Posted 21 January 2003 - 02:55 AM
This evening began with Grand Défilé du corps de ballet in spite of an evident lack of rehearsals and the fluctuating lines, he allowed us to see again in this magnificent walk, the female etoiles which left it too fast as Isabelle Guérin, Elisabeth Platel and especially Monique Loudières more applaused than all the others.
A movie made on original ideas from René Sirvin and told by Laurent Hilaire, allowed us to see some Rudolf Noureev's images at the top of its glory, few new images, but the key moments of its career, his freedom in 1961, Marguerite and Armand, Swan Lake with Margot Fonteyn, to arrive at Bayadère.
The evening really began finally, one can consider that this honoring consists of several parts(parties), the second readings of the big classical authors, the original choreographies and the roles standing out with the dancer.
The evening thus opened on the variation of the Raymonda's act III "La claque", danced by Elisabeth Platel who missed a little of presence, but reminded us, that Nureyev wanted a "noisy" version of this variation and not a silent variation. Then it was the pas de deux of Nutcracker where Clairemarie Osta was brightening notably in her sauté on points, light, immaterial, regrettably Laurent Hilaire was a little bit absent as partnership. Followed a new second reading with the Don Quixote's Adagio by Laetitia Pujol and Eric Vu An which relieved unwell Nicolas Le Riche but could only assure the Adagio and not the variations. If Eric's noble look, reminded us the big style imposed by Nureyev, the visible lack of rehearsals cruelly was smelt notably in pirouettes.
After some revival re-choregraphied, arrived original choreographies, it was at first, balcony pdd of Romeo and Juliet. If Elisabeth Maurin showed all the qualities of Nureyev's eoile, with a unique style, a youngness, she suffers from Alessio Carbone's performance, recently promoted first dancer and very disappointing in Romeo, very rough receptions in his double assemblés.
The magic moment of evening with Monique Loudières's appearance, more graceful and lyric than never came, she was incomparable in the pas de deux of Cinderella's stool beside a Jean - Guillaume Bart which was not without calling back by its elegance and its style, Manuel Legris. What moment of big emotion !
First part ended with the first honoring to Nureyev as dancer and presented Les Chants du Compagnon errant of Béjart with the enemy brothers of formerly Laurent Hilaire and Manuel Legris. At the top of their art, they were the magnificent interpreters of this pas de deux, Laurent Hilaire upsetting, merciless Manuel Legris, magnificent honoring returned by both Nureyev's etoile to the one who made of them both bigger male Etoiles of the Opera !
Second part always dedicated to Noureev dancer allowed to admire Marguerite and Armand created by Frederik Ashton for Margot Fonteyn and Rudolf Nureyev and danced for this evening by Sylvie Guillem and Nicolas Le Riche. This ballet which tells the history of Camilla, is an intimist work, and grand at the same moment. Far from the usual Parisian performances of the renegade etoile, Sylvie Guillem offers us alternately triumphant, loving, wounded, dying Marguerite, with the same happiness, her play is differentiating and perfect, and the ballet allows us to discover in France a facet underestimated by its talent. Beside her, Nicolas Le Riche pulls passionate one Armand, but if the technique is impeccable, everything is very well-trained, his game is by too much exaggerated notably his entrance and especially his despair to Marguerite's death and its noisy sobs. Anthony Dowell made his debuts on POB stage being Armand's father with his dignity and his trouble.
Last part showed us Noureev's various aspects, amator of all the kinds of dance including baroque dances in an extract of Bach Suite 2 masterfully interpreted by Kader Belarbi who chiselled all the steps.
It was as well the honoring of the corps de ballet with the Swan Lake Polacca settled for the boys of the corps and danced with one accord. The famous Pas de trois of the black swan remembering that Nureyev was a theater man, with his conception of Rothbart's male role. Agnès Letestu, José Martinez and Wilfried Romoli were brilliant in this however theatrical extract it is in the adagio for the endless balances or in their chiselled, perfected variations. A pure moment of happiness.
The evening ended on shadows act of Bayadère, last ballet choreographed by Rudolf Noureev for POB before his death, the feminine corps de ballet honoured the choreographer with a perfect ensemble completed in the famous descent of the shadows, this act allowed us to find Isabelle Guérin beside Jean - Guillaume Bart. Regrettably it was not the best Nikya of the etoile, the technical problems are too visible for whom saw her since the creation, Jean - Guillaume showed himself an attentive partner and a virtuoso brilliant Solor notably in the redoubtable maège of double assemblés. Nathalie Aubin, Mélanie Hurel and Eleonora Abbagnato to dance the three shade variations If Eleonora dominates the trios by her grace and her presence, she danced her variation without "brio", Nathalie Aubin dances with her usual mastery first variation and the young première danseuse, Mélanie Hurel doubtless galvanized by her unwaiting title was astonishing of virtuosity and technique in second shadow which descent of statements on pointes !
Evening ended by all the protagonists gathered for endless saluts under the bravos of a public conquered by the talents of our dancers in particular the famous generation Noureev !