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Found 34 results

  1. In my newly found interest in POB, I watched parts of their Romeo & Juliet by Nureyev online recently, was intrigued by the difference to the MacMillan version in the final death scene and wondered what else might differ. So I looked at the different casts in their current run of Nureyev’s R&J and, inspired by Yasmine Naghdi’s and Matthew Ball’s superb double debut at the ROH last autumn, I decided to go for the youngest and most junior lead couple – Léonore Baulac and Germain Louvet. Baulac joined POB in 2008 and has been Premier Danseur since 2016: Louvet joined in 2011, Sujet since 2015. They were initially shown as cover, featured in a public rehearsal in February when they were in the early stages of learning the choreography, and then received two performances plus a general rehearsal, and a further performance was added when another cast became unavailable. Friday’s performance, which was the one I went to, was their last. The scenery in Nureyev’s Romeo & Juliet is sumptuous – shiny facades of palaces to both sides, laden market stalls. The story shows additional details, in particular in act 3 (the following not in chronological order) – why Romeo does not receive the letter (as the priest that is meant to deliver the letter to him is killed), how Romeo hears that Juliet has died (Benvolio stumbles upon the mourners and runs off to inform Romeo), a dream scene for Romeo in which he envisages the idyll of being together with Juliet, Juliet’s nightmare when death comes to meet her. Not only Juliet has a number of friends but also Romeo – not just Mercutio and Benvolio but also further friends. So more of everything in Nureyev’s ballet, and I found the scene a little overcrowded at times with lots of market traders/ citizens and all of Romeo’s friends, or all of Romeo’s and all of Juliet’s friends on stage at the same time. There were also a few elements that I found borderline vulgar in acting/ in costume. Juliet is quickly becoming a strong, driving force in the relationship that is formed with Romeo, it is her who initiates the early kisses at the ball at the Capulet’s house, and this suits Léonore Baulac very well. Baulac displayed hugely expressive and impressive acting throughout. Her eyes turn in amazement when Paris asks her for a dance at the ball, her love of Romeo is overwhelming as is her desolation when Tybalt is killed by Romeo, her despair upon realising that Romeo has poisoned himself is excruciating – she simply is Juliet. Romeo has lots of solos throughout – pirouettes, balances in arabesque, jumps into arabesque, a round of double assemblées. Germain Louvet, to my amateur eyes, showed a beautiful line and acquitted himself well given the challenging choreography and acted very well, and I look forward to seeing more of him. The two leads displayed lots and lots of chemistry on stage, the love and passion was clearly there, from when they meet at the ball through to the end. Surprisingly, the PDD between the two had various solos/ the two dancing next to each other, following each other, with a few lifts here and there but – compared to what I remember from the MacMillan version - not very much overhead. Mercutio’s death – Mercutio brilliantly played by Emmanuel Thibault – is more brutal as all his friends still think that he is playing with them and so make fun of him even when he is already dead. Benvolio shows a lot more personality than what I remember from the MacMillan version; he is the mediator, trying to prevent fighting in act 1 however then also getting angry at the Capulets. Sébastien Bertaud whom I much enjoyed in Tombe displayed vivid acting and beautiful dancing and interacted very well with Mercutio and Romeo. Paris, in the performances of MacMillan’s version that I’ve seen, can come across as likeable and genuinely trying to understand why Juliet doesn’t like him. In contrast, I found Paris in Nureyev’s version as unsympathetic as can be. All in all, I prefer MacMillan’s version, and it has been an interesting experience to compare the two. A thought for the dancers as the company has been in three concurrent different productions in recent weeks (Iolanta/ The Nutcracker just finished its run), and I guess the rehearsal process/ schedule will not always have been easy.
  2. Hello, I'm not sure if this is the right place to discuss this so please feel free to move it if not. I am going to Paris on 21/12, and they are performing La Bayadère that evening. I haven't been able to find much of a clear answer, but it seems that they do offer day tickets for performances. Can anyone provide more specific details about how to obtain them? Is it similar to the ROH day tickets? Any advice would be so much appreciated. Many thanks in advance.
  3. Live on http://concert.arte.fr. 7:30 pm CET https://www.operadeparis.fr/en/saison-2014-2015/ballet/rain-anne-teresa-de-keersmaeker
  4. Has been announced: http://www.operadeparis.fr/saison-2014-2015/ballet And Yikes, POB tickets have increased in price dramatically.
  5. Surprise ... Surprise ... (To view casting click on 'Distribution' ... and then click specific date for principal cast) ... http://www.operadeparis.fr/saison-2014-2015/ballet/casse-noisette-rudolf-noureev http://www.operadepa...-guillaume-bart
  6. POB sujet Marie-Solenne Boulet has posted a great behind-the-scenes video (10 minutes) of Paris Opera Ballet's recent tour to Japan with Neumeier's Lady of the Camellias. It's only on her FB page, not on YouTube, so I hope you can see it. https://www.facebook.com/photo.php?v=10203703970024617&set=vb.1378663859&type=2&theater
  7. Thought I'd start a new thread since details of next year's cinema showings are starting to filter out. The Bolshoi seems to be increasing their output: http://www.pathelive...lchoi-2012-2013 Royal Ballet: Swan Lake, 23rd Oct. 2012: Yanowsky/Kish The Nutcracker (that's 3 now, isn't it? I'll be giving that one a miss!) 13th Dec. 2012 (Marquez/McRae) Alice's Adventures in Wonderland 28th March 2013, casting tbc (The Royal Opera are doing 6, including Les Troyens and La Donna del Lago, for those who are interested) Edit: Just found the details, but not on the ROH website as I'd have expected: http://www.more2screen.com/our-content/now-booking/royal-opera-house-season-201213/the-royal-opera-house/
  8. The New York Times has just posted this news under Roslyn Sulcas byline: http://www.nytimes.com/2013/01/24/arts/dance/benjamin-millepied-to-be-paris-opera-ballet-director.html
  9. I'd meant to post something about this a month or two back, but recent reports in Today's Links (http://www.balletcoforum.com/index.php?/topic/1602-dance-links-wb-sunday-august-5-2012/, entries 6 and 7 at the time of writing) have made the subject topical again. The Paris Opera Ballet's March live relay of Rudolf Nureyev's production of La Bayadère has been shown in UK cinemas over the last couple of months, and also, I now see, in the USA. (It couldn't be shown live, because the date picked clashed with the Royal Ballet's live broadcast of Romeo and Juliet). It featured Aurélie Dupont as Nikiya, the newly-promoted étoile Josua Hoffalt as Solor and Ludmila Pagliero as Gamzatti. All the showings I could find seemed to be around lunchtime on a weekday, which will doubtless have reduced the possible audience, but did anyone else get to see it? I loved seeing the opulence of this production again: it really is stunning. Among the secondary casting, I have to admit to being very taken with Charline Giezendanner in the Manu, and later on as whichever Shade she danced: she has a very vivacious stage personality, which came over well in the former. It was interesting seeing Pagliero being promoted to étoile on stage - she'd taken on the role at the very last minute due to multiple injuries, not having danced it since the previous production run, I believe - but I was rather sorry that it took the focus so much off Dupont at the curtain calls: Gamzatti is very much the secondary role in this production, unlike in the Makarova production for the Royal Ballet, where the ballerinas are rather more evenly cast. I still wish Nureyev had been able to restore the final act, though - knowing that it might have been possible always leaves me with the feeling that this production is somehow incomplete.
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