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Maryse Delente being removed

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It looks like she has been removed from her position of Ballet du Nord's (in Roubaix, France) artistic Director.


It has something to do with moral harassment. After the National Ballet of Marseille (Marie-Claude Pietragalla's company), the school of the POB, here's a new issue of moral harassment:(

Well, I don't really know what to say :confused: . Mlle Pietragalla as an explanation told she had been treating her dancers of the same way Nureev had treated the POB's ones.

Nothing in the french press yet.

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Thanks, now it works!

The Ballet du Nord really has had a troubled history: the death of Alfonso Cata, the firing of Jean-Paul Comelin after some financial problems, the Preljocaj controversy, and now Delente resigning... I hope that the company will not disappear. And I already found it a bit sad that it changed from a real ballet company to a one-choreographer company (though I liked some of Delente's works- but she really isn't a ballet choreographer).

About Marseille, I don't know much about the moral harassment problems, but I'm not sure that Pietragalla's apology ("I did what Nureyev did") makes much sense, as the context is very different, and also Nureyev's directorship didn't end exactly well... And in my opinion, some problems there might be her repertory choices (no consistent style, and a lot of works which are in my opinion second-rate), and the fact that she tried to d too many things at the same time (performing and choreographing and being the director of the company and the school

and dancing with other companies as a guest, etc.) Being a company director should be a full-time job.

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Thanks for the news, cygneblanc!

We'll see what Jean Guizerix will be doing (and also what financial means he'll be given, and what are the ministry's plans), but in my opinion that sounds like a good decision. Guizerix has no experience of leading a company, as far as I know, but he's been an assistant ballet master at the POB for a while, has a long experience as a teacher (especially at the Conservatoire) and a real interest for the repertory. I have a very good memory of the few performances of him that I saw (he officially retired from the Paris Opera in 1990, when he turned 45, but he and his wife Wilfride Piollet still perform from time to time, also he commissionned several solos from contemporary choreographers), some of them had a pedagogical side which was very interesting (presenting different solos from various periods and explaining the context or reading some texts about it).

I really hope that he'll be able to do something good at the Ballet du Nord, it must be hard to work in such a situation... And I hope that the Ballet du Nord won't disappear (as it might be tempting for some institutions to cut their subsidies) and that it will have an interesting repertory- "repertory" companies (as opposed to one-choreographer companies) are so rare in France nowadays!

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