Naoko S

>>(and what a pity there were so few films with the dancers of the previous generation of principals, for example I'd have loved to see a video of Loudières in "Giselle" or "La Sylphide"...) And how about Elisabeth Platel - isn't it scandalous we have no filmed performance of a full lengh ballet in which she took a lead? It's never too late, if only they decided to release something out of their archives - Raymonda, Sleeping Beauty, Swan Lake.... they would surely make my day!!

Françoise, thanks for your thoughts. I've seen Acosta over the years with Royal Ballet, and to me he's always been a polished, very elegant danseur noble. His performance rarely lacks smoothness, and he's always been a nice guy - no hint of a dark mind, etc. Too nice, perhaps, for certain roles, and at times he looks a bit too reserved. But as to technical strength few dancer could compete, I think! On FT review by C. Crisp: Estelle, do you agree with his closing line? I wonder if Mr. Crisp's views would be as robust and rosy as this same time next year - with all those 'radical' programming! :rolleyes:

Françoise, thanks for keeping us posted on POB's Don Q run. I've read your report with great interests particularly on how you loved Robert Bolle's Basilio. He is a regular visitor to Covent Garden so I had more than a few opportunities to see him in the past years; for instance in the last season in La Bayadere and Romeo & Juliette, and on both occasions he didn't do for me. I don't know why - he is indeed quite handsome, ideally built and certainly of height any tall ballerinas would dream of dancing with. Also as a partner he was very secure; but a fine danseur noble? In my opinions, no. Perhaps it was just I saw him in wrong repertoire! >>Yann Saiz is not really an Espada as I love him. He is always too much, and makes me laugh in the fandango with the noise of his shoes on the floor Oh I'd love to see his 'too much', over-done Espada! After all isn't certain excessiveness something we expect from this role? >>Jean-Marie Didière is unforgettable as Don Quixote where he is a poet, an old man lost in his dream. Thanks for this... I was also impressed by his presence throughout the performance, perhaps slightly got sentimental as he is leaving us soon..... (that's what I've heard.)

Thanks Juliette for the thoughts. I'm so glad to hear Dorothée's debut in the role was such a huge success. It's not difficult to imagine how good she would have been as last week I saw her dancing the role of la premiere demoiselle d'honneur and was quite impressed with her charms; she was full of youthfulness and a sunny personality shone through from inside. Also technically she was very secure. Someone said that Dorothée reminded her of Monique Loudières - have you seen resemblances between the two?

Estelle, thanks for the summary of the article and for your comments. It's very interesting to learn that Mathieu's nomination was regarded by French ballet public as an extremely exceptional case - even by comparison with similar cases for Legris & Le Riche. Not being familiarised with a 'normal' way of promotion to Etoile, my assumptions may sound too wild & optimistic for you - but what's so bad about him being so inexperienced? I'm also skeptical about a rationale some people moaning over the state of some of the "skipped", or unfortunate Premiere danseurs. (Well it's not only in France - I've been surprised and almost overwhelmed by great sympathy Japanese POB fans have shown towards M. Peche, in this instance.) Although the strict hierarchy do exist at POB, a special dancer deserves a special treatment I think - otherwise would it not lead to a reverse-discrimination? Dancer's age alone doesn't really matter either if you believe ballet world should forever ban a poisonous seniority order! Surely at tender age of 20, as a dancer Mathieu Ganio may not be in a full-bloom yet, let alone his artistry. But as long as he possesses what it takes to become Etoile (which I believe he does), all he needs is experience which can only be gained through dancing as many a lead role as possible, isn't it? In this regard Opera's decisions appear to make a perfect sense to me. And what is prerequisite to become Etoile? To me key factors seem to be natural talent and a star quality. I remember the remarks by Mme Thesmar featured in the film "Tout pres des etoiles" - she said the most precious thing in a dancer is 'talent'; that counts more than anything else in ballet. I agree to her views whole-heartedly and am inclined to take Mathieu's nomination to Etoile this time reflected POB directions' views, in which he was identified as a single most irresistible talent. (And if a little luck, or circumstantial factors did a favour to him, it's even better - you need to take advantage of whatever is available to be on the top in this world.) A star quality is equally hard to come by. Before this Don Q run, most of the time I saw Mathieu dancing in a crowd, and whenever I spotted him in the Corps I thought how absurd it was to place him among many others - for he did not look anyone other than a soloist, or a star dancer who should take a lead. There's always something special about him - it really is a rare gift, I think. >>And now all sorts of crazy rumors are flying, so it's hard to know what to expect. Sounds interesting - I wish I could hear the rumours! But please - Mathieu's promotion is without doubt a great news, it's nothing to be pessimistic about; rather it's something to celebrate, not only for POB and French ballet public, but also for ballet audience in general, around the globe. I have a feeling that his name will be whispered at every corner of the ballet world in a not-so-distant future.......

BRAVO!! Congratulations, Mathieu I'd like to praise Opera's directions for having made a right decision, at right time! >>He was not premier danseur, but he would be not necessary. He is like Manuel Legris or Laurent Hilaire, an exceptional dancer who must be nominated young. He saved the performance replacing with an etoile, the part of an Etoile. Françoise, I'd like to echo your voice here - a great thing that from now on he will only have to dance substantial/important roles, just as he deserves.

Juliette, thanks for the thoughts. >>I would have liked to see Mathieu with somebody else (and especially with Dorothée Gilbert); I'm sure it would have been better. That's exactly what I had thought! Well let's hope the dream-cast will soon be a reality. I bet you have seen other casts as well - please continue to post your impressions/thoughts when you feel like it.....

Françoise, thanks for your follow-up report. I'm so glad to hear that Mathieu has impressed you even more last night - one more go scheduled for Thursday should get even better! Also I'm interested to hear more about Agnes - how did she changed her acting?

Juliette, I thought you were also there that night - please do post a report on tonight's performance! Françoise, thanks for the feedback. One thing I'd like to stress is that it was not a (possible) few minor mistakes by Mathieu which was rather dissapointing; it was actually a lack of little bit of boldness only young dancers could dare...... as a matter of fact I wouldn't have cared even if he had made a fatal mistake as a consequence of such bold attempts. But I'm sure it's only a matter of time - as I write, he may get better & better and be more at ease on the stage tonight...... >>He works with Laurent Hilaire Wow! How fortunate he is to have such a *super* dancer as a teacher! It's my bad luck that his next appearance will fall on Thursday. If it were weekend I'd be able to return to Paris...... >>Mathieu will dance James in La Sylphide, in next june-july serial with Isabelle Ciaravola Is it definite?? No official info. is available yet on Opera's website. If it's true I'd surely come - I can't afford to miss the chance!

Just back from Paris - yes, I saw Mathieu's debut performance on Friday. My verdict was; he passed the test successfully, but by a narrow margin. Much praise should go to his approach to the role; he was absolutely charming and irresistible lover (he was a born-actor I thought). What also caught my eyes was his exquisite line - very elegant and princely. But I was a bit dissappointed that an explosion of youthful energy and passion, which I expected most in a young dancer like Ganio, was sadly absent. It was particularly apparent in the solo variation of gpdd in Act 3, which was done rather in a solemn mood – Ganio looked pale and rather lost confidence, as if Opera’s glorious traditions descended upon him to merely give an enormous pressure; he seemed to miss the chance to enjoy every minute of it and to show off what he possessed to full. He also seemed to struggle a bit with the devilishly demanding choreography, although surviving this without apparent mistakes in a debut performance should be worth a praise. (Well, for his honour - who doesn't look struggling or making efforts with the choreography, after having seen Legris' more-than-perfect performance which was immortarised in the DVD - he looks utterly effortless, and any dancer dancing the role cannot escape a comparison.....) The combination with Agnes Letestu wasn't particularly convincing; the partnership required much work to do, it seemed. Letestu as Kitri - I had a slight shock by her approach to the role; to me she was way too street-wise, intimidating and lacked charms and (certain) innocence desired for the role. Technically she was as formidable as steel - very strong, and she never let us get away unaware of it. As much I adored her spirit (a magnitude of the tensions she brought to the stage was really something!), personally it was far from the Kitri I dream of.... On the other hand, Aurore Cordellier, a young Corps dancer, presented a magnificent examplar of classical beauty as Queen of Dryads. A classically-correct dancer, her movements are precise yet subtle, never over-exaggerated - and above all she brought a warmth and grace to the stage. She has a wonderful prospect before her - I only wish she could grow into a great ballerina without needing to change her style. That said, I already yearn for another chance to see Mathieu in lead roles - he has this tremendous magnetism or a star quality any young dancer would die for. I wish Opera's directions will cast him in lead roles as many as possible - for a talented and gifted dancer like Ganio, a longer apprenticeship as a Corps dancer will do no good, I think. I bet all our Parisian friends were there on Friday - what did you think? Also please do let us know how things pick up in upcoming performances. (I'm pretty sure second or third time round he will have gained confidence and shine like the most brilliant diamond!)

Mashinka & Françoise, Many thanks for info. - I just spotted the official casting info. on POB's site (finally!) and have been thinking very *hard- if it's worthwhile to change the travel plan......

Thanks Françoise for the exciting news! If only POB revealed more precise distribution on their website..... I may have to change the travel arrangement already made as I cannot miss the chance to see Mathieu's debut in the role! Please keep us informed of the latest info. - thank you!

I raised this question at a Japanese ballet-fan-site where long-time POB watchers gather. >>I have also a performance of POB School televised in Japan where you had "Two Pigeons" with Sylvie Guillem as Gourouli, Concerto en Ré too. It's from 1981. Someone has confirmed Françoise's comments as above, but unfortunately this film has not been published as a commercial video/dvd (at least at present). According to the website of FAIRY, one of Japanese ballet-goods retailers, currently only available video/dvd on the subject matter seems to be "Les enfants de la danse", the film Estelle already mentioned. FYI I attach a link to the retailer's website (although It's Japanese only). http://www.fairynet.co.jp/www/on-shop/html/av/DD-151285.html

Juliette, I put up a Japanese translation of the petition (based on your English translation) in a forum of a Japanese POB fan-site. (Thanks Karen for your kind help!) Don't really know how many of so-many Japanese POB fans out there would take notices though. And even if they did, taking an action was quite another story; please remember we are a nation of notoriously *shy* people - particularly so in making ourselves heard. But let's see....

Juliette, >>As I've heard, Mathieu Ganio won't dance the part of Basilio, perhaps will he do Espada. >>but I've heard Dorothée Gilbert may dance the part of Kitri one time Wow! If only Mathieu and Dorothée were casted for the same performance and I could get to see them (and my preference for Queen of Dryads is Aurore Cordelier; for Basilio, Karl Paquette perhaps?)! On Aurélie & Acosta: I saw them together in Diana & Actaeon PdD some years ago, and a combination wasn't so good.... no chemistry between the two; Acosta alone made audience go crazy with his unfailing bravula, etc. But Aurélie is now a completely different dancer - blossomed as a true ballerina - so the match could generate something interesting! >>and Royal Ballet's repertory is very interesting too! If you are fond of "drama ballets" (or vice versa), Covent Garden is indeed a good place to visit. But if not (like myself), you won't have great appetite.....

Françoise, thanks for the info. To be honest, personally I'm not that thrilled at the news Bolle and Acosta would guest-appear; I have more opportunities for seeing these dancers here in London! More exciting prospects are that rising young dancers may be given opportunities to dance leading roles. For instance, will Mathieu Ganio get to dance Espada, if not Basilio?

Juliette, thanks for the info. - it's really a shame if the news turns a reality and she would not be casted as Kitri..... Also thank you for your impressions on her Paquita. Well I've personally found a great potential in her to blossom in romantic roles such as Giselle, not only in contemporary roles where she no doubts excels, especially after having seen her as Myrtha earlier this month. Her Myrtha was full of authority yet very feminine, not a cold, blood-thirsty creature; her movements were very delicate and soft - I was particularly impressed by her exquisite port de bras..... I thought she had a deep understanding for the classical roles such as this and was able to give a character of her own without distorting the root/heart of classics, which seemed to me most admiring.

Estelle, yes she was absolutely wonderful in Paquita some years ago, wasn't she? Since then in my mind she was already *Etoile*! Françoise, I'd love to see her as Kitri in Don Q run in May - do you think she will be casted for the role?

**Congratulations Marie-Agnès!** You deserve it, and we all knew it!

Juliette & Françoise, thanks for clarifications. I should have guessed, but it wasn't easy for me as I am not a native English speaker as well! Anyway I'm really looking forward to see the work as this should be a rare occasion.

Françoise, I'm a bit confused - who is "she"? I thought this work were choreographed for two male dancers (as seen on the ad for the gala) - who danced in the work when you saw last year?

Estelle, yes the biggest magnet for me in this gala is seeing Loudières - I'll promise to tell you about it if I were lucky enough to get hold of tickets! Oh I have one question about the work titled "Abel est.....", choreographed by the company's young sujet Mallory Gaudion. Has this work ever been presented before, or is this going to be a world-premiere? Has anyone ever seen this?

Juliette, >>Of course they are interested to work with new choreographers and on different things, but they want new ballets to stay classical, Yes, you've really summed up the stance every ballet company should *ideally* take, I think. For a long time I was led to believe POB's stance towards contemporary works were that way, but now a catalyst seems to take over the main frame, which is a tragedy..... (How can dancers enrich their reading or cultivate the depth in classical roles when they are rarely given opportunities to dance - the best teacher for young dancers to absorb classical roles I think is nothing but experiences...... ) I've read your observations on French public's attitude towards dance/ballet with great interests. Well influential people do exist in any field of art, or in any country, but personally I'm inclined to think it's more to do with the company's directions. One AD can make an epoch-making change, as Nureyeve once did to POB - if as Estelle pointed out Mme Lefèvre's old frames with modern dance were still going strong after decades, well, things aren't really looking favourable to us at least in her tenure...... Estelle, >>(e.g. any "cultivated" person is expect to know at least a little bit about, say, Bach or Beethoven, or who composed "Carmen" or "La Walkyrie", but that's not the same for Petipa or Fokine) and that probably influences the reactions or many people. Sadly your point seems relevant - and it looks like a universal phenomenon to me. Let's just say that opera in general is more accessible art than ballet - it's actually true as opera doesn't take a lot of efforts for viewers to appreciate - if music was good and presented in a good manner it would work, whereas appreciating ballets perhaps takes repeated viewings and background knowledge on narratives are also desirable as there's no word to explain what's going on on the stage.

Manuel Legris will bring a group of POB dancers to Japan this summer. Here're the details: <Programme A> * The Vertiginous Thrill of Exactitude/Forsyth Eleonora Abbagnato, Muriel Zusperreguy, Dorothée Gilbert, Hervé Moreau, Hervé Courtain * Sleeping Beauty PdD/Nureyev Myriam Ould Braham & Mathieu Ganio * Abelle est...../Mallory Gaudion Yann Saïz & Stéphane Bullion * Esmeralda PdD/Petipa Aurélie Dupont & Hervé Moreau * Variations on Carmen/Petit Manuel Legris with a help from J-M. Didiére * Diana & Actaeon PdD/Vaganova Eleonora Abbagnato & Stéphane Bullion * Illusions - Like Swan Lake/Neumeier Manuel Legris, Aurélie Dupont, Yann Saïz * Tchaikovsky PdD/Balanchine Mélanie Hurel & Mallory Gaudion * Who Cares?/Balanchine Eleonora Abbagnato & Mathieu Ganio/Muriel Zusperreguy/Aurélie Dupont & Yann Saïz/Mélanie Hurel/Myriam Ould Braham & Hervé Courtain/Dorothée Gilbert/Manuel Legris <Programme B> * Paquita PdD/Petipa Manuel Legris & Aurélie Dupont * Moments Shared/Dantzig Eleonora Abbagnato & Stéphane Bullion * Stars & Stripes/Balanchine Muriel Zusperreguy & Hervé Courtain * Chant du compagnon errant/Béjart Manuel Legris & Laurent Hilaire * The Vertiginous Thrill of Exactitude/Forsyth Eleonora Abbagnato, Mélanie Hurel, Myriam Ould Braham, Yann Saïz, Malory Gaudillon * La Dame aux camlias/Neumeier Monique Loudières & Manuel Legris * Tchaikovsky PdD/Balanchine Hervé Moreau & Dorothée Gilbert * Le Parc PdD/Preljocaj Laurent Hilaire & Aurélie Dupont * Alles Waltzer/Zanella Manuel Legris, Malory Gaudillon, Hervé Courtain, Mathieu Ganio <Performance schedule> * Programme A: 19, 20 & 21 July, 2004 * Programme B: 23, 24 & 25 July, 2004 * Venue for both: U-Port Kan-i Hoken Hall, Gotanda, Tokyo They also tour around the country - going to Saitama, Osaka & Fukuoka. Ticket prices for Tokyo vary from JPY4,000 to JPY16,000 (perhaps reflecting the prestigeousness of the participating dancers Programme B costs more!); public booking opens on 20th March. More details are available on the impresario's website, as follows, although I'm afraid it's only in Japanese: www.nbs.or.jp/stages/mle/pro.html As I understand it, usually in this type of venture a leading étoile (in this case Legris) tend to bring younger generations of dancers. But this year there's every reason for me to go back and see them - Legris will bring along Loudières & Hilaire together with rising new talents as Ganio & Gilbert! My only concerns are ticket availability - a special advance booking where top seats sold in combination for both programmes has opened yesterday, and I spotted on Japanese POB fan sites that better seats had all gone within a mere one hour......

Estelle, >>But the opportunities to see some real ballet are rarer and rarer- all the more as there is very little ballet shown on TV at a decent hour (unlike, from what I've read, before the mid-1980s, when more ballet was shown on TV, and it probably created quite a lot of vocations among children). Valid point you've made here, I'd say. As you may know Japan is without doubt one of the ballet enthusiast countries on the planet where *classical* ballets dominate and prevail - there's an active contemporary dance scene as well, but their presence is rather modest and absolutely incomparable to the popularity and commercial success classical ballets have achieved over there. One of the factors contributed to make this possible, I think, has been an accessibility to the form of art via TV; NHK, Japanese national broadcasting station have presented more ballet programmes than perhaps anyone else in the industry for decades - after all nothing makes the accessibility to the form of art easier than TV! Looking back, as a child I had wonderful opportunities of seeing great ballerinas such as Yoko Morishita and Eva Evdokimova rather frequently on TV, which no doubt rooted a love and respect for this form of art in me...... from what I see the situations have not changed much since then except that they are now mainly broadcasted on satellite channels. Juliette, your observations on the attitude of general French ballet-goers are most interesting. Please take your time and keep them coming - I can wait forever! This may be a sidetrack, but I've wondered how the lack of classical repertoire would influence the classically-trained dancers. In the recent issue of "DANSE" magazine an interview with Mathieu Ganio is featured. It's written in French so my understanding may be incorrect, but he seems to show his interests in dancing the repertoire such as "all the classical and romantic works - R&J, Raymonda, Manon to name but a few - plus some works by Kylian & Robbins". That he, the most shining prospect for POB, considers taking on classical/neo-classical works in his formative years more important is a great console to hear, and his attitude should be admired - but what if the company fail to meet the demands? It's unbearable to imagine young & talented dancers like Ganio being ripped off the opportunities of dancing essential ballet roles in their youth.......