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miliosr

Senior Member
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About miliosr

  • Rank
    Sapphire Circle
  • Birthday 06/16/1967

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan/balletgoer
  • City**
    Madison
  • State (US only)**, Country (Outside US only)**
    Wisconsin

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  1. Josua Hoffalt posted this on his Instagram feed two days ago (translated from the original French): "Hello to all, I have had the chance to dance great classical repertoire roles and to work with great contemporary choreographers. Today I feel like passing on what I have been taught. I now propose private lessons in Paris and in the Parisian region for all levels, as well as the possibility of preparing for contests and auditions. For more information, please contact me via email. See you soon"
  2. From an interview with etoile Ghislaine Thesmar that appeared in the August 1979 issue of Dance Magazine: "As far as Violette [Verdy] is concerned, I can only say that she is a close friend and to talk about her situation is a very delicate matter. Suffice it to say that when she came to us, she did so with an open heart. She came with so much generosity and enthusiasm and she wanted the very best. But she was also vulnerable, because she came from America where things are far more direct and far clearer. Well, she came to a theater which, for better or for worse, is filled with an incred
  3. I agree with the 'excitement' part. By the nature of its repertory, there isn't always room at the top for younger dancers. We saw that from, roughly, 1995-2010 when ABT's fabulous roster of male principals remained remarkably intact. Since ABT appears to be promoting solely from within these days (after all the flak they took for the 2010-15 guest star era), some the guys in the corps will be able to prove themselves and advance to soloist rank. We're about to find out how badly some of them want it, which will be exciting.
  4. ABT really needed to replenish its roster of male principals. With the departures (for various reasons) of Marcelo Gomes, Roberto Bolle and Alban Lendorf and the greatly reduced presences of David Hallberg and Danill Simkin, the company has been relying on Herman Cornejo, Cory Stearns and James Whiteside to carry the male side of the company, which was unsustainable. Unfortunately, the four promotions from the men's soloist ranks and the retirements of two other male soloists leave the soloist ranks in a highly depleted state. The upside is that this presents a lot of opportunity for some of t
  5. Hugo Marchand has announced on his Instagram feed that he will me performing Hans van Manen's Trois Gnossiennes with Ludmila Pagliero as well as Jerome Robbins' A Suite of Dances. Germain Louvet has announced on his Instagram feed that he will be performing the Sleeping Beauty pas de deux with Leonore Baulac.
  6. I bought another stash of Dance Magazine back issues from e-Bay; this time from 1979. Here is another news item involving Violette Verdy from March 1979: "As announced by Rolf Liebermann and Violette Verdy, Jacqueline Rayet, who as danseuse etoile created many important roles, has been appointed to the new post of maitre de ballet at the Paris Opera, effective Jan. 1, 1979, through July 31, 1980. In this position she will be charged with taking a group of dancers selected from the corps to foster choreographic creation and to develop interest in the company in the suburbs of Paris and the
  7. I picked up a copy of Arthur Elgort's recently published photo book, Ballet. There are some very beautiful photos contained within its pages but the view it gives of the ballet world is very particular. The book is heavy on portrait and rehearsal photos from the New York City Ballet's 1979-80 season as well as of Vaganova Academy students in more recent times. Some of the most memorable photos for me were of Mikhail Baryshnikov and James Cagney backstage together in 1979, an impossibly handsome Patrick Dupond of the Paris Opera Ballet, and New York City Ballet dancers at a public swimmin
  8. Francois Alu and Paul Marque as Beranger and Bernard are definitely deluxe casting!
  9. Jean-Guillaume Bart talks a lot about technique in that interview. Here he is teaching company class at the Opera on World Ballet Day: https://www.youtube.com/watch?v=mMGVMmZOJ3E At the 39 minute mark, the class ends and Raymonda rehearsals begin.
  10. I had forgotten it was the very first thing he said!
  11. Froustey is a prime example of the promotional system not working to perfection. Not being a good "test taker" worked against her at the moment of truth. Brigitte Lefevre had the power in her hands to override the juries and promote Froustey to premier status. But Lefevre must have thought that such a move would have been a bridge too far relative to the similar move she had made with Mathieu Ganio. Ultimately, matters worked out for Froustey because she found the company that was ideal for her. This move did not go without comment either. Not long after Ganio was promoted in rapi
  12. I would go even further and say that there's a fundamental mismatch between the cultures of the New York City Ballet and the Paris Opera Ballet as borne out by the unsuccessful directorships of those who have had a strong connection to the former: John Taras - (1969 - March 1970) Violette Verdy (1977 - January 1980) Benjamin Millepied (2014-2016) City Ballet-related directors arriving at the Paris Opera Ballet with grand plans to abolish the annual competitive exams, ignore the hierarchy and take control of the school invariably have their heads handed to them on a platter
  13. volcanohunter is correct. Froustey herself has admitted that she had a tendency to flounder on the day of the competition. There was nothing sinister about the results. If anything, friends and a boyfriend voting against her promotion speaks to the validity of the process: people were able to put personal feelings aside and vote on the merits. (Admittedly, this probably didn't do wonders for Froustey's relationship with her boyfriend.) In addition, there are only ever a limited number of promotional slots available each year. Complicating this during Froustey's time at the company was the
  14. You've set up the chaser to this trip down memory lane . . . In the following month's issue of Dance Magazine (December 1978), this news item appeared: VIOLETTE VERDY WILL LEAVE PARIS OPERA IN JANUARY, 1980 Although it had not been officially announced at presstime, Violette Verdy's contract as the director of the Paris Opera Ballet reportedly will not be renewed when it expires in January, 1980. Her rumored successor is Rosella Hightower, who currently heads her own school in Cannes, to be assisted by Victor Rona. A press conference making the official announcement of the chan
  15. And the last excerpted parts D.M.: Are you planning to eliminate the yearly exams for the corps de ballet? V.V.: Eventually, maybe, when we have made more changes in the house. Without them, at the moment, we wouldn't have the same competitive spirit and we wouldn't have any way to check on some of those dancers. Also, we will do what all big companies do, which is cut down on the number of categories. We would have corps de ballet, demi-soloist, soloist and principal dancers with everyone being rather interchangeable. [Note: And we all know how both of those objectives fared. Benjam
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