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miliosr

2017-18 Season

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15 minutes ago, ballet_n00b said:

Does Gillot dance much classical ballet anymore? I don't remember her being cast in anything recently.

No, but it's a moot point as she's on the verge of retiring from the company.

Edited by miliosr

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On ‎1‎/‎16‎/‎2018 at 3:57 PM, Rosalie said:

I suspect whoever responsible to casting in POB has some misunderstanding on the story and its spirit. 

The casting has been consistently erratic under Dupont's rule of the company. By now this is a common knowledge. Cranko's Onéguine however is not exactly Pouchkine or Russian in spirit, and the casting to me seems much less controversial than for the last remnants of classics in the repertoire.

Great artists, like Pagliero, can be compelling in almost any role, including the ones for which they were not amply equipped by nature. I, for once, find Marchand, the current favourite of la directrice , to be a perfect choice for Onéguine, whose principal feature after all is that he was a young dandy, and Marchand is the dandy of the company. I am much less convinced that Bullion, who projects depth and sensitivity quite uncharacteristic of a dandy is cast as Onéguine too. Likewise for an unlikely Tatiana, Gilbert. We may be treated to surprises though, and I would certainly want to see Bullion in a major role again. On the other hand, Albisson and, yes, Park, seem to me to be well cast. I am much more inclined to see Albisson acting than dancing classics. Park may on the other hand project well naïve faith in love.

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9 hours ago, ballet_n00b said:

Does Gillot dance much classical ballet anymore? I don't remember her being cast in anything recently.

But there are videos of her classical ballet performances on YouTube.

I  must say, I thought I would see the superstars of POB in Emeralds in New York last summer, must cannot say that I was overly impressed. Rechecking the cast, the performances featured Pujol, Ould-Braham, O'Neill, Eun Park, Colasante, Baulac and Gilbert. Apart from remembering that I thought that Heymann and Marchand were two EXTREMELY good looking men, there is not much I can say about those performances, they left me largely disinterested. I am even surprised to see that Ganio was actually also among the performers I saw then, he did not  leave much of an impression with me, so I have forgotten he was even there. Although I had seen him at other times and found him to be outstanding.

Perhaps, Balanchine's choreography is wanting in terms of showcasing the considerable talents of the POB artists. But if Gillot no longer dances, I am afraid Pagliero is probably the only dancer at the POB I would specifically go to see live right now.

Edited by Fleurdelis

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It's been long since Marie-Agnès Gillot has danced a classial ballet , in Paris at least... I think it was in Cinderella in 2011. She has danced Myrtha in Giselle though in the 2012 US Tour and 2013 Australian Tour

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I think the company could have really used someone like Mathilde Froustey to headline its female ranks right now. I saw her a long time ago as Giselle and was awe-stricken.

And what I see right now, at least on videos which may be a very poor way to judge things, are dancers going through the motions, some better, some worse, but without any feeling, whether internal or outwardly expressed, I just don't see personalities. It is true that no personality can be above a company, but a company also needs personalities to maintain identity. Her departure for SF feels like it was a lose-lose for her and the POB.

Edited by Fleurdelis

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Looks like the promotions game at the POB is also complicated

Edited by Fleurdelis

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14 hours ago, Fleurdelis said:

I  must say, I thought I would see the superstars of POB in Emeralds in New York last summer, (...)

Perhaps, Balanchine's choreography is wanting in terms of showcasing the considerable talents of the POB artists. But if Gillot no longer dances, I am afraid Pagliero is probably the only dancer at the POB I would specifically go to see live right now.

There are no "superstars" in Paris left, if we talk about female dancers. Pagliero is not a superstar, she is a great artist. The only one in the company. Before, there was Ciaravola who, when she was retiring, was the only true, not paper, étoile. Currently, O'Neill is, I think, the strongest. Unfortunately, she is afflicted with an exceptional even for today's standards, lack of understanding of great classics. In her Odette (the only representation she was allowed by Dupont, by the way), she made an impression of somebody watching Swan Lake, just once, and long ago, in childhood perhaps, and later completely forgetting what was it about, to the point of even bursting onto the stage too early and after realizing her mistake quickly running back into the wings. Her "La Sylphide" would be more aptly named "La Courtisane". In 19-th century it would be proper to show it at one of the "boulevard theatres", not at l'Opéra. I don't recall of ever feeling so disappointed. She at least has strong technique, the vast majority of others lack. I know most of younger girls in the company and I don't see anyone who could develop. The best trained dancers, like Guérineau, are getting older, not better, and their opportunities for artistic fulfilment under Dupont became extremely limited; Giezendanner, I think, already gave up, a wasted talent.

I attend all public performances of l'École de danse, and the situation with females, especially when compared to the Vaganova, is simply depressing.

Froustey left because she was approaching that age when you simply can't wait for the success to come. I saw her Giselles. They were good, I wasn't awe struck. For me Giselle must radiate some kind of inner innocence or at least inner tenderness. Bereft of either, she felt like somebody capable to be in love only with herself.

What we are facing now in Paris is the total decline of the "ballerina". Courtesy of the combined efforts of Lefèvre and Dupont. Apparently, Aurélie Dupont wants to go in history as the last French ballerina...

Edited by Laurent
corrected spelling

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4 hours ago, Laurent said:

Froustey left because she was approaching that age when you simply can't wait for the success to come. I saw her Giselles. They were good, I wasn't awe struck. For me Giselle must radiate some kind of inner innocence or at least inner tenderness. Bereft of either, she felt like somebody capable to be in love only with herself.

There are different ways of approaching this. Froustey's interpretation of Giselle in the wilis act was that of an otherworldly ghost. And, unless I am missing something, supernatural female spirits who roam the forest at night looking to kill those who had done them wrong could be pretty dark and scary. Tenderness and innocence may have been Giselle's qualities while she was still alive, but now she was only a ghost, perhaps an illusion. Which is why her saving Albrecht is so remarkable, because he is essentially rescued by this ominous forest spirit who, incredibly, preserves the ability to love and to forgive. 

Maybe there was no tenderness in the first act, I didn't see it, but her wilis was incredible.

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On 1/20/2018 at 8:23 AM, ballet_n00b said:

Does Gillot dance much classical ballet anymore? I don't remember her being cast in anything recently.

Nope, just contemporary stuff, in which she is undeniably the best at (and everyone tries to copy her *cough* those russians *cough*)  there isn't a dancer tall enough to partner her in a classical work, unfortunately. :( 

 

Among the current étoiles I would only go to see Hecquet, the best technician among the étoiles, the woman hasn't got any acting skills but has super strong technique and glamour, maybe she would become our toned-down new Gillot. And of course La "Mimi" Ould-Braham, the most precious fairy.

 

Guérineau is exceptional and should be an Étoile, she could be an AMAZING Tatiana or Olga, but she will never make it, Giezendanner does not present in the concours anymore, the humiliation is not worthed. 

 

I don't know how Marchand, a boy in his twenties with absolutely no acting skills is going to be a believable Onéguine, Onéguine is supposed to exude authority, the only interesting thing about Marchand is his face. My cards are on all the other Onéguines, Ganio, Bullion (who should be spectacular in the final act) and Bezard should be very good as well, the casting of the Lenskys is SUPERB with the one exception of Dupont's other protégée. 

 

I reserve my opinion on the outsiders in the company, it's only Monday and I don't wanna have a stroke.

Edited by Gnossie

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I would've thought Marchand being in his 20s would be a good quality for playing Onegin, no? Since this is the character's age. I can't speak for his acting ability since I've never seen him. I like Ould-Braham, she's a doll (very mimi indeed!) and reminds me a bit of Kaptsova because of this quality. I haven't decided which casts I'm going to see yet, definitely Pagliero, who I see in everything, but I've started to take an interest in seeing multiple casts. I might see whichever has Marion Barbeau's Olga since I follow her too. I actually know nothing of this ballet, but Pushkin's novel is my absolute favourite and Tchaikovsky's opera too (which I saw Netrebko sing at Bastille last year). I've never actually seen Gillot dance, because I don't like contemporary dance. 

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Quote

90% of the dancers led by Aurélie Dupont do not feel they have a high quality management.

--> http://www.lefigaro.fr/culture/2018/04/15/03004-20180415ARTFIG00150-le-grand-malaise-du-ballet-de-l-opera-de-paris.php

"90% of the dancers of the company"
"90%"!!!!!!


Because absolutely everyone knows what's wrong except the INEPT people in charge of l'Opéra!


Although a cynic like me thinks they do it on purpose....:angry2::dry:

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The Le Figaro article is being discussed here:

 

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A "technical incident"? What could that be?

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a problem with fire stage curtain... They had to veryfy all the cables and changed some of them

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