Viviane

POB has a lot of valuable sujets (male and female), I think. And this is not surprising : the ranks above are the top of the pyramid ! Past months, I was lucky to see more of Carbone, Saiz and very recently I discovered Thibault ! What I saw of him was enough to make me travel to Paris again next week I promise to look out for Duquenne too, Francoise !

Katharine, I'm afraid I can't follow ! Isn't Eks 's "Appartement" performed on the Garnier-stage too this time ?

Has someone seen todays matinée with Emmanuel Thibault replacing M.Legris in Rubies ? I'm dying to hear more !

Earlier this month, I found a similar, disappointing interview with Diana Vishneva in Dance Europe. After reading them I ended up with nothing else than questions. Aren't interviews supposed to learn something more about a dancer rather than idolizing paperfilling? It seems that nowadays the contents of interviews are often in sharp contrast with the colourful glamour pictures that are provided with it. It even made me decide to cut drastically in my purchases of (glossy) magazines ! (Two will remain without doubt : DanceView and Dance Now ;) ). We all know that a renowned dancer like Vishneva has a hectic life, yet to my mind it's the interviewer's task to create a real dialogue with the dancer, by using thought-provoking questions. That didn't happen in any of the interviews here. For instance it would be a lot more interesting for a balletomane to hear something about Vishneva's work with her coaches, and not just their names, but rather what she actually learns from them (I can't believe that she is placing them on the same level as a videotape, while in the Dance Europe interview she doesn't even mention them, but talks about all the prizes she received.) That would have been more interesting than to read she is waiting for invitations from NYCB and Royal Ballet, or about the roles she is hoping to dance. And where are we going if one of the Kirov's top ballerinas can't even give a straight answer about the situation of choreography in Russia or to what constitutes the strength of the Mariinsky Ballet and of the Vaganova system? - Altynai ! Help ! Maybe I don't need to search for answers in magazines and should ask for them here on the forum?! ;)

During holidays I simply couldn't resist the open-air performances in Italy, so I started to take my children to the ballet at age 4 and 6. I remember my eldest daughter, hardly breathing (!) and mesmerized by "La fille mal gardée"...while the other was playing in the sand of the old Roman Theater ;) I was convinced it had something to do with age...but after 11 years, nothing has changed ! She goes wild about movies and animation, read masses of books and started recently to see drama....but no ballet ! In the meanwhile her sister is in fulltime ballettraining....

Estelle, I didn't meant 'restrained' applause (maybe I've put it wrong ?). On the contrary the audience was very enthusiastic, as most of the times I've been in Paris (always a lot of tourists too !). I'm not so happy about the fact that someone backstage decides -often too soon- to close the curtains and turn-on the lights as if one is limited in the allowed applause-time !? Most artists 'lives' from the applause too, don't they ? Although Letestu and Martinez didn't seem to care much about it, one should allow the public to express their enthusiasm. The picture -with the man in black - recalled me of one of the topics of my 'post-performance talk' : some members of the orchestra were talking and laughing the whole way through the performance... I'm not used to sitting so close ! I saw it as a lack of respect for the conductor !

"Somehow life tastes better when I dance" Rudolf Nureyev said once, and I can't help it : everytime I enter the Parisian operahouse Garnier some little voice inside me whispers : Life tastes better when you go and see dance So about two weekends ago I was thrilled to be there for two performances of the brimming "Paquita". Although fate had strucked again, this time disguised as late cast-announcements so that I found myself with a ticket for the Letestu/Martinez cast that I rather wanted to avoid ! Never mind, despite the poor plot and some 'cosmetic' problems, I adore this ballet ! Raving reviews (Jeannie's was one of them !) made me even travel to Paris -without ticket (!)- a couple of years ago. What can go wrong with a ballet full with sparkling dancing, amazing scenery, crowdy tablaux and gorgeous costumes ? My ballet-treat started on the 24th.January with Laetitia Pujol as Paquita and Manuel Legris as Lucien. I you have ever seen Pujol, you easy can imagine with what kind of enthusiasm she tackles this role. Although I'm still convinced that her nomination as Etoile can be discussed (the same with some of the other recent nominations !), I love this dancer : quick and witty with a solid technique (apart from some careless points). And it was hardly a surprise to discover what an amazing good actor she is ! I found myself smiling at the 'hide behind cupboard-scene', laughing when she clashed the dish onto the ground in an overenthusastic way.... Her mime-play with Legris was fantastic, I had no complaints about 'non-projecting into the auditorium', comments I heard afterwards. She was a convincing Paquita and no money on earth could prevent her from protecting her Lucien against all bad intrigues. I did saw the Pujol/Legris - 'Don Q' too some months ago, and these dancers really make a perfect match. A pity the casting of Inigo missed all effect : Gil Isoart seemed more to be Inigo's little brother and not a resolute, brute leader of the gipsy's. My greatest surprise of the evening came with the famous 'pas de trois', better to say : with the male dancer of this trio : Emmanuel Thibault. Even more elegant than his accompanying ladies (Nolwenn Daniel and Géraldine Wiart), this dancer really impressed me. And so was the audience : spontaneous applause and cheers in all ranks ! Afterwards, my excitement turned into disbelieve when I had to search for his name somewhere in the sujets-ranks I had just seen -after a long while- a dancer with an incredible 'ballon' : his jumps are from another world (!), an artist with a massive 'projection' to the audience...and -for some reason- someone behind the scenes in Paris, considers his shortcomings more important than the positive sides of his dancing ? I would travel to Paris to see only him in the 'pas de trois', time and time again... ! Don't worry, in my enthusiasm for Thibault I don't forget about Manuel Legris ! He is one of my favourites : a stirring performer, a real artist who put his character on stage with conviction...the joy he had himself from dancing the role of Lucien, sparkled onto the audience ! Why oh why is applause so 'measured' in Paris ? After one curtaincall the lights are inexorable : that's it, you can go home ! On the 25th, I was pretty well surprised by Letestu/Martinez this time. There could not be a greater contrast with the performance I saw the evening before, but that's life Being partners in real life too, I haven't seen a better dance-partner for Martinez so far. First of all, Letestu has a lot of personality and she added so much detail in her dancing ...hmm...that's why she's a real "étoile" ? The difference with Pujol's reading of the role was obvious. Letestu's gestures were very refined, complex and so was her Paquita...refined and (a bit) reserved ? A reserved Paquita, that's not how I dream this role ;) but it was a perfect match with Lucien, a very noble prince : dignified... but where was the joy for life ??? As much Agnes Letestu surprised me with her dancing, so much I was disappointed by her acting. On this point her performance failed completely : she really needed some better coaching in this !? Karl Paquette's Inigo came closer to my view of the character. He was -at least- a better actor than Isoart the night before, but it puzzles me that POB seems to have difficulties to fill-in this cast as it should ?!. Not an exceptional pdt this time, but again the male dancer was -far out- the better one. Italian-born Alessio Carbone danced with vigour and his everlasting enthusiasm is always exciting ! I have fond memories of his dancing in Copenhagen, last September. Someone to watch : he's going up the ranks effortless. This Paquita ended as it started : with a lack of emotions ! Even when the principal dancers received their applause at the end, one could wonder if it bothered them They seemed so very distant. Such artists, but on emotional-level : completely blank ? Maybe it's just me, what did I missed here ? Overall I loved the performances I saw, everytime a good opportunity to see other -not so welknown-dancers (and finally learn their names !). Paquita is a gratefull ballet for this : the villagers-dances, gipsy's and spanish dancers, the dances at the Ball with some familiar names of the Paris Opera Ballet-schoolperformance last year. The Polonaise, immaculate danced by the (very young !)children of the school and the Grand Pas, with an outstanding Miteki Kudo ! Oh dear I'm already getting nostalgic about it ...I only can hope to be in Paris again soon, always in search for the 'perfect' performance To end : coincidence served me a little treat (to make goodbye less difficult ?) : just before I left I was able to see some extracts on TV of the Nureyev-gala : bits of Hilaire and Leriche, Sylvie, the Corps in Swan Lake and a glimp of the famous "défilée" (oh dear : once, I have to see this in real !). Who said "Life tastes better when I dance" ? ;)

It was easy to find the right thread for this I'm a big fan of Marc Haegeman's interviews in 'Dance View' and 'Dance International' and just discovered that the Pavlenko- interview (summer/fall issu of D.I) is on-line now ! A real treat that I have to share with you all : http://users.skynet.be/ballet-lovers/Interviews.html Enjoy !

Alexandra, I noticed the wealth of secondhand bookshops in Copenhagen last September ! It was frustrating that shops closed on Saturday-noon until Monday-noon...and so I had no possibility to visit them Cygneblanc, lucky you that you have not to pay in France...in Belgium they seem more persistent I'll try your recommendations ! Thank you !

As far as I know, you have to pay VAT on books with prices above 25 Euro ( 26 Usd now) but no import-costs. Sometimes you're lucky and a parcel passes customs without notice and sometimes the mention 'secondhand book' is also a help ! Those 6% VAT is not much, but sadly they calculate also delivery-costs ! So I had to pay recently for a book of 31 Euro, 2,34 Euro Vat...and 8.68 delivery-costs Alexandra, there is still not much going on concerning good secondhand book internetsites in Europe I'm afraid. Well- apart from some in UK- I don't know of many ! Suggestions always welcome !. You can always try Dancebooks. (www.dancebooks.co.uk)

Because I use a 'carrier' on my office-phone, I can't reach telephone-services for wich I have to pay...using my mobile is an extremely expensive call ! The on-line booking has always been fine...until now

Thank you Estelle ! I'll try again...and again...and again... Same problem with the on-line booking in recent days ! I can't finalize bookings...and have to wait minutes before the places are 'free' again

Can one of the Parisian posters help me with the telephonenumber of the boxoffice ? The number (0892899090) from the website and the number (0869697868) I received from a friend, are no longer functioning ???

Grace, the only emailaddress I could find (at your website) seems not to work ?

LMTech, I think I can compare the French and British schools a little bit. Unfortunately there is no real, big difference apart from the moral treatment in UK to be more subtle ! (the treatment from students to foreign children being worst !) Those official reports in UK are -to my opinion- worthless. Although I have to admit to be very impressed by it at the beginning ! Reality proofed something totally different !. (I don't care much about a bulb missing and a toilet that can't be locked !) Those official inspections are announced in advance, so the students are perfectly briefed and even getting Pilates-lessons...first time in 6 months ! It's not the system you can blame for everything, but -most important- the individual input of the teachers and the support they get from the management. If only 2 in a lot of 8 are working with the "whole" class, one can start asking questions ! If you're paying 15.000 GBP a year for that and have to be appeased with a brilliant official report, while your child stays a whole year in a leaking dorm....I don't think the UK-schools are better or worser than the French ones. (I'm not talking White Lodge now) Practical, boarding in UK is in terms of 6 weeks, with 1 free weekend in the middle, where in France (apart from some exceptions) it's a weekly boarding.

This cookbook is currently offered on Ebay : http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...item=2900347051 ...sadly, too expensive...to my taste

Just discovered an older video (taped from tv) of Cranko's Onegin and performed by the National Ballet of Canada. I'm missing a little bit of the intro and has no clue about the dancers ! Must be +/- 15 years old ? Can someone help me ? thanks !

In the mean time I've found this at the Biennale di Venezia : http://www.muar.ru/exibitions/2_biennale_11.htm Please, do see also the New Holland-project ! And let me emphasize this quote : "The Ministry of Culture has taken an emphatically neutral position. Gosstroi has been forced to declare readiness to hold a competition for a project for the theater. This will be an architectural competition unique in history, where the goal is not to receive the best design but to provide defense against the onslaught of a foreign project. "

NO7, I think we saw a different performance ! For some reason, castchanges makes me bump into Vishneva time and time again. So, it was for the Kirov's European première of their new Bayadère ! And...as it was with past performances (Manon, Don Q.)...I saw Vishneva dancing Nikiya...and there it ends : no -or to be more kind- an uneven portraying of the character of Nikya Vishneva was no submissive bayadère, she even more looked like a proud princess (not to mention the too elaborated headdress and clothes !) and I found no emotions towards her excellent partner Fadeyev. Before you all jump onto your horses : I do admire her brilliant technique. This time I was flabbergasted when she turned on her 'turbo' in the dazzling quick bits in the last act. But -to my humble opinion- this makes her more suitable to "Jewels" and other show-off dancing ! Apart from some slow bits in the first acts, some odd costumes, struggles with attributes and silly 'walk-ons', I love this production. I wasn't bored for one minute and the fourth act seems a valuable addition to me : a real climax. I must mention the orchestra too : five stars for a superb, stirring execution ! And to end : it was such a fine surprise to see the wonderful Vaganova-students, an extra present to a wonderful evening !

Allow me to point out a marvelous piece in the October Issue of Ballet.co Magazine : http://www.ballet.co.uk/magazines/yr_02/no...iel_jones_1.htm "We" were : Christopher Hampson, Christopher Wheeldon, David Fielding and Daniel Jones...

Choreography make part of the dance-education in the RBS. (and I'm sure in lots of other danceschools too ?) The annual choreographic contest is always a 'big event' for the White Lodge students. Sadly I have noticed that -obvious talented- young choreographers, couldn't make it into the Upper School. Personally I think a choreographic 'segment' -nutured in the different existing Upper Schools- is a good idea. (a small-scale initiative to keep safe the diversion !)

Kevin, I still consider the job as an independent one and an architect need to act like that too ! With 'pleasing clients' only, you're walking on a very dangerous path...most of the televisionstations are doing that aswell I do agree though -never bend for money- is not the easiest way ! There is nothing wrong with trying to attract arts-lovers and creating a new landmark ofcourse, but on this scale things can run out of hand. And you need a designer who has a subtle sensitiveness towards the existing environment, a profond knowledge of the history of the site, a master in jugling with proportions not someone who simply wants to impose his own mark. And I want to add : 'pleasing clients' can't be a good excuse to make a bad design !

NO7, sorry but I can't follow you on this. I always consider it one of the tasks of an architect to 'educate' his clients ! And -to be honest- this is not the best we have seen from Moss so far ?! Think that's a major problem here ! The aim to create a building with a Bilbao-effect, one that need to be 'the talk of the town' (read : world). Mr.Gergiev even mentioned somewhere that he hoped to attract investments by choosing an architect with international fame.

Architectural projects have always been used to express power. And a lot of the top-architects are such big 'ego's' that they are more than willing to work out these alarming ambitions. Indeed Patricia, it's not the fact that it is a modern design that causes the problem here. More, I'm convinced that when building in 2002, you have to express your own period, but with respect for the build-environment and history of the site. I've read that execution has to start next year ! I really hope some people overthere will realize that they certainly need more time for a definitive decision. A decision that will mortgage this special place for the ages to come ! Estelle's example of neglecting the study about the specific required techniques, is another major problem in that kind of 'statement'-architecture and the hustle to get the project ready before a third dog runs with the bone ! I'm eager for reading some Russian thoughts about this project !

Owen Moss is famous for his interest in combining materials and his constant experimenting with complex structures. This design has some reminiscents to Moss's award-winning fine project for the "Queen's Museum of Art"in New York. It's difficult to judge a project on so few documents. Plans and sections have to be seen as one entity. But -from what we are able to see here, it's not very promising to say the least Have a look at another angle : http://209.132.244.26/gallery/moss.shtml# This one is even more thought-provoking as hiding the massiveness of the building seems to be impossible here ! I've read somewhere : "...Moss intends to 'feed L.A.to the world..." ! Well, I suppose St.Petersburg isn't waiting for this And it's not all about the reconversion of the Mariinsky, the project includes the rebuilding of the whole New Holland area across the Krukov Canal. (see the last two pictures in the main-posting) As so often with Moss, we see an unconventional buildingstructure and a total negation of the -in casu, necoclassical- surroundings with little of no respect for the negative space. With lots of complicated technical details, I hope they don't forget about the perfect 'machine' a theater need to be. I have no clue about the phase in which this project is, let's hope the federal government understand the importance of an international architectural contest. And why, oh why..are they neglecting the existing Russian creative potential ? We only can hope for a reaction from the Unesco : the centre of St.Petersburg belongs to the Worldheritage since 1990. If you are interested in a recent interview with the architect on the St.Petersburg-project, listen here : http://www.savvytraveler.org/show/features...nterview2.shtml