Jump to content


This site uses cookies. By using this site, you agree to accept cookies, unless you've opted out. (US government web page with instructions to opt out: http://www.usa.gov/optout-instructions.shtml)

Millepied to Head Paris Opera Ballet(Updated thread title)


  • Please log in to reply
101 replies to this topic

Poll: Who Should Succeed Madame Lefevre? (35 member(s) have cast votes)

Who Should Succeed Madame Lefevre?

  1. Carolyn Carlson (0 votes [0.00%])

    Percentage of vote: 0.00%

  2. Frederic Flamand (0 votes [0.00%])

    Percentage of vote: 0.00%

  3. William Forsythe (0 votes [0.00%])

    Percentage of vote: 0.00%

  4. Sylvie Guillem (0 votes [0.00%])

    Percentage of vote: 0.00%

  5. Laurent Hilaire (6 votes [17.14%])

    Percentage of vote: 17.14%

  6. Nicolas Le Riche (2 votes [5.71%])

    Percentage of vote: 5.71%

  7. Manuel Legris (23 votes [65.71%])

    Percentage of vote: 65.71%

  8. Wayne MacGregor (0 votes [0.00%])

    Percentage of vote: 0.00%

  9. Benjamin Millepied (2 votes [5.71%])

    Percentage of vote: 5.71%

  10. Alexei Ratmansky (2 votes [5.71%])

    Percentage of vote: 5.71%

Vote Guests cannot vote

#91 sandik

sandik

    Rubies Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 4,833 posts

Posted 16 February 2013 - 11:55 AM

Perhaps if he comes in and fails they will be more than happy to take one of their own as AD?


Without knowing anything specific about the hiring process, that is a pretty common strategy in long-term planning -- there has been no mention of an "interim" director, but this may be a situation where the intention was to bring in an outsider to avoid inside friction. Looking back over this thread I was thinking about how the situation at the POB does and does not relate to the transition here at Pacific Northwest Ballet when Peter Boal was hired. There wasn't a powerful inside/outside dynamic at the time, but the shift in repertory (Boal's connection to contemporary choreographers of his generation, rather than the outgoing directors' context) feels similar. I agree, I don't know that Millepied will have the time and space to continue his personal choreographic development (nor do I think that the POB as an institution is really the right place for his works as they stand right now) but he may shift his interest to the acquisition of work. Including Winterbranch on his recent program in LA is perhaps a suggestion of what he might bring to the mix in Paris.

#92 Helene

Helene

    Administrator

  • Administrators
  • PipPipPipPipPipPipPipPip
  • 11,470 posts

Posted 16 February 2013 - 10:44 PM

Boal has shifted the rep somewhat at PNB, and it feels much worse because he replaced my favorite Kent Stowell work after "Nutcracker" with the Maillot "Romeo et Juliette," but Russell and Stowell brought in William Forsythe, Nacho Duato, Thom Willems, Dominique Dumais, Tetley's "Firebird," "The Moor's Pavane," and they started the Choreographer's Showcase for in-house choregraphers, and even gave Mark Morris an opportunity before he was anybody. (Not that this went very well, but they did.) I can't remember if R&S first produced Tharp.

Peter Boal wasn't the first AD to bring in contemporary choreography or modern dance works into PNB. Except for "One Flat Thing Reproduced," about which I have my own private disaster scenario when I watch it, I don't find the contemporary works Boal's brought in as particularly edgy, if some of them are quite moving. He's fortified the neo-classical rep just as much, with works by Wheedon, Ratmansky, and Robbins.

Russell and Stowell didn't have a lot of money to spend on new choreography. Stowell provided the company with much new choreography.

POB is going in the opposite direction, hiring a choreographer as AD, although with a company that size to run and a massive bureaucracy, I don't see him dominating. He also has a bigger budget to hire choreographers, and POB is catnip in a way that a company in a city that many Americans couldn't find on a map when Russell and Stowell came (and some still think is in California) is not. He might end up bringing a more neo-classical focus to the company. Whether the audience will like this is another story.

#93 sandik

sandik

    Rubies Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 4,833 posts

Posted 16 February 2013 - 11:47 PM

Stowell and Russell accomplished an incredible amount at PNB, no argument. They accumulated a very diverse repertory (all the more so when you realize that many of the contemporary works were far outside their personal experience as dancers) -- Boal has worked in a similar vein, but he draws from a different generation of choreographers. It's like the difference between Glen Tetley and Molissa Fenley.

And yes, money does matter. Stowell made work that the company could afford, and that taught them the lessons they needed to learn at the time. I don't know specific dollar amounts, but Boal has a significantly larger budget for commissions and staging fees -- he shops in a very different store than Russell and Stowell did.

I don't have time to sort out the details, but when Stowell and Russell announced their retirement, I made all kinds of lists, and I was gobsmacked by the sheer number of works they brought to the company, of all sorts. Boal has made his mark on the repertory as well -- some of his additions were long overdue, but he's been working with a great base.

(Boal got us the Tharp -- Nine Sinatra Songs in his first year, and then several after that.)

Where I think Boal and Millepied might be similar is in their repertory choices. When he first came here, Boal mentioned several times that he chose works that he would have liked to perform himself, as well as other works from his personal company. Millpied might not make dances for the POB, but he will most certainly be choosing new work for them -- I would imagine you could look at his choices for his own company to get some insight on what he might program in Paris.

#94 Helene

Helene

    Administrator

  • Administrators
  • PipPipPipPipPipPipPipPip
  • 11,470 posts

Posted 17 February 2013 - 12:08 AM

I guess that despite the generational difference in choreographers, the contemporary rep doesn't feel that much different to me than it did under Russell and Stowell, and I suspect, if anything, the rep at POB might shift a little, but laterally, and may even become more neoclassical.

#95 Amy Reusch

Amy Reusch

    Platinum Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 1,795 posts

Posted 17 February 2013 - 10:09 PM

"Russell and Stowell brought in William Forsythe, Nacho Duato, Thom Willems, Dominique Dumais, Tetley's "Firebird," "The Moor's Pavane,""

Did you mean the composer Thom Willems? Or did you mean the choreographer Ton Simons who has worked with Wiillems?

#96 Helene

Helene

    Administrator

  • Administrators
  • PipPipPipPipPipPipPipPip
  • 11,470 posts

Posted 17 February 2013 - 10:23 PM

Yes, I did mean Ton Simons. Thank uou for the correction. PNB performed a work by Simons during their 1996 tour to City Center.

#97 sandik

sandik

    Rubies Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 4,833 posts

Posted 17 February 2013 - 11:20 PM

...I suspect, if anything, the rep at POB might shift a little, but laterally, and may even become more neoclassical.


That's certainly Millepied's home base -- it's going to be very interesting, watching all this unfold!

#98 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,952 posts

Posted 20 August 2013 - 11:29 AM

The article linked to below and the recent profile in The New Yorker (available online only to subscribers) suggest something of the direction in which Millepied might go. The New Yorker piece mentioned that he is soliciting new work from Wheeldon and Ratmansky for the POB, surprise surprise, and also from Justin Peck. It also suggested that given the other demands on Millepied his own choreography will likely take a back seat.

 

This is from The Herald of Scotland – LA Dance Project is performing pieces by Forsythe, Cunningham, and Millepied in Edinburgh:

 

 

The Paris job sees him return to his native country, of course, but also to a European style of arts funding which is very different from the American approach he's used to, in which rich patrons are wooed over cocktails.

 

Broadly he's optimistic about the state of dance in France - "one of the remarkable things about the country and the culture is the fact that you have young people in the theatres still," he says - but aware, too, that money is tight everywhere and arts budgets are no exception.

 



#99 sandik

sandik

    Rubies Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 4,833 posts

Posted 20 August 2013 - 03:16 PM

 

The article linked to below and the recent profile in The New Yorker (available online only to subscribers) suggest something of the direction in which Millepied might go. The New Yorker piece mentioned that he is soliciting new work from Wheeldon and Ratmansky for the POB, surprise surprise, and also from Justin Peck. It also suggested that given the other demands on Millepied his own choreography will likely take a back seat.

 

This is from The Herald of Scotland – LA Dance Project is performing pieces by Forsythe, Cunningham, and Millepied in Edinburgh:

 

 

The Paris job sees him return to his native country, of course, but also to a European style of arts funding which is very different from the American approach he's used to, in which rich patrons are wooed over cocktails.

 

Broadly he's optimistic about the state of dance in France - "one of the remarkable things about the country and the culture is the fact that you have young people in the theatres still," he says - but aware, too, that money is tight everywhere and arts budgets are no exception.

 

 

"LA Dance Project is performing pieces by Forsythe, Cunningham, and Millepied in Edinburgh:"

 

I think this is the same program they were dancing in LA earlier in the year.  I'd be curious to know if they've got new (or just new to them) work in the offing.



#100 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,952 posts

Posted 20 August 2013 - 03:36 PM

Yes, it is the same program. They're also doing a new ballet by Millepied, "Reflections," but not in Edinburgh.



#101 sandik

sandik

    Rubies Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 4,833 posts

Posted 20 August 2013 - 03:45 PM

They're a skilled group -- with some judicious repertory choices they could do some good work touring, as well as working in LA.  I just don't know that he can make them enough of a priority, considering the day job!



#102 Mathilde K

Mathilde K

    Senior Member

  • Inactive Member
  • PipPipPip
  • 195 posts

Posted 18 May 2014 - 10:11 PM

Millepied as the new director of the famous Paris Opera Ballet.... the minute I read it my hopes dropped. and I cannot help feeling more than a moderate sense of disgust.

 

I felt disgusted and saddened after watching Mezzo's broadcast of Millpied's "ballets" Amoveo, Le Spectre de la Rose and Les Sylphides.

 

When it was first announced that Madame Lefèvre had to be replaced my first thought was that she was being removed not because she had damaged great French Ballet but because she had not damaged it enough... Unfortunately, my worries materialized.




0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users


Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):