Originally posted by alexandra:
Other examples. A small one -- Washington Ballet was known for years by "Fives" and people are still angry that they don't get to see that now. (New directors fire not only dancers but ballets.)
I think one of the things POB fans reproach to Lefèvre is that "Etudes", "Palais de Cristal" and
the Lifar repertory have been absent from the repertory since her arrival. It's interesting to read that "Etudes" was mentioned in that thread about ABT, the Royal Danish Ballet and the London Festival Ballet; I've never seen it (it was last performed just before I started attending POB performances regularly) and don't know which style it had in Paris, but I've often read articles in French dance magazines mentioning it as a POB signature piece (also, I believe the Paris version
is a bit different from the original Danish one).
For "Palais de cristal"/"Symphony in C" it's a bit the opposite of "Etudes": for that one, the French version is anterior to the American version... I wonder if there are real stylistic differences, and if Balanchine used some characteristics of the French style when creating the ballet? (By the way, I think that it's a pity no POB director has ever considered adding "La Source" to the repertory, as it is a homage to the French school...)
Watching the current POB repertory, it's hard to find a real "signature piece" (again, the homogeneization of the repertories...) Nureyev's productions of the classics are danced a lot every season- well, personally I don't like much his choreographic style, but perhaps it's become typical of the POB...
The work which has been performed the most often in the company's history, with a continuous tradition since its premiere, is "Coppélia", but there have been so many changes in productions (and the production which is danced now, by Patrice Bart, has very very little to do with the original, and it seems that there is no intention to revive a more traditional production) that it doesn't mean much.