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 Post subject: Jude's Coppelia at Théâtre du Chatelet, Paris
PostPosted: Sun Jun 24, 2001 3:02 am 

Joined: Wed Apr 11, 2001 11:01 pm
Posts: 9088
Location: Paris, France
Image <BR>Emmanuelle Grizot, Eric Frédéric<P><B>Coppélia </B><BR>Music: Léo Delibes <BR>Choreography: Charles Jude <BR>Costumes: Philippe Binot <BR>Sets: Giulio Achilli <BR>Orchestre National Bordeaux Aquitaine <BR>Direction : Thomas Rosner. <P>Not having been able to go yesterday to see the first of Coppélia, due to first of Romeo and Juliette, I saw only the second distribution, but what a treat! <P>In the absence of Cinderella initially envisaged, Charles Jude and the ballet of the Opera of Bordeaux present his version of Coppélia to us, created in Bordeaux in 1999. <P>If the argument is similar to the original booklet, just as the cutting of the scenes, Charles Jude located the action at the USA about 1950. Here not of Swanilda, but Swanie, not of Frantz but Fonzie. Coppelius lives a building with elevator but its headstock always looks at by the window. <BR>On the other hand not of mazurka, but a dance enjouée for sailors in permission. Swanie is always surrounded by his/her bold or timorous friends. <P>If choreography keeps the cutting of the initial scenes, it irresistiblement evokes the musicals of 1950, but by negligible details makes think of the original, wearing of arms to Polish, or struck similar feet, but here not of boots. However it remains however traditional even if the friends of Swanie are vêtues dresses 1950 with printed papers form flowered green lights on points and the town ones are out of dress of coloured Madrass and shoes. There are also barmaids style vamps in small dresses and shoes and young men of the city in trousers and coloured shirts. <P>The second reading of Charles Jude although faithful to the booklet, is more original in its choreography than that of Patrice Bart regulated for the Opera of Paris, five years ago now. It knew to renovate the ballet while keeping the atmosphere hoffmanienne history, it knew in more the impregner of humour and tenderness. <P>In an American gray city, the first act opens on the variation of Swanie out of pink dress. On left is always the house of Swanie on the right the building of Coppélius. <P>Helene Ballon is a héroine charming, semi-sparkling, with the almost perfect technique and unquestionable lyricism. At its Fonzie sides is interpreted by Brice Bardot who technically makes strong impression in his variation of input, it camps a carefree sailor always subjugated by Coppélia. <P>The girl friends are perfect just as the marine friends of Fonzie. Jude their A regulated besides a very beautiful overall scene where they can emphasize their technique of jump. <P>The scene of the butterfly is replaced by a scene with a balloon burst by Fonzie, the ballade of corn ear is transformed into step of two languorous for the two heroes, finally the varied topic makes it possible to appreciate the technical talents of the two heroes in the variations where are enchainent the difficulties. Helene Ballon shows besides in that one of very beautiful towers attitudes. <BR>Act 1 finishes as usual by the arrival of Coppélius, style mafioso, always importuned by the friends of Fonzie, and incarné with engineering by Charles Jude. This one has a manner of moving extraordinary and still a strong charisma. <P>Fonzie joined the workshop of Coppélius by the typically American external staircases, whereas Swanie gains this one thanks to an elevator. <P>The first table of the second act is held as usual in the workshop of Coppélius where pile up all kinds of more insane automats the ones than the others, monkey with cymbals, Chinese, and other creations phantasmagoric, radio-controlled robots. Coppélius always deadens Fonzie after a pdd for the two men where Charles Jude makes still strong impression by the quality of his jumps vis-a-vis to the young person Brice Bardot. <P>To make even more magic this table, Charles Jude asked for the assistance of Gerard Majax to succeed of the turns of magic, thus, Swanie finds vêtue of only one blow of cape into Spanish or Scottish dress. Charles Jude is fantastic in the introduction of the jitter where it shows the steps with Swanie. Helene Ballon after a very good scene of the automat, is Spanish convincing, and its jitter is also perfect. <P>Swanie as with its practice deceives Coppélius which remains with valser alone with its headstock, a little as in the version of Roland Petit, when this one escapes with Fonzie. And loses the spirit surrounded by its automats which ransack all. <P>The third act sees the marriage of Swanie and Fonzie celebrated by the Captain of the ship of this one. If Jude did not keep the whole partition of the 3rd act, it left a dance for the friends and sailors. In the pdd, Brice Bardot is still splendid in his variation where the academic steps côtoient the movements plus jazz whereas Helene Ballon shows some inaccuracies in her ends of pirouettes. The music of its variation is an interpolation besides. <P>There the ballet is completed by an overall dance, mixes still classicisme and jazz, perfectly regulated and where one can still assess the quality of the assembled doubles of Brice Bardot. All finishes as in a film with traditional THE END, letters carried by the barmaids. <P>Coppélia of Jude is really a success and presents to us a young troop, lives, enthusiastic. Its version of Coppélia renovated is really a small treat, good child, pleasant to see. Moreover the public reserves a triumph with all the dancers. <P>To note the quality of the Orchestra of Bordeaux Aquitaine which interprets with brilliance the magnic partition of Delibes. <BR><p>[This message has been edited by Cathy (edited June 24, 2001).]


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