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)

Don Q.- as viewed by an American in Paris


  • Please log in to reply
22 replies to this topic

#16 Estelle

Estelle

    Platinum Circle

  • Foreign Correspondent
  • PipPipPipPipPipPipPip
  • 1,706 posts

Posted 22 May 2002 - 01:25 AM

Viviane, the problem with Bastille is that one always feels far from the stage! :) (On the other hand, even from the cheapest seats one can actually see the stage, which is not the case in Garnier...)

Could you tell us a bit more about the Legris- Pujol performance? And also about the dancers in the secondary roles?

#17 Viviane

Viviane

    Senior Member

  • Senior Member
  • PipPipPip
  • 118 posts

Posted 22 May 2002 - 01:38 AM

Estelle, being so far from the stage was not my main complaint...I was sitting not even halfway the row..and had a restricted view !
Glad I did know there were windmills on stage :) I'll never book through the Internet again !
Please, be a bit patient with me today, I'll be back later with some comments :)

#18 katharine kanter

katharine kanter

    Senior Member

  • Inactive Member
  • PipPipPip
  • 207 posts

Posted 22 May 2002 - 01:49 AM

It makes me very angry - I bare my teeth and GRRRRRRRR - when I think about extremely able people, like Irina Zhelonkina, swept into the background by that trampling horde of 1980s tricksters.

One has only to compare the careers of Sylvie Guillem, and her compatriot, classmate and contemporary Elisabeth Maurin, the latter being an incomparably finer artist - and technician.

#19 Estelle

Estelle

    Platinum Circle

  • Foreign Correspondent
  • PipPipPipPipPipPipPip
  • 1,706 posts

Posted 22 May 2002 - 01:53 AM

Oh, sorry, I didn't know that there were such bad seats in Bastille. So far I had never had a restricted view- I guess I was lucky! Sorry for the misinformation.

I'm looking forward to reading the rest of your comments.

#20 Viviane

Viviane

    Senior Member

  • Senior Member
  • PipPipPip
  • 118 posts

Posted 25 May 2002 - 12:21 PM

Estelle, sorry it took some time to come back to you :D
First of all - more general - I like to say that I loved the production very much.(mind, I have never seen DQ before, exception for the recent RB-version on video :)).

Against other thoughts, I adored the scenery and atmosphere from the settings : a tremendous love for details, good perspectives, numerous plans, an impressive created space and a fine evocation of the Morish style.
And, all this enchanted by a magnificent lighting ! On Friday, I had a good seat and could admire everything from very close.
A pity it seemed I missed out on a part : there were some technical problems at the start of the dream-part on Friday and on Saturday this was solved by a black backdrop.
Nevertheless : a scenery in a great style, typical for the Parisian Opera.
So were most of the costumes, which seemed a bit of a problem for many spectators. The design and details were fabulous, apart from some remarks on colours and exact execution of the designs (gypsies and spanish female costumes).

As I already told you I have seen DQ with Pujol/Legris on Friday 17th May. And I preferred it far way out above the Vishneva/Martinez on Saturday.
It was extremely nice to have a balletticket and to hear some weeks later that the leading ballerina is promoted to principal. :)
Pujol is a very pithy dancer and she brought us a lively Kitri.
She was completely at ease and in command of her role in the first Act. In contrast, in the tutu-dances I prefered Vishneva because she seemed more under control : no wonder, she's dancing this role already for years.
No doubt : Manuel Legris made my evening ! Oh dear ! What a dancer, what an actor...he is magnetizing, I was completely carried away !
He was simply enjoying himself on stage and projected his character to the audience in a stirring way.
And he and Laetitia Pujol were a perfect match : he had no problems in showing us : " this Kitri is mine" !
It was a pleasure to see Bélingard's gypsy, he was very convincing, what a panache ! A bit of a revelation to me, after his 'soft' prince in Paquita last year.

Apart from the leading roles, the performance of some other dancers was less satisfying : I didn't understand the casting of Nathalie Riqué as the Streetdancer and I want to forget quickly Emilie Cozette as the Queen of the Dryades and Mélanie Hurel as Cupidon.
I hardly dare to say it : I love Nureyev's choreographies. Sometimes appartently a bit "messy" but so rich in dancing, dancing, dancing !
I have to agree, the choreography of the toreadors is not a splendid part and more : although miles better than the RB-ones, the Parisian toreadors need a masterclass with Antonio Marquez ! I missed real Spanish passion ;)

On Saturday, José Martinez surprised with some breathtaking, extremely long balances (hope this is the right word ?) and I was stunned by his manéges. But, I can't help it : I don't like the slow-motion effect of his long legs in a lot of passes.
Sadly I only saw two extremely talented dancers on stage, but not a couple with some chemistry and magic between each other. And to finish, allow me to send a bravo to Laurent Queval's Gamache : he was outstanding :)

#21 Estelle

Estelle

    Platinum Circle

  • Foreign Correspondent
  • PipPipPipPipPipPipPip
  • 1,706 posts

Posted 25 May 2002 - 12:51 PM

Thanks for your review, Viviane! And now I regret even more not having seen Legris...

About Nathalie Riqué: I was not extremely impressed by her either, but perhaps I'm more indulgent, knowing that she's been absent for three years for severe health problems, and that she's about 37- so it might take her some time to recover fully, and it's already quite an accomplishment to come back on stage after such a long absence. But perhaps another role would have been more suited.

Emilie Cozette is a very young dancer (she's 20)
and has been cast a lot recently. I wasn't entirely convinced by her Queen of Dryads, which was technically OK but a bit cold in my opinion, and from what I've read the level of her performances varied quite a lot, some were very good and some weren't... Perhaps it was a bit too much pressure for her?

I agree that the toreadors might not have been "Spanish" enough... Perhaps it's a bit too hard for the POB dancers to forget their usual style?

#22 Viviane

Viviane

    Senior Member

  • Senior Member
  • PipPipPip
  • 118 posts

Posted 25 May 2002 - 01:11 PM

Estelle, thanks for some 'inside-information'.
I had no intention at all to be harsh, it was only my impression of the moment. I'm always hoping to be surprised by dancers in another ballet or another character and role that suits them better :)

#23 Marc Haegeman

Marc Haegeman

    Platinum Circle

  • Editorial Advisor
  • PipPipPipPipPipPipPip
  • 1,027 posts

Posted 26 May 2002 - 01:38 AM

I don’t think you were that 'harsh', Viviane. Quite a few of the supporting roles (Queen of the Dryads, Cupid, last act variation, Street dancer) in these casts were indeed disappointing. We had the same problem last Winter with the Bayadères, when the role of Gamzatti looked at times seriously neglected by the casting department.
I don’t think it’s a question of age, as Estelle mentions, it’s rather the ability to pick the right one out of the masses to have a crack at the big role. And not everybody is a Nureyev to make that judgement.


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):