Azulynn

The mime scene is also included in the POB version of Swan Lake, and it can be seen on the DVD featuring Agnès Letestu and José Martinez.

It was a planned promotion, Bart, no spur of the moment involved really. The only doubt was whether they would really promote her after a performance without any costumes or set, and which a good part of the audience had chosen not to attend as a consequence. I'm really pleased with Gilbert's promotion, but it really is too bad it had to happen in such circumstances ; it's an important event, and the setting should have been more appropriate !

A heads up about this reconstruction of Petipa's ballet, which premiered at the Mariinsky last April : an almost full version (4 videos) is available on Youtube. Just type "Awakening of Flora". Dancers are : Evgenia Obraztsova (Flora) Vladimir Shklyakov (Zéphyr) Xenia Ostreikovskaya (Aurore) Maxim Chaschegorov (Apollo) Valeria Martynyuk (Cupidon) Daria Sukhorukova (Hébé) Despite a mean little comment from the author, I found the dancing quite exquisite, and I'm grateful for being able to see it at all. Any thoughts on this "old-new" ballet ?

No Pavlenko, no Obraztsova, but Somova in Serenade, Ballet Imperial, Bayadère, Paquita, Don Quixote and Etudes ? It's getting ridiculous.

I believe Carla Fracci only dances character parts made for older dancers, probably mostly mime. It's unfair to compare her to Svetlana Zakharova - they're obviously not dancing the same roles at this point...

There are no regular tickets held back and sold on the day of the performance, apart from returns. At the Opéra Bastille (only) you can queue for standing tickets, which go on sale an hour before the performance. Enjoy your stay in Paris !

I think training and experience may also play a great part in being able to present line - I've noticed that for instance when comparing videos of Lopatkina. There is one of her as Myrtha very early in her career, in the mid-90s, and although she of course already had that beautiful body with endless limbs, she didn't seem to control them as completely as she does now. Therefore, her legs in arabesque or her arms might be gorgeous on their own, but on the whole her line was lacking something (not much, but still...). It's not the case in later recordings - every movement is so organic it makes for an ever-flowing line that is mesmerizing to watch. At the same time, I guess Agnès Letestu would qualify for "wonderful proportions and lines" on paper - but somehow, when she moves, there's always something that breaks the line for me (broken wrists, stiff back - although she can be wonderful in some roles and somehow overcomes this when she dances Odette, maybe because the swan arms are not strictly classical). I guess IMO she has lines, but not line, if that makes sense... And perfect lines may depend on changes in aesthetics, but I don't think line does. Likewise I can think of the opposite situation - a dancer who does not have perfect proportions, but who has something that makes up for it - a way to present the movement as a whole, perfectly shaped. It reminds me of a debate I read over Evgenia Obraztsova's debut in Giselle, some people stating that her legs were just too short to ever be able to create the illusion of a spirit, whose lines should seemingly dissolve themselves in the air, and therefore be as elongated as possible. Several great dancers of the past had much shorter legs that is the fashion now, so it would seem to me that it's all about the way of presenting the choreography. There's a short video of her debut on Youtube where we see Obraztsova going for a 180° penché in Act II, during the famous sequence of slow developpé/promenade ; well, of course her lines will look too harsh this way, especially if her legs are short... The right romantic arabesque, with the upper body tilted forward and continuing the line of the leg, would seem to create the right feeling when carefully done, regardless of the dancer's height. Same could actually go for Swan Lake 40 years ago, as someone said, but it's hardly the case anymore. It goes back to the debate over emploi (cf Diana Vishneva's attempt at Odette/Odile), but the ballet was not meant to be "Slow Lake of the Freakishly Long-Limbed" in the beginning after all... (I hope no one minds my using precise dancers as examples, I mean no disrespect to their work - just some general thoughts they brought to my mind !)

By Night in Chile, by Roberto Bolaño - extremely powerful.

Yes, Patricia Boccadoro has been a devoted fan of Emilie Cozette ever since she graduated from the POB School (see, in the Archives, articles about her graduation performance, about her debut in Forsythe last year, etc - from time to time, there's an interview along with the "review"). As far as this reviewer is concerned, Ms. Cozette can't put a foot wrong - that's good to know when reading her articles.

Klavier, Daria Pavlenko (Kirov) danced all three parts, although now I think she mostly dances Emeralds. She is a very versatile dancer, and seems to have been quite successful in them - anyone has seen her ?

It's all in the title - Emilie Cozette was named an Etoile after tonight's performance of Cinderella, at the Palais Garnier. Congratulations are in order, I guess. It seems to me though we're in for a world of boredom in Paris...

You can definitely buy 4 tickets on the day of the performance... assuming there are 4 available ! You may want to come early in the afternoon and queue for the 6:45 opening, if the box office doesn't have any tickets to sell earlier. Senior-discount tickets are given only around 7:30 (that's the same queue as for students), and only if there are tickets left at that time. People who have a "Pass" (there's a card for seniors) are given priority. Cinderella sold out months in advance, and therefore there will probably be virtually no discount tickets available - maybe one or two, at the very last minute, and none for those who don't have the Pass. Yes, seniors have to be there to buy the tickets (it's at the last minute anyway), but that's definitely not a safe option - you might want to get 4 tickets at regular price !

It's Sylvee in French.

Fanny Fiat is also going to Australia (preliminary casting was posted on a French forum). Miteki Kudo is not listed, so there's hope...

Unfortunately, Mashinka, Emmanuel Thibault won't be dancing Colas. He is scheduled to tour Australia with the company in late June instead. This is sad news, because the role would have fit him perfectly. I can see why the POB doesn't want to cast him in princely roles, but there's no excuse whatsoever for not letting him dance Colas, or even Frantz in Coppélia...

Myriam Ould-Braham and Emmanuel Thibault in Don Quixote, Paris Opera Ballet, 26 & 31 March 2007 One would need to write a long poem to translate into words what Myriam Ould-Braham and Emmanuel Thibault gave to the audience in both their performances. Generosity pours out of their every movement, and they turned Nureyev's version, often vulgar, into a jewel. Together they are glorious – they seem to perfectly understand each other and have the same idea of what ballet should be. And it's all about joy. When they enter the stage, they are immediately engaged into the story, adding the lightest and most delighful details to make it their own. The pas de deux of the second act (Nureyev's addition, on music taken from Bayadère) was a wonder of tenderness and harmony, despite its awkward choreography. The POB should treasure this partnership. The entire audience was enraptured, and clearly, it doesn't get much better than what we've seen this week in Paris. Myriam Ould-Braham shows here she's one of the most interesting dancers of her generation. Although Kitri is not her natural emploi (she is more of a lyrical dancer), she turned in a superlative performance. Her independance of mind is truly fascinating – never does she look like a dutiful student afraid of missing a step. The pressure a première danseuse may feel when she takes on a lead role (how will I be judged ? Will I ever get promoted ?) is nowhere to be seen. She has also seemingly made up her mind Kitri doesn't need to be crude – if she is so admired in Barcelona, it may well be for the proud nobleness of her dancing, and not for her trivial manners. This interpretation gives the first act a welcome lighheartedness. Cheerful, flirtatious, proud, Myriam Ould-Braham displayed wonderful attack and sharpness, without ever giving up her beautiful bearing (Laëtitia Pujol and Aurélie Dupont went at times for a more vulgar approach). She chose for instance to turn the episode where Basilio tries to catch her leg into a fun game the couple shares with their friends, instead of adopting the « Look how ridiculous he is » face other Kitris did. And whatever this Kitri does, she is exquisite, a joy to behold. The Vision allowed her to display her lyricism – there was a hint of nostalgia about her Dulcinée that made her even more unreachable. I feel she could go deeper into her variation and make it even more fluid, but there's a seriousness and a maturity about her that set her apart from everyone else on stage. In the third act, Myriam Ould-Braham was utterly brilliant, a very feminine bride who rolled delicately her shoulder when Basilio kissed it in the pas de deux. She already has the authority of a ballerina on stage – the sharpness of her movements, her confidence and womanliness – in a word, she's individual. Original. More of her, please, in the somewhat dry Parisian landscape ! Emmanuel Thibault ? Another wonder. Generous, talented, he made the house roar with delight at his every appearance. And yet Basilio is the only lead in his repertory - his situation somewhat recalls that of Herman Cornejo at ABT, although he dances even less. Yes, he is not very tall, and one-armed lifts are not his cup of tea, but does it really matter ? He's an artist, and he cares immensely for the public – just look at his smile, the pleasure he takes in being there and communicating with his ballerina, the other dancers and the audience ! Technically his petite batterie is crystal-clear, his jumps breathtakingly high and light. Just like his partner, he has authority to spare on stage. Besides, he's extremely good at comedy – his mock suicide on Saturday was the funniest I've seen : the razor started slipping, and he « killed » himself a second time while falling on this back, which made the entire house laugh. Thibault has a deep understanding of why ballet matters and how it can speak to the audience. He inspires the utmost joy. Nevermind if the POB management doesn't want to appoint him Etoile – but could he at least be allowed to dance more than once every other year ? Fanny Fiat was again delightful as one of Kitri's friends (when is she not ?). Her sharpness and clarity of movement are amazing – even double gargouillades look like a walk in the park with her. Alice Renavand did wonders as the Street Dancer – strong, sensual, she managed to turn the fandango in Act III into a great piece of theatre. Miteki Kudo (Cupid), Sabrina Mallem (another Street Dancer), Sarah Kora Dayanova (Bridesmaid earlier in the run) and Charline Giezendanner also lit up the stage. The most problematic part was probably that of the Queen of the Dryads in this run – neither Emilie Cozette nor Laurence Laffon managed to convey the required sense of otherworldliness.

I'd say the most likely candidates among the women at this point seem to be Eleonora Abbagnato and Emilie Cozette, both scheduled to dance Cinderella, but they have embarassing weaknesses in the classics. Eleonora Abbagnato is nowhere near the required level technically, although she's liked for her acting skills and does a lot of creations. Emilie Cozette is IMO the least interesting "première danseuse" - she is technically strong (as far as the legs and feet go) but her upper body is stiff. She has always seemed to lack grace and projection on stage when I've seen her, most lately as the Queen of the Dryads. Dorothée Gilbert and Myriam Ould-Braham are indeed the most promising dancers - actually, if Dorothée Gilbert wasn't injured she would probably have beene promoted by now... Myriam Ould-Braham has danced two leads recently (Coppélia and Kitri) and I found her very impressive both times. She is a lyrical dancer, and her grace and intelligence are a delight to watch - a true individual. Overall I can't see why the POB management is in such a hurry to promote dancers now (there are already rumours about a female promotion soon). Emilie Cozette is not ready (IMO it is doubtful whether she'll ever be, but that's another matter), so why not wait for Dorothée Gilbert to come back, if the company doesn't want to promote Myriam Ould-Braham ? About Marie-Agnès Gillot : she's pretty much stopped dancing the classics, apart from Swan Lake and an occasional Myrtha in Giselle, and now seems to concentrate on creations/modern works. It has had an influence on her classical dancing, unfortunately. I wonder though if it's a choice she's made on her own ; I remember reading in an interview she would have loved to dance Lady of the Camellias, but it never happened. The lack of tall partners is definitely an issue...

This is something the POB management seemingly cares less and less about. His classical technique leaves much to be desired, but in a way how could it be otherwise, when he's shown repeatedly over the past few years that he mostly cares for contemporary dance ? He has very few classical leads in his repertoire, and I don't think he'll ever be a great Albrecht or Romeo. It's a shame he's now likely to be given these roles ahead of dancers who are more capable in the classics and who care greatly for them (Emmanuel Thibault, Karl Paquette, etc).

I'll try to report on Thibault and Ould-Braham in Don Quixote after seeing their second performance. They are both true, inspired artists - their work inspires the highest respect, and one wants to be as faithful to them as possible when writing.

This is another shame after next season's program. Bélingard has almost never danced a full-length classic (actually, he had pretty much dropped classical roles from his repertoire before this Don Quixote) and is extremely injury-prone - so what's the point ? It is also a slap in the face for Myriam Ould-Braham and Emmanuel Thibault, who delivered an incredible performance just two days before in the lead roles. Welcome to the company that doesn't like dancers who are too good ! (to paraphrase an article about the Mariinsky not liking dancers)

For those interested, Manuel Legris indicates on his website that he'll be dancing Petite Mort (Kylian) and a pas de deux from Lady of the Camellias, Act III (John Neumeier) with Aurélie Dupont in this gala.

Sorry Volcanohunter, but there seems to be no hope for a POB Cinderella DVD with Guillem/Jude, although it used to be available on VHS. The POB will be recording a new cast in April for future DVD release, including Aurélie Dupont (Cinderella), Hervé Moreau (Prince), Laëtitia Pujol & Stéphanie Romberg (The Two Sisters), José Martinez (The Mother), Wilfried Romoli, etc.

By the way, here is a summary of the season, posted elsewhere : - Wuthering Heights (Kader Belarbi) - Romeo & Juliet (Berlioz/new choreography by Sasha Waltz) - Mixed Bill : Le songe de Médée (Preljocaj)/Genus (McGregor, premiere) - Nutcracker (Noureev) - Paquita (Lacotte) - Orphée & Eurydice (Pina Bausch) - Caligula (Nicolas Le Riche) - Mixed Bill : Raymonda digest (Noureev)/Four Temperaments (Balanchine)/Artifact Suite (Forsythe) - Mats Ek Bill : La maison de Bernarda/Une sorte de... (company premieres) - Lady of the Camellias (Neumeier) - Signes (Carolyn Carlson)

Volcanohunter, POB dancers don't seem to protest, some of them because they like contemporary dance (well, it shows off the soloists who can't pull a full-length ballet off, and this has become quite usual), others because they feel stuck in the corps and being chosen by a choreographer is much more likely to happen than being cast in a soloist part in the classics. I don't think the POB is a happy company right now, and that's a huge shame given the depth of talent it is wasting. What on earth will the dancers who don't care for contemporary dance, such as Emmanuel Thibault, Myriam Ould-Braham or Laura Hecquet do next season ? Now if only the audience could go on strike...

The performance of the 17th might be quite sold out by now, because it's a Saturday and casting includes Denis Matvienko and Aurélie Dupont... But if you can't find a ticket beforehand, there's good chance your son will be able to get one on the day of the performance. He can either queue for returned tickets at normal price (and normally he should be able to get one) or, as a student, wait to see if he can get the student discount (15€ on left-over orchestra tickets). It's more adventurous, since there are two lines, and people who have a "Pass'Opéra" are served first, and there's no guarantee there will be enough discounted tickets. Best of luck to him - actually I'll be there too !