maryrosesatonapin

'My' Colas, Guillaume Diop, was promoted directly from Sujet to Étoile, bypassing Premier Danseur completely. I think they do undergo a kind of test really, in that it has been nearly decided to make them Étoile but they are watched at a particular performance and then, if great enough, it is announced on stage. But that's just a guess from me. Re the concours system: I suppose one should expect the top rank dancers to be able to perform anything technically, but to be honest one of my favourite RB dancers probably wouldn't pass the concours system in Paris but is beautiful in other ways. Paris is very strict in its selection of dancers - from Wikipedia: The hierarchy of the Paris Opera Ballet is very strict. For a dancer, it is virtually compulsory to enter first the Paris Opera Ballet School.... The competition for admission to both institutions is extremely fierce, as well as the competition for the highest ranks in the ballet company. More than 90 percent of the candidates don't pass the Ballet School entrance examination, and 20 percent of its pupils have to leave at the end of the year after failing the annual competitive examinations ("les concours annuels") in May. Only 5 to 20 percent of the Ballet School graduates are accepted in the Paris Opera Ballet, initially as dancers on trial (the "stagiaires"). To become a regular member of the Paris Opera Ballet as "Quadrille" (fifth and lowest rank in the hierarchy), you have to pass the annual competitive examination in November. Promotion to the next rank depends exclusively on success in the following annual competitive examinations ("les concours internes de promotion") in front of a board of judges.

Google translate says 'yes'.

No, there wasn't - but it was not missed.

Oooh, that is tempting. I am booked for the evening performance of 17th so will have to consider whether I can fit in a double 'Sleeping Beauty'. Thank you @Emeralds.

Oh, I remember Sandra Madgwick's Aurora and I had the same response. She was such a lovely, and I felt unsung, dancer. We always tried to get to performances where she was dancing in any role and she never disappointed. I also adore Hirata. I booked three performances this time before knowing the casts, and struck lucky with Céline Gittens (and Matthew Ball) for the first one. I am eagerly looking forward to Alina Cojocaru's performance in London, but also have tickets for Bristol where the main dancers are Parma/Chou. With no offence meant to the other principals, I felt a bit sad that Hirata didn't feature in my 'lucky dip'.

Ha ha, sorry and thanks. I've just got back after train delays and am brain dead!

I was so glad to be in the (very full and appreciative) audience of Ashton’s adorable ‘Fille’ last evening. The production was pretty much perfect, from orchestra to scenery to, most importantly, dancing. As Lise, Léonore Baulac was a delight. She really ‘got’ the Ashtonian style, and was both funny and touching. Her technique was rock-solid but she has so much more than that. I can’t imagine a better Lise. The new young star of the POB, Guillaume Diop, was cheeky and charming as Colas and seemed very comfortable with the technical demands, although if I were being picky I’d like to see improvement in his hands and his lifts. But these are only minor niggles – not real faults IMO. He has exactly the right combination of athleticism and elegance that I like to see in a male dancer. Simon Valastro (trained by La Scala) clearly relished the role of Mère Simone and was hilarious. Antoine Kirscher was outstanding as Alain – such a funny and technically sparkling performance. The whole corps were excellent too, as is usual with POB. The Paris school certainly produces some superb dancers. Although the patchwork of music isn’t of a great enough quality to stand on its own, as the vehicle for Ashton’s gorgeous choreography it does a wonderful job, and at multiple points the music seemed to underline what was happening on stage in a really pointed way. It was a terrific evening which went all too quickly.

I so love this description, ha ha! And I have always thought that Acri has a lot more in him than we have the opportunity to see.

I loved last night's performance with Gittens/Ball - he was even more princely than usual, and I don't know if it was because I was near the stage but as well as being technically rock-solid she seemed especially powerful in her acting: changing from a shy sixteen year old into a rather show-off young girl enjoying all the attention. Then later, when she received the lethal puncture, she became a little girl again wanting her mummy. The supporting cast were variable but on the whole very good; I loved Carabosse and her (his) hench-demons. I also enjoyed the non-dancing Lilac Fairy. There was a very young girl sitting on one side of me (probably five or six) but she was completely enthralled throughout and perfectly behaved. I noticed she clutched her teddy extra tight during the scary bits, bless her. If only all audience members would conduct themselves so beautifully. The settings and costumes were sumptuous, although I was not sure why there was an obelisk at the back of the stage during the palace scenes - does anyone know? The whole performance was excellent value at half what I pay for seats at Covent Garden.

Both tickets have now gone. I hope those who weren't successful manage to obtain good seats from elsewhere!

Yes - please check your messages.

NB it begins at 7pm.

We drove through rush-hour traffic to a distant and rather unpleasant cinema to see this tonight, and it was well worth it! What a lovely evening. Tissi is effortlessly aristocratic and elegant and Smirnova's technique is dazzling, although for some reason I never feel my heart touched by her dancing. Potskhishvili was so convincing as a passionate Hilarion, and in the limited dancing allocated to him he was so mesmerising that I long to see him in a more challenging role. Well done, Dutch Ballet, and thank you!

We went to today’s matinee. I loved every minute. Thank you to the critics who didn’t like the choreography, and those forum members who warned that perhaps the dramaturgy was lacking, or the music had gaps (didn’t notice that?). Because I went, fully expecting to be moved and delighted by Alina’s dancing (I was) but ready to accept rather a lot of imperfections. Thus I had the wonderful experience of being pleasantly surprised. The greatest impact for me was Johan Kobborg’s dancing: I had no idea he would still be able to do what he did. As soon as he started moving, I could recognise the ineffable elegance and poetry of his movement, and the lightness of landing, the beautiful technique, the wit. Just incredible. And when he and Alina danced together once more I was in Heaven. All of the performers were very satisfying. I loved the costumes, the props, the music. I loved the choreography. It did not replicate the story of the film step-by-step, but rather distilled the essence of its charm and tragedy. I admit to shedding a tear or two at the end. What a brave, profound and inspired woman Alina Cojocaru is. I will remember this performance for the rest of my life.

I am very much looking forward to going to it on Saturday. It's a bit sad that more tickets haven't been sold - and the tickets aren't expensive. I adore Cojocaru and think Londoners are missing out if they don't take the opportunity to see her before she inevitably retires.