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naomikage

Florimond Lorieux of Paris Opera Ballet joining Boston Ballet

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Smart decision on his part. He's in what age range -- 29-30? He's at the point with the company and the promotional system where he has to assess his chances for advancement realistically. He was a part of the Clear, Loud, Bright, Forward generation but Millepied will be gone soon. That leaves him with an uncertain repertory given how younger guys like Arthus Raveau and Hugo Marchand and Germain Louvet are doing the big danseur parts in the story ballets. And someone like Marc Moreau is doing a lot of the neoclassical/contemporary ballet parts. Better to go now and test the waters before you wake up and you're 35 and no company director wants to take you on.

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My only fear for him is the amount they dance in Boston. I was trying to see his casting this past year and it didn't not appear to be too heavy. The soloist and principal men carry a lot in Boston.

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My only fear for him is the amount they dance in Boston. I was trying to see his casting this past year and it didn't not appear to be too heavy. The soloist and principal men carry a lot in Boston.

True, but that may in part be why he is leaving. To dance more now while he still can. Many dancers "re-make" themselves when out of a more structured system such as the PO.

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Well, we will be happy to have him! The one thing I can say about the Boston audience is they are very welcoming!

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Life time employment, full pension at 42 1/2. That's a lot to give up to move to Boston.

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Life time employment, full pension at 42 1/2. That's a lot to give up to move to Boston.

mussel, that is true. But, from what I understand, some of the European companies allow dancers to go for a year or two before having to give up their lifetime contract. I know of one dancer currently at Boston who will only be staying through Nutcracker, in order to go back to a lifetime contract in Europe. Maybe someone with more European contract experience could confirm that this happens in other European companies.

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From an interview with former Boston Ballet principal (and POB sujet) Marie-Christine Mouis:

After Violette [Verdy] left [the POB], I felt so frustrated that I needed to start over, to prove myself again. The new director, Rosella Hightower, didn't know me, but she still gave me some principal parts. I got two variations in Paquita when Oleg Vinogradov came. Everyone said that now I would be promoted, but when we did the exam, I was passed over again.

I knew I had to move on. I had seen many wonderful dancers who had no political connections either. They remained sujets all their lives. They lost their desire to be artists.

Dance Magazine, February 1988

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Life time employment, full pension at 42 1/2. That's a lot to give up to move to Boston.

Maybe. But if, at the halfway mark in his career at the Opera, he finds himself on the outside looking in in terms of casting, then the prospect of another 12 years of fence sitting may not be very palatable.

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