Nanarina

By the way reference Keith Money's book "The Royal Ballet Today" there is a picture I am in, featuring the wardrobe room, back to the camera, sitting round a high table with the other girls. It was taken before I finished my apprenticeship and moved to the Touring Company.

This news is so sad, David was a very dear friend of mine when I worked with the Royal Ballet, he was a really lovely guy. My heart goes out to Alfreda and his children and grand children. He would sit in my parents lounge eating bacon sarnies with other friends in the company, when we returned back off tour. It is so hard to believe he has gone. I watched a dvd of Manon on 18th June, without realsising why I felt extra sad, it has that effect on me. As soon as I heard it made it all the more poinient.

Matilde is a very intersting dancer, versitile musicale, I saw her dance opposite Aurelie Dupont with Mathias Heymann as the younger sister in Onegin, SFB are certainly in for a treat. Bonne chance to her for this venture.

How long is it before Johan retires, as he is about 10 years older than Alina, they did mention about a family in an interview but said the time would have to be right due to their many commitments and difference in ages.

What a unique experience it must have been for the visiting students from the invited schools to the 300 year celebration concert on the 20th April 2013. To take part in a famous Paris Opera Ballet Defile. Watching the video of the performance it is very obvious of how proud they were to be there. I was actually thrilled to be there and witness this amazing event. I do hope that the Paris Opera will release a commercial DVD of the week of the centenary as it would be great to be able to relive the performances and witness the beauty of the Palais Garnier decorated with a profusion of beautiful pink flowers, all up the grand staircase and on balconies and arches. It was such a beautiful breath taking sight.

Pherank, the Defile on the 20th was a special one to different music (Mendelsohn, not Berlioz), choreographed by Claude Bessy especially for the 'guest academies' gala, held one week after the 300th gala on April 15. My understanding is that only students from the guest academies (including Bolshoi) + POB school participated. 'The Real Deal' (with professional etoiles) was on the 15th, to Berlioz' music.

Thank you for the explanation, Natalia. Now things make more sense. ;)

It's frustrating not being able to distinguish any of the dancers in these videos, but perhaps there will be one of a higher resolution to make an appearance somewhere on the Internet.

I was very privilaaged to see both the performance of the Paris Opera ecole on the 17th and also the Gala on the 20th and cannot speak more highly of the quality of the performers from the other schools, they well and truly stood up to the high standard of the Parisd Opera school, one very special experience was the response to the Sir Fred Ashtons Pas de deux danced by the Royal Ballet School. which was the most applauded during the evening. The whole programmwe was lovely and it's memory will live on with me for years. Where else could I have seen students from the world's top schools under one roof.

I attended the performance by the Ecole on the 17th of April 2013, and what a joy this proved to be then house was almost full, the audience supportative of the many talented dancers. It was obviously full of proud parents and relatives who showed their appreciation for the students with enthusisium. The programme was quite varied from Claud Bessy's wonderful white tutu ballet set to music from Faust to Aunis a number danced by three young men to a musical score played on two accordians.

This was posted on DanceTabs, the site address for the new organisation is www.nebt.co.uk, which gives a full insight into their plans and proposals. Also shown is photographs and biography of the dancers already signed up.

A marvelous new venture to support young people in dance and other genre's of the Arts, has recently been announced. A company of performers, plus artists, musicians, and staff, overseen by top people with a broad experience of the needs of such a venture have been established.

Yes Mathias is amazing, I have seen him dance live, in Onegin, it was stunning. Sadly he was not in the cast I saw, neither wads Ludmila Pagliero who even just from the film seems by far to be the best Naila. Both Josua Hoffalt and Karl "P" looked pretty good as well.

Now March 2013, and the ballet has been broadcast live and also appeared on YouTube which has given me the chance to watch it a few times on a HD screen and dolby surround sound system using my New 23" screen Computer. I have now taken the time to compare what I have been able to watch with the live performance I saw in Paris.

Basically, I am able to confirm I like the Ballet, but realise that a different cast makes a lot of diference. In the film the role of Naila is danced by Ludmila Pagliero, and how I wish I had chosen to see her now when I had the chance. She is a beautiful dancer, her steps and movements are made with a equisite defination, everything is heartfelt and lyrical, her technique is charismatic and expressive. The lifts and and chemistry with Karl Paquette a dancer with very good stage presence are magical.

Mathias Heymann who plays Zael is an excellent virtuoso dancer, who undertakes the choreography performing the sdteps with great speed and accuracy. However, my initial opinion of the Caucasian 's choreography remains the same, it is too simple and borders on feeble. However I can see now what Jean Guillamins Bart was trying to portray. his ideas appear to be based on Georgian dances, in fact Christophe Duquenne role as Mozdok amply applies this. performing on the balls of the feet as we see the Georgian State Cossack Company do in their performances. The men come off better than the girls in this instance. Their dances seem to represent the beautiful Shushi dances from Armenia, but without the magic glideig steps and Port de bra that accompany them. As I said earlier thiese sections of the ballet could be much better. The costumes in general are very beautiful, but I still find the Caucausian ladies to be much too fussy. Also from more study of the detail I find that Djemal who is supposed to be a hunter costumes seem much too modern. In the first instance he wears a pair of straight trousers of Jersey type material, a top with long sleeves, with a draped front and round neck, over which is a long sleeved jacket longer at the back and buttoned front. The whole outfit is black and grey with self coloured patches.. For the second Act he wears a very similar outfit but with green trousers ,rustic coloured top and matching jacket.. Both costumes seem out of place to the beautiful bejewelled and stunning items worn by the rest of the essemble. At the end of the day I liked the production much more, now I have been able to analise it more fully. than on my first impressions.

I am hoping to go and see the Bolshoi La Bayadere when they visit London in Summer 2013, and from the posts in this topic I am really looking forward to seeing it.

Yes esperanto I agree, I have got it on DVD, I actually prefer Justine Summers portrayel rather than Jennifer Penny, at times she just

sems to be a touch "pathetic" and I do not like her facial expressions. the way she uses her eye's. I think Antoinette Sibley was the original cast, with Tony Dowell. David Wall and Monica Mason. But there does not seem to be any recordings of it. I loved Aurelie Dupont in the role when I saw it in 2012 at the Opera Garmier.

Monica Mason is hard to beat as Lescaults mistress, she portrayed all the gustsy bawldy characteristics of the role, as well as a deep ly sensitive side as well, just look at her reaction when her lover shows her the cart of aristocrats on their way to the guillatine in the opening scene, and the solo at madam's party. .

In some respects I agree That Nureyev was a hard task master, you only had to see how he drove his own career, to understand what was behind his expectations for the dancers during his time in Paris. As for him adding solo's for himself into the classics, this was part of his endeavor to promote the male dancer. When you consider the long solo for the prince in his sleeping beauty during the vision scene although somewhat too long, it is quite beautiful. Also the Pas de cinq in the Wedding scene, again he has enhanced the male variation, and made it more enjoyable, with the choice of music and choreography.

However, there are parts I simply think where he has spoilt the original choreography and altered it, making it appear fussy and hard to dance. His idea of character dance is very lacking of style and presentation, compared to the original, or the Russian way of performing it. His choreography is too "Balletic" with leaps and jumps, where the format should be much more grounded. and featuring a demi plie. A prime example being the dances in his Swan Lake Act 3.for the POB.. I do not feel he failed to give the POB the experience of his talent or pushed them forward.

When it comes to other companies and their employment of Artistic Directors some give confidence to the potential audience who after all together with funding are the back bone of their financial well being. I still cannot feel other than disapointed in the choice of Mr Millepied for the POB. Time will tell if I continue to go there after my favourite dancers retire. If not my loyalties will return to English National and The Royal Ballet, who are now getting full of foreign dancers., The reason I love the POB is it's long heritage and unque style.

From the beginning this production was hit by difficulties At first Roberto Bolle was due to dance with Aurelie, but he pulled out saying that he needed longer to learn the style and choreography of the production, so Aurelie found herself dancing with Herve Moreau who had createsd the role of Romeo with her in 2007. It was very fortuinate that Herve had returned after a very long time off with a injury to his knee which had caused very serious problems for him.

Then there was strikes and disputes when the Opera chorus and singers demanded more money. So the first nights performance was cancelled. The following evenings went ahead, but the audience showed their displeasure at the new work. The dancers were applaudid, but when Sasha Waltz took her bow, she was heckled with shouts of "No" and the odd boo.

I felt very sorry for the visiting stars, they had travelled to Italy to take part and this kind of behaveyer is very rude and unessesary.. This information was reported in the press, but as I have seen the production twice in Paris, and on the TV, felt it was in order to mention these matters.

There is no doubt this particular production is very different to the normal classical one. But in its own right is quite beautiful. It is very modern in concept, with a stark black stage, the only scenery being two large white platforms thar rise on chains to form aspects of the ballet. The ballroom, the balcony, Juiettes bedroom and a wall that Romeo tries in vain to surmount. , and finally Juliettes grave.

The costumes vary in shades of white, black, pink, beige and gold. Brown tule and lameh. , which includes some attractive girls Tutu's for the Capulets ball . The dancers appear with bare feet and

the choreography uses tablaus and groups to show the mood. The storyline is very open, but you can distinqish between the characters, the parents, Paris, Mercuito,Tybalt the Friar, Romeo,& Juliette,.

Aurelie Dupont is exquisite in this, her presence on stage from the moment she appears is delicate yet outstanding. Within the movements you can see her and Herve's classical training, which add to the simplistic modern choreography, giving a unque form to their performances.

The production is enhanced by the choral and muisical score, a major work by Berlioz with passges such as in the long pas de deux that are romatic, and the added benefit of stiring marches and expressive variations as in the Capulet ball scene.

The whole production pulls together into a very emorional expressive conclusion at the end filled with song dance and music. The opera chorus and soloists who sing the roles of the main cast members as well as them being danced , were excellent. Just over one and half hours long, it is definatly worth seeing if you go with an open mind. It is different but enjoyable and personally I do not think it deserved the reception it got at La Scala.

I think the choice of Millepied may indicate a desire to continue Mme. Lefevre's policy of introducing modern and post modern work, Cunningham, Brown etc. while maintaining the classical repertoire, Millepied's own work however, is not modern dance. Millepied, like Forsythe, works from a base of the academic classical ballet vocabulary. Some consider their work part of the evolution of contemporary ballet, as Balanchine is seen. Others see distortion and pollution. Chacun à son goût but modern dance it is not.

Millepied's background doesn't augur well for his maintenance of the classics, but then there are others on staff for that. I guess all we can do now is hold our breath and hope for the best!

Yes and passing out in the process while the possibility of his own work taking prioritty in the theme of things is a real danger. Hopefully by just waiting and seeing it will not be too late to rescue the company repertoire if need be. And as far as comparing Millepied with George Balanchine in the terms of his work, there is no comparison . Mr B was a genieus a great choreographer in many different forms., a knowledable Author and musician. .From what I have seen of Millepieds efforts they need a lot to be desired.

Millepied as the new director of the famous Paris Opera Ballet.... the minute I read it my hopes dropped. and I cannot help feeling more than a moderate sense of disgust. My thoughts go to the more deserving long served members of the company like Laurent Hilaire and his contempories. . I feel that this choice is far from satisfactory and the reputation and history of this wonderful company stand to lose a lot of it's prestige under him. My feelings were soewhat similar when Wayne Macgregor was made house choreographer at the Royal Ballet. . I could imagine people like Sir Fred and Sir Kenneth turning in their graves.

Back to Millipied, I remember watching a video clip of him rehearsing Aurelie Dupont and Nicholas Le Riche in one of his ballets. The look on his face was of complete distain, showing no appreciation of their efforts or talent. It was obvious he had very little idea of how to react to people or

guide them through the choreography. My sympathies lie with the dancers in Paris if he is to be involved. There are so many other more experienced and talented people who could have filled the vacant position. Who have run the top companies and proven their capabilities. It is a sad day for a institute with 300 years of history behind it. If he was such good prospect then why was he not promoted in the USA ?

Hi ascballerina,

I think the people you are referring to are the "Fakirs" they are the lower cast guardians of the sacred fire. . which takes an integral part in rhe story. The Chief Fakir is the one who informs Nikiya that solor is waiting for her., and that the Brahmin has been watching them. He is also the one who snatches and kills the snake that bites her. Do yiou mean the Brahmin who trys to seduce Nikiya, if so he wants her for himself, but is over rulled by the Rajah. when Nikiya is dying the Brahmin (Chief Priest) offers her an antedote to save her, but when she looks towards Solor, who is in different , she decides to die. Hope that answers you questions.

What a sick cowardly thing to do, how can a human being do this to another, it is incomprehensible. I have just watched the report on the ITV Ten oclock news, which showed Serguei Filin in hospital, and from what he said it would appear that not only his face and eyes are effected, but the attacker also went behind him and threw the acid at the back of his head, and down his back. He also feared he was going to be shot.

I hope he makes a rapid recovery and any treatment is a success. It was said that he would be going to Europe for specilist surgery.

Although I did not vote for him as he is firmly settled at ABT in New York, I think Ratmansky would be an marvelous choice. He has been director at the Bolshoi and produced some exquistic choreography and re-created the classics. His productions far exceed the examples that Nureyev mounted for the POB. Just look up his recent Le Corsaire at the Bolshoi, it is on YouTube. A far superior creation, using the authentic versions from the past, which sorry to say, make Nureyev's endeavors look fussy, messy and are a nightmare for the dancers to perform. .

I really loved him, outragous as he was, he gave me many a good laugh.

Thank you so much for posting this video, I simply love the Paris Opera Ballet, and visit whenever I can. It is very encouraging to see the new up and coming dancers, and I will be following their careers together with my favourite Etoile's of the moment. I think this company is very high on the list of the Worlds Best . Equalling the Bolshoi and Mariinsky. Although their styles differ they are all exceptional in their own right. What a pity we cannot get a season that features all three companies. Now that would be something WONDERFUL.

Dance certaibky seems to be in the genes at the Paris Opera Ballet. perhaps in the future we will see the children of Nicholas Le Riche and Claire Marie Osta, Lionel Delanoe and Delphine Moussin , plus Jeremie Belingard and Aurelie Dupont. Maybe there are places waiting at the school for those who chose to follow in their parents foot steps. It will be good to see who progresses into the Company (if anyone)and compare their quality as dancers with their parents which could be quite an interesting exercise.

An amusing thought. ;)

I will miss this generation of etoiles once they've all retired (and it won't belong for many). It would be nice to think that there might be 'similar' ones in the works!

They will certainly have something to live up to, I cannot imagine what it will be like when they have all left I will have to find others to follow. so far I like Ludmila Pagliero, who Aurelie has coached, I think she has great prospects to come, and will go and see her dance hopefully.

Ratmansky would be fabulous, look at the wonderful Ballets he has recreated. his Le Corsaire would be a great vehicle for the Paris Opera. Beats Nureyev by a thousand miles, as does the new Raymonda at the Bolshoi.