Nanarina

Just to offer more info. Sasha Waltz Berlioz Romeo & ,Juliette was broadcast on TV and in cinema's 2012, as was La Bayadere with Aurelie Dupont/Josua Hoffalt. There is also a lovely newish Bolshoi with Svetlana Lunkina of Le Corsaire by Alexei Ratmansky Go to Balletoman.com on the internet, where you can watch or download these productions. If you have a DVD burn drive (subject to the size ) you can easily put it on a blank DVD to watch it on a computer or TV. Good luck and enjoy.

The feelings experienced by these two "outsider" dancers had

already happened to other exclusive wonderfulltalented dancers who joinwd the Royal Ballet. In fact no other than Ruddi Nureyev, although he was worshiped by the audience he was basically a very lonely young man. His partnership with Margo was more than just dance involved, she supported him, looked after him, loved him and was refreshed by his youth, both on stage and off.

It is so good to see Herve back on stage after his terrible injury sustained in Australia in recent times. He appeared with Aurelie Dupont in Sasha Waltz's Berlioz Romeo & Juliette, and was stunning. They both seem so suited as a partnership, the rappore betweeen them is wonderful, expressed by caring glances and true feelings of unity. I sometimes wonder if he has a special affection for Aurelie as he seems to delight in showing his feelings towards her. I am not suggesting they ar e romantically linked, as Aurelie's husband is Etoile Jeremie Belingard.

Herve seems to slowly be appearing in different works, and I hope he will be able to maintain his fitness. He is a very good dancer, expressive, lyrical and a good technician, and it would be great to see him return fully without any more problems to be involved in the full repertoire. Bravo and good luck Herve Moreau.

Perhaps also because they are quite a lot to be close to retirement age, they prefer to concentrate on short works instead of full length classical ballets…

I hadn't thought of that.

As to casting, there are a lot of retirements coming up, especially amongst the ladies -- Osta this season, and Ciaravola, Letestu and even Dupont in the next couple of years. It would behoove the company to start casting younger dancers now, rather than later, when they actually have to carry the company -- such as what is happening now with Héloïse Bourdon, who is debuting in La Bayadère next week.

Presumably we'll see a lot of Don Q debuts. 26 performances is a very long run!

Talking about Aurelie Dupont in the new season, she is cast to dance Sasha Walsh's Romeo and Juliet in May, with her beau Jeremie Belingard in May. That should be very interesting, most certainly will have chemistry in it. It would be great if it was filmed for realise on DVD.

I think that Jeremie was mentioned as a possible replacement for Herve Moreau if he was not fit enough to perform. However, it was Herve was able to dance in the run and can be seen in the feature on Balletoman.com with a dowenload and view facility on the internet.

Is this topic still active? Well in 2012 we have soem new romantic partnerships at the POB,

Jeremie Belingard and Aurelie Dupont ( 2 little boys)

Dorothee Gilbert and Alessio Carbone

Josua Hoffalt and Muriel Zusperrugey

Royal Ballet Alina Cojocaru and Johann Kobborg

I suppose it had to happen, but she will only be 41 in 2014, wheras in USA this year she said two and a half years. It will just not be the same at the POB without Aurelie there. I saw her dance Manon this year,, with Josua as Des Grieux and her husband Jeremie Belingard as Lescaut, and it was fantastic.

Hopefully she will come back as a guest artist for a few performances.

Has anyone any information please about the release of DVD's for the above ballet's. They were filmed in 2011, and as it is almost a year ago, I was hoping to be able to purchase them.

I personaly use the term "Ms" as I was once married, and do not want to be addressed as Miss or Mrs. In general most women in the same catagory as myself, use Ms, for the same reason. Just a thought of "Mrs" in other countries, how can they tell your age on the telephone, unless of course they know your date of birth?

Actually the term MS rfefers to a woman that has been married, but no longer is. Who do not wish to be called Miss or Mrs. In Paris when you contact the Opera booking center they always say "misses" to a woman. It irritates me a little as on my details they hold for me, it states Ms. Last time I telephoned I explained the different terms to the operator who was very grateful.

Oh Dear, here we go again, and no doubt I am going to upset some people, I had it years ago on video, and was not that keen on it. I found it much too long and a bit boring, although there were some more enjoyable parts of it, when the music was more melodic.

The dance of the water bearers, the main girls theme, Irek Mukhamidov, as usual brilliant. There were other parts which just seemed to go on and on in a very repetiative way. It actually took ages to get anywhere, but when it finaly did, then it opened up and I quite liked it. I dont think I would buy a dvd or possibly go and see it. Though the atmosphere live is very different, so who knows?

I still prefer the Bolshoi version of Raymonda, and of course my favourite Stone Flower danced by the Kirov/Mariinsky.

Thank you for that information Helene, I also have a small query as to Alinia Cojocaru, if she too started as a gymnast, there is a clip of her when younger doing a routine on YouTube, that has handstands etc in it.

I am not the most admiring person regarding this choreographer, in fact I would go so far as to say, I do not like or wish to see his work. From the example's I have seen, I find it resembles Gymnastics rather than ballet.

Having just seen the Rythmic floor execises from the Olympic games, I am convinced this is where he is coming from. But in no way does his choreography compare with the true genre. It waas truly wonderful, the performers were elegant highly trained and remarkable in their technical achievements.

Often with steps we often see in ballet, in their routines. They were at times even turned out, and were lyrical and performed re-acting to express the music chiosen for their solo's. Their costumes were stunning, bejewelled colourful and fitting perfectly. Every girl's hair was neatly coffered in a bun and they were a great credit to their respective countries.

Comparing them with the Ballerina's that have moved over from Gymnastic training to Dance you can see the results of that training and disapline, and how it must have helped then to make the trancision.

I cannot help thinking of Natalia Osipova who in fact started up in this field and has now achieved wonders in her career as a very talented Ballerina.

Thats great... so my friend Jeremie Belingard danced Colas for the school perfortmance, I must ask him about it. As he has danced the Sir Fred version as well, it would be interesting to hear his comments.

When and where Bélingard danced Ashton version up to you? Can't remember seeing him in it in Paris.

1985, in a school version by Claud Bessy, but not the Ashton one. But I thought he had danced the Ashton one, during a run over the last sessions. But maybe he was cast but got injured and it did not happen. I will ask.

Balachova danced the Gorsky/Hertel version as back as 1922 in Paris, partenered by Smolzoff, in a special gala held to bennefit the victims of famine in Russia. In 1985 Claude Bessy also staged the Gorsky/Hertel version after D. Romanoff for the ecole de danse. The leads were danced by Laetitia Pujol and Jeremie Belingard.

Thats great... so my friend Jeremie Belingard danced Colas for the school perfortmance, I must ask him about it. As he has danced the Sir Fred version as well, it would be interesting to hear his comments.

Thank you Alymer, for the latest info, was spoerli version produced at the Paris Opera? and do you know when please. Benesh is a fairly recent developement, and I can remember it from the 1950 - 60's as I started to study it.. I am pretty sure they would have also done Sir Fred's version possibly with Faith Worth. Are there older ballets in their achives then please?

Thank you for all the information regarding La Fille mal Gardee, but what sems to be missed is the fact the ballet disappeasred into the archives for many years, in Europe, even if it was performed in Russia, I cannot remember seeing it until the Sir Fred's. version appeared., all I can remember is a musical CD of the Bolshoi Orchestra which featured a small section from it. So we were not privallidged to see all the other versions that appeared elsewhere. Is it still peformed by other companies in the different versions nowadays, that is appart from School productions? Obviously the Paris Opera Technical team choose Sir Fred's production despite having Pierre Lacotte who could have easlly researched and re-created the Petipa version, considering his La Syphide, Paquita etc.

Tamara Karsavina, who also danced in the Petipa version, was influential in the creation of Sir Frederick Ashton's version which contains sublime and complex choreography. I can cope with you preferring the production you know well but please do not underestimate the grace, virtuosity and subtle characterisations contained within the Ashton version.

I'm afraid the clips you have included in your posting have left me cold, probably because they are out of context.

I totally agree JMcN, I did not find the first one at all appealing in fact I would be so "rude" as to say to me the portrayal was over acted and a bit pathetic , and did not begin to compare to Ashtons version. It seems an attempt to concentrate on the chorfeography and does not show the character of Lise at all. I am as already mentioned in my last post, happy to see other versions, but if I honestly feel without being biased that I do not like it,, all things considered, my opinion stays the same.

I too love and enjoy Petipa ballets in particular,, Niemerier(spelling),Sir. K. MM, Cranko, Vinogradov Lander, Lifar, Balanchine, Petit and others and feel there is technical quality in LFMG, albeit perhaps more simple? I just did not find the other Lise Solo, appealed to me, perhaps I am too used to the Royal Ballet production. I find the music is different as well.

The key to this is that we tend to not like a different version of what we have grown up with and know well.

This is why nobody is happy when a movie comes out based on his/her favorite novel. The story we have in our heads is vivid, and nobody can put it on screen the way we think it should be created. 95% of people watching a movie version of a novel are going to be very disappointed. The new version is always going to seem like sacrilege.

It all depends on what we knew first.

I have watched both Ashton's and Gorsky's versions recently and love them both for different reasons, but that is because I am not invested emotionally in one above the other (did not grow up seeing one that touched my soul). But someone who has grown up watching one or the other is going to think the one he did not grow up with is "wrong" (for lack of a better word). It makes sense.

People like what they know and aren't usually thrilled by new versions. I'm not saying that is good or bad. It is just human nature.

But if you are a true lover of the genre, you can still appreciate a different version of the original, it does not mean you altermatically will prefer what you have enjoyed for years. Sometimes it can vary your preference stays with the old favourite. But at other times the new or different version can equally meet or surpas your original feelings. With me take the case of the POB 2 performances of Berlioz Romeo and Juliette by Sasha Waltz, danced by Aurelie Dupont and Herve Moreau also Melanie Hurel and Nicholas Paul in 2007. I was totally swept away by this, Modern dance - me !!!!!! ?????. It was quite beautiful in it's own way, with choral support and the most simple effective choreography. and there was a beautiful Pas deux, I really love it in fact it was so emotional it reduced me to tears. Over the years I have seen numerous R & J's, some I liked others I did not. But this new work I could happily accept.

I too love and enjoy Petipa ballets in particular,, Niemerier(spelling),Sir. K. MM, Cranko, Vinogradov Lander, Lifar, Balanchine, Petit and others and feel there is technical quality in LFMG, albeit perhaps more simple? I just did not find the other Lise Solo, appealed to me, perhaps I am too used to the Royal Ballet production. I find the music is different as well.

Ashtons La Fille mal Gardee is in essence an "English" ballet and as such features characters and a storyline that reflects this. The Clog dances, the pantomine dame, the bumbling village simpleton, and rich fat farmer. The maypole is an age old national dance used on village greens and with school children. The ribbon dances with the maypole actually also feature in the Russian ballet The Stone Flower, in the village scene. So it may be common to other countries as well.

Watching the clip of the two Lise variations I far prefer the Ashton one, as it seems to fit the character of Lise better in that version.

The other one is just a big show off of steps, with very little expression or portrayal of the person. The audiences in the UK love this ballet, not just the funny bits, but the whole thing. It was always completly sold out at The Opera House and on tour .And was rewarded by many curtain calls every time. It is still loved in it's original form today. as one of Sir Frederick Ashton's masterpieces.

I really love this ballet myself, having been there at the time it was created, by Sir Fred, I think the orchestration is really lovely and fits the storyline perfectly. From the amusing chickens dance to the final Pas de deux it is brilliant. Something you can take a child to see,or for an adult audience who can relax, and enjoy a bit of light hearted fun, albeit technically challenging.. I am so glad Paris Opera Ballet are dancing it, but whether they can achieve the overall character of it I do not know, as I have not as yet seen them dance it. So it is something to go into my plans for another trip to Paris.

"Aurélie Dupont talks about being the Paris Opera Ballet's shining étoile"

http://www.timeout.c...-shining-etoile

Great interview. I had no idea she spoke English fluently, and she lived in Bethesda (where I was born).

Thank you for posting this interview with Aurelie, it is really interesting. She often is quite happy to talk about her life.

I would like to say thank you very much to everyone who has posted about the POB 2012 Tour. It has been very enlightening and interesting hearing about the performances, casts, and off stage moments. I hope you all enjoyed your visits to the performances and had a safe journey home. Best Wishes.

I really love that Ballet, I now have bought the DVD of the Royal Ballet, as well sd having the Australian Ballet production..

What a curious response to "Les Noces" a recognised dance masterwork of the 20th century.

I can vividly remember the first performance by the Royal Ballet in December 1966 when everyone I knew among the Opera house regulars, were stunned by the extraordinary cohesive power of the dance, design and music. It was a wonderful performance led by Svetlana Beriosova only topped by Bronislava Nijinska herself taking curtain calls.

a reconised dance masterpiece or not, I just cannot stand it bores me silly, not my taste at all. I am not against progression in the ballet world, or something different. That is just my opinion, and it was most definaately not the right thing to take someone new to ballet to see for the first time. They were simply puzzled and did not understand what was going on or what it was about. Svetlana Berioova was a wonderful dancer who I loved to watch, and actually worked with.

.....I would also prefer the original versions you mention, Patrice Bart's choreography is somewhat disapointing. To appreciate this I watch my DVD of the Royal Ballet with Alina Cojocaru, it is equisite. If you want to see a special Myrtha, try and find a old clip of Monica Mason from the past.

Indeed, Nanarina. Mason is one of the best Myrthas among the 200 or so Myrthas I've seen, live or on film. I also love Terekhova (Kirov), Pla (Cuba) and Van Hamel (ABT).

My problem with the current RB version is the drab and dark Act I of designer Peter Farmer, a problem that I have with many Farmer designs of Petipa ballets (and Peter Wright editions of choreography). But the Royal's Act II is infinitely better than the current POB, I agree. [Cojocaru, in the current RB DVD, is close to being the most perfect Giselle I've seen live and on film, taking both acts into account....Vishneva being a close 2nd...Kirkland and Obraztsova right up there, too. The Cojocaru/Kobborg guest performance during one of the earliest Mariinsky Int'l Ballet Festivals ranks as one of my Top Ten greatest evenings at the ballet! Imagine the Best Giselle dancing in the Best Production for one night only and I was there...ahhhhhh!!!]

Back to the 'ugliness' of Act II in this production by P. Bart and the late E. Polyakov. The most disappointing aspect of this version, to anyone who knows any of the traditional 21st-C versions (based on the Petipa-Mariinsky's), is the Wilis corps group. I failed to mention in my report (above) the single most offensive -- and unintentionally funny -- segment: the boureeing departure of the Wilis at the very end, as the sun rises (although one can hardly tell the time of night with this dismal lighting). Here, the 24 Wilis split into two platoons of 12, each platoon forming a tight square...two big white boxes, if you will. The two boxes then face each other and retreat rather quickly into opposite wings, performing pas de bouree. The effect, against the black background and floor, is of two white Humbee vehicles backing up; the only thing missing was the "beep - beep - beep" ....WIDE LOAD BACKING UP!

Oh! lovely you have really made me laugh. I do have a wicked sense of humour which some times I have to curb at the ballet. As other members of the audience may not appreciate it. How wonderful to see that Marinnsky performance . When I was working at the ROH I helped out with the Bolshoi and then Kirov. My younger crushes were on Ayltinui Asl. Vasiev Ekaterina but I was so tongue tied in those and shy (yes ME) i could hardly speak to them, mind you it did not help that they spoke Russian. We used to give them sweets, and I can remember with horror some old bat in a uniform cutting some of the girls hair off for wig making.

I was quite happy with the Royal Ballet dancers and got to know them very well. Still have a dear friend from the company.

I agree with you about the dark scenery and terrible lighting at the POB, I do not think much of the lighting design team there, sometimes it is very hard to see. I also find the Garnier a nightmare as it is so dark inside, in the foyer and main building there are just tiny spot lights on the edge of the corridors, and the stairs at the side of the lift are pitch black, it is a wonder people have not fallen down. I always take a small torch with me now, too bad if they do not like it. Being particially sighted I have to be able to see okay.