Estelle

I couldn't go to Saint-Quentin en Yvelines, but finally managed to attend a performance of the Pascal Rioult Dance Theater in Nanterre, at the Maison de la Musique on April 5. Nanterre, a suburb at the northwest of Paris, is known in the dance world mostly because it has been the home town of the POB dance school since the late 1980s (it also has a renowned state-subsidized theater, the Théâtre des Amandiers), but its Maison de la Musique has a decent programming of dance and music. (Parenthetically, a very tragic event happened there on March 27, as at the end of a meeting of the City council an insane man shot 8 elected people and injured tenths of others... Just near the theater, there still were posters with photographs of the deceased people). The program, called "Projet Ravel", included four works, all on Ravel scores: "Home Front", "Wien", "Prélude à la nuit", and "Boléro". "Home Front", the first work of the program, was set on "Le Tombeau de Couperin", Ravel's homage to the French composers who were killed in WWI. It is a plotless work for seven dancers (three men and four women), with a clearly Grahamian vocabulary, and a contrast with the aerial, light dances of the women and the muscular, mechanical and sometimes violent dances for the men. David Finley's lightings were excellent (and that is a comment to be repeated for all the other works, the lights were one of the most positive aspects of the program). I especially appreciated one of the female dancers- unfortunately, the program notes were very short, and gave only a list of the 10 dancers of the company, so I don't know her name. The second work, "Wien", was set to Ravel's "La Valse". The work mirrored the violence of the score, with dancers doing relentless circular movements on the stage, and some of them trying in vain from time to time to escape the movements of the crowd. In spite of a few weaker moments, it was an impressive work, but I sometimes felt a bit ill at ease with the violence of the gestures, and some program notes would have been welcome to understand if it referred to a specific context, or if "Wien" just was chosen because of Viennese waltzes. "Prélude à la nuit" was set on the score with the same title from "Rhapsodie Espagnole", and two other works ("Alborada del gracioso" and "Pavane pour une infante défunte"). It was centered on a female character, danced by a dancer who was a bit older than the rest of the company, and who probably was Joyce Herring, the associate director of the company. The first part was a metaphor of a hospital, with the female dancer wearing only underwear and the kind of white thin clothes without buttons that people have to wear when they go through surgery, and four male dancers with what looked like doctor's outfit. The second part was a kind of nightmare, with the female dancer being surrounded and hit by a group of dark-clothed characters, often wearing frightening dark masks, and the third part was some kind of heavenly place, with nice blue lights. As in the two previous works, I didn't like much the violent parts (and thought that some words of warning might have been appropriate as there were quite a lot of children in the audience) and sometimes the dance was a bit clumsy, but on the whole it was interesting, and the main dancer (Herring?) had a great stage presence. Harry Feiner's sets used inventively the same vertical patterns for all three parts. The last work was on Ravel's well-known "Boléro". It has been choreographed so much that it must be hard to find anything original to do on such a score. Rioult's work was plotless and quite geometric, with a contrast between the rather mechanical and angular movements of most of the dancers and slower, more sinuous movements of one of two dancers (those dancers changing each time). The room wasn't full (but it had received very little publicity) and the audience's reaction was a bit tepid at the beginning, but it became more and more enthusiatic, and the company was applaused very much at the end of the program (Rioult himself came on stage for the bows). On the whole, even if the choreography had some flaws, I appreciated quite a lot that program, especially considering that the company has only 10 dancers. My boyfriend, who usually is a bit cautious when I try to convince him to see contemporary/ modern dance (especially after some unfortunate choices which made him fall asleep), said it definitely was worth the trip to Nanterre (and also that it was great to have for once lights which enabled you to actually see the dancers ). But I wonder how it would look to an American audience, as Graham-inspired technique probably is far more common there than here. That program will be performed in the US later (in Chatham, NJ on April 18, Larchmont, NY on April 29, and at the Joyce Theater in NYC between June 18 and 22). As a last note, I'd like to thank the Maison de la Musique for its generous pricing policy: the highest price was only about 21 euros (about the same in US $), and there were special prices for students, unemployed people, people under 26, etc. (for example children under 15 paid only 4.5 euros- and actually there were quite a lot of children and teen-agers in the audience, some of them in groups with teachers).

Does anyone know if Hervé Courtain will stay with the Boston Ballet for another season, or if he'll go back to POB? (By the way, bijoux, the other name for "Rubies" is "Capriccio"- it's because the score's name is "Capriccio for piano and orchestra". I agree that having two names for the same work can be a bit confusing sometimes...)

For the record, there is a similar thread in the "Boston Ballet" forum in the "American companies" part of this board: http://www.balletalert.com/forum/showthrea...=&threadid=4477

Lilliana, thanks for your post. You know, there are a lot of people on this board who have never had a ballet class ;) And it's great to read about companies from all over the world (I think it's the first time someone posts a review about the Sacramento Ballet on this board).

Lolly, I've read about those golden cherries too, but have never noticed them when I saw the work at the Paris Opera, so it makes two of us... And Forsythe is well-known for his rather bizarre titles, like "The loss of small detail", "Self meant to govern", "The vile parody of address", etc. About interpretation, I think that it depends a lot of which kind of work it is. There are some plotless works, like "Theme and variations" or "Concerto Barocco", for which I'm perfectly happy just enjoying the musicality, the visual patterns and the grace of the dancers and don't feel I need more explanation to "understand" it. But with works which are more theatrical, it's easier to feel a bit lost and to have the feeling that there's something to understand and that I'm missing it (especially when it's not especially musical and when there is nothing interesting about the steps or the construction)- that often happens with some modern/ contemporary works...

Lolly, I've read about those golden cherries too, but have never noticed them when I saw the work at the Paris Opera, so it makes two of us... And Forsythe is well-known for his rather bizarre titles, like "The loss of small detail", "Self meant to govern", "The vile parody of address", etc. About interpretation, I think that it depends a lot of which kind of work it is. There are some plotless works, like "Theme and variations" or "Concerto Barocco", for which I'm perfectly happy just enjoying the musicality, the visual patterns and the grace of the dancers and don't feel I need more explanation to "understand" it. But with works which are more theatrical, it's easier to feel a bit lost and to have the feeling that there's something to understand and that I'm missing it (especially when it's not especially musical and when there is nothing interesting about the steps or the construction)- that often happens with some modern/ contemporary works...

Well, perhaps for American libraries, but for French or German (Sylvia is from Germany) ones, I'm afraid it's quite unlikely... I think that at least, an update which would include the period between 1977 and Balanchine's death would be interesting.

If I remember correctly, the Dutch National Ballet will perform Graham's "Acts of light" next season. I wonder how it will be organized- it has to be authorized by Ron Protas, but who will coach the dancers?

I agree about Nancy Reynolds' wonderful book. But it's a pity there is no updated version? Also, how easy is it to find it now? The copy I have is a gift from a friend (who had bought it long ago) but I remember reading that it was hard to find now...

Nice to see you here, Keith! I hope that you will keep us informed about what's happening in Milwaukee.

I hope you'll enjoy it. Will you see the Stravinsky mixed bill too? I'm not sure if I'll see "Don Quixote", but plan to see the mixed bill (the casts haven't been announced yet). Perhaps we could meet when you're in Paris? (You can use private messaging to contact me).

The ABT did dance "Billy the Kid" during their Paris tour in 1999 (but I didn't see it...) atm, you should write a book about all the works you saw! You seem to have seen about everything which happened on the ballet stages...

I've heard about that interview too, but not read it (pity there are so few things on the Figaro web site). It's good to read that Arbo, Gaida and Maurin will be hired at the POB school (though I don't know how good at teaching they are- after all, a good dancer doesn't necessarily make a good teacher... But at least they've received a good training!). I wonder which previous teachers they will be replacing? Perhaps Christiane Vlassi, who probably is close to retirement age? I don't know how serious her threats of emigration to Australia (why Australia, by the way? Has she been offered a position there?) are: in the last few years she has threatened to resign from the school direction several times, for various reasons (for example at a moment when the POB had hired some dancers not from the school- she protested that more dancers from the POB school should be hired). From what I've read, one thing she was complaining about was the bureaucracy, and for example the fact that some rules which might prevent the students of the school from performing with the company as often than before. By the way, while there are some aspects of the policy of the ministry of culture that I don't like, I think that "doing everything possible to eradicate it" is a bit exaggerated- after all, I very much doubt that there are many schools in the world as subsidized by the state as the POB school...

I saw "l'Arlésienne" in Paris in 1997 with Legris and Guérin, when it entered the POB's repertory. I was not entirely convinced by the ballet itself, but the dancers are wonderful- well, in many works by Petit, I think the interpretation makes a great difference... rg was there too in 1997, so perhaps he can tell us his impressions too? It will be performed again next season in Paris, in October, in a Petit- Robbins mixed bill. (Unfortunately, Guérin won't be performing it, except if she's invited as a guest). "L'Arlésienne" was premiered in 1974. I don't have the program notes here. I'd be likely to think he created it for his own company, but am not sure. Manhattnik, Jean-Charles Gil danced with various companies, including the Ballets de Monte-Carlo until 1997, now he's working as an independent dancer, teacher and choreographer. I saw a program by him about three years ago in Marseille: three solos choreographed by himself, Thierry Malandain and another choreographer I don't remember. He's past his prime, but I really liked that program, he had a great stage presence and a great placement. Also in the last few summers, every summer in Luberon (a part of Provence) he animated a summer school for young professional dancer. I've found his web page at: http://www.jeancharlesgil.com/index.htm Let's say it's not exactly the most modest site I've ever seen... ;) About that video: I'm *really* frustrated about that one. It was shown twice on TV (at hours like 2 AM), each time I asked my parents to record it (I have no TV), and each time there was a problem and I didn't get it. Now it's very unlikely to be shown again, and it's not available commercially... (A note: Alexandra, I think you mean Dupond? I don't want to be petty, but it can be confusing, because it's Aurélie DuponT and Patrick DuponD, so when people read Dupont they're more likely to think about Aurélie... By the way, your post made me regret that Patrick Dupond's POB career ended so sadly. He was not my favorite dancers, but the Petit repertory suited him well.)

Sonja, there is a web page about "The Concert" on the site of the New York City Ballet: http://www.nycballet.com/about/rep_concert.html It lists the musical pieces: Music: Polonaise "Militaire"; Berceuse, Op. 57; Prelude Op. 28, No. 18; Prelude Op. 28, No. 16; Waltz in E Minor (Posth.); Prelude Op. 28, No. 7; Prelude Op. 28, No. 4; Mazurka in G Major (Posth.); Ballade Op. 47, No. 3, by Frédéric Chopin If you need some more detailed information, I can hav a look at the POB program notes (I don't have them here but can check them when I'm back home). Now I'm looking forward to reading your review of that program!

Helen: yes, the POB school version was choreographed by Pierre Lacotte. Actually, he had staged that version for the main company in 1973 (adding a third act of his own), but it hasn't been danced for a while. In the program notes, he wrote that it was the version of Albert Aveline (POB ballet master, who had staged in in 1936): he had danced it several times in his youth, starting at the age of 10 as one of the kids in the first act, then dancing one of the automats in the second act (and finally dancing Coppélius in the POB school performances!) He also wrote that in 1983, when it was danced by the POB, Nureyev had asked him to add a male variation in the first act, and so he had added one, on some music from "Sylvia". Later that variation was kept. Will you see the performances of the Shangai Ballet? It's interesting to know that "Coppélia" will be performed there, and if you attend it, I hope that you will post about your impressions.

There were at least two ballets choreographed on that score, both called "Symphonie fantastique": one by Leonide Massine in the 1930s (for the Ballet Russe du Colonel de Basil, I think) and one by Roland Petit in 1975 for the Paris Opera. As far as I know, Petit's version wasn't danced again after the season of its premiere. Massine's version was revived by the Paris Opera Ballet in 1997 (and also filmed, but as far as I know the tape has only be shown on the French TV and is not available on a commercial tape). I saw it, it was a bit dated but interesting, with especially striking costumes and sets by Christian Bérard. I don't remember the plot exactly, but it dealt with opium-inspired vision, there also was a nice ball scene.

Lolly, thanks for your post. Lolly, I understand your point, but when reading your post, it made me think about music: there are a lot of musical works I appreciate without knowing anything about the choreographer's intent, or even sometimes about the period when it was created, the context, etc. But perhaps people are more likely to look for a clear "meaning" and an explanation for dance works than for musical works (and also perhaps not knowing much about the context, biography, intentions, etc. of musical works makes me miss many things and that I'd enjoy it more if I knew more). Well, we're getting a bit off-topic here, but I think that one of the motivations for Perec perhaps was that using formal constraints (he was a member of the literary group Oulipo, whose purpose was/is to write works with constraints) was a way for him to overcome the "white page syndrom" when starting a work, and also to focus on something else than his own feelings of sadness, grief, etc. when writing (an example which was given by another member of Oulipo was that of love letters: basically he said that imposing formal constraints to oneself when writing such letters- rhymes, verses, letters, acrostiche, or anything else- might be a good way to avoid becoming too easily sentimental and using uninteresting cliches, having to use constraints means that you have to pay more attention to the form of your work and you have to be careful about every word. By the way, one of Perec's best known works is "La disparition", a novel which doesn't include the letter "e"). Also perhaps it was a sort of intellectual, challenging game with himself- and also maybe, in the example I gave (the reference to the date his mother's death) the reference might be dedicated to the memory of his late mother, like a secret between him and her... Well, those are just hypotheses, and only Perec himself would have been able to tell his real motivations!

Lolly, thanks for your post. Lolly, I understand your point, but when reading your post, it made me think about music: there are a lot of musical works I appreciate without knowing anything about the choreographer's intent, or even sometimes about the period when it was created, the context, etc. But perhaps people are more likely to look for a clear "meaning" and an explanation for dance works than for musical works (and also perhaps not knowing much about the context, biography, intentions, etc. of musical works makes me miss many things and that I'd enjoy it more if I knew more). Well, we're getting a bit off-topic here, but I think that one of the motivations for Perec perhaps was that using formal constraints (he was a member of the literary group Oulipo, whose purpose was/is to write works with constraints) was a way for him to overcome the "white page syndrom" when starting a work, and also to focus on something else than his own feelings of sadness, grief, etc. when writing (an example which was given by another member of Oulipo was that of love letters: basically he said that imposing formal constraints to oneself when writing such letters- rhymes, verses, letters, acrostiche, or anything else- might be a good way to avoid becoming too easily sentimental and using uninteresting cliches, having to use constraints means that you have to pay more attention to the form of your work and you have to be careful about every word. By the way, one of Perec's best known works is "La disparition", a novel which doesn't include the letter "e"). Also perhaps it was a sort of intellectual, challenging game with himself- and also maybe, in the example I gave (the reference to the date his mother's death) the reference might be dedicated to the memory of his late mother, like a secret between him and her... Well, those are just hypotheses, and only Perec himself would have been able to tell his real motivations!

http://www.danceinsider.com/f2002/f0320_1.html A review of "Coppélia" by Paul Ben-Itzak (it also deals with "S" by Sasha Waltz at the Théâtre de la Ville).

A review by Paul Ben-Itzak on the Dance Insider web site: http://www.danceinsider.com/f2002/f0305_1.html

Alexandra, there is another interesting ROH announcement on the following page: http://www.ballet.co.uk/magazines/yr_02/ap...ast_masters.htm It seems that the Royal Ballet will create its own company of "senior" dancers, a bit like NDT 3. Their repertory list is especially interesting...

Ari, you might be interested in having a look at the Dutch National Ballet's web page at: http://www.het-nationale-ballet.nl/new/index.html (There are two versions: one in Dutch and one in English). They seldom come to France, but a few months ago they went to Dijon, dancing Ashton's "Cinderella"- I was sorry not to be able to attend it, because seeing Ashton works in France nearly is impossible...

It's nice to see you back, James, and good luck for your career! Surely you must be very busy now, but I hope that from time to time you'll have opportunities to post again and to keep us informed about what's happening in London...

I don't subscribe to any because the POB subscriptions aren't very convenient: most subscriptions include both ballets and operas, and the ballet only ones only include a number of ballets of the season (say, 3 to 5) with limited choices (and it generally includes works I don't care for). The exchance possibilities are limited, and in general I don't know in advance at which moment I'll be free (by the way, most subscriptions aren't for a fixed day of the week). Besides, the prices aren't especially interesting (for most subscriptions, it's the same price as what one would pay for seats taken separately). However, I admit that there have been some improvements in the subscription modes, for example they have added some special formulas with three ballets on saturday matinees (which might be convenient for people living far from Paris), and more possible choices; also for the dance subscriptions now one has the possibility to choose the ballets first and the dates some time later (which might be convenient to see a particular cast). The only period when I've had a ballet subscription was when i lived in Grenoble: my parents and I had a subscription for one or two years at the Maison de la Danse in Lyon, they had a convenient subscription with five ballets on sunday matinees (which was one of the only possible dates for us, as the trip was a bit long).