17 replies to this topic

[Alexandra]

I believe the premiere was last night.  Did anyone go, or hear how it was received?  (I did not see anything in Le Monde today.)  Thanks!

[Azulynn]

The premiere is tomorrow (the 21st), yesterday was the dress rehearsal.

[Drew]

Azulynn, on 20 September 2011 - 03:27 PM, said:

The premiere is tomorrow (the 21st), yesterday was the dress rehearsal.

Has anyone seen it now?

[silvermash]

I’m shared. Up to me, choreography lacks originality and the magical world supposed to be at the chore of the work is ruined by some impossible costumes. Bullion and Dupont saved the ballet with their presence and skills on the Premiere trying to throw us in a different world but with Osta/Pech and Ganio/Gilbert  down to earth dancing, it turns to be really boring.

[Drew]

silvermash, on 25 September 2011 - 11:14 PM, said:

I’m shared. Up to me, choreography lacks originality and the magical world supposed to be at the chore of the work is ruined by some impossible costumes. Bullion and Dupont saved the ballet with their presence and skills on the Premiere trying to throw us in a different world but with Osta/Pech and Ganio/Gilbert  down to earth dancing, it turns to be really boring.

Thank you silvermash.  The reviewer for Le Monde was more positive, though the ballet definitely sounds as if it took a rather playful view of its "magical" material (Ratmansky seems drawn to jokey...)

[Mashinka]

I liked his 'playful view' and thought the Ganio/Gilbert cast was rather good.

[Mashinka]

Clement crisp has reviewed this in Financial Times which can be read on line, but I had trouble with the link, probably down to the FT pay wall.  He was very positive about Psyche and even the Phaedra that was on the same bill, but there was such a difference in audience response for this double bill with mild polite appause for the Lifar and noisy enthusiasm for Ratmansky's work.

[silvermash]

Well Phèdre is a difficult ballet with a dramatic ending...  But as a matter of fact, it has even been lightly booed at the Premiere.

[Natalia]

Photos of Ratmansky's Psyche here:
http://www.fedephoto...5&search=psyché

Nice to see a Ratmansky work with something other than minimalistic scenery. Two -- count 'em, TWO -- realistic-looking backdrops! Wowee.

[Mashinka]

Actually Natalia, there are THREE.     The dark woods backdrop doesn't show up very well.

[Natalia]

Oh my, Mashinka. Hopefully the colorful and detail-laden designs will remain with the ballet if/when Ratmansky may transfer it to ABT (unlike the Bright Streamwhen it transfered from Bolshoi to ABT...grrrrr).

[Nanarina]

I  went to see Aurelie Dupont's last performance in the run on 29th September.  And really enjoyed it. It is good to see some maghical scenery,
full of colour and with many attractive features. It remined me of an old fashioned work, it may have appeared over the top to some people, but it was in the theme of the story, which after all is myth and legend.  It was pleasant and easy to watch. If the choreography was simple it did not conflict with the over fancy scenery or costumes.  In parts it was quite beaurtiful, the Pas de deux with Psyche and Eros, was very touching with moments of tenderness, and if the steps were simple and not in the form of bravdo or tricks, it was wonderfulluy danced, by Stephane Buillon and Aurelie Dupont.  But was quite long, with every movement holding ones attention.   Aurelie, was at her best, you would never had thought she had a few months ago had her second child.  Her portayel of the role was just right, gentle, shy but with a little mischief in her soul. Stephane was a capabile partner, and danced well.  However, I was surprised to see him cast with Aurelie, due to his height and physique. He was replacing  Herve Moreau who did not make it in the end. This was a pity As he and Aurelie have a good repore like dancing together, so make a special partnership.
All in all I loved the ballet, and was very pleased with what I saw, which made the expense and travel worth while.  There are two video to see, the Interview with Alexei Ratmansky and the one with Aurelie Dupont.   Enjoy.

http://www.operadepa...ang=en#news4373

http://www.operadepa...ang=en#news4393

Please copy and link to web page.

[Nanarina]

silvermash, on 25 September 2011 - 11:14 PM, said:

I’m shared. Up to me, choreography lacks originality and the magical world supposed to be at the chore of the work is ruined by some impossible costumes. Bullion and Dupont saved the ballet with their presence and skills on the Premiere trying to throw us in a different world but with Osta/Pech and Ganio/Gilbert  down to earth dancing, it turns to be really boring.

BORING ?????

[Marcmomus]

I attended on Wednesday night when Dorothée Gilbert danced Psyché and Mathieu Ganio Eros. I liked Ratmansky's choreography, probably because of his classical style and the striking contrast with Lifar's Phèdre. Enough has probably already been said about the costumes. I will merely add that beards appropriate for Mormon patriarchs are simply ludicrous on agile young dancers. The POB make much of the fact that the average age of the company is 25, and perhaps the designer could recognize this also. Dorothée Gilbert is a wonderfully expressive dancer, although I was sorry to miss Aurélie Dupont in the role.  Mathieu Ganio was thoroughly engaged. The company danced under the eye of Laurent Hilaire who sat close to me, plagued by people wanting to be recognized by him. His facial expressions in response were one of the minor pleasures of the evening.  I'd like to see the ballet a few times before final judgement, but I suspect it may last, it's certainly no worse than much of the repetoire.

I have never warmed to 'le style lifarais' and actively dislike his character from books and interviews I have read. However I am always prepared to see a historical piece for what it tells us about the time it was first presented.  A Greek tragedy choreographed by Lifar and staged by Cocteau to the portentious music of Auric was always a specialist taste, and I have to say that to me it's a pretentious work - just posing by poseurs. As regards the interpretation Roslyn Sulcas got it right when she said in the Herald Tribune that "neither Agnès Letestu nor her fellow dancers (including Stéphane Bullion) looked as if they remotely believed in what they were doing." The ramshackle stage on the stage for intermittent 'tableaux vivants' might be acceptable in a high school but not in the Palais Garnier. During one of the many langeurs in this stilted piece I wondered idlely if Balanchine's comment that ballet cannot convey the concept of a mother-in-law was inspired by the first production of Phèdre in 1950. Any one know if he saw it in Paris then?

It's always easy to carp, and overall the evening was a most enjoyable experience. I know well enough what my average Wednesday night comprises to appreciate this one.

[Helene]

Nanarina and Marcmomus:  thank you so much for the in-house reports!