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Found 13 results

  1. Wow - that was quite a powerful, deeply touching Defile from POB! Row and rows of masked performers walking towards an empty auditorium, as the glorious orchestra plays the Berlioz march. Usually there’s wild applause as each etoile steps forward...usually a huge ovation at the end. What fortitude of the participants to put this on for their citizens and the world!
  2. After nearly two months of strikes, Paris Opera Ballet returned to the stage at last with Giselle on Saturday. And what an evening it was! Firstly, I should explain that although we had excellent seats seven rows from the front of the stalls, two extremely large (tall and wide) people came and sat in front of us restricting the view of my six foot partner, let alone short dumpy me. This meant that all I could see for the whole evening was the right and left sides of the stage but nothing in the middle! It wasn’t a fault of the rake, nor the large people who after all didn’t choose
  3. How can a foreign ballet dancer join Paris Opera Ballet? Also, I'd like to know whether the repertoire of Paris Opera Ballet is mostly affected by Classical, Neoclassical or Contemporary ballet(on average at least)? Regarding the first question, I tried to search but got more confused so I thought it would be better if I asked here) (Not a ballet dancer/connoisseur. Looking for basic info for a book I'm writing. Thanks for readying)
  4. Brigitte Lefèvre organised a number of – I understand informal – choreographic events for the company’s dancers when she was at the helm of POB. Benjamin Millepied changed this into something more formal and set up a Choreographer’s Academy, with Sébastien Bertaud, Simon Valastro, Bruno Bouché and Nicolas Paul – all dancers with POB – participating, and with William Forsythe as – then – mentor (I’ve read somewhere that Aurélie Dupont has since put the Academy on standby, and I can’t see any choreographic events scheduled for next season at all). The mixed programme at Palais Garnier last week
  5. Paris Opera Ballet and The Bolshoi are to collaborate with New York City Ballet in 5 performances next summer, 20-23 July 2017, to celebrate 50 years of Balanchine's trilogy Jewels. POB will dance Emeralds, NYCB Rubies and the Bolshoi Diamonds. Later in the run NYCB and the Bolshoi will swap. Each company will use it's own costumes, so Lacroix for POB, Karinska for NYCB and Zaitseva for The Bolshoi. Should be a fantastic treat to see this!! http://www.nytimes.com/2016/11/30/arts/dance/celebrating-balanchines-jewels-with-an-international-flair.html?smid=tw-nytimesarts&smtyp=cur
  6. Hello, Does anyone's children have experience auditioning for Paris Opera Ballet year round school? If so can you share your experiences? We received a letter for an invitation for 2 separate dates. The first date is a first round and the 2nd date is a week later for the 2nd round (assuming the child passes the first round). Since we are traveling out of the country for the audition, it's fairly difficult to arrange travel for both dates. Do they ever make accommodations to allow a student to attend just one audition? We did submit a video of my dd and she was accepted to the summer
  7. I had never been to any of the performances of Giselle at the Royal Opera House in the past, thinking that the choreography would be too classical for me. Then, back in February, Jérôme Bel’s Tombe hit me with all its power and emotion. So I went to the cinema broadcast of Giselle in April and saw Giselle Reimagined, and however enjoyed the latter much more than the former. I thus concluded that I would not go and see POB’s version of Giselle unless it would be with a specific cast. This remained valid … until a week ago, when I listened to the Giselle podcast on the Opéra de Paris web site. T
  8. Vadim Muntagirov will be dancing with Dorothée Gilbert in POB's version of Giselle on 2 and 7 June. Muntagirov is replacing Josua Hoffalt. https://twitter.com/BalletOParis/status/732503621590351872 The forthcoming run of Giselle is sold out however return tickets become available occasionally, either on the ticket site for Giselle, or the ticket exchange forum ... and if they do, they go very quickly. The 3rd scene of the ONP site shows a number of videos about productions, life at the opera, etc. Some are funny, some are intriguing, some give insights. One of my favourite videos is a
  9. 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
  10. The best was kept to the last. Justin Peck’s “In Creases” closed the programme, it was the shortest piece with just 12 minutes, it was the one that I enjoyed the most by a distance, and it received the most enthusiastic and longest applause of the evening. With piano music by Philip Glass for double piano, the choreography was musical, rhythmic and dynamic, showing couples and groups of dancers creating and dissolving geometric forms. Standout for me in Peck and in Ratmansky was Marc Moreau with his joy, virtuosity and energy. All four pieces had the musicians on stage, and with the size o
  11. 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. Jérô
  12. A world premiere of Akram Khan's Giselle at English National Ballet next season, Reimagining Giselle as part of Draft Works at the Royal Opera House in April 2016, Jerome Bel's production Tombe, which is inspired by Giselle, currently at Paris Opera Ballet. What makes Giselle so attractive to create modern versions of it? Or just pure coincidence? Apologies if this is an odd question!
  13. The link is necessarily in French, but Paris Match is carrying a report that Benjamin Millepied will be leaving his post as Director at Paris Opera Ballet. No date is given, but the 2016-17 Season is already fixed. Reasons speculated upon include the possibility of his wife, Natalie Portman, wanting to resume her film career, or that he is unhappy as an Administrator. If the news is confirmed, this will have been an extremely short-lived appointment - he took over in September 2014. http://www.parismatch.com/Culture/Spectacles/Benjamin-Millepied-sur-le-depart-907585 News of the a
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