Posted 19 February 2001 - 11:04 AM
Usually principals choose a full-length work for their last official performance (often "Giselle" or "La Sylphide"), so it's quite unusual to say good-bye in a mixed bill. I hope that Carole Arbo will be thanked by the audience on that evening... She became a principal dancer quite late, in 1993, at the age of 32, but had already danced quite a lot of big roles before then.
Other news: it was announced one week ago that Monique Loudieres, a former POB principal (now 45) had just become the director of the Ecole Superieure de Danse de Cannes (founded by Rosella Hightower).
Posted 22 February 2001 - 06:19 AM
The jury included:
-Five dancers (elected by their peers) : Lionel Delanoe (premier danseur), Yann Bridard (premier danseur), Nicolas Le Riche
(principal), Jose Martinez (principal), Nathalie Quernet (sujet), plus Jean-Guillaume Bart (principal) as a substitute.
-Five other people: Hugues Gall (director of the Opera), Brigitte Lefevre (director of dance), Patrice Bart (ballet master), Raymond Franchetti (former ballet master), Elisabetta Terabust (former director of the Ballet of la Scala de Milan). Substitute: Clotilde Vayer (repetitrice, former premiere danseuse).
The voting system is quite complicated- but it seems that in general, the decisions are made by Lefevre and Bart.
(The rest in another post).
Posted 22 February 2001 - 06:35 AM
A (*) indicates the dancers who got promoted.
I also indicate the free variations chosen by the dancers, and their approximate age (thanks to Catherine for the information).
Compulsory variation: Solor's solo in "La Bayadere", act II.
1- Jeremie Belingard (*) - L'Arlesienne (Petit)- 25
2- Karl Paquette (*)- Esmeralda pas de deux-
3- Emmanuel Thibault - Paquita, grand pas- 26
4- Christophe Duquenne - Notre-Dame de Paris (Petit), Frollo- 29
5- Yann Saiz - Marco Spada (Lacotte)- 27
6- Herve Courtain - L'Arlesienne (Petit)- 28
Compulsory variation: Les Mirages (Lifar)
1- Herve Moreau (*) - Paquita, grand pas- 24
2- Alessio Carbone (*) - L'Arlesienne (Petit)- ?
3- Bruno Bouche - Romeo and Juliet (Nureyev)- 23
4- Nicolas Paul - Raymonda, Abderam variation (Nureyev)- 20
5- Jean-Christophe Guerri - Portraits de danseurs (?) - 33
6- Vincent Cordier - Giselle (Ek) - 27
Compulsory variation: Giselle, Albrecht's variation in act II.
1- Mallory Gaudion (*) - La Sylphide (1st variation of act 2) - 23
2- Stephane Bullion (*) - Swan Lake (Nureyev, Rothbart variation) - 21
3- Alexis Renaud - L'Arlesienne (Petit) - 24
4- Jean-Sebastien Colau - Grand Pas Classique - 23
5- ? Bertaud - Spring and Fall (Neumeier) - ?
6- Adrien Bodet - La Sylphide (1st variation of act 2)- ?
(Bertaud and Bodet entered the company this year, both are very young).
Posted 22 February 2001 - 06:45 AM
Compulsory variation: Raymonda, act I, Valse fantastique, variation of Raymonda (Nureyev)
1- Eleonora Abbagnato (*) - La Bayadere, Nikyia's variation in act II- 21
There was no ranking for the other dancers. There was supposed to be another available position, but nobody got promoted.
Compulsory variation: Don Quixote, act II (Nureyev)
1- Melanie Hurel (*)- La Bayadere, Nikyia's variation in act II- 26
2- Muriel Zusperreguy (*) - Giselle (Ek) - 23
3- Caroline Bance - Esmeralda pas de deux - 23
4- Marie-Solene Boulet - Notre-Dame de Paris (Petit) - 23
5- Alexandra Cardinale- Suite en Blanc, la cigarette (Lifar) - 25
6- Myriam Kamionka - Les mirages, variation de l'ombre (Lifar) - 28
Compulsory variation: Raymonda act I, valse fantastique, variation of Clemence (Nureyev)
1- Veronique Cabiac (*) - The Four Seasons,
Fall variation (Robbins) - 27
2- Aurore Cordellier (*) - La Bayadere, Gamzatti's variation in act II- ?
3- Juliette Gernez (*) - Le Corsaire, slow variation - ?
4- Celine Palacio - Vaslaw (Neumeier) - 29
5- Dorothee Gilbert - Arepo (Bejart) - ?
6- Lise-Marie Jourdain - Paquita - 23
Cordellier and Gilbert entered the company this year, and Gernez entered the company last year, all are very young.
Posted 22 February 2001 - 12:04 PM
p.s. please imagine appropriate accents
Posted 22 February 2001 - 12:33 PM
Also, all dancers (except etoiles and premiers danseurs) in the company can compete for the competition, but in their category (i.e. a quadrille can't compete to become a premier danseur).
There's a review by Rene Sirvin about the competition at:
Also, there have been numerous posts about it on ballet.co.uk today (several posters attended it).
Belingard and Abbagnato's promotions are not a surprise at all. Actually, Belingard was expected to become a premier danseur last year, but he got injured a few days before the competition, and the direction chose to promote nobody. Abbagnato had become a sujet just last year, but even when she was a coryphee she was given big roles. It is an understatement to say that there have been many heated discussions on ballet.co.uk about those two dancers...
The promotion of Paquette is more unexpected, as he hasn't dance many interesting roles yet. Recently he danced Inigo (the bad guy) in "Paquita". Though his appearance might be well-suited for prince roles (tall, slim, blond), he seems to be better in character roles.
In his article, Sirvin regrets that Thibault didn't become a premier danseur. Most people on ballet.co.uk agreed that he had done excellent variations (however, some say that he doesn't have the qualities to become a premier danseur, and especially that he's not considered as a good partner).
There seem to be debates about the male coryphees too, as Moreau fell in one of his variations (and on the other hand, several people praised Nicolas Noel, who wasn't even ranked).
One thing everybody seems to agree about is that the promotion of Melanie Hurel was fully deserved (and that it should have happened much earlier).
Posted 22 February 2001 - 02:48 PM
I can add one small fact about the competitions. They go way, way back -- Marie Taglioni was one of the original judges. The Paris Opera always had a very strict hierarchy. Ivor Guest writes about it in "The Romantic Ballet in Paris." In these pre-union times, there restrictions in a dancer's contract according to rank. For example, if you were a certain rank, you could not be forced to dance in a group of eight (think Giselle's friends). You could only be in a group of four, or six.
They also had a very fair system of debuts, I believe. You were a pupil, and then you got to make your debut. You were given three "pas" and had two chances at each of them. That's fairer than our own system today, I think.
Thanks again, Estelle.
Posted 23 February 2001 - 05:06 PM
Posted 24 February 2001 - 04:57 AM
Posted 09 March 2001 - 08:18 AM
There is a thread about it on ballet.co.uk:
She will turn 40 next October, but it seems that anyway the direction refused to cast her in any other program until then. It's quite a pity that a principal, who has spent more than 20 years in the company, wasn't given a real farewell performance.
Posted 09 March 2001 - 10:17 AM
Posted 09 March 2001 - 12:00 PM
Posted 09 March 2001 - 01:05 PM
It was also posted on ballet.co.uk that she might have been offered a teaching position at the POB school by Claude Bessy.
Marc: from a recent interview of Nicolas Le Riche, it seems that both Fanny Gaida and Isabelle Guerin will have their farewell performance in "Romeo and Juliet" (both partnered by Le Riche). Probably Guerin has changed her mind and has preferred to dance as many roles as possible... Before that, she's supposed to dance in "Manon", but she's presently injured (I was supposed to see her in the Robbins program but she didn't dance the days I attended it ) and so the dates have been postponed as much as possible, hoping that she'll be back in shape for the last performances of "Manon". Fanny Gaida will also perform in the Kylian program.
Posted 09 March 2001 - 01:18 PM
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