Estelle

http://fr.news.yahoo.com/050225/202/4al61.html

The POB principal Laurent Hilaire, ages 42, has been appointed Ballet Master.

He will join a team which already included the Ballet master in chief

("maître de ballet associé à la Maison de la Danse") Patrice Bart,

another ballet master Clotilde Vayer (former première danseuse),

and four assistant ballet masters (former sujets Fabrice Bourgeois

and Viviane Descoutures, former premier dancer Lionel Delanoë, and

Malin Thoors).

The article also says that he will not be an étoile any longer, but that he will continue

performing as an "étoile invitée" (he will dance the role of Tybalt in Nureyev's

"Romeo and Juliet" next June).

So there are now 7 male étoiles (J.G. Bart, Belarbi, Ganio, Legris, Le Riche, Martinez, Romoli) and 6 female étoiles (Dupont, Gillot, Letestu, Maurin, Osta, Pujol). But Belarbi and Romoli, who are from the same generation as Hilaire, will retire within two or three years at most, and Legris a bit later. Also Elisabeth Maurin will retire in June, after a last performance in "Romeo and Juliet", and the première danseuse Karin Averty will retire then too, also after dancing Juliet. So soon there won't be any dancer left from the étoiles of the Nureyev generation...

Laurent Hilaire already didn't dance very often in the last few seasons, and was more and more involved in coaching, so that change isn't very surprising. I hope that he will still have a farewell performance when he turns 45, as such performances generally are very moving, and he has a lot of fans...

I wonder if there will be some other promotions soon (especially as Gérard Mortier's policy seems quite different from his predecessors')...

For the corps, the Kingdom of Shades must be it for the reasons you all described! For the RB version, I believe the lead girl performs 39 arabesques (!) Nijinska’s Les Noces is also meant to be very demanding and unforgiving. The corps dancers often say the music is extremely difficult to count.

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I remember talking with a POB dancer from the corps de ballet, and she did mention those two works as especially demanding and tiring (and she had danced the lead girl in the Kingdom of Shades scene...)

Among the male roles, I remember an interview of Michael Denard in which he said the role of James in Lacotte's "La Sylphide" was in his opinion especially difficult and tiring.

Volkmar, there is a page about Laurent Hilaire on my (terribly outdated, unfortunately) web site at:

http://www.cmi.univ-mrs.fr/~esouche/dance/Hilaire.html

He's been a principal dancer with the Paris Opera Ballet since 1985. Nowadays he unfortunately is less and less active as a dancer, but is more involved in staging some works and coaching younger dancers.

Thanks for the information, Naoko ! Will you have an opportunity to see Mathieu Ganio as James ? And do you know in which role(s) he appeared last summer ?.......  The picture on the web site you linked is a bit surprising, as the costume doesn't look like that of James (no kilt...)

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As for the appearance last summer - Mathieu danced in the following roles:

* Esmeralda PdD with Dupont

* Who Cares? with Abbagnato (in the 1st PdD)

* Sleeping Beauty PdD with Ould-Braham

* Allez Waltz

As I wrote back then in the thread: Legris gala in Tokyo, he did struggle, apparently exhausted from the sudden increases in workload immediately before the Tokyo gala. That caused open scepticism about his rapid asension to an etoile-dom among certain Japanese ballet-goers, who have eagle-eyes on quality of dancing, getting accustomed to seeing great and the greatest dancers from all over the world, and expect nothing but the best from a POB's etoile.

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Thanks for the explanation. You hadn't mentioned that in your posts about the Legris gala in Tokyo (by the way, for the people interested in re-reading it, here's a link:

http://ballettalk.invisionzone.com/index.p...topic=17401&hl= )

so I didn't know about the reaction of some Japanese ballet-goers.

Oh and there's one more thing that makes us green with envy - the Japanese national broadcaster NHK will show POB's La Sylphide with Dupont and Ganio taken last summer on a terrestrial TV (I think in its entirety), in March.  Commercial DVD itself from TDK will be released later this month (on the 23rd) in the country.  What about on French television's front - and do you know when commercial DVD becomes available in Europe?

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Oh, the Japanese audience really is lucky ! I haven't heard of any "Sylphide" being shown on TV in France, alas...

Thanks for the information, Naoko ! Will you have an opportunity to see Mathieu Ganio as James ? And do you know in which role(s) he appeared last summer ?

It's interesting to see that Legris is involved in coaching now.

The picture on the web site you linked is a bit surprising, as the costume doesn't look like that of James (no kilt...)

The careers at the POB often are quite slow (with five categories in the company's hierarchy, and sometimes several years in each category before being promoted), but recently there have been more examples of young dancers being given big roles, and also a surprisingly early promotion: Mathieu Ganio being promoted to principal at 20, after having danced only two big roles (Kourbski in Grigorovich's "Ivan the Terrible" and Basilio in "Don Quixote"), and almost no soloist role (as he had been injured for several months after being promoted to sujet the year before). Well, I haven't seen him since he was promoted, and so don't know how well his performances were received... But, while most POB viewers agreed that he was extremely promising, I found that such a promotion was a bit early, and that it would be a great pressure for him to have to perform major roles with so little experience.

More generally, I guess one risk of "pushing" some young dancers too soon is that it probably increases the risk of injuries, and an early injury can be detrimental to a whole career. Also there is the problem of some dancers who are pushed very much for a while, and they fall "out of favor" for some reason (one missed performance, or simply because another young dancer is preferred by the direction) and then it can be very hard to overcome psychologically.

Neumeier's "Sylvia" will be performed between March 1 and April 2. The casts have been announced there:

mardi 1er mars

Sylvia Aurélie Dupont

Aminta Manuel Legris

Diane Marie-Agnès Gillot

Amour - Orion Nicolas Le Riche

Endymion José Martinez

jeudi 3 mars

Sylvia Nathalie Riqué

Aminta Hervé Moreau

Diane Stéphanie Romberg

Amour - Orion José Martinez

Endymion Yann Saïz

lundi 7 mars

Sylvia Aurélie Dupont

Aminta Manuel Legris

Diane Marie-Agnès Gillot

Amour - Orion Nicolas Le Riche

Endymion José Martinez

mercredi 9 mars

Sylvia Aurélie Dupont

Aminta Manuel Legris

Diane Marie-Agnès Gillot

Amour - Orion Nicolas Le Riche

Endymion José Martinez

samedi 12 mars

Sylvia Aurélie Dupont

Aminta Manuel Legris

Diane Marie-Agnès Gillot

Amour - Orion Nicolas Le Riche

Endymion José Martinez

vendredi 18 mars

Sylvia Laëtitia Pujol

Aminta Jean-Guillaume Bart

Diane Delphine Moussin

Amour - Orion José Martinez

Endymion Wilfried Romoli

samedi 19 mars

Sylvia Eleonora Abbagnato

Aminta Nicolas Le Riche

Diane Karin Averty

Amour - Orion Wilfried Romoli

Endymion Yann Bridard

mardi 22 mars

Sylvia Laëtitia Pujol

Aminta Jean-Guillaume Bart

Diane Delphine Moussin

Amour - Orion José Martinez

Endymion Wilfried Romoli

dimanche 27 mars

Sylvia Eleonora Abbagnato

Aminta Nicolas Le Riche

Diane Karin Averty

Amour - Orion Wilfried Romoli

Endymion Yann Bridard

mardi 22 mars

Sylvia Laëtitia Pujol

Aminta Hervé Moreau

Diane Delphine Moussin

Amour - Orion José Martinez

Endymion Wilfried Romoli

A review by Gérard Mannoni:

http://www.altamusica.com/danse/document.p...DossierRef=2099

I've tended to think that the lack of big-name ballet stars that reach across the boundaries of the dance world and into the general public's consciousness is due mostly to the cultural and political climate that exists now--- which is very different from that which existed during the years of the "dance boom".  I don't think it has anything to do with the facial beauty of individual dancers! 

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That was what came to my mind when reading his "Think of Rudolph Nureyev. Think of Mikhail Baryshnikov": the fact that they were Soviet Union defectors probably was as important for their fame as their facial beauty... On the whole, I find his arguments a bit confused.

That website

http://www.noureev.org/about/choregraphes_inv.php

mentions some choreographers working with the GRCOP until the 1986-87 season.

But I also found a site mentioning a work by Stéphanie Aubin, "Passage de l'heure bleue", created for the GRCOP in 1989:

http://www.preljocaj.org/Pages/fr/prel/col...in/biokurod.htm

Garnier died in 1989, and I think his group was disbanded only after his death (but probably it was not very active in the last years- especially as, from what I've read, Nureyev never was really interested in its activities).

cygneblanc: do you mean the GRTOP, later GRCOP ? I don't think Lefèvre was involved in that group, as she had left the company earlier with Jacques Garnier to created her own company (Théâtre du Silence, in La Rochelle). If I remember correctely, the GRTOP was first directed by Carolyn Carlson, and then later by Jacques Garnier (I don't know if the Théâtre du Silence had ceased existing yet or if B. Lefèvre was its only director then). The GRCOP lasted until the late 1980s, I think (perhaps until Garnier's death, around 1989 ?)

So, unless I'm mistaken in the dates, B. Lefèvre was not involved as a dancer in such a group. But having been a close collaborator of Jacques Garnier, she probably was well informed about it.

I think the GRCOP did an interesting job back then... But the situation of French dance was very very different from the present one: the number of modern dance performances was much lower, and so the audience had fewer opportunities to see it (and also the POB itself very rarely performed modern dance works). There would be far less motivation to have such a group now, as there are hundreds of theaters showing modern dance (and fewer and fewer showing ballet..)

About the premier danseurs: well, doing any kind of prediction would be difficult to do, as there have been so many surprises in recent months... Among them, Benjamin Pech probably is the one who has danced most major roles, but I wonder if he'll ever get promoted. Hervé Moreau sometimes has been considered as a potential principal, but he's been absent lately because of an injury, let's hope he'll be back in good shape.

cygneblanc: Mrs Lefevre's last sentence is a bit odd indeed. However, I'd like to see her whole interview (or declaration), because perhaps what was mentioned in the article was just an excerpt ? And well, the "it's not too late" sounds odd too- but I guess she couldn't say otherwise, because it'd have sounded a bit stupid for her to say "this promotion happens too late"... And I'd say I pay less and less attention to what Ms Lefevre says, as she often contradicts herself, or says things which have very little to do with what she does (e.g. claiming her admiration for Balanchine and programming none of his works in one or two seasons).

Naoko: I understand what you mean about your visions of "étoiles"- and for example I wouldn't put Romoli in the same category as, say, Manuel Legris... Perhaps there should be some other categories at the POB, as in some other companies (e.g. "principal character dancer" ?) And also, there have been quite a lot of different styles of "étoiles" during the company history, some of them were more character-oriented, for example I think that Patrice Bart and Georges Piletta were not at their best in prince roles...

Actually, I wonder who else among the current crowd of male dancers could be promoted. Among the present étoiles, Hilaire and Belarbi perform less and less, and also Jean-Guillaume Bart, while younger, has often suffered from injuries. The only principal under 32 is Mathieu Ganio.

There are 7 premiers danseurs, and I don't think that any of them has the "star quality" you described...

You wrote: "unlike everywhere else, where often promotions are decided totally outside of one's true talent/abilities"... Err, perhaps I'm a bit too cynical, but I think that, in the ballet world too, alas, sometimes promotions are influenced by a lot of other factors than a dancers' talent/ abilities- sometimes factors like being injured at a given date or doing a last minute replacement, or sometimes just being liked or not by a director, etc. And for example almost every year the results of the POB competition are criticized by part of the audience and critics.

By the way, a positive point about that promotion is that it was the first one in many years (a decade, I think) which took place in front of the audience: all the previous promotions took place backstage after a performance, which was frustrating for the audience, and probably also for the dancers. I had had the luck to see (completely by chance) the promotions of Nicolas Le Riche, Carole Arbo and Fanny Gaïda after a performance of "Giselle" in Nîmes in the summer of 1993, and that really was a moving moment for the whole audience.

Naoko and cygneblanc: I agree that the new direction's policy is somewhat worrying, especially in terms of repertory... However, though Romoli is cast now mostly in modern works, he's also danced brightly a lot of more classical works (for example I have a fond memory of him in works such as Robbins' "In the Night" and Balanchine's "The Four Temperaments", also he was a good Golden Idol in "La Bayadère", for example). He's never been cast much in "prince" roles, but I suspect it's perhaps more because of a question of looks than a question of technique...

cygneblanc- you were lucky to be able to go to London ! The London season really sounded far more appealing to me than the present POB season, it's a pity I never had enough time to travel...

Now I wonder what the next promotion will be- but it's really hard to predict, as the last two promotions (Ganio and Romoli) were such big surprises !

May I recommend two recent articles by Mary Cargill and Leigh Witchel in the Dance View Times about some performances by the Trocks ?

http://www.danceviewtimes.com/2005/Winter/01/Trocks1.htm

http://www.danceviewtimes.com/2005/Winter/01/Trocks2.htm

and also an older article by Leigh on his web site:

http://members.aol.com/lwitchel/990424.htm

sandik: I think that cygneblanc probably wrote "reflections" to mean the French "réflexion", i.e. some serious thinking (I guess it's yet another of those words which look the same but whose meaning is a bit different ?), so some serious essays about ballet.

cygneblanc, where did you buy that book ? Are you in the US now ?

I remember a professional trip to Berkeley where it was hard for me to choose which (cheap and interesting) second hand books about dance to buy, as my bag was not very big so I couldn't carry many of them back home... Tough choice ! And French dance-related books really are often disappointing (most of them being either some coffee-table books with nice photos but little interesting text, or some rather obscure and almost esoteric-souding books about modern dance choreographers...), and for example it's a real pity that many of Ivor Guest's books about French ballet have never been translated into French.

I think that symbolically it's important (and I hope he'll get an opportunity to do the Défilé as an étoile at least once- he already appeared almost as a étoile, in a défilé where too many male étoiles were injured, but it's not the same...) and also it could be helpful for him materially when he retires, as the étoiles are far more famous than the premiers danseurs, and it probably will bring him more opportunities if he wants to teach, give master classes, etc.

Wow! That's a HUGE surprise- he must be the oldest promoted étoile in the company (and probably in the company's history, as he's something like 42. But I'm happy about it, because he's such a talented, versatile and reliable dancer that it's great to see his qualities finally are recognized. I remember that in an interview he said that he didn't expect to be promoted any longer, but that actually he thought a promotion would have been more significant for him than when he was younger, as it would be a

recognition of his whole career.

The last year has been full of surprises in terms of promotions: Mathieu Ganio as the youngest (and less experienced) étoile in a very long while, Marie-Agnès Gillot who was the first dancer promoted after a modern dance performance, and now Wilfried Romoli the first promotion at more than 40... Predictions will be harder and harder to make!

I wonder what will be the reaction of his fellow dancers. Perhaps some might be frustrated that he's been a given a position so fewer will be available for the others- on the other hand, he's going to retire quite soon, and he seems to be quite respected by the rest of the company (and from his interviews, he really sounds like a very nice, sensitive, modest person, and also as someone who's thought quite deeply about his job).

I've no idea whether there will be some other promotions of "mature" dancers, but I'd really like Delphine Moussin (who's close to 40 now) to be promoted too...

I haven't read that books, but I'd recommend Arlene Croce's "After images" (and probably her other books, but that one is the only one I have) and Edwin Denby's dance writings. Probably the native English speakers of the board will have more advice...

By the way, I find that serious books about ballet really aren't numerous enough in France- well, I guess it's a bit the same problem as with dance critics and dance magazines...

Err, could someone explain to me the meaning of "miscegenation" ?

I've no idea whether I'll be able to go to Paris to see those performances, but I'd really like to see the mixed bill including "Who Cares" and "Square dance", especially as, as far as I know, "Square dance" seldom has been performed in France (it isn't in the repertory of any French company- I wonder if the NYCB performed it on tour ?). Also the program with three world premieres looks quite exciting. And the POB will perform two programs in July (R & J and a Petit mixed bill) so that will definitely be a good period to go there for balletomanes !

The performances will be part of a new dance festival organized by Claude Bessy (former director of the POB school) and Valery Colin (former POB corps de ballet dancer). It will take place outdoor, so let's hope July won't be too rainy !

I'm still baffled by the comment about Hitler So I guess all the people who disagree with Mr Rockwell on that point are supposed to be Nazis ?

Well, it makes me think of several dance critics of some French newspapers, and for me that's not a compliment...

http://www.sfballet.org/news/detail.aspx?id=16

A Paris tour with three programs is announced on the SFB site.

Wow. Thank you for the explanation. I can't help but think that Mr. Petite's influence must've provided the funding Marseilles enjoys.

Probably, as Petit is an influential choreographer and also used to be supported by some local politicians (e.g. the late mayor of Marseille Gaston Defferre). And also there's the fact that Marseille is France's second or third city.

Do you think the audiences in France are simply bored with regular ballet?

I don't think so: for example, this season at the POB, "The Sleeping Beauty" was sold out very quickly while the theater was not very full for several of the modern dance programs, and also when some ballet companies tour, they generally get quite a large audience. However, now there's so little ballet to be seen in most cities that I wonder if people will soon forget what ballet looks like...

I wonder because what's to stop someone from starting their own company? Or would one have to go through the ministry of culture. etc. I don't know.

No one is obliged to ask for public support to start a company, but in general creating a company requires a lot of money, and especially for a ballet company. And private sponsorship for dance is very very low in France. Most dance companies, ballet or modern, depend a lot on public subsidies, I think it'd be very hard to have a financially viable company without public support.

Well, we've been going a bit too off-topic, let's go back on topic again ! But perhaps now you understand better why, as many French ballet fans, I'm often worried when I see the repertory of ballet companies including more and more modern works...

  . . . (though the inclusion of Limon's work in the "ballet" category is quite surprising...)

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I'll say! Is it a "classical" program, Estelle, or a program of "classics"? Big difference there, at least in English.

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Well, the page about the upcoming programs is there

http://www.ballet-de-marseille.com/actunidieunimaitre.html

and it just says "programme classique", which, I think, would mean "classical program"

(program of "classics" would be something like "programme de "grands classiques").

However, there are not many details on that page, so it's difficult to understand what is really meant. But since Limon's work is or was in the repertories of several ballet companies (in France, the POB, the Ballet du Rhin and the Ballet de Lorraine, though they haven't performed it for at least a decade), perhaps some people believe it to be some ballet. And for example a lot of French critics call choreographers like Kylian, Duato or Ek "neo-classical", which I really find odd (especially for Mats Ek, as his style doesn't use any ballet steps...) I sometimes get the feeling that for some critics, any dance work which includes some decent music, a vocabulary requiring some technicity, and some links between the music and the steps is considered as ballet (especially as there are more and more modern works soundtracs which are a mixing of several noises and speeches, steps taken from ordinary gestures, no plot or logic, etc.)

There have been some updates on the web site of the Ballet de Marseille:

-an introduction by Frédéric Flamand:

http://www.ballet-de-marseille.com/pres.htm

-a biography of Frédéric Flamand:

http://www.ballet-de-marseille.com/bio-flamand.htm

-some announcements for the upcoming season:

a "classical" program called "La mémoire de l'innovation" (3 performances in

March at the Marseille Opera) with Nijinsky's Afternoon of a faun", Balanchine's "Apollo", Limon's "The Moor's Pavane" and "Bournonville's "Konservatoriet"

two full-length programs by Frédéric Flamand, one in June "Silent collisions"

(3 performances at the Théâtre de la Criée) and one in July 'La cité radieuse" (2 performances at the Théâtre de la Criée)

Wel, at least they still perform some ballet (though the inclusion of Limon's work in the "ballet" category is quite surprising...) but the number of performances is quite low, and the corps de ballet won't get much to do. I wonder which tours are planned ?