silvermash

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

The Green table will be given by Ballet de l'Opéra national du Rhin as part of their next season in Mulhouse, Colmar and Strasbourg.

http://www.operanationaldurhin.eu/en--dance-2018-2019--spectres-europe-opera-national-du-rhin.html

2 hours ago, Jayne said:

I cannot recall criticisms of NYCB outside of Peter Martins’ behavior and management choices.  Can you enlighten us?  

A company as large as POB really needs a larger management team.  I lament that Madame Dupont did not hire an Associate AD with more management experience to help light the way forward.  

Well there is a management team. An artistic team with a chief ballet master, associate director (and a couple of ballet master) and a dance administrator.

It was her choice, it just gives an insight about who she is and how she can think...

4 hours ago, pherank said:

I'd be willing to bet that management asked her what she wanted to do for her farewell performance, and she said, "to dance with Roberto Bolle whom I've always admired". And she got to do just that. It was not likely intended to have any more meaning than that. Of course there are always going to be people who read too much into things.  ;)
I really doubt it was meant to be a slight to the current dancers or former partners like Manuel Legris. Should she have thought it through more? Possibly, but that was her pick. If it was obvious that she meant to slight her compatriots it would be very unlikely that Lissner would have hired her as A.D. Why hire someone who is feuding with her colleagues? I doubt he's that stupid.

Although she had said when she was asked about it at first (that is when Hervé Moreau was supposedly already retired) that she would dance with Josua Hoffalt, I don't think that in the case of her retirement show, it was a surprise, that Madame Dupont asked for Roberto Bolle because as I said before, she was known to choose her partners and to avoid series when she could not. By then, as a dancer, she didn't care about the effects it could have inside the company, and for the audience. And although she now may be paying the price, I don’t think she cares either.

The best question is what Lissner has in his agenda? In choosing Millepied then Dupont?

she should. It's extremely difficult to keep high level without performing regularly full length ballets and attending company classes. 

well usually, galas are for money, being in a company is for art sake

Madame Dupont was quite good to manage her career, one might have thought she would be good for others... It's partially true for her favorites. I think she should have a broader view on what is a manager of 154 people and if she could understand that, well maybe...

26 minutes ago, pherank said:

And what exactly does this mean?
"Men are angry at him for bidding farewell with Roberto Bolle, star playmaker at La Scala, rather than a star or a young girl in the company, with the girls, who were stars at the same time , the climate remains tense."

and what does it have to do with her management skills? Madame Dupont was fairly known for choosing her partners even before her retirement show.

Well, nothing really new unfortunately, necessary changes after the departure of Brigitte Lefevre were done in a complete amateurism and the dancers are paying a high price. Personally, I don’t read Le Figaro which by the way seems to have become a gossips newspaper. Anyway, it is fairly well known that Madame Bavelier has something against the current management and the past few years has already seen smaller outbursts like that while when Le Figaro was the official sponsor of the opera, she was scarcely reviewing the shows, having only promotional articles before the beginning of any series. Does she miss something?

20 minutes ago, ballet_n00b said:

What happened with the première danseuse concours; they couldn’t be separated? Nobody was à la hauteur ? I feel sad for some of these girls, like Héloïse Bourdon who seems to be a terminal sujet. 

Yes, the jury couldn't agree on one dancer... Up to me and most of the people around me, the best was Charline Giezendanner but she's not really in the favour of the direction, so perhaps there was a problem with that...

Nothing was really that obvious from the concours today, for Pablo Legasa as well as for Paul Marque, no one else stood out... it's is a consensual result up to me. 

Sébastien Bertaud is an artist who always delivers his full artistry during the concours, unlike some others. He is a true artist and a pure joy to watch.

Results for today competition

Quadrille to Coryphée
1. Axel Magliano
2. Simon Le Borgne

Coryphée to Sujet
1. Francesco Mura
2. Pablo Legasa

Sujet to Premier danseur
Paul Marque

Results

Quadrille to Coryphée
1. Caroline Osmont
2. Bianca Scudamore

Coryphée to Sujet
1. Roxane Stojanov
2. Aubane Philbert

Sujet to Première danseuse
No one is promoted
 

5 hours ago, Mashinka said:

I'm not the biggest fan of some of Nureyev's re-workings myself but in theory the only piece by him in the RB rep is the third act of Raymonda and it is superb, I think it is highly unlikely to be revived this year as I've some insider knowledge of this autumn's programmes, but his London productions were all good, particularly Bayadere act III, with a beautiful alternative final tableau. 

I think what Nureyev brought from what he learnt from his time at Kirov is just fine, it's his own additions and reworked of choreographical aspects which are debatable... The third act of Raymonda is indeed beautiful, Bayadère as well and it's his most achieved ballet IMO... Swan Lake has some issues, Romeo and Juliet and Cinderella, well.... Staging is often questioned but the choreography is really unrealistic...

the season is online

https://www.operadeparis.fr/en/season-18-19/ballet

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

8 hours ago, Rosalie said:

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

Dupont is doing the casting but Reid Anderson came last November to check the dancers

We all have personal taste and me too I think Hervé Moreau was really good in Onegin but this is not enough to qualify him as the artist of the company! He has cancelled so many times, so often at the last minute putting his colleagues (partners and substitutes) in difficult situations with side effects on the audience too! Someone who has shown up so little on stage in so few ballets can of cause keep an aura but, to my opinion, he doesn’t deserve it.

16 hours ago, Gnossie said:

No, are you?

No, I was just asking, because most of what you had written at first looked so odd to me.  You have considerably edited your post and most of it has been erased, I don't really want to comment your taste...

Anyway, in my opinion, Mathieu  Ganio is an elegant dancer that I like to watch in classical pieces for his refinement, his delicacy of movement and he is an excellent partner. He is yes a good representative of the French style, but he’s neither a great actor (although he tends to improve), neither a great technician.
Hervé Moreau? I don't know... He is the Ghost of the opera. His most popular role is probably… himself in the Défilé!  He must have danced in not more than 20 programmes or so since he has been made Etoile in 2006. That night was the last time I saw him in a classical ballet and this run of Bayadère (March 2006) was indeed the last time he danced a classical role in Paris!!! If he is not cast in Onegin (where he was quite good indeed), it is because he can’t simply perform and in fact, it would have been reasonable for him and honest to the company, to resign years ago, as Jean-Guillaume Bart did.
 

Are you being humorous?

Yes Fancy free is new to the repertoire... and is far from the culture of POB dancers but most of the new pieces on the list are...

Well, why new choreography of Les Noces or Bolero? Because the music is available perhaps... Mats Ek likes to revisit classics so it's no news... 

Additionally, two other programmes are announced  for I guess the season 2019-2020 (but are in the 2018-2019 brochure)

In September 2019
Hiroshi Sugimoto/William Forsythe
Alessio Silvestrin : At the Hawk’s Well
William Forsythe : Blake Works I

In October 2019
Crystal Pite
Creation 
 

Here it is

*Martha Graham Dance Company 
Cave of the heart/Ekstasis(Virginie Mécène after Martha Graham)/Lamentation variation(Nicolas Paul after Martha Graham)/the rite of spring
Appalachian spring/Ekstasis(Virginie Mécène after Martha Graham)/Lamentation variation (Nicolas Paul after Martha Graham)/the rite of spring

*Ohad Naharin : Decadance 

*Hommage à Jerome Robbins
Afternoon of a faun/A Suite of dances/Fancy free/Glass Pieces

*Rudolf Nureyev : Cendrillon 

*John Neumeier : La Dame aux camélias 

*Rudolf Nureyev : Le Lac des cygnes 

*Goecke / Lidberg / Cherkaoui 
Marco Goecke : - (création)
Pontus Lidberg : Les noces (création)
Sidi Larbi Cherkaoui : Faun

*Rosas 
Six Concerto Brandbourgeois

*Spectacle de l’École de danse
Beatrice Massin/Nicolas Paul : D’ores et déjà
Bournonville : Conservatoire 
Haveline : Les deux pigeons

*Leon-Lightfoot / Van Manen 
Sol Leon/Paul Lightfoot : Sleight of Hand/Speak for Yourself
Hans Van Mannen : Trois gnossiennes

*Iolanta / Casse-Noisette (Cherkaoui/Lock/Pita)

*Mats Ek 
Another place (création)
Boléro (création)

*Wayne McGregor : Tree of Codes
 

Lacotte' Sylphide is not currently that forgotten as it has been in the repertoire of seasons 2012-2013 and 2016-2017. It has been presented in Japan in 2017 and was supposed to be part of the cancelled 2018 US tour. POB had his Paquita during seasons 2007-2008, 2010-2011, 2014-2015 and has toured to Canada, China  and Russia... So Lacotte is not forgotten either