silvermash

it's not about the repertoire but about the style, a particular French style, which is going to be lost, if not already...

this is utterly laughable

Yes, you should check regularly, even the regular website, they feed it with return tickets, most often the expansive ones but not all the times. As for the student price, they rather have these offers https://www.operadeparis.fr/en/you-and-the-opera/the-young/offers-for-young-people When the ballet doesn't sell, I heard it works well ...

It 's easier in Opéra Bastille. 32 day tickets are released I think 90 minutes before the show (5 euros). However, they have poor view. But, because Bayadère doesn't sell well, I think that you'd better go to the box office and check if they have cheaper tickets (20 or 35 euros), either the day of the show or the day before. Garnier, it's more difficult. Each day at the opening of the box office, restricted view tickets are sold for 10 euros. For more comfortable view, you'd better check the second hand website http://boursechange.operadeparis.fr/ballets-onp. It's official and secured and cheap good tickets often appear here when Ballet goers don't want to see the cast of the night.

Many thanks if I can represent the Parisians...

I have attended the concours yesterday and it was so boring, all these Robbins variations, that I didn’t feel to write about it… Well thanks to Hannah O’Neill, who deserves her promotion, she was the best with Sae Eun Park and the Nureyev choice was a relief as she didn’t bother with sycophancy

The broadcast will finally be on November 5. Cast should be: Quatuor n°4 Sae Eun Park, Juliette Hilaire, Charlotte Ranson, Laura Bachman Die grosse Fuge Alice Renavand, Stéphane Bullion, Karl Paquette, Vincent Chaillet, Florian Magnenet, Nicolas Paul, Adrien Couvez, Alexandre Gasse Verklärte Nacht Émilie Cozette, Marie-Agnès Gillot, Léonore Baulac, Letizia Galloni, Séverine Westermann, Katherine Higgins, Emilie Hasboun, Alice Catonnet,Alexandre Gasse, Karl Paquette, Stéphane Bullion, Florian Magnenet,Takeru Coste,Nicolas Paul

this is a video of the dress rehearsals. the defilé is tomorrow, perhaps Marie-Agnès and Jérémie will join... Ludmila Pagliero is injured

It's already available on Youtube POB channel...

I didn't sorry ...

Well you can see from the costumes they are wearing that they are impersonating ballet characters: Onegin doesn't smile nor Le Jeune homme!

Anne Teresa de Keersmaeker evening with Quatuor n°4, Die Grosse Fugue and Verklärte Nacht will be broadcast live October 30 on Arte concert and broadcasted on afterwards https://www.operadeparis.fr/saison-15-16/ballet/anne-teresa-de-keersmaeker

Anne Teresa de Keersmaeker evening with Quatuor n°4, Die Grosse Fugue and Verklärte Nacht will be broadcast live October 30 on Arte concert and broadcasted on afterwards https://www.operadeparis.fr/saison-15-16/ballet/anne-teresa-de-keersmaeker

they even already changed the Etoiles pictures for brand new ones by another photographer! I thing the site is still "in progress". They are fixing bugs everyday ...

I like these pictures

no but I would assume it will be accessible from everywhere, it would be silly if it was not the case...

From the leaflet I have received as a subscriber, it's much more about a digital offer of what is not on the other stages. They have done a lot of shootings the past months with dancers in the opera premises but different things as well. They invited visual artists and other artists to muse over the arts of the opera.

Claude Bessy was heavily criticized for the moral pressure (military style) in the school but not for technical training. I don’t know what changes if any Elisabeth has made regarding the latter but it is widely said now that the new dancers are less technical... I think that the main problem with the Nureyev’s ballets is that they are extremely complicated to dance and that they were not programmed enough. If they were all practiced more frequently, perhaps the dancers would be more like to embody the difficulty of the steps and give more artistic dimensions. But in your entire career (so not necessary at the soloist level), if you only have to dance three times at most each classic, it’s difficult to reach the perfection of other companies which are used to present these ballets on regular basis. If you take Swan Lake for example, among all the current female, Etoiles Emilie Cozette, Marie-Agnès Gillot and Ludmila Pagliero danced it twice. Aurélie Dupont, Laura Hecquet and Laëtitia Pujol have only danced it once and took the role in their thirties. The other Etoiles haven't danced this role said as the most important for a female artist!

Well the situation is different if you're an Etoile or not regarding the ballets you dance.. Only the Etoiles can choose to dance or not, so they will be faced to choices if it what is proposed doesn't suit them. If you're in the other ranks, you have to dance what you are told to (Of course you may behave as you're not offered a lot and that's why I guess some Premiers danseurs are undercast)

Well Millepied has some ideas but will he have the means to impose them to dancers? I have already the feeling through a couple of interviews he has done recently that he is a bit less optimistic on the changes he could do... As for Balanchine and Robbins, I believe this is not the kind of ballets the grown up dancers, and especially the Etoiles, like to do. It will be interested to see if they play the game or not

Well there was no so many ballets in which Dupont could dance this year, that is the reason. She was announced a time on the Rigal creation but I guess she withdrew when she saw what is was She perhaps will dance in the McGregor in July but this ballet is not fit for a farewell

Well many questions , not sure I can really have a fair view on all of these points. It is certain however Léonore Baulac is Millepied's favorite by far given her capacity but Hannah O'Neill and Sae Eun Park are definitely among Millepied's dancers, if not "his generation" and Marchand and Louvet, in a lesser extent Bittencourt and Marc Moreau ... Marc Moreau and Bourdon were already singled out before though. The more experience "sujets" are confined to pas de trois which may indicate they are not trusted for principal roles... I'm not sure what is happening to Alu and Grinsztajn who are not casted as the other Premiers danseurs... Certainly they are specific and can't dance everything but there must be something we don't know because it was the case before Millepied as well... Alu is young but Grinsztajn is Première danseuse since 2007 I think. What of Valentine Colasante as well who danced a lot but always second roles? About Neumeier, I don't really know but Etoiles want to create new works. Gilbert asked clearly for it in the documentary of Brigitte Lefevre farewell and that's probably why she didn't dance Swan Lake...

I think it's more complicated... in both cases... This season, there was a lot of injuries and maternity leaves so that's probably why we had uneven casts. In addition, there was Neumeier Song of the Earth creation just before that required a lot of top dancers (with no reason up to me).

Well after nearly one year he spent around, even if he only took the lead in October, I have the feeling that Millepied doesn't really know what he wants... His first season had little imagination (but perhaps he was still in need to know the dancers) and ambition but doesn't really look like he will transform the company into a New York City Ballet avatar. Regarding the concours, I don't think that a two-way (hybrid) system is possible. It would not be acceptable for the dancers... and I don't really understand why he's making all that fuss about it (except of course that apparently the dancers voted against his proposal to suppress it which is perhaps his first big fail in the company) since he's casting Choryphées and Sujets more than some Premiers danseurs which seems to indicate that it's not impossible to bypass the hierarchy...

This interview is very interesting at different levels. It sounds like Millepied now is in full understanding of what is POB and not what he has dreamt it was or it would be as soon as he arrives… POB is a big and heavy machinery, slow to move and with a lot of administrative and human structures difficult to change … Now we can hear here and there that he’s not that much present, that he does a lot outside, that when he comes to teach, he says in this interview dancers are not attending his classes, etc. I feel a little disappointment… Regarding the repertoire, it’s a bit puzzling. I remember in one of the first interviews he gave after his nomination he said that he didn’t know Nureyev choreographies and now, he says he doesn’t know Béjart and Petit … but he had two years to get acquainted to the repertoire!!! So it means he didn’t care and had an agenda. Which one? What for?