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Mathilde FrousteyNew Principal Dancer at SFB


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#31 PeggyR

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Posted 11 February 2014 - 07:28 PM

On the SFB website:   Five minutes with Mathilde Froustey. 

 

The one song you can’t stop listening to right now?

 

“…I went to New Orleans last November, where I discovered jazz music–now I want to play trumpet!”

 

 



#32 Josette

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Posted 24 February 2014 - 10:01 AM

Mathilde Froustey will be dancing Kitri in Don Quixote with the Paris Opera Ballet in Japan on March 14 and 16, 2014, as a replacement due to the injury of POB étoile Ludmila Pagliero.     Mlle. Froustey has danced Kitri before in the POB production, choreographed by Nureyev, which I believe is available for viewing online.



#33 PeggyR

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Posted 24 February 2014 - 11:13 AM

That's right in the middle of the Cinderella run at SFB. I was hoping she would dance the title role, or at least one of the sisters; I think she'd be terrific in any of those parts. Sensible to be cooperative and stay on good terms with her 'home' company, I guess.

#34 Josette

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Posted 24 February 2014 - 11:47 AM

Yes, I am going to two performances of Cinderella, and was so hoping that she would be doing the lead.  So far, I have only seen her in the Nutcracker grand pas de deux, where she was radiant. 



#35 PeggyR

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Posted 24 February 2014 - 07:57 PM

It's too bad you missed her Giselle:  different and interesting.  Not fully polished yet, especially Act II, but the emotion was there.  I'm certainly no expert, and I haven't seen all that many ballerinas in the role, but I can't imagine anyone better in the first act.



#36 Josette

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Posted 24 February 2014 - 11:03 PM

I didn't completely miss her Giselle- for about 12 hours her performance was posted through Dansomanie and I dropped everything and watched it when I discovered it one Saturday afternoon, knowing that it would probably disappear, as it had by the next day. I am impressed with her spontaneity and think that she has a beautiful technique that permits spontaneity.  I am partial to the Paris Opera Ballet School training.   Lucky you to have seen her on stage as Giselle. 



#37 Mathilde K

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Posted 27 February 2014 - 06:39 PM

I attended both the February 25 and February 26 performances of «The Kingdom of the Shades» by San Francisco Ballet. Mademoiselle Froustey was dancing one of the three Shades. Unfortunately, her lacklustre performance on both nights was not at the level one expects from a principal which was one of the very few disappointments on either night.



#38 pherank

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Posted 16 March 2014 - 07:42 PM

Ballet life in Tokyo is good:

"This was really amazing : 2h30 after the performance people were still waiting for pictures !!!!"

 

9b2fe8a0ad7811e3b4b00e1aaf66de96_8.jpg



#39 pherank

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Posted 20 March 2014 - 03:59 PM

Ms. Froustey posted this Instagram clip of her 'balancing act' in the Don Q production with POB:

 

http://instagram.com/p/lttuNqnreH/#



#40 hydraulix

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Posted 20 March 2014 - 08:49 PM

I absolutely like her style. It's elegant, sophisticated and at the same time a bit flirtatious. It's still beyond me why she wasn't nominated as an étoile in Paris, so I think she made a wise decision to go to another company abroad. Luckily her bond with POB is alright, as she otherwise wouldn't be dancing for them in Japan.



#41 pherank

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Posted 20 March 2014 - 09:14 PM

I absolutely like her style. It's elegant, sophisticated and at the same time a bit flirtatious. It's still beyond me why she wasn't nominated as an étoile in Paris, so I think she made a wise decision to go to another company abroad. Luckily her bond with POB is alright, as she otherwise wouldn't be dancing for them in Japan.

 

Advancement in the POB involves winning a series of exam/contests, and I think she tended to show nerves and didn't do particularly well in the exams, but seems to do well on stage before the public (which is what really matters, lets face it). From what I can tell, Froustey would return to POB if they would assure her of a path to the etoile level, but that would recquire a change in how things are done - who knows what will happen under Millepied?

 

I think she is just enjoying the attention, and any chance to perform on stage, so she is going where the opportunities arise. Sometimes she sounds a bit like a "kid in a candy store", but I have a feeling that is partly to hide her own self-doubts. A couple of years spent around Masha Kochetkova and the others might actually help her to find a path that fits her. Masha is a good influence: she knows all about work ethic, focus and humility.

 

This Froustey interview is worth a read if you haven't already seen it.



#42 silvermash

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Posted 21 March 2014 - 04:25 AM

What you tend to forget is that there are many dancers at this level in POB and they can't be all Etoiles and not even Premières danseuses.

Besides, she has always been cast in specific kind of soubrette roles that are  limited in POB repertoire and I would say most of the time because Etoiles don't want to dance them. She's very rarely  seen in contemporary nor chosen by living choreographers...



#43 cinnamonswirl

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Posted 21 March 2014 - 07:35 AM



Advancement in the POB involves winning a series of exam/contests, and I think she tended to show nerves and didn't do particularly well in the exams, but seems to do well on stage before the public (which is what really matters, lets face it). From what I can tell, Froustey would return to POB if they would assure her of a path to the etoile level, but that would recquire a change in how things are done - who knows what will happen under Millepied?

 

 

Does anyone know how much leeway Millepied actually has in terms of changing the Concours system? I imagine that is something that would require negotiations with the union. There is always some grumbling (always has been and always will be) about unfair promotions or people who were unjustly passed over during the Concours, there doesn't seem to be too much discontentment overall with the current system. Examinations like the Concours are part of the French way of life.

 

Of course Millepied can promote directly to étoile and skip premier danseur, the way Mathieu Ganio was promoted. But I would think a lot of promotions like that would cause resentment and other problems. POB is fundamentally a hierarchical company.

 

What you tend to forget is that there are many dancers at this level in POB and they can't be all Etoiles and not even Premières danseuses.

Besides, she has always been cast in specific kind of soubrette roles that are  limited in POB repertoire and I would say most of the time because Etoiles don't want to dance them. She's very rarely  seen in contemporary nor chosen by living choreographers...

 

Yes. I think this is partly because Froustey has been very adept/savvy at promoting herself on social media (which I think is great). Few of the other dancers have Youtube accounts, and the ones that do (Dayanova, for example) don't update them as frequently or post as long excerpts as Froustey does. So people who follow POB but don't see the company perform live on a regular basis (a fair number of people on this board I would imagine) aren't aware of many of the other dancers.

 

Lefebvre certainly seems to want her étoiles to be able to dance classical and contemporary roles. Are there any current étoiles who specialize? (Abbagnato maybe, but even she was thrown into Sleeping Beauty this season.) Maybe Millepied will be different.



#44 volcanohunter

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Posted 21 March 2014 - 07:44 AM

I hope Millepied has no plans to change the system. If disgruntled sujets were to start taking "promotions" at other companies in order to re-negotiate a better position back at the Paris Opera Ballet, it would set an incredibly bad precedent.



#45 pherank

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Posted 21 March 2014 - 11:13 AM

It's hard to imagine any great changes - after all, there has to be some kind of system in place to deal with promotions at what is still a very large company. And the majority of individuals would have to have faith in the rules (and I think that, by-and-large, they do). There is no perfect way, and Froustey's promotion troubles are a demonstration of that, but as Volcanohunter has mentioned, it would be no improvement to conduct promotions based on special negotiations, special favors, etc. The Bolshoi would seem to have enough of that sort of thing going on, and what good has it done for ballet at the Bolshoi?




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