Viviane

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

Estelle, sorry it took some time to come back to you 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

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

I was in Paris last weekend and saw Vishneva for the second time. After her "Manon" in Covent Garden -about a year ago- I was lucky enough to see her in DQ. Again in a ballet-production I am not familiar with...first time I've seen it live.... Despite a bad seat (second row, 1st.balcony-left...I felt miles from the stage ) I have enjoyed the performance. Although found the cast Vishneva/Martinez a bit strange. (preferred the Pujol/Legris-one on Friday ). Well...what can I-with my limited ballet-knowledge- say about Diana ? I was simply stunned by her technical ability, she is an amazing quick dancer and I thought her perfect in the first act. The side I don't like about her is her constant smile ...and her "look at me, I'm the star"-attitude...a bit too much show-off dancing to my taste and taking her skirt too high (If you understand what I mean !) In spite of all this, I'm definitely looking forward to see her in other roles to get a more complete picture about her.

So, Helen...I've found you It's great to hear something about the Royal Danish Ballet. Maybe I can add here Thomas Lund's interesting website... http://www.dancer.dk/ there are even some pictures of Sleeping Beauty : http://www.dancer.dk/reviews/tsb.html

And I -with my crumbled knowledge about ballet- had only heard of Bournonville until last summer I watched a daily summerclass and was completely overwhelmed by the joyfull 'dansante' way of dancing. It was very tough but all the students loved it ! I can hardly understand why it has become so 'marginal' ?

BalletNut, try this : http://www.bournonville.com/mainpage_frame...?page=20&bhcp=1 You'll find an amazing amount of info on "Napoli", the story, historical background, music notes and an interesting photo gallery.

I think it's easy, just adding a detail....after all the hard work is done btw : Congratulations ! Thanks Alexandra and BW for the explanation about 101...I'm learning a lot over here !

Hmm...I'm so proud now Estelle,...eh...I'm completely in the mist about the "101" ! Can you explain please ?

Alexandra, you'll never guess what I bought last weekend at the ROH-shop ! So glad to hear it's worthwhile reading So far, I only finished Baryshnikov's foreword ! Yes, I noticed the videography...oh dear how tempting ! An out-of-print book I'm searching for is 'The Dance Handbook' by Alen Robertson & Donald Hutera (Longman Handbook series). I have 'The Opera Handbook' and love it !

at and Victoria, thought it sounds better than "Ballet for dummies" LOL ;) btw, you can find 'dummie'-books on all subjects...except....on ballet ?!

Maybe "Discovering ballet" is a good alternative name ?

Jeannie, I think it's called "Stagedoor Prints" ?

Glebb, the bigger color prints from the 6Os do show-up sometimes at general house-sales overhere. They are difficult to trace because they appear in un-catalogued sales. I think they are more likely to find in the UK. In the past 5 years, I saw some a few times....if I hear or see again something about them, I'll send you an alert. Strange, I've never seen them on Ebay ?!

Estelle, I have enjoyed your 'Belarbi passeport' report and I'm looking forward to hear you about the premiere. I wonder in which way the 'passeport' will influence your viewing of the performance. Well, I have never been that fortunated to experience something equal like this ! It also holds my attention to read : ".......and needed to watch a video to remember it..." I recently had a 'talk' about teaching through video and it still haunts me somehow. I understand that -here- it was the choreographer himself who used the video as a reminder. Any idea if the dancers -in this piece- are using the video too to pick-up the choreography ? Can you shed a light on the issue of using video in the 'teaching variations'-process ?

Hmm...I'm always ready for a game... I am Tchaikovsky ! Where is the elaborate psychological explanation for all this ? :-)

Hmm...I'm always ready for a game... I am Tchaikovsky ! Where is the elaborate psychological explanation for all this ? :-)

Estelle, I think, with Gérard Mortier, you only can guess what he's up about ! Although mainly focused on music and opéra, he is unpredictable and controversial, these are the only words that really suits him. I don't mean this in a bad sense, he just has -to my humble opinion- a very creative vision. He has always had his very own, dynamic views on the performing arts and the way they can interact. For a lot of people this is shocking, others find it surprising...and only time will tell if his guidance was really outstanding for the period. Mortier was still very young (39 ?) when he became director of 'De Munt' and his renewals for the Opera were already radical .... in only one year ! I have no answer on the question about his current vision on dance... I can only repeat Alymer.... yes...after 25 years at 'De Munt' in Brussels, and about six years under Mortier's directorship, Béjart left with clacking doors. Who's to blame for it is not clear anymore..and there was also a financial problem....at least I can't remember more..(I was too busy with 2 little children at that time !). But I never forgive him to let Béjart go away...due to this, dance became something very marginal in my life. Oh, yes there was Mark Morris...and I loved him...but most of the public didn't and we had a turbulent time with a 'booing' public... Although I loved Morris, he was - surely in that time-context- no substitute for Béjart...and too many people wanted him to be that. He was simply not such a magnetising mega-event performer who attracked full-coaches to Brussels. But time now learns us that the choice of Morris in the late 80-ties was a bit of a visionair choice ! I do know that Mr.Mortier is far from a traditionalist -rather obstinate- and we can only hope that he'll keep on to the POB-heritage in all honors, but I'm sure he -as with all projects he's involved with- want to leave his mark on the company. And maybe it's good to know that he's a magician to find sponsor-money ! He's a man of vision ....and I hope we will like his quirks of the brain. I think the Parisian Opéra will start a new age now. Well...Mortier surely will brush away the cobwebs...