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 Post subject: POB - Young dancers June 7, 2001
PostPosted: Fri Jun 08, 2001 1:17 am 
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Tonight was the first performance of 2001’ Young dancers evening. This evening is more based on the romantical and academic ballets. Just two pieces was in the modern soul pas de trois from Reversibilité by Kelemenis and Aunis by Jacques Garnier.<P>This performance regrouped 25 dancers, youngest were 17, older were 27. Can we call young dancers, dancer of 27 years old, they are young and dancer but they don’t merit the name "Young dancer" which is almost gift to debutant and espoirs. By an other way, it’s completely unusual to see dance in this performance three surnumeraires* who perhaps never enter in the company.<P>First ballet was Pas de quatre by Perrot revised by Dolin, restaged by Ghislaine Thesmar who gave to the four dancers the required style but they have not the cute side of this ballet. They are too young and not so brilliant to show the brightness of this choreography. Only Myriam Ould Braham seems to have something more, lyrism and poetry, she has the light touch in Fanny Cerrito variation. Miho Fujii is interesting too, especially in petite batterie. Against Christine Peltzer, despite her experiment has not Taglioni' spirit, she has not glamourous side and imperious presence required by this role and Peggy Dursort as Carlotta Grisi danced but in a scolar way. They are all together in the coda which is really well danced. But I think this ballet is not for unexperimented young dancer.<P>After was the Pas de trois called « Pas de l’ombre » from Sylphide by Taglioni revised by Lacotte and rehearsed by Elisabeth Platel. Juliette Gernez, new coryphée, is a complete misunderstood in Sylphide, she has not at all the style, she has beautiful arabesque but really too high to be in romantical style, she makes neoclassical arabesque not romantical and she has not the right position of the torso which is stiffness and right. She has not Sylphide's coquetry, she is too proud and in the adage she tries to look to Elisabeth Platel without the style of this last one. Moreover her technic is not extraordinary too. Besides her, Julien Meyzindi as James is a perfect « tourneur », beautiful "small batterie" and has the perfect musical partnership as well as with Juliette Gernez than with Dorothée Gilbert (Effie), but he is deceiving in his jumps where his back leg never is at the same level than the front. Against he plays really fine, in this circumstance, because it’s hard to dance this pas de trois without the context. But we have really the feeling of his hesitation between Effie and la Sylphide. The pearl was really Dorothée Gilbert, unlucky at the last internal competition where she would be must promoted. She is completely the Character with light, smile, sadness, and love. She has completely understand the style and technic of this ballet and it’s a name to not forget.<P>In Swan Lake, "white Swan pdd", by Ivanov, was danced by both of new coryphées. Aurore Cordellier has the same problem than the dancers of Pas de quatre, too young to be the character, she has not the necessary maturity, she is very applicated to make the pas, but she has nothing as feeling, and she seems to have Stage fright. Besides her Stéphane Bullion is really Siegfried with her nobless, and a perfect partnership, it’s sad to see him only in a partner role.<P>The first part concluded by Romeo and Juliet, balcony pdd from Nureyev version. It’s a very difficult pdd. Nicolas Paul is a good Romeo alone, he has a brilliant technic but the couple he forms with Myriam Kamionka, as Juliet, doesn’t go. They dance alone together, they lack of love, it’s a passion pdd and nothing pass out of the stage. <P>This first part was full of miscast, either the dancer were too young for the role and can’t have the required style, either the dancer doesn’t understand what they dance as Gernez. <P>The second part opened on the creation at Opera of Diable à quatre in a Jean-Guilaume Bart Choréography. The male etoile of POB after make ballet tribute to Balanchine or Robbins, his principal inspiration, make a tribute to the romantical, academical ballet « à la Bournonville or Petipa » without forget the wink to Balanchine. On Adam ballet music which evocate irrestibly Delvedez Paquita music, he made a brilliant pas de six with pas de deux, pas de trois, variations for boy or girls. The pas de six began in the style of Napoli, the first girl variation danced with spirit and charm by Nathalie Vandard looks in Giselle spirit, with a diagonale in the same way. After this variation, we have a pas de trois, for a boy and two girls, made to show brightness of petite Batterie. In these pas de trois, Ninon Raux, new quadrille is absolutely charming and Pascal Aubin was terrific at the end with succession of brisés-volés , pirouettes. Severine Westermann danced the third variation mixed in Bournonville way with the girl hanging her dress, and with Balanchine inspiration too in arms or torso movement. Aurelia Bellet was charming too in her last variation. Coda is bright too and regroups all the dancers. They seem to be happy to dance this short piece. And for the first time of the evening I saw Dance with a big D.<P>After this full of joy piece, Carnaval de Venise by Petipa entered at POB repertory. Perhaps must be the pdd dance by more brilliant dancers than Lise-Marie Jourdain and Jean-Sébastien Colau. They dance in Paris competition and Varna too this, pdd and won the 2d Couple Prize in Paris and the third solo man prize in Varna. It's certainly for that they were choose to dance it, they are perfectly together and have the spirit of the pdd. Lise-Marie Jourdain has the cute of the piece, and a good technical level, but she doesn’t raise up her legs in the variation and it’s a few « sad » especially when we saw dancer as Fallou or Dupont in the same variation.<BR>Jean Sebastien Colau has feet problem. Against they have completely uinderstood the style. Thanks again to Ghislaine Thesmar who makes repeat also Pas de quatre. This pdd is always known under Satanilla tittle.<P>It was the last classical piece of the evening with Orchestra Colonne, directed by David Coleman not at his best.<P>Reversibilité was created for POB by Michel Kelemenis in 1999 for Elisabeth Maurin, Kader Belarbi and Wilfried Romoli. This pas de trois based at the end of the ballet on Pavane pour une infante défunte, from Ravel, played at Piano by Elena Bonnay.<BR>Caroline Bance is really beautiful in this piece besides Pierre Retif and Jean-Philippe Dury. Without judge of their quality, they make the creation of the ballet with Kelemenis and have easily understood the Kelemenis style. I find more passion with this three interprets than with the creation cast. It seems to have a story what I have not felt when I saw it in 1999. They were really implicated in the ballet but Bance and Retif are also experimented dancers.<P>To close the evening, Aunis by Jacques Garnier on original music played on accordeon by the composer Maurice Pacher was the way to see two boys surnuméraires Alexandre Carniato and Martin Chaix besides of Simone Valastro, quadrille. The ballet was fine rehearsed with Wilfried Romoli. On this piece evocating Britain, three boys in black trousers and white shirt dance always together. This happy piece ended the soiree on a joy note and was really well danced even something is missing, but it’s certainly only the use of the stage.<P>The second part was more interesting and well danced than the first. <P>Only problem we don’t discover really young talent we don’t already know. They just confirm that too many dancers merit promotion they didn't have at the last internal competition as Dorothée Gilbert, Myriam Ould Braham, Bruno Bouché or again Nathalie Vandard and the promoted were not always the best.<BR>Hoping that all the faults are due to stage fright or first experiment of stage, because if it's not the case, we could be worry for POB stylistic level. The technical level is always good.<P>We can understand they want to make dance classical ballet to the dancer who created Nosferatu but too many other young dancer could have to participate at this evening as Emilie Cozette, Adrien Bodet, Sébastien Bertaud, or Eve Grinztajn, Julie Martel and so on. <P>* Surnumeraires are dancer who are engaged just for a contract, they must pass regularly competition to see their contract followed. It's often school pupils who don't arrive to enter in the troup at the end of their school or some strangers dancers.<p>[This message has been edited by Cathy (edited June 12, 2001).]

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 Post subject: Re: POB - Young dancers June 7, 2001
PostPosted: Mon Jun 11, 2001 1:11 am 
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Joined: Wed Apr 11, 2001 11:01 pm
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Location: Paris, France
<B>Soirée Jeunes Danseurs de l'Opéra</B><BR>par René Sirvin -Imagidanse<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><BR>Après le spectacle de l’Ecole de Danse, le Palais Garnier a présenté les "Soirées Jeunes Danseurs" de l’Opéra de Paris, qui constituent un autre évènement suivi avec passion par un public avide de découvrir les nouveaux talents. Quatorze filles et onze garçons de 17 à 27 ans, tous corps de ballet, coryphées ou quadrilles, ont été les vedettes à part entière pendant quatre jours d’un programme spécialement conçu pour eux. Programme quelque peu ambitieux, car ces ravissantes gamines sont des fruits exquis mais encore trop verts pour incarner les grandes héroïnes romantiques qui exigent évanescence et maturité.<BR><HR></BLOCKQUOTE><P><a href="http://www.imagidanse.com/francais/presse/10-Juin-01/JeunesDanseurs.html "target="_blank"<B>Pour en savoir plus</B></a><P><BR><p>[This message has been edited by Cathy (edited June 19, 2001).]

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