Estelle

December and the end of November might be an interesting period to go to Paris, because there are three series of performances at the Paris Opera overlapping: -a "homage to Kochno" including Balanchine's "Prodigal son" (Nov 25- Dec 11) -Nureyev's "Bayadere" (Nov 17- Jan 5) -a Robbins- Li- Fokine- Nijinsky mixed bill (Dec 19- Jan 4) Plus a free program by the Conservatoire de Paris around Dec 15, and probably some other programs in suburb theaters.

elf, could you tell us a bit more about the "Cinderella" you saw? Was it Frederick Ashton's version? I'd be interested in knowing more about the Dutch ballet scene: there isn't anything about it in the French press, and one of the enjoyable things of this board is that it provides opportunities to know more about what's happening in other countries...

I've not seen those performances, but in case you're interested, the web site of the Dutch National Ballet is: http://www.het-nationale-ballet.nl/ I suspect that the photo on the main page (a jumping person with a fat-looking costume and a hat) comes from the work you mention. It is called "Groosland" and is by the French choreographer Maguy Marin. It was created in 1989, and I remember the Lyon Opera Ballet danced it a few years ago. I didn't see it, most of the reviews found it amusing, while some found it a bit offensive or tasteless. Maguy Marin is quite popular in France; I've only seen a few works by her and didn't like it much. The rest of the program included Balanchine's "Capriccio" (Rubies), Robbins' "The Cage", and Ashton's "Symphonic Variations": that sounds quite interesting! Pity the Dutch National Ballet never tours to France, they seem to have an interesting repertory...

dirac posted the following link in the "links" section: http://www.sfgate.com/cgi-bin/article.cgi?.../24/DD94974.DTL It is about Joanna Berman's retirement at the end of the 2002 season. I've seen her on stage only twice, during some Paris tours of the San Francisco Ballet in 1994 and 2001. I especially liked her in Tomasson's "Chaconne", she was extremely musical and graceful. Are there some people here who want to share some memories of her dancing?

The casts have just been announced for two other programs which will take place in november and december: a "Homage to Kochno" including both ballet ("The prodigal son") and operas ("Mavra", "The seven capital sins"), and a mixed bill with Robbins' and Nijinsky's versions of "Afternoon of a faun", Fokine's "Petrouchka" and a new work by Blanca Li. The main roles for "The prodigal son" will be danced by: -Nicolas Le Riche and Agnes Letestu -Kader Belarbi and Marie-Agnes Gillot -Jeremie Belingard and Agnes Letestu -Benjamin Pech and Karin Averty The main dancing role in "The seven capital sins" will be danced in alternance by Elisabeth Maurin and Clairemarie Osta. The are numerous casts for the mixed bill, including quite a lot of sujets and even coryphees in big roles. The casts for Petrouchka (Petrouchka- Doll- Moor) will be: -Laurent Hilaire (finally back!)- Elisabeth Maurin- Wilfried Romoli -Kader Belarbi/ Karin Averty/ Yann Bridard -Lionel Delanoe/ Clairemarie Osta/ Jean-Christophe Guerri (coryphee) or Herve Dirmann (sujet) -Kader Belarbi/ Laure Muret (sujet- nice to see her back after her maternity leave)/ Stephane Phavorin (sujet) Nijinsky's faun will be danced by: -Jean Guillaume Bart and Karin Averty -Wilfried Romoli and Laurence Laffon (coryphee) -Yann Bridard and Amelie Lamoureux (coryphee) -Stephane Bullion (coryphee) and Laurence Laffon Robbins' faun will be danced by: -Nicolas Le Riche and Eleonora Abbagnato -Karl Paquette and Laetitia Pujol -Herve Moreau (sujet) and Juliette Gernez (coryphee) -Yann Saiz (sujet) and Emilie Cozette (coryphee) The main roles in Li's new work will be danced by: -Agnes Letestu and Jose Martinez -Delphine Moussin and Benjamin Pech or Stephane Phavorin I suspect that by the beginning of january, some dancers will be pretty exhausted...

The castings are on the POB web site, but it's a bit difficult to find as some links don't work (one has to go to "calendrier 2001-2002" and then click on "La bayadere", and then on "distribution"). Mashinka, you're right about the casts on Nov 19 and 21. Also on those days the three variations will be danced respectively by Eleonora Abbagnato, Clairemarie Osta and Muriel Halle, the slave by Karl Paquette, and the golden idol by Benjamin Pech on Nov 19 and Jeremie Belingard on Nov 21. The casts for the main three characters will be: Letestu (N)- Martinez - Gillot (G): Nov 17, 23, 25, 28 Moussin (N)- Bart- Pujol (G): Nov 19, 21 Dupont (N)- Legris- Abbagnato (G): Nov 26, 30 Dupont (N)- Legris- Pujol (G): Dec 9, 22, 24 Zakharova (N)- Bart- Moussin (G): Dec 1, 4, 5 Abbagnato (N)- to be announced- Osta (G): Dec 12, 26 Gillot (N)- Tsiskaridze- Romberg (G): Dec 29, 31, Jan 4 Maurin (N)- Pech- Osta (G): Dec 30, Jan 3, 5 It is interesting to note that the only dancers who had danced it in 1992 when it entered the company's repertory were Manuel Legris and Elisabeth Maurin (who were in the second cast with Monique Loudieres, the first one being Guerin- Hilaire- Platel).

Some news from the Paris Opera: -the etoile (principal) Isabelle Guerin had her farewell performance in Petit's "Notre-Dame de Paris" on October 8, dancing the role of Esmeralda, partnered by Massimo Murru (guest dancer for La Scala de Milan) as Quasimodo, standing an injured Nicolas Le Riche, Manuel Legris as Frollo, and Yann Saiz as Phebus. Guerin was supposed to have her farewell performance in July in "Romeo and Juliet", but had to cancel her performances because she was injured. This time, she was technically no longer a principal of the company (sometimes the POB administrative rules really are stupid), and so was considered as a "guest dancer"- for example, unlike what happens usually with official retirements of principals, there was no special poster of her in the program booklet. But at least she got to dance the main role (unlike Carole Arbo earlier this year, who had her farewell performance in "Other dances", which was in the middle of the program) and, from what I've read, was warmly applaused by all the audience. She might come back this year in Preljocaj's "Le Parc". -the next program of the season will be Mats Ek's "Giselle", and then there will be Nureyev's "La Bayadere". And two Russian dancers will be invited: Svetlana Zakharova from the Kirov Ballet will dance the role of Nikiya (partnered by Jean-Guillaume Bart as Solor), and Nikolai Tsiskaridze from the Bolshoi ballet will dance the role of Solor (partnering Marie-Agnes Gillot and Stephanie Romberg). This is a bit unusual, as there seldom are guest dancers at the Paris Opera: apart from Murru in "Notre-Dame de Paris", the only ones I remember reading about were Alessandra Ferri in some Petit ballets and "Fall river legend" and Altinai Assylmuratova in "La Bayadere" (and also Sylvie Guillem, of course). I wonder how they will get used to the POB style: it's interesting to see dancers from abroad, but I think it'd be better to see them with their own companies... It seems to me that now the POB has to face a real lack of female principals. Only three are remaining: Elisabeth Maurin (38, principal since 1988), Agnes Letestu (30, principal since 1997) and Aurelie Dupont (28, principal since 1998). I can't help feeling a bit old thinking about all the dancers who retired or left since 1996 (Loudieres, Legree, Pietregalla, Platel, Arbo, Gaida, Guerin ). There were periods when there were as much as eight female principals, and three seems to be really unsufficient for such a large company. Actually, the three other casts for "Notre Dame de Paris" besides that with Guerin included premieres danseuses in the main role: Marie-Agnes Gillot, Eleonora Abbagnato and Clairemarie Osta. All three of them will dance "La Bayadere", dancing both principal roles (Gillot and Abbagnato will both dance Nikiya and Gamzatti, Osta will dance only Gamzatti), and less important roles. The premiere danseuse Delphine Moussin will be dancing Nikiya and Gamzatti- now she's about 32 and is considered as too old to be promoted, which I consider as a pity as she's proven her talent in nearly all the great roles of the repertory without getting the full recognition she deserves. The premiere danseuse Laetitia Pujol and the sujet Stephanie Romberg will be dancing Gamzatti too. There were some expectations of promotion of Marie-Agnes Gillot when she did the season premiere of "Notre Dame de Paris", but it wasn't fulfilled. Perhaps she will be promoted when she dances the season premiere of "Bayadere" (next to Agnes Letestu and Jose Martinez)? The lack of principals might be a problem soon for male dancers too: Laurent Hilaire almost hasn't danced during the last season because of injuries, and won't be cast until January at least; Nicolas Le Riche is injured now; Kader Belarbi doesn't dance much in the classical repertory, and Manuel Legris, Jose Martinez and Jean-Guillaume Bart dance nearly all the main male roles. [Edited to correct a mistake: I had written incorectly that N. Tsiskaridze was from the Kirov Ballet too. Thanks to Marc Haegeman for pointing this out.] [ 10-22-2001: Message edited by: Estelle ]

Did any of the posters of this board attend the performances of Dance as ever? If yes, please write something: I know it must feel a bit strange to post some comments while knowing the choreographer of the works will read your post, but please, don't be shy!

The Teatro Regio de Torino has a web site at: http://www.teatroregio.torino.it/ From what is listed, the Bolshoi will be there between Dec 21 and Dec 23 with "the Sleeping Beauty" and Dec 28-Dec 31 with "The Nutcracker" (Grigorovich's versions for both). Hope this helps.

I don't know where to find such a tape, but the Paris Opera Ballet danced it a few years ago, and is going to dance it again next spring, so probably they have tapes. Usually it's very difficult to get POB tapes, but since you are a dancer, perhaps it would be easier for you?

Sonja, on the NYCB web site, it is written that the music comes from "Pelleas et Melisande" and also from "Shylock". When I have some time, I'll try to find if there is more information about it on the POB programs for last year's performances.

Sonja, don't apologize about the length of your review: it's great to have detailed reviews of performances! What you wrote about the transition between "In the Night" and "Second detail" reminds me of a POB performance I saw a few years ago at the Avignon festival: it took place outdoors in the Cour d'Honneur of the Palais des Papes (a very beautiful place), there was a performance of "In the Night"... and then blam!, "In the Middle, Somewhat Elevated"! I appreciated "In the Middle", but the change of atmosphere was a bit hard! I think I'd use the word "clinic" too for "Second detail"- what disturbed me the most when I saw it (danced by the Lyon Opera Ballet) was, as in many Forsythe works, the total absence of emotion of the performers, they had blank faces and seemed to be performing almost only for themselves. I liked some of the movements (and I agree with you that at least, there is enough light in that one- I'm so bored with all those poorly lit works...) but would have preferred a little bit of warmth...

Hi Sonja, I saw Dupont in "In the Night" atthe Paris Opera in February. I had posted a review about that performance, but probably it was too long ago and hasn't been kept on the site... If your're interested, you can email me at: Estelle.Souche@cmi.univ-mrs.fr. She danced the third pas de deux, with Wilfried Romoli. I had been used to see dancers in their late 30s in that role (Vayer, Guerin, Arbo...) and so it was a bit unusual to see Dupont (who is 28) in that role, but the age contrast between her and Romoli (who is 39 or 40) added an interesting dimension to the pas de deux, and she was very good, especially on the second time I saw her. Have you already seen her? She is the youngest POB principal, and I think she has improved quite a lot on the acting side since her promotion (being a very strong technician from the start). I hope that you'll post your impressions about that program, it really sounds interesting.

It sounds very similar to what happened to the Ballet de Nancy about two seasons ago: the city wanted to give less money to the company, so it was decided to have fewer dancers and switch to a contemporary repertory. It kept a sprinkling of classical repertory (this season Nijinska's "Les Noces" is the only one) and the rest is a mixture of styles (Karole Armitage has become a resident choreographer, and there are creations by other contemporary choreographers, and also previously existing works by Cunningham, Taylor, Monnier, Duboc, Gallotta...) The repertory of the Lacotte periode, which included mostly several reconstitutions of full-length works, many Balanchine works and some works of the Ballets Russes, have been abandoned. I don't know if the audience has increased or decreased since the change occurred. As Cliff, I wonder if "elitism" has anything to do with the issue...

There's a RB press release about it on ballet.co: http://www.danze.co.uk/cgi-bin/dcforum/dcb...orum=news&omm=0 but it gives no details about her future career.

http://www.danze.co.uk/dcforum/happening/2121.html David Leonard has just posted on ballet.co.uk that Aage-Thordal Christensen has just been replaced by Frank Andersen. There's an announcement about in the RDB web site, but only on the Danish part of the site (not on the English one): Ny Balletmester fra 2002 Den 24. september udnævnte Det Kongelige Teaters bestyrelse Frank Andersen til balletmester fra 1. juli 2002 til 30. juni 2006. Samtidig blev Lloyd Riggins, solodanser ved Hamburg Ballett og tidligere solodanser ved Den Kongelige Ballet, udnævnt til 1. gæste-instruktør. Frank Andersen begynder allerede 1. oktober 2001 som rådgiver i planlægningen af de kommende sæsoner og indflyttelsen i det nye Opera- og ballethus på Dokøen, samt koordineringen af Bournonville-festivalen i 2005. I don't speak Denish, but I assume that it means that Frank Andersen will be the artistic director of the RDB between July 1, 2002 to June 30, 2006, and that the dancer Lloyd Riggins will do something too. Alexandra, Pamela, could you translate it? (I'd be interested in your opinion, too).

Oops, there's something bizarre with that site! When I just clicked on the link I had copied, on the first time I also got "only plain text about scripts n' stuff", but on the second time it worked fine and I got the page about "news and events". :confused:

Well, I wouldn't like to sound cynical, but I'm afraid criteria like "he was a famous dancer so he must be a great director" or "she's well known by the audience because she did some commercials for cosmetics" might influence some people too...

I use Netscape and it works fine: I get the "configuring graphics" page at first but then the real page appears. There are links at the left of the page ("News and events", "Biography", etc.) Perhaps it is a problem of which version of Netscape one uses, or something about Java, Javascript or cookies... Perhaps you could try to see if the following URL works: http://www.bournonville.com/mainpage_frame...?page=25&bhcp=1 It's the URL of one of the "inside" pages of the site.

This topic reminds me of some conversations with a friend. In June 2000, his younger brother left their home with their mother's gun, and nearly two weeks later his body was found: he had killed himself. My friend said that now he is extremely sensitive to anything related to firearms (and also to suicide, of course): he said that any image of people being shot, in fictions or in reality, made him feel totally sick... And also he realized that (as felursus wrote) we have become very desensitized to violence, considering it as "usual", and having in fact a very "abstract" vision of it: on TV or cinema screens people get killed, we see explosions, blood, etc. and people get used to it. But we don't realize, until facing it personally, the infinite sorrow caused by a real person's death.

Wow, that site looks really great, with a lot of nice photographs (it's nice to see Hans Beck as James, for example) and much interesting reading...

Dance might also be a way for some people to express their sorrow, when they're lacking words. If I remember correctly, in her autobiogaphy, Martha Graham wrote that once a woman came at the end of a dance piece to thank her, because she had lost her son several months ago, and when she saw Graham's work, it was the first time she was able to cry and express her deep suffering.

The flags are down on many French official monuments, including the palais de l'Elysee (residence of the president) and the Hotel Matignon (residence of the Prime Minister). Also tomorrow will be an official day of mourning in all the countries of the European Union, with some minutes of silence dedicated to the memory of all the victims of those evil acts.

According to the NYCB web site, the company has peformed in Athens on Sept 4 and 5, and will perform in Parma between Sept 8 and 13. Leigh, I'm keeping my fingers crossed for you!

I'm mostly interested in books, films and classical music. I started being interested in classical music only after being interested in ballet- listening to ballet music first, and then to works by composers who had done some ballet music... Now I'm more interested in chamber music (especially by Dvorak, Janacek, Schubert...) but still love Tchaikovsky's scores. One thing I really like in Paris (unlike in Marseille) is that even in summer, there always is a large choice of good (old and recent) movies to see, with all the festivals at the Cinematheque and in the small independant cinemas of the Quartier Latin. The last two movies I saw were Preminger's "Laura" and Tim Burton's "Beetlejuice"- very different, but both enjoyable... I liked "Crouching tiger, hidden dragon" (but probably would have enjoyed it more if the cinema audience hadn't been the worst I've ever seen- a bunch of idiotic vulgar teen-agers shouting at each other, yelling silly jokes, etc), even if sometimes it looked a little bit too artificial to me. The films which striked me the most in the last year both were from Asia: Edward Yang's "Yi-yi" (Taiwan), and Wong Kar Wai's "In the mood for love" (Hong-Kong). Presently I'm re-reading Jane Austen's "Emma". Recently I especially enjoyed "Quoi de neuf sur la guerre" (What's up about the war?), the first novel of the film maker Robert Bober, dealing with life in a Jewish tailor's workshop in Paris just after WWII.