Robbins mixed bill at the Paris Opera, Dec 25 and 28
Posted 15 March 2001 - 07:55 AM
Forgive the error on the dates in the title of the thread- I can't edit that!
On February 24 and 28, I attended two performances of a Robbins
mixed bill at the Paris Opera.
Between 1974 and 1996, twelve works of Jerome Robbins entered the
repertory of the Paris Opera. Some of them, like "Circus Polka", "Scherzo
Fantastique", or "In memory of", were not danced in the seasons after
their respective premieres, but many of them were very successful and now
have an important place in the POB's repertory. In 1999, "Other dances"
also entered the repertory, but it was danced only once, in a special
homage to Jerome Robbins).
The program I saw included four works: "In the Night", "The Cage",
"Other dances", and "The Concert". All of them were staged by Jean-Pierre
"In the Night" had entered the POB's repertory in 1989, at the end of
Rudolf Nureyev's directorship. It mades me feel a bit nostalgic to realize
that four of the six dancers of the original cast (Monique Loudieres,
Jean-Yves Lormeau, Elisabeth Platel, Jean Guizerix) have retired, and that
Isabelle Guerin is going to leave the company at the end of the season.
The only remaining member of the original cast will be Laurent Hilaire. I
was supposed to see Guerin and Hilaire in the third pas de deux, but
unfortunately Isabelle Guerin was injured and couldn't dance. The casts I
saw were a mix of "old" and "new" dancers: Fanny Gaida and Laurent Novis
(first pas de deux) and Wilfried Romoli (3rd) had already danced the roles
shortly after it entered the repertory, Jean-Guillaume Bart (2nd) had
danced it two seasonswhile Clairemarie Osta and Benjamin Pech (1st),
Agnes Letestu (2nd) and Aurelie Dupont (3rd) were new to the roles.
The first pas de deux never was my favorite, I find it a bit too
acrobatic (however, it might be a problem of interpretation, a dancer
told me that in her opinion the interpretation had lost some details
since the company premiere, and so lost some of its magic). Both Fanny
Gaida and Clairemarie Osta were superb, very musical and flowing.
It made me regret that Gaida is going to retire soon- and made me wish
to see Osta more often in the Robbins repertory. It was nice to see
Benjamin Pech back on stage after a long injury, but I find the male role
not very rewarding in that pas de deux. In the second pas de deux, Agnes
Letestu and Jean-Guillaume Bart were supremely handsome and elegant
(and their beautiful lines were emphasized by the costumes), but
I found that they were a little bit too cold, some chemistry was lacking
when compared to the previous casts I saw (Arbo- Belarbi, Platel- Bart).
I had been used to see mature female dancers in the third pas de deux
(Arbo, Guerin, Vayer) and so it had a different tone with Dupont, who is
quite younger. But she was quite effective in that role, especially in the
second performance, and Wilfrid Romoli was great; the last moment of the
pas de deux was very moving.
"The Cage" was the only non-Chopin work of the program, and the contrast
with the other works was quite striking. After the romanticism of "In the
Night", I almost had the feeling I was seeing a Martha Graham version of
"Giselle" act II, from the same period as "Errand into the maze", "Cave of
the heart" or "Night journey": the Wilis have given up the tutus and the
buns and become amazons, Myrtha really isn't happy, and this time Albrecht
won't save his life! Am I right in assuming that the similarities (for
example, the novice having a veil on her face at the beginning of the
ballet) are not a coincidence? There were some aspects of the work which
looked a bit outdated to me (especially the costumes), but on the whole
in was an interesting work. Laetitia Pujol danced the Novice both times,
and though she looked very tiny next to the Queen of amazons (Delphine
Baey on the 24th, Agnes Letestu on the 28th), she managed to have some
great stage presence. She often is cast in roles requiring a strong
technique but little interpretation, and it was interesting to see her in
a different kind of role. The two men were danced by Jean-Christophe
Guerri, and Wilfrid Romoli- Nicolas Le Riche. Romoli was impressively
strong and virile, while Le Riche was more juvenile and soft. One of the
strongest point of the ballet was the excellence of the corps de ballet,
which was perfect from the beginning to the end; all 12 dancers deserved
to be praised.
"Other Dances" was for me the best moment of the program. I had planned to
see two casts (Hilaire- Guerin, Legris- Arbo) but, because of Guerin's
injury, saw only one. However, Legris and Arbo were so perfect that it
would be unfair to complain. I think that Robbins' works are among the
ballets which suit them the best: Arbo was wonderful when I saw her in "In
the Night" (third pas de trois) and "The concert" two seasons ago, and
Legris' "Suite of dances" last fall was one of the most enjoyable moments
of the season for me. (The more I see Legris, the more I like his dance.
I'd probably even enjoy seeing him just brushing his teeth...) Both were
wonderfully musical in "Other dances"; I especially admired Arbo's precise
feet and flowing arms, and Legris's joyful presence. Since then, Carole
Arbo has made her farewell performance (she'll turn 40 next fall). While I
find the direction has been very mean in not allowing her to make her
farewell performance in a full-length ballet, I think that her beautiful
performances in "Other dances" were a last proof of her qualities- and
given the very long applauses she received, I was not alone in thinking
"The Concert" was very successful, as usual. It was an opportunity to
see two new dancers in the "ballerina" role: Delphine Moussin, and
Eleonora Abbagnato (who has just become a premiere danseuse). I enjoyed
very much Moussin's performance, but wasn't really satisfied with
Abbagnato's: she danced well, but she is and looks very young, and
her "baby doll" look seemed somewhat unsuited to the role. I especially
appreciated Nathalie Aubin as the wife on Feb 24, and Lionel Delanoe
as the husband on Feb 28. Muriel Halle did a fine job in the role of
the "girl with glasses", which had been danced only by Laure Muret
(now on maternity leave) so far, and Eric Quillere was very funny
as the "shy student".
Much of the success of that program was due to the excellent pianist
Henri Barda, and to the Paris Opera orchestra lead by Hugo Fiorato.
[This message has been edited by Estelle (edited March 15, 2001).]
Posted 15 March 2001 - 10:51 AM
Jerome Robbins quoted in Repertory in Review:
I don't see why some people are so shocked by The Cage. If you observe closely you must realize that it is actually not more than the second act of Giselle in a contemporary visualization.
Even if some dancers I like very much (especially Romoli) will most probably never go beyond their present position, it is at least good to see them cast.
Leigh Witchel - firstname.lastname@example.org
[url="http://"http://members.aol.com/lwitchel"]Personal Page and Dance Writing[/url]
[url="http://"http://members.aol.com/dnceasever"]Dance as Ever[/url]
Posted 15 March 2001 - 10:53 AM
Posted 15 March 2001 - 11:24 AM
Thanks for the Robbins quote about "The Cage", so the similarities weren't a coincidence! Well, I think I prefer the usual Giselle.
Romoli won't become a principal dancer, but he still dances quite a lot. He danced Des Grieux in "Manon" a few days ago (there were some comments on ballet.co.uk).
Giannina, I understand your feelings- all the more as I feel the same when reading reviews about companies such as the NYCB, the Kirov... It's a bit depressing to know that Peter Boal is at the end of his career and that I will only have seen him a few times (in Edinburgh last summer).
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