and Jérémie Bélingard, but it has yet to be released.

Happy holiday season!

More links:
» Official casting for Nutcracker on the website of the Paris Opera Ballet
» Official casting for the Ballets Russes program on the website of the Paris Opera Ballet
» Elizabeth Maurin and Laurent Hilaire in the two main pas de deux from Nureyev’s Nutcracker (TV production, 1989)
» Laëtitia Pujol and Manuel Legris in the final pas de deux
» Rudolf Nureyev in L’après-midi d’un faune (Afternoon of a Faun)





August 30, 2009

Saison 2009-2010 à Lyon : quelques prévisions météorologiques

Laura @ 19:14 —
Filed under: Français, Other — Tags: , ,

Une rentrée sur deux se profile sans fanfare à Lyon, lorsque la ville se retrouve privée de la grande messe de sa Biennale de la Danse. L’occasion de jeter un oeil sur la programmation annuelle des deux grandes institutions locales, l’Opéra de Lyon et la Maison de la Danse, et sur leur partage du ciel artistique.

L’Opéra de Lyon ne résiste pas à l’avarie crise, avec un programme largement composé de pièces déjà vues lors des deux dernières saisons. En septembre, Beach Birds (Merce Cunningham) et Set and Reset/Reset (Trisha Brown) sont au menu avec une création de Ralph Lemon, chorégraphe moderne américain qui revient travailler avec la compagnie après une longue interruption. Le récent décès de Merce Cunningham et l’incertitude sur le devenir de son oeuvre peut donner envie, au moins, de revoir le délicat Beach Birds.

Indubitablement cependant, et comme souvent, l’essentiel de la programmation se bouscule sur quinze jours. Cette année, le rayon de soleil est prévu pour novembre. Le festival “Ici on danse” poursuit certes les reprises avec la Giselle de Mats Ek, présentée il y a à peine six mois, mais le programme qui la précède propose son joyau propre, avec le baroque Bella Figura de Jiri Kylian, que ce blog ne reniera évidemment pas. S’y ajoute une pièce d’Anna Teresa de Keersmaeker, à la musicalité si souvent éblouissante. Après cette vague de beau temps, le reste de la saison du Ballet, composée d’une oeuvre moins réussie de Kylian, One of a Kind, et d’une soirée “Next Wave” pour public aventureux aux Subsistances, paraît bien dispersée.

En marge de la compagnie lyonnaise, ce festival Ici on danse a la bonne idée de recevoir deux invités de marque, Mikhaïl Baryshnikov et Ana Laguna. Elle est la compagne et muse de Mats Ek, lui l’un des plus grands danseurs de formation classique du XXe siècle. A l’heure de la maturité, ils dansent encore, et proposent notamment une création d’Alexeï Ratmansky, ex-directeur du ballet du Bolshoi et prodige de la chorégraphie.

La programmation de la Maison de la Danse est nettement plus dense, en toute logique, malgré les traditionnelles incongruités (une comédie musique sur l’oeuvre des Beatles ? Vraiment ?). Moins contemporaine que la saison précédente, on notera, parmi les troupes aux racines néo-classiques, la venue en septembre du Nederlands Dans Theater II, compagnie de jeunes danseurs bien gardée par des pièces de Kylian et de Lightfoot León. Plus important peut-être encore, la présence début novembre de Danses Concertantes, “troupe” du chorégraphe Benjamin Millepied qui inclue en général nombre de solistes des grandes compagnies classiques américaines. Au répertoire, le Duo Concertant de Balanchine, très rarement vu en France.

Au printemps, également, Complexions, compagnie du chorégraphe Dwight Rhoden et du performer Desmond Richardson, se présente comme une sculpturale héritière d’Alvin Ailey. Le Ballet de l’Opéra National de Bordeaux, auteur d’un très pâle Don Quichotte il y a deux ans dans ces mêmes murs, revient avec une Coppélia néo-classique de meilleur augure (avec, au moins, la partition de Delibes pour la soutenir).

Enfin, un évènement de la Biennale de la Danse 2008 est de retour en juin : Blue Lady, le solo de Carolyn Carlson qu’elle a elle-même transmis au danseur et chorégraphe Tero Saarinen. Un pari passionnant, à comparer avec la désespérante chorégraphie Jean-Paul Gaultier d’un des autres spectacles phares de la Biennale, la Blanche-Neige d’Angelin Preljocaj, de retour à l’automne.

On n’oubliera pas, enfin, le flamenco ou les compagnies sud-américaines. Ceci dit, comme tout bon météorologue, l’auteur de ces lignes sera évidemment loin des cieux en question, dans l’ignorance bienheureuse des bons et mauvais coups du destin…





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