ricaineballet

I am unexpectedly leaving Boston and need to sell the remainder of my subscription. Programs included: Coppelia (March 2019) Full on Forsythe (March 2019) Cinderella (May 2019) Rhapsody (May 2019) + 2 vouchers to bring a friend (cannot be used for Cinderella) + one ticket can be upgraded for free The tickets are all currently for Friday night performances, but the subscription included unlimited free exchanges for dates and/or seats. The face value of the 4 tickets is $55 each (would be $76 without a subscription). I'm asking 220, including the 2 additional tickets. I am happy to help to exchange dates or anything else as needed. I would also consider selling tickets individually.

Whoa - first Forsythe by NYCB since 1994! I hope that's a sign of more to come.

That is correct, though he has battled with injuries for the last few years. That may be why.

Dancers at POB are allowed one year sabbaticals. From the video it sounds like she is taking this option.

Marchard/Gilbert and Ould-Braham/Heymann are the star couples of the POB. Though I much prefer the former with respect to both technique and artistry, all of the dancers cast are elegant representatives of the French style. The pas de trois with O'Neill, Park, and Alu should also be a treat; they are all potential étoiles (and very strong classical dancers). Pujol will be offficially retiring during this run of Jewels.

Where did you find this information? I don't see it on the opera website.

Let's be clear. Aurelie Dupont has complained about the treatment at the Ecole de Danse (implicating Claude Bessy) but not necessarily the training itself. That was more Millepied's domain.

Yes, you're translating correctly. Strange bit to add in the article though. In response to the news today, people seem mostly relieved to have the ties cut. He has done a lot of damage already.

It's unfortunate that they invited Heymann, who is a fabulous dancer, for Le Corsaire. To be honest, none of the French dancers are well suited for this show of bravura and virtuosity (bar maybe Alu and on the female side Sae Eun Park and Hannah O'Neill, neither of whom were trained in France). The French school is the antithesis of virtuosity to the point it's practically punished. Heymann is a lovely dancer but this sort of role would not put him in a flattering light.

Precisely. I used to love the "annual Balanchine piece" that Levefre would program because I love Balanchine, but the Parisian dancers are not that well suited to the movement. At least, it seems slow and strange if you are used to the NYCB style. They do Forsythe excellently here, and Cunningham moderately well, but it's disappointing to see that the bread of butter of Parisian ballet: Petit, Bejart, Lifar, the grand classics, etc. are almost entirely absent. Millepied criticized so much the classical technique here and the need to improve it; this programming seems rather heedless.

The season was released at the Opera tonight. Personally, I am thoroughly underwhelmed: ABT - Sleeping Beauty (Ratmansky) Gala Creation, In Creases, Creation, Blake Works (Sehgal/Peck/Pite/Forsythe) Mozartina, Violin Concerto, Brahms-Schonberg Quartet (Balanchine) The Leaves are Fading, Creation (Antony Tudor, Millepied) Swan Lake (Nureyev) Semperoper Ballett Dresden - Impressing the Czar Tree of Codes (McGregor) A Midsummer Night's Dream (Balanchine) A Bras-le-Corps (Charmatz) Ecole de Danse - demonstrations, gala Walkaround Time, Trio, Workwithinwork (Cunningham, Forsythe) En Sol, La Valse, Bolero (Robbins, Balanchine, Cherkaoui Jalet) Creations ( Bertaud, Bouche, Paul, Valastro )Works from dancers within the company La Sylphide (Lacotte) Creation (Millepied, Parreno)

Letizia Galloni is not Italian, she is French and métisse, or mixed race. I admit there is lack of diversity, but that's not going to change overnight. It needs to start at the school, and if you look at the young dancers in the corps de ballet and the school, there is indeed more diversity than 5 or 10 years ago.

If nothing else, it's blatantly obvious that Millepied does not have any patience. From the start he wanted to uproot a 300-yr old institution overnight.

It's definitely true; it was reported on the radio and by several news sources yesterday (here in English, http://www.france24.com/en/20160203-millepied-quit-paris-ballet-reports?ns_campaign=reseaux_sociaux&ns_source=twitter&ns_mchannel=social&ns_linkname=depeche&aef_campaign_ref=partage_user&aef_campaign_date=2016-02-03) Today's rehearsals are canceled, and Stephane Lissner is giving a press conference this afternoon in Paris. Etoiles Karl Paquette and Stephane Bullion came out scathingly in today's ediiton of Le Monde. http://www.lemonde.fr/culture/article/2016/02/04/benjamin-millepied-va-t-il-quitter-l-opera-de-paris_4858949_3246.html We learned just as everything else, from the press, that BM was going to leave the company, declared principal dancer, Karl Paquette. But we've already been feeling things for some time".... ..."I was shocked by this devastating article (referring to a December article in Le Figaro, in which BM criticized the company), by the lack of respect of Benjamin Millepied, vis-a-vis the company that he is completely denigrating. I have danced for 30 years in this company, I adore the Opera of Paris, and I never felt as bad as I have felt in the last 6 months. For that matter, I read the end of this article as a possible announcement of his departure." The article continues, "In fact, Millepied said, 'If I can't get it done here, I'll go elsewhere.'" Bullion " The ambiance was stormy in December, and things haven't gotten better" En savoir plus sur http://www.lemonde.fr/culture/article/2016/02/04/benjamin-millepied-va-t-il-quitter-l-opera-de-paris_4858949_3246.html#404KpAKZY8sVZiFh.99

It seems Benjamin Pech will be taking over in the interim. He has already taken over as ballet master in the past year. I think it would be interesting to have him as director, though he might not have enough of a "high profile."