Juliette

Thanks Rebekah for your review! It's really interesting to know what happens in London, especially because I love MacMillan's ballets and I'd like to see Mayerling on stage so much. And besides we have so few opportunities to see that kind of ballets in France!

From what I've heard (and from what Marie-Agnès would have told to a friend last night), she wouldn't do Kitri this year (and I would have liked because I couldn't see her two years ago). But she will dance the title role in Mats Ek's Giselle. And Naoko, although I find Marie-Agnès very good in classical works too, I didn't like her Paquita; she is not a romantic dancer for me (and Paquita's first act is for a romantic ballerina according to me). But I think she is the most beautiful Myrtha and Queen of the Dryads I've ever seen. For me, one of her best role is Lescaut's mistress in Manon; she was wonderful!

Thank you both! And thank you Sylvia for the explanations about membership for young people; I think I'm gonna to be a member too. I'm very eager to see this ballet (I've never seen in on stage, only in video) and especially with these two couples as both of you praise them. Thanks!

I haven't seen the magazine on their website . As I will probably go often to London next year, I wonder if I would or not become a member of the "Friends". What are the advantages? And is their a special membership for students or young people (I haven't seen it on their website)? And as for Onegin I will probably see the two casts (17th and 18th June). Thanks!

After the performance of the ballet "Signes" by Carolyn Carlson, the POB dancer Marie-Agnès Gillot has at last been promoted to Etoile (principal). A promotion long overdue here. Congratulations!

Indeed Estelle the schedule changed about two years before I went to High Scool (I began High School in 1997, thus it must have been around 1995) and it was interesting to see that my "classe préparatoire" (it's a particular kind of class after High School, perhaps Estelle could better explain) teacher told us to take a look at former High School History books, whose schedule was for some points better. BattementCloche, French universities are often good (and Sorbonne's teachers are very interesting and there are a lot of foreign students) and if you like History, it's really interesting because you don't really have to study another subject (except a little geography and English the first two years). I began my university course only in 3rd year (because I made this "classe préparatoire" during two years before), but I can tell you how it is working the first two years. First year of University: Modern Times (from 16th to the end of 19th century) and Contemporary erea (19th and 20th centuries) Second year: Antiquity and Medieval times. Third year: you study the four main periods (that I mentionned before), but you choose one particular aspect in each one. For instance, Louis XIV's reign or 16th century England in Modern Times, 2nd World War or Cold War in the Contemporary Erea..... Fourth year: you choose only one of the four main periods and you are making a very specialized study about one aspect. It's a research work. That is for university. Estelle, I let you explain what is not really correct or clear in my text.

Then I will try to explain. First in France everybody is learning the same program (one by level), wherever we are living or whatever school we are going to; and the method is almost always the same; it is decided by the government. You cannot choose what History you want to study until your 3rd year in University (if you study History in University). - Children under 11 are studying during 5 years everything from the "Prehistory" to nowadays (ancient civilizations and then mainly in France and Europe), with illustrated papers, which tell them about the main events and the main characters. - Then, in the French equivalent of Junior High School, they are studying the same thing, but with more details (prehistory and ancient civilizations the first year, medieval erea the second year, 16th until 19th century the third year and 20th century the fourth one). The method is different: teachers give the main elements to the children and besides make them study documents: literary texts, history texts, pictures....Each time is related to Art and Literary History. -Then in High School we mainly study 19th and 20th centuries, except the first year where we study one more time the main events of History (birth of democraty in Greece, "Renaissance", French Revolution, Romanticism...). The other two years we study in details 19th and above all 20th centuries and the method is once again a little different: more attention paid to documents and new exercices: "dissertation" (long writitngs)... We don't study only french History but world History (only main events in the other countries). And there is also a new fashion which is, like in your countries, to study the past regarding the present (what could the past teach us?) I realize that I use a lot of words without knowing their English translations and therefore will try tomorrow to be more precise

As I am new on this site, I only discover this topic today and I have to say that I find it really, really interesting! Indeed I'm a French student and I study History in Sorbonne University in Paris (as it's my 4th year, I am specialized and in Medieval History); besides I will probably become an History teacher and therefore I feel very concerned by the problem of teaching History and above all making children and students love it. The main interesting thing to see is that, although History is not taught at all the same way here (if somebody is interested, I could try to explain), the problem is the same: children don't like History and don't care at all about the past. Thus, thanks for all your posts!

I think Françoise meant "the choreography" by she. In French, choreography is a feminine word and we use the feminine pronoun ("elle" in french; "she" in English) to talk about it, although choreography is not a person. It's sometimes a little hard for us French to forget our idiomatics when we are writing (I always make this kind of mistake, although I know the rules). But perhaps that's not the reason for this "she".

"Abel est..." was presented last year during the "Jeunes chorégraphes" night ("Young Choreographers", at Amphithéâtre Bastille). I haven't seen it, but I've heard people who liked it very much and others who didn't find it interesting at all. Perhaps someone else have seen it?

Yes, I spoke with some young dancers from the corps and they told me that and a friend told me two dancers have told her the same. But perhaps they don't all think that; I don't know and I just wanted to tell that even dancers could be disappointed.

I didn't know the "Friends of Covent Garden" were making a magazine; it's such a good idea! (it doesn't exist in AROP, the French equivalent to the "Friends"). Do you know if these articles are available online? (It would be so interesting to read them and especially the one about Rojo/Cope partnership)

Thanks Giannina! Perhaps will I try to see the two castings (I was just worried about Cojocaru being a little too young for Tatiana).

Naoko, you pointed out a very interesting thing: what the dancers want and think. From what I have heard from some POB dancers, they are as sorry as us about next season and for two main reasons. First, the corps won't dance a lot next season, because only Sleeping Beauty needs a lot of dancers on stage and have a lot of soloists parts (Bluebird Pdd, the cat, the fairies, the foreign princes...); Roméo, Cinderella, Sylvia, Etudes and Glass Pieces also need dancers from the corps, but many of them have only a little to dance in these ballets. Even soloists are disappointed because there are not very interesting parts to dance (except Romeo and Juliet, Sylvia...) Then, they are well-trained classical dancers and when they enter in this company they all dream about dancing the corps in mythical ballets such as Giselle, Swan lake, Sleeping beauty, Bayadère...And as soloist, they all dream to dance the great roles of the repertory as Romeo, Juliet, Giselle, Odette/Odile, Manon or Des Grieux...Of course they are interested to work with new choreographers and on different things, but they want new ballets to stay classical, as are the ballets from Kyliàn, Forsythe or Mats Ek. For instance, Scozzi's "Les sept péchés capitaux" has only few parts danced and it's more like theatre; besides, it's so coarse! About french ballet-goers, there are three main categories: - occasionnal ballet-goers (most of French people), who are looking for entertainment and who represent most of the POB's audience. They want to see classical works, because they make them spend a good evening and they make them dream. But, if there is no classical works, they won't come anymore and will see a play or a musical instead. And that's all! They don't feel concerned about POB's future or identity. - regular ballet-goers, who like dance as any other art and who come in Garnier as often as they go to other theatres. These are the people who like anything but modern dance and these are the ones I spoke about before. TV and newspapers are made for them because they have money and they make the fashions. I know a lot of people like that (and although some of them are not like that, they act this way to pretend they belong to this "upper" part of the society). All of them are really excited about next POB season (they say: "at last, no more tutus and pointes; it's so old-fashioned!", sic) as they are excited about any new opera staging or any new painter. Among all the people who live in France, there are a minority, but in Paris, they have the power. Outside Paris, there are other problems as the lack of money and besides there are almost no more classical companies. - at last, there are avid classical ballet-goers like us, for whom ballet is a passion and who don't care about "fashions". We only want to see beautiful dance, wonderful balllets and wonderful dancers. And we really love the POB company and its repertory. But we haven't the money and we are not interesting. It's so sad. And what I say about dance is applicable to any other art (theatre, painting, movis...); as if France would like to be famous for its avant-garde side. But it is only my point of view! And, although I don't like POB's next season, I like modern dance; POB is just not the right place!

Yes, Estelle, you are totally right: only classical works are sold out in Garnier and sometimes in Bastille (and I mentionned it). But what I meant is that people at the head of the POB don't care about this kind of thing, they just want to show a particular face (that I called fashionable) of their theatre. And when I spoke about French people I don't mean all the people in France but the people who feel concerned with dance and culture in Paris and thus who are deciding. It's hard sometimes to be clear in English! I'll try later to explain what I mean more precisely.

It's true that in a way it is the French public who is paying for the POB. But the problem is: it 's not only the critics who are mainly interested in modern dance, French people are too and most of them don't feel at all concerned by ballet. For instance, the performances in the Théâtre de la Ville (a theatre for modern dance) are very often sold out and in TV or newspapers there are almost only modern dance too. When they speak of the POB, it is only where there is a new modern dance production. Therefore, the problem is bigger: it is fashionable to go to see modern dance and out of fashion to go to see ballet, and POB's next season is only one of the illustrations of this French way of thinking. They don't care if the POB loses its identity (and that even if classical works are the only ones sold out in Garnier).

Congratulations to this wonderful dancer! I discovered her last year during the Kirov tour in Paris and she really made a great impression on me (as did Bolshoi's Alexandrova this year), although I've only seen her in small parts. I hope seing her again very soon and this time in a great role!

Hi! I have to go to London in June and I'd like to see Onegin. Which casting could you recommend to me? (as booking is already opened) Some people told me Rojo/Cope/Cojocaru/Putrov was the cast to see; is it true?

Estelle, I really think Fanny Fiat is red (I saw her after a performance and it was evident it was her natural hair color), but I know that sometimes in video or on stage hair color is a bit different (with lights...).

A lot of us intend to do something to tell the POB how we feel about it. And any people who would do the same and support us will be welcome!

Very interesting; as I'm also red-haired, I often wondered the same thing. In POB, Elizabeth Maurin (Etoile) is a kind of red-haired (she is, but has changed her hair color sometimes) and Fanny Fiat, still a sujet but a really promising ballerina, is also red-haired.

Unfortunately, yes, POB is becoming a modern dance company and it really makes me sick; it's so unfair! It's like it's bad to love ballet in France. There are already so many theatres here in Paris where people can see modern dance, but there was only one where we could still see classical works. Besides, if some dancers are well-at-ease in modern dance, most of all are only well-trained classical dancers and will not dance a lot next season. People are very lucky in London and in the US!

As the performances of Giselle are now over, I'd like to say some words about all the Giselles I had the opportunity to see. Aurélie Dupont gave us, by far, the best rendition of the title role. She has everything you expect a Giselle to have: style, beautiful rounded technique, a great acting and the little something more that makes a ballerina an "Etoile". In the first act, her dance is light, joyful and you totally understand why Albrecht loves her. Her variation is amazing, with beautiful balances. Her madness is very interesting and when you see Aurélie in it, you understand what this scene really means; she is discret, but you can really see how powerful her sorrow is; her heart attack is also very well announced and her death is really the climax of a long suffering. But the highlight of a performance is without a doubt her second act; she is a beautiful and moving wili. Her dance is once again perfect (I particularly like the way she is moving her arms and the head of her body) and you can see what a wonderful Giselle she will be by the years. Her Albrecht was LeRiche and, although he is a really interesting Albrecht, deeply in love with Giselle and with such an amazing technique, their couple lack the chemistry one should expect to see between Albrecht and Giselle. Agnès Letestu also gave us a beautiful performance of Giselle and it is a lot to say for me as I'm not a big fan of Agnès. Her first act really impressed me: she has a very particular way of playing the character (with some mind problems or something like that); her variation and her madness were very good. Her second act was exactly how one should expect Agnès to be in it and therefore I like her second act a little less, but her technique was brilliant. Martinez's Albrecht was the best and the most complete I saw; he perfectly fits Agnès' Giselle and their couple was therefore the most moving of all. I also very liked Zakharova's Giselle; the Bolshoi star gave us a different face of the character but it was very interesting, and what a delight to see her dancing! Her madness is a little overplayed, but it fits totally with the rest of her part and therefore her first act was really charming. Her second act was also very well-danced, but I liked a little less the way she was playing the character (but what a relief to see at last a Giselle who is still acting in the second act, even it's a little more); she is too living for me. Hilaire's Albrecht was a good surprise for me, as I haven't see him in a classical part for a long time; his technique is still good and his first act was really moving (he has the best reaction to the death of Giselle), even the best. His acting in the second act was a little less interesting, as Zakharova's, but I spent a wonderful night. Alina Cojocaru was a discovery for me and I was eager to finally see her dance after all I have heard or read about her and her Giselle. But I have to admit that I was a little disappointed by her Giselle, although I really liked the ballerina. Her first act is really charming and she dances beautifully, but I find she lacks some dramatic weight, particularly in the second act: too living, almost too light, she made me think of a "sylphide" and not of a wili. Her couple with Legris (who was a good Albrecht, although I would have liked to see him in the part a few years ago)didn't work at all. But Cojocaru is an endearing ballerina and after having seen her in Giselle, I just want to see her again and in another part who perhaps fits her better (Juliet, Cinderella, Aurora...) Last but not least was Laetitia Pujol's Giselle, as everybody praised her performance in the role in July. Although she is very good in that role, has the perfect style, a wonderful technique and physically fits the part, I must say that I was not totally convinced by her Giselle, and I was particularly disappointed by her madness: too classic, exactly how I figured she would be and thus not really moving. Her couple with LeRiche was working, but that was the night I less liked. And I really wonder when Pujol will grow in her interpretations of her roles, because, although she has an amazing technique, I expect something more from an Etoile. Among all the Myrthas I saw, Marie-Agnès Gillot was by far the best: authority, elegance, wonderful technique! Moussin danced also very beautifully (one of the most beautiful ballerinas of the Paris Opéra), but she lacks something. The best Hilarion I saw was Bridard; a really moving and interesting way to play the part. And finally, in the Peasant pdd, Dorothée Gilbert gave us once again a wonderful performance; she really appears (and even more everytime I see her dancing) as the future great Etoile of the POB. The corps was also very good. Well, that's all about Giselle. I hope you will understand all I wanted to say.

In fact, it had been broadcast many times these last years (4 times in 4 years on different channels); but no matter because it's such a wonderful ballet! And, about the cast, to be honest Hilaire was by far better with Dupont two years ago and it was the same concerning Guérin who danced with Bridard.