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Mathilde FrousteyNew Principal Dancer at SFB


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#61 Eshana

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Posted 02 April 2014 - 09:04 AM

 

To be honest, I find Froustey a million times more appealing and engaging than many of POB's principal ladies whose performances I've seen online. I can't believe that she was passed over for promotion; that those other said ladies were considered superior. SFB had better do everything in its power not to let Froustey go; she is a treasure.

 

Froustey has not performed well in the Concours (she even says that in the Pointe article). And the Concours is how you get promoted at POB. She's also a very emotive actress, in the style of Isabelle Ciaravola and Clairemarie Osta, both of whom were promoted very late in their careers. If you look at the dancers who have been promoted rapidly in the past 10 or 15 years, such as Aurelie Dupont, Dorothee Gilbert and Amandine Albisson, their style is fairly similar -- and quite different from Froustey's IMO.

 

I'm glad she's finding success in the US. It was depressing to continually see her onstage in demi-soloist roles.

 

I've seen Dupont in a number of things and have not been impressed at all (your mileage may vary, of course). I don't know, maybe one has to see some of these performances live to better appreciate them.

 

Actually, I recall reading some reviews and comments of POB dancers' performances abroad (galas and tours and what not), and none of them were very effusive at all. They all went something like, we were expecting great things from the famed Paris Opera Ballet and this is what we got instead...  



#62 volcanohunter

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Posted 02 April 2014 - 09:19 AM

I do not consider myself a great admirer of Dupont, but in person she does register strongly in a way that film probably does not capture. I have to admit that I was left unmoved by her Giselle, through there was much about her performance that was very beautiful, but in the Adage in Suite en Blanc she had the unmistakable and august aura of a true ballerina. I also had a tough time imagining how she could pull off Béjart's Boléro, especially after seeing Nicolas Le Riche (force of nature) and Marie-Agnès Gillot (femme fatale nonpareil) in the same part, but she brought a sphinx-like inscrutability to the piece that was completely successful.



#63 Eshana

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Posted 05 April 2014 - 01:43 AM

Interview with Mademoiselle Froustey for BCBG:

 

http://vimeo.com/89036581

 

Her voice sounds like music and is so adorable, she is so effortlessly chic and lovely, and is just so French!



#64 Josette

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Posted 14 April 2014 - 09:58 AM

You will find  Mlle Froustey's recent Kitri with the Paris Opera Ballet in Tokyo on her Mathilde Froustey danseuse facebook page. Definitely worth a look!



#65 Terez

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Posted 15 April 2014 - 07:24 AM

Great conversation thread, great media links. Thank you, all! She's so fascinating, and I'd love to see her stay at the SFB. But that clock is ticking for her to make the big decision. Sounds like she's torn, as one would imagine she'd be. Anyone care to hazard a guess as to which company she will go with for next season?



#66 cinnamonswirl

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Posted 15 April 2014 - 10:27 AM

I think she should stay at SFB -- even though that means I don't get to see her! In SF, she's a principal, she's well cast, she's been very well-received, etc. In Paris she has a lot of competition at the sujet level. But aside from any personal reasons she may have for wanting to go back to Paris, the lure of POB is very strong. For many of them it's POB or nothing. (Very few POB dancers move permanently to other companies -- the only principal I can think of is Sylvie Gulliem and that was 20 years ago -- and very few students from L'ecole de danse audition for other companies if they aren't hired by POB).

 

However there will be a new AD in Paris next season, so who knows how that changes things.



#67 abatt

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Posted 15 April 2014 - 10:42 AM

If the road to promotion is the Concours, and she admits that she has not done well in that test, then what has changed that would lead her to believe she might be more successful at the Concours now? All the reasons she had for uprooting from POB  and moving to SFB are probably still valid today.  Having been the toast of the town at SFB, would she be happy to returning to lesser roles at POB?  I doubt it.  In addition, I would hate to think that SFB invested its resources in teaching her various roles, only to have her leave after a year. 



#68 Eshana

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Posted 15 April 2014 - 11:19 AM

Considering that SFB is doing Giselle, R&J and Don Quixote next year, I highly doubt that Froustey would have left by next season when she's likely to be cast in the leading roles of all three of those ballets.

 

Helgi may even be bringing those ballets next season because of her, or partly because of her - I remember reading or hearing that he asks his dancers which roles they would most like to essay, and then decides which ballets to stage based on that consensus.



#69 pherank

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Posted 15 April 2014 - 11:37 AM

If the road to promotion is the Concours, and she admits that she has not done well in that test, then what has changed that would lead her to believe she might be more successful at the Concours now? All the reasons she had for uprooting from POB  and moving to SFB are probably still valid today.  Having been the toast of the town at SFB, would she be happy to returning to lesser roles at POB?  I doubt it.  In addition, I would hate to think that SFB invested its resources in teaching her various roles, only to have her leave after a year. 

 

What you are saying is of course logical, but the impression I get, is that she is still emotionally drawn to Paris and the POB. If her 'big dream' was to dance as a soloist for the POB, then it is going to be hard to give up on that dream entirely. unfortunately, things just aren't set up by other people to realize all our dreams. ;)

Kochetkova is living proof that a principal position - way out West, as it were, can be the basis for a full career. But it takes someone like Masha, with her entrepreneurial spirit, to work to make it happen. The average dancer doesn't have that same level of drive, and I'm not sure if Froustey wants to have to work to that level. In leaving POB, I believe she would have to give up on receiving any kind of pension at the end of her career. That is a consideration as well. Sylvie Guillem couldn't be bothered with the pension, but that's Guillem. These days, people are worried about financial security.

 

She's young, and won't necessarily be able to make the 'smart' decision - to stay in SF - to forward her career. Friends, family, and a culture you are comfortable in, are very important. If she were 35, she might be more likely to say, "Well, I've done this. Now I'd like to live in another country for 10 years, or more!" But in one's 20's, it's all about making your oriignal dream happen - do or die!




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