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Duck

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  1. Thank you for pointing to YouTube, John, I watched this earlier today. The fact that the final performance of Véronique Doisneau was filmed and the words translated makes me hopeful that the same may be the case with Tombe so that it can be kept for posterity and made available more widely.
  2. Many thanks, Janet! From reading comments on twitter, the piece seems to divide opinions ...
  3. Goldberg Variations was played by a solo pianist so if there was extra payment (I am not aware of the arrangements at Paris Opera) it will have only affected one person (I don't know about technicians/ ushers, etc.).
  4. A return ticket for the opening night became available the evening I arrived in Paris earlier this week (what a week to be there, dance wise!). I hadn’t previously seen any choreography by Bel or Millepied (or even heard of Bel) however thought “if all fails, at least I’ll enjoy the music to Robbin’s Goldberg Variations”. As it turned out, the piece by Bel was my definite favourite and Goldberg Variations was the piece that I liked least last night. I am writing this as someone who does not tend to watch contemporary dance as too much of what I’ve seen so far wasn’t much too my taste. Jérôme Bel’s Tombe (grave) has its title from Giselle’s grave in act 2 of Giselle. The stage shows a tombstone, the scenery trees to both sides as well as the back of the stage. An article in the weekend magazine of Le Monde yesterday explained that Giselle is the preferred ballet of the dancers in Tombe. The piece is set in three parts, each related to Giselle. In each section, a male dancer from the company is paired with a woman with whom they would normally never be able to share the stage – a woman who worked in a supermarket close to where one of the dancers trained (NB the review in Le Monde today says that the woman is a baby sitter – in which case I misunderstood last night), a woman in a wheelchair, a woman well beyond eighty years old. The first part starts with a dialogue between a man and a woman from off stage (I actually missed the first sentence, thinking it’d be a stage announcement that had gone wrong). The man explains, in a very warm and gentle manner, the scenery on stage and the story of act 1 of Giselle, and the man and the woman walk on stage and continue their dialogue. He (the male dancer) explains how the scenery can be moved and how the spotlights can be used. He has a spotlight directed onto the woman (the woman who had worked in a supermarket close to where the dancer had trained// the babysitter based on the review in Le Monde), and she asks whether he is also in the spotlight. He replies that no and explains “I am in the corps the ballet, I dance behind the soloists” (this produced laughter in the audience, and I thought, what a link to comments about hierarchy in the press this week). He has the lights switched on in the auditorium, and upon seeing her amazement, explains to the woman some of the wonders of the auditorium (the golden paint, the ornaments that look like jewels). She hands her phone to a technician off stage (who is actually the choreographer) and starts to dance – disco style - to music that she has on her phone (modern music that I presume will be on French radio at the moment), and he joins in with a few jumps. They then sit down near the edge of the stage to watch what happens next. The second part sees mist flowing in on stage, music from Giselle and Albrecht – in Albrecht costume and with a bouquet of flowers – coming on stage, looking for Giselle. Giselle – in Giselle costume – rolls across the stage in a wheelchair, and Albrecht keeps missing her a few times. He finally sees her and begins to dance with her while she is in her wheelchair. In lifting her overhead and upside down, it becomes clear why the woman is in a wheelchair – one of her legs has been amputated below the knee. He puts her back down and they dance some more. At the end, he gently sits down on her lap, and she rolls offstage with him. The third part has the male dancer walking on stage and explain that unfortunately that the woman he had chosen to perform with would be unable to do so. With great appreciation, he talked about the woman – a woman well into her eighties, who had come to the Opera House since the late 1940s and followed his career from the start, always talking to him when he left the building after a performance. With palpable pain in his voice and face, he explained that he had received a call that the woman had been hospitalised and wasn’t well. And that he and the choreographer had chosen to show a video of the most recent rehearsal with the woman. And so he sat down on stage and watched the video together with the audience, showing him gently guiding the elderly woman across the rehearsal room in small and slow steps, and repeatedly gently and carefully lifting her. What started as intriguing and funny in the first part quickly became hugely thought provoking and charged with emotions in the second and third parts. The modern choreography was tailored to the personal situation of each woman with immense sensitivity, and it showed the dancers with a connection to their environment outside the opera building. Powerful and courageous; kudos to the choreographer and to everyone on stage, in particular the three women. Millepied’s piece “La nuit s’achève” (“The night ends”) comes in two parts. In the first part, three couples, clothed in warm red, raspberry and blue day wear (dresses and trousers/ shirts) dance in combinations of short PDD and male or female solos, duets and trios. The clothing in the second part changes to night wear (pyjamas and night dresses in white, dark grey, dark blue or black), the dancing switches to long PDD of the three couples. The choreography is fluid and musical, jumps are mostly small and lifts are mostly low level. There are geometric patterns in the first part where often all three couples or dancers perform the same movement, then one couple/ dancer starts another movement which the next couple/ dancer repeats a few counts later, the same for the third couple/ dancer, and then all three couples/ dancers become synchronised again. My main impression of Robbin’s Goldberg Variations was that it was long, very long. Maybe it was the pure length of the ballet (80 minutes), maybe it was that the music that played very slowly (similar to the 1981 Gould version whereas I much prefer the faster 1955 recording). In each of the two parts, dancers perform in combinations of solos, duets, trios, quartets, up to larger formations, and each part has three leading couples. Dancers change costumes – an introductory couple in period costume later dances in practice clothing, others who start in practice clothing later change into costumes. I found it difficult to identify individuals however from an attempt to match names in the cast sheet against their role in the ballet against the position in the company, I got the impression that the relatively more junior dancers who were having a prominent role in the ballet enjoyed it more, in particular with regards to the male dancers. On a few occasions though, a male dancer put their partner back on the floor when they hadn’t fully disappeared yet into the wings, and a few lifts looked like they were an effort. However maybe I was looking at these details in much more detail than usual, given the various comments about standards, so I would not want to overemphasise this. The audience reacted a lot more positively to Millepied’s piece than the other two. “Tombe” received applause mixed with some sounds of “uuuh” where I wasn’t sure whether this was a local form of booing or of showing appreciation. “La nuit s’achève” received repeated enthusiastic ovations, in particular when Millepied came on stage. The applause for Goldberg Variations was sufficient for a few curtain calls however seemed rather polite following the enthusiasm after “La nuit s’achève”. Or maybe people were tired at the end of the evening – at least I was. If anyone reading this post happens to attend one of the performances – last night ended a good 20 minutes later than advertised in the cast sheet so total running time was 3 hours 20 minutes; and some knowledge of French is really useful for the first piece.
  5. The film that is shown in a continuous loop in the exhibition includes a section of Osta and Le Riche rehearsing that kiss - thank you, MAB for mentioning the name of the ballet as I couldn't remember it when I wrote about the exhibition in my earlier post. ----- edited for grammar .
  6. Appointments to senior posts tend to come with an exploration of the candidate's plans for the future for the hiring organisation. I can't imagine that this wasn't the case with Benjamin Millepied - and in his case also, his plans for his LA Dance Project which already existed back then. Much discussion has been about the "wallpaper" topic. The article here from Dec 2015 http://www.slate.fr/story/111835/millepied-opera-documentaire gives a bit more context to the "wallpaper" comments. The article refers to the documentary that was shown that month on Canal Plus. «Les danseurs ont tellement été habitués à danser en ligne, à se faire engueuler, que ça devient du papier peint, il n’y a plus aucun plaisir. Un corps de ballet, s’il ne prend aucun plaisir, ça n’a aucune vie." Briefly translated (NB I am not a French native speaker so please correct if necessary) - "The dancers are so much used to dance in line, to be snubbed at, that it becomes wallpaper, there is no pleasure left. If a corps the ballet takes no pleasure, there is no life." And in an interview in Le Figaro http://www.lefigaro.fr/theatre/2015/12/17/03003-20151217ARTFIG00225-benjamin-millepied-le-ballet-doit-sortir-de-sa-bulle.php in relation to wallpaper "Les danseurs du corps de ballet travaillent avec l'idée curieuse que «si on ne vous voit pas, on fait bien». Mais quel métier est le nôtre? Être danseur, c'est s'exprimer, pas tenter de ressembler à un motif sur du papier peint!" Translated "The dancers of the corps the ballet dance with the strange idea of "if you are not seen, you do well" However what is our profession? Being a dancer means to express oneself, not to try and look like a pattern on a wallpaper" - all while recognising that harmony and a sense of space are important. Later in the same interview, he praises the freedom that he sees in his dancers in the Wheeldon/ McGregor/ Bausch programme, and that however he doesn't see in the classics. "En ce moment, à Garnier, dans le programme contemporain Wheeldon/McGregor/Bausch, ils sont fantastiques, d'une liberté totale. Mais, dans le classique, ça n'est pas ça." The article in Slate also provides a link to the documentary on Canal Plus that was shown in Dec 2015. While I am able to open the link, the screen then however freezes every time (I am writing this from a local coffee shop so maybe with a faster broadband connection, watching the documentary will work). Both articles give interesting insights into what he was planning to change and why - e.g., he describes that in his first conversations with dancers, some dancers trembled and were hardly able to talk to him, that he was trying to bring in more diversity into the company, develop in-house choreographers, offer low-cost dance lessons to children ("l'art, c'est pour tous"). Other articles that I read this week mentioned that he brought in flooring that is better for dancer's feet, and that he put a stop to blackening up children's faces in La Bayadere and that he renamed a dance in La Bayadere by these children to "the children's dance" (I don't even want to put in writing here how it seems their dance was called previously). Opinions of course, will diverge, however a lot looks like good ideas to me. Remains the question for me as to how and when and where these ideas should best be discussed/ shared to gain buy in and support. Interestingly, reading the article in Slate, the documentary that was shown in December 2015 on Canal Plus was co-produced with Paris Opera, so surely someone within the organisation will have reviewed the content before it was shown to the public, which makes me think that something really went wrong in the production process. --------- edited for typo
  7. From the three ballets performed at Paris Opera tonight, Millepied's new ballet "La nuit s’achève" (the night ends) received by far the loudest and longest applause. More on tonight in a separate post once post I've gathered my thoughts.
  8. What is ballet? What is dance? Jérôme Bel's premiere of "Tombe" (grave) at Paris Opera tonight saw three male dancers, each paired with a woman who they would normally never been able to share the stage with - a woman who had worked in a supermarket close to where one of the dancers had trained, a woman in a wheelchair, and a woman well into her 80s (the elderly lady unfortunately was too unwell to perform, and a video of the most recent rehearsal was shown instead). All three parts were based on Giselle, and the grave that the title of the ballet refers to was Giselle's grave. What started as intriguing became thought provoking and charged with emotions. The modern choreography was tailored to the personal situation of each woman, and yet its foundation was a very classical theme. More on tonight in a separate post once I've gathered my thoughts. --------- Edited for typo
  9. Something from Paris that is not related to the news about Benjamin Millepied … Dance studio ÉLÉPHANT PANAME near the Paris Opera is hosting an exhibition about Clairemarie Osta and Nicolas Le Riche http://www.elephantpaname.com/fr/programmation/exposition-etoiles. All text and all interviews in the exhibition are in French however given the number of exhibits and the beautiful building it is in, there is a lot to look, at even if a visitor doesn’t speak much French. I’d never seen Osta dance and Le Riche just a couple of times and found it hugely interesting. The exhibition traces their careers through pictures from childhood to their current activities, personal mementos (Osta’s first ballet slippers/ her first tutu, posters and an armchair from Le Riche’s changing room, etc. etc.), letters they received, an essay written by Osta at school in which she analysed Des Grieux from Manon, and a variety of costumes. Two ballets, Le Jeune Homme et la Mort and Manon feature prominently. The bed from Le Jeune Homme et La Mort and the writing desk (complete with feather and candle) from Manon are on display, and both with a number of pictures taken at performances, plus a short film that shows extracts of Osta preparing for and dancing in her final performance before she retired, which was Manon. A roughly hour-long film runs in a loop on the ground floor, showing Osta and Le Riche rehearsing for/ dancing in a variety of ballets, some of them together, some with other partners, or on their own – e.g., performances in Japan, a rehearsal by Mats Ek, and more of Manon. The displays are arranged such that visitors are able to walk in the midst of them, creating an immersive, even intimate atmosphere. A series of films and conversations with the artists accompany the exhibition which runs until the end of May 2016. The exhibition is in a beautiful old building with wonderful stucco to the ceiling and the remnants of romantic paintings along the walls of the central staircase … another thing to look at independent of language. I came across this exhibition when I was searching for cultural events in Paris this week on a holiday from London. It was a lucky find, I really enjoyed it and spent nearly three hours there today. ------------ Edited for typo
  10. Donkey here, too. I consoled myself with the fact that one day, I'll wake up and look at the person of my dreams
  11. I quite like the thought of pairing Two Pigeons with another narrative ballet, in particular if the subject of the story is similar.
  12. While I wasn't keen on Two Pigeons, I actually saw it three times as I wanted to watch Monotones and Rhapsody. From the different casts for The Young Man, the performance that I enjoyed most was that of James Hay. I was impressed by the intensity of his acting and in particular by the expressive use of his eyes.
  13. While I hadn’t planned to see Rhapsody more than once this season from within the Royal Opera House, I couldn’t resist going for a return ticket for yesterday’s matinee. Such fluidity, musicality, joy and warmth exuding with every step from Francesca Hayward and James Hay, such wonderful smiles. They were so much in tune, in sync; pairing either of them with someone who focusses more on the bravura aspects of the choreography would, in my eyes, lead to a loss of some of the magic. I can't wait to see them in The Winter's Tale. Also, following the live cinema relay that often focussed on just one dancer, it was a pleasure to see the full cast in one view, the patterns in movement, the excellent work by the supporting couples.
  14. It was in 2011 that I moved to London and as a result, I started to go to more than one performance for some ballets. So that year, I saw two different casts of Rhapsody and however unfortunately didn’t take much away from the ballet. That effect was repeated in 2014 – until I saw Francesca Hayward and James Hay in their debuts that year. All of a sudden, the ballet changed for me from an accumulation of challenging jumps and steps that would allow the dancers to show their skills to a romantic story about two young people who start as individuals and come together in an exuberant setting, and where the steps and jumps are thus part of the story, a means to an end rather than the end itself. What an eye opener. So I went to today’s matinee with a mix of high hopes and some trepidation that my memory would be playing tricks. I needn’t have worried. It was all there, and even matured in a good way. The soloist couples danced with visible joy and added to the pleasure. Did my eyes get watery based on the cold that I’ve been carrying with me for the last few days, or was it the performance? While the cold may have affected the nose, I am afraid the eyes were definitely down to the performance. I am not too keen on Two Pigeons however am debating with myself whether I should buy a ticket for the matinee on 30th January just to see Hayward and Hay in Rhapsody again.
  15. Saw the performance this afternoon. Beautiful costumes, period style and light enough for dance, and the music nicely supporting the atmosphere. Very enjoyable how the different men in Elisabeth’s life were portrayed as well as Elisabeth’s reaction to each of them. Interesting interaction between the actors/ singers and the dancers, with the latter portraying through movement what the former were saying/ singing. Kudos to all the performers who, other than for a costume change, hardly left the stage during the 90 minutes.
  16. In the event that a most recent performance in 2010/11 counts as "rarely staged", I am putting forward Voluntaries and Still Live at the Penguin Café.
  17. With the Royal Ballet - Edward Watson in The Four Temperaments - Woolf Works - The summer performances of the Watson casts of The Song of the Earth - Yasmine Naghdi/ Matthew Ball in Romeo & Juliet - Yasmine Nagdhi/ Emma Maguire/ Tristan Dyer in Monotones I - James Hay in Two Pigeons Initials R.B.M.E. with Stuttgart Ballet
  18. Beautiful Monotones this afternoon, I can only agree with the above comments about today's matinee. Superb debut by James Hay in Two Pigeons, I couldn't take my eyes off him throughout the performance. Also very impressed by David Yudes' solo in the first scene of part two.
  19. Loved Faun with Olivia Cowley and Matthew Ball tonight. From the four casts that I've seen in recent months for this ballet, I thought that those two portrayed the surprise element of seeing the other person most credibly. And the lighting was a joy - after Viscera, which I found too dark for most of it.
  20. The Sunday Times tomorrow has an article about Yasmine Naghdi's and Matthew Ball's matinee performance on 3rd October http://www.thesundaytimes.co.uk/sto/culture/arts/article1616441.ece. I stopped my online subscription last year so don't have access to the full article however the paragraphs that are visible speak of "captivating debuts".
  21. I was sitting in the centre so can't tell whether they were difficult to see from the side. I wondered though for one of the two ballets today whether the dancers could be seen well from higher up as they were dancing below some items that were hanging down from the ceiling.
  22. I didn't hugely enjoy Raven Girl or Connectome when they were first shown a couple of years ago and admittedly, I bought the ticket for today's matinee performance solely based on the cast. With the various changes in Raven Girl (if my memory doesn't play up), however, I enjoyed today's performance much more than in 2013. There was more dancing and less cycling in circles for Edward Watson. There were ravens looking out from the rock face when the letter is delivered, making the small raven at the bottom of the rock as having fallen from its nest more credible. The role of the townspeople was much clearer. The lighting was generally a lot brighter. The isolation of the Raven Girl in the town, being rejected both by the people and the ravens was more compelling. With the storyline clearer, the scenes in the lecture hall were scarily creepy. The Raven Prince was introduced earlier however as there was no link between his earlier appearance and other elements of the story, I am not sure about this part yet. Connectome has grown on me compared to its first outing. I could see something like a progression from individuals to groups of various compositions, and at the same time the graphics in the background becoming more complex and colourful. I think, however, that I would need to watch it a few more times to fully observe the links between the graphics in the background, the dancing and the meaning of the word connectome. I had been to the Insight Evening before its premiere and then was disappointed last time that the ballet didn't use the piano version of Arvo Paert's music. I was more comfortable with the orchestrated version of the music this time and this has contributed to enjoying the ballet more today.
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