<BR>Elisabeth Maurin, Jean-Guillaume Bart<BR>Opéra de Paris<P><BR><B>15 juin 2001 - Opéra Bastille, Romeo and Juliet</B><P>Cast : <BR>Fanny Gaïda (Juliette), Nicolas Le Riche (Roméo), Lionel Delanoé (Mercutio), Kader Belarbi (Tybalt), Christophe Duquenne (Benvolio), Stéphane Phavorin (Paris), Isabelle Ciaravola (Rosaline), Béatrice Martel (Lady Capulet), Jean-Marie Didière (Lord Capulet)<P><BR>The Opera displays for the end of season the resumption of Romeo and Juliette. The production relookée in 1995 by Ezio Frigerio points out more the fastes florentins than Vérone, but what imports, the production is splendid and this evening the distribution was splendid. <BR>The choreography of Rudolf Noureev emphasizes at the same time the soloists and the corps de ballet, it completely assimilated the part of Shakespeare of which it follows the frame skilfully and sublimates it music of Prokofiev of which it uses all the partition. <P>The corps de ballet is marvelously used that it is as a servant where one particularly notices Cyril Fleury in " principal " Capulet and Jean-Christophe Guerri in " principal " Montaigu. Only reserve, it must y already have not badly casualties in the corps de ballet bus Juliette evolves/moves at the time of the ball only with four couples of friends instead of six. <BR>Noureev knew to use almost cinematographic images to give tension to its ballet in particular, the round of all the inhabitants of Vérone at the time of died of Mercutio, or the step of four with Paris and its parents where Juliette escapes by the thought from those, just as all the scene where Frère Laurent evokes the effect of the poison. It should be noted that Muriel Hallé was confined this evening with the role of lining of Juliette. <P>For her last Juliette, Fanny Gaïda offers an unforgettable performance to us, it has a freshness which completely makes us forget that it will leave to the retirement on next 26 June. It is girl child with the first act and knows, by its manner of moving, of evoking a 14 year old girl, in particular by its scintillations. She sublime at the time of died of Tybalt by her dramatism which is accentuated with the last act, at the time of the scene where she hesitates between poison and dagger. She is also lyric in the scene of the dream and upsets us at the time of his death. <BR>At her sides, Nicolas Le Riche as Romeo is completely the character and seems to be concernated, moreover it completely assimilated the technique, its jumps are completely maitrized, and he is an perfect partnership for Fanny. That made a long time that it had not been also perfect in a role. Moreover it was musical. It would be wounded and would perhaps not ensure its next performances. <P>Kader Belarbi camps cat-like and perfect Tybalt, just as Lionel Delanoé is always also excellent in Mercutio, it accentuates a little more vulgarity of this one at the time of the scene of the ball and its scene of death is always also poignant. Christophe Duquenne is perfect in Benvolio and shows that it could have been a first dancer so much his dance does not spoil that of Delanoé and Le Riche in their trio of the second act. The scene between Benvolio and Romeo on the Road of Mantoue is thrilling and perfect, so much Duquenne and Le Riche are together. <P>To note also the superb performance of Stéphane Phavorin which is ideal Paris as well by its play as by its dance. It is affirmed completely in this role compared to three years ago. On the other hand Isabelle Ciaravola in spite of a splendid technique and splendid leaning arabesques, seems extinct in Rosaline. <P>To note in the secondary roles, Bruno Bouché and Julien Meyzindi (who replaced Nicolas Paul knee injuried), Laurence Laffon, Marie-Solene Boulet as friends of Rosaline who in spite of their technique miss a little presence. In the four friends of Mercutio, one could note the presence of Adrien Bodet at the sides of Nicolas Noel, Alessio Carbone and Mallory Gaudion who are all the four perfect ones. <P>In short a superb evening and which makes us regret the departure even more bitterly, in 10 days, of Fanny Gaïda. <P><BR><p>[This message has been edited by Cathy (edited June 24, 2001).]

<B>20 juin 2001 - Opéra Bastille</B><P>Cast : Elisabeth Maurin (Juliette), Manuel Legris (Roméo), Lionel Delanoé (Mercutio), Kader Belarbi (Tybalt), Christophe Duquenne (Benvolio), Stéphane Phavorin (Paris), Isabelle Ciaravola (Rosaline), Béatrice Martel (Lady Capulet), Jean-Marie Didière (Lord Capulet)<P>An unforgettable evening, here are what reserved to us Elisabeth Maurin and Manuel Legris. In spite of any rehearsals on stage, which great artists, all was right and perfectly well done.<BR> <BR>Elisabeth Maurin is an extraordinary Juliette by her childish side with the first act, and the evolution of her character throughout ballet to reach her paroxysm in the scene of died of the two lovers where it is upsetting. The cry which it pushes when she realizes that Romeo died drew the tears from the eyes of many spectators. <P>Manuel Legris made its large Romeo, irreproachable technique, impeccable style and admirable partnership. His play is perfect and natural. He is Romeo as Elisabeth Maurin is Juliette. <P>The remainder of the distribution was unchanged compared to Friday evening. <BR>Manuel Legris had a sensational partner in Benvolio, in the person of Christophe Duquenne. This one completely understood the role and interprets more and more, their pdd with Romeo on the Road of Mantoue is upsetting, that it is by the intensity of the play of Legris and the reserve of Duquenne. The duet functioned well better than with Nicolas Le Riche.<P>At their sides, Delanoé made its usual Mercutio, without anything to change whole. Belarbi was a little more unobtrusive in Tybalt, on the other hand Phavorin was always very good in Paris. Isabelle Ciaravola is always also spicyless and colourless in Rosaline, if she dances well, it should be sought to see it. <P>It should be noted that Saturday evening, it is Laurent Hilaire who will ensure the role of Romeo, but nothing is sure for the 26. Apparently it will not be Nicolas Le Riche, but that could not be Laurent Hilaire who would not be completely given of his wound to the knee, and Manuel Legris will not be there because it has an official reception in Vienna, the 28. <P>Romeo, where are you Romeo ? <BR><p>[This message has been edited by Cathy (edited June 24, 2001).]

<B>23 juin 2001 - Opéra Bastille</B><P>Cast : Fanny Gaïda (Juliette), Laurent Hilaire (Roméo), Eric Quilleré (Mercutio), Kader Belarbi (Tybalt), Christophe Duquenne (Benvolio), Stéphane Phavorin (Paris), Isabelle Ciaravola (Rosaline), Béatrice Martel (Lady Capulet), Jean-Marie Didière (Lord Capulet).<P>This evening was to take place initially the Farewells of Fanny Gaïda at the sides of Nicolas Le Riche. This last one was wounded apparently rather seriously and would be inalienable until September. <P>To return from there to the evening, Nicolas Le Riche was thus replaced by Laurent Hilaire. This one should also ensure the evening of good-byes of Fanny Gaïda except wound. <P>Laurent Hilaire is a Nureyev étoile and that is seen in the way in which it has to dance his entry variation, in particular. On the other hand, it is often let go to make its own choreography. He sometimes plays too much, in particular when he kills Tybalt where we don't know who has the most sorrow between Juliette and him for Tybalt, its jumps are not always very stylised but no importance, he camps a Romeo youthful and attaching however. <P>Fanny Gaïda at his sides is the most sensitive of Juliette, if Maurin moves, Fanny is more fragile and more sensitive, it plays small girl more, whereas Maurin has movements of body of small girl. However their two performances are superb and show the talents of these two as different etoiles one as the other in their interpretation as well technical as artistic but so interesting also. <P>In Mercutio, Eric Quilleré made his return on the scene of Garnier, indeed it does not dance practically more on the scene of the Opera put aside Robbins and Balanchine (its repertory of predilection with Miami City Ballet), if its play is measured more than at the time of these last services, its dance is definitely higher than that of Delanoé, which is weakened to him by multiple wounds with the back. Kader Belarbi camped superb Tybalt this evening and Christophe Duquenne is always such a good Benvolio, even if physically and artistically it functions better with Legris or Le Riche, in particular in the scene of the Road of Mantoue where Hilaire and he were not frankly together even if they were as thrilling as at with Legris. Moreover, like this last one, Hilaire is perfect in the scenes of sword battle where they go there with heart as if they had use sword all their life. <P>As for Stéphane Phavorin, he is always also excellent in Paris. On the other hand Rosaline and its Suite are always also unseeing. To note the superb performance as Lady Capulet of Béatrice Martel, mother attaching and of Jean-Marie Didière as a Lord Capulet. The corps de ballet is perfect that it is as an acrobat or Suite of Paris. <P><p>[This message has been edited by Cathy (edited June 24, 2001).]