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 Post subject: Soirée Noureev/Balanchine/Forsythe
PostPosted: Tue Feb 19, 2008 3:04 am 
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Attention! La date de réservation aux guichets est avancée d'une semaine, et attention (bis), c'est à Bastille :? !

http://www.operadeparis.fr/Saison-2007- ... sp?IdS=401

Les représentations des 4 et 5 seront précédées du défilé. Il me semble que le défilé à Bastille, c'est une première?

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 Post subject: Re: Soirée Noureev/Balanchine/Forsythe
PostPosted: Tue Feb 19, 2008 4:13 am 
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@urelie wrote:
Attention! La date de réservation aux guichets est avancée d'une semaine, et attention (bis), c'est à Bastille :? !

http://www.operadeparis.fr/Saison-2007- ... sp?IdS=401

Les représentations des 4 et 5 seront précédées du défilé. Il me semble que le défilé à Bastille, c'est une première?

Non, pendant les travaux de Garnier en 1993 / 94 il y avait eu des défilés à Bastille


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PostPosted: Tue Feb 19, 2008 6:48 am 
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Merci pour cette précision. Et ça rendait comment?

En tous cas, c'est la première fois qu'il a lieu à Bastille de façon "volontaire".

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PostPosted: Tue Feb 19, 2008 7:09 am 
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Il n'y a pas l'effet de perspective avec le foyer de la danse, aussi on perd un peu de magie mais pour le reste c'est pareil.


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PostPosted: Mon Mar 17, 2008 2:01 pm 
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"Le 6 mai ce sont les Adieux du danseur Etoile Wilfried Romoli il y aura "Trait d'Union" en plus des 3 autres ballets! "

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PostPosted: Sun Apr 06, 2008 1:23 am 
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La représentation d'hier soir était précédée du défilé (tout comme celle de la veille, qui était la Première). Pour le défilé à Bastille, donc, les danseurs arrivent des pofondeurs de la scène, de tellement loin que de ma place (de côté), je ne les voyait pas arriver. Le défilé reste très beau, même si on est trop loin des danseurs et de ce fait, l'ambiance est moins chaleureuse qu'à Garnier. J'ai vu quelques surnuméraires: est-ce pour gonfler les rangs dans l'immensité de Bastille, ou est-ce que ça se fait habituellement?

Dans Les quatre Tempéraments, j'ai été particulièrement impressionnée par Myriam Ould-Braham et Fanny Fiat.

Dans Raymonda, c'est Karl Paquette qui dansait Jean de Brienne (en remplacement de José Martinez, qui a défilé) et Bertrand Belem qui dansait Bernard (en remplacement de Gil Isoart). C'est un plaisir de découvrir ce ballet "en vrai", d'autant que l'orchestre a plutôt bien joué. En revanche, là encore, le cadre de Batsille s'accorde mal à la flamboyance des costumes et des danses, donc: vivement l'an prochain à Garnier! Dorothée Gilbert était très impressionnante dans sa variation d'Henriette.

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 Post subject:
PostPosted: Mon Apr 07, 2008 1:39 am 
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@urelie wrote:
La représentation d'hier soir était précédée du défilé (tout comme celle de la veille, qui était la Première). Pour le défilé à Bastille, donc, les danseurs arrivent des pofondeurs de la scène, de tellement loin que de ma place (de côté), je ne les voyait pas arriver.

En fait ils passaient de l'ombre du fond du plateau à la lumière d'ou un effet d'apparition assez beau.
@urelie wrote:
Le défilé reste très beau, même si on est trop loin des danseurs et de ce fait, l'ambiance est moins chaleureuse qu'à Garnier. J'ai vu quelques surnuméraires: est-ce pour gonfler les rangs dans l'immensité de Bastille, ou est-ce que ça se fait habituellement?

Ils servent de marge d'ajustement pour assurer toutes les places.

@urelie wrote:
Dans Les quatre Tempéraments, j'ai été particulièrement impressionnée par Myriam Ould-Braham et Fanny Fiat.

Elles étaient en effet plus dans l'oeuvre. J'ai bien aimé Ganio aussi.

@urelie wrote:
Dans Raymonda, c'est Karl Paquette qui dansait Jean de Brienne (en remplacement de José Martinez, qui a défilé) et Bertrand Belem qui dansait Bernard (en remplacement de Gil Isoart). C'est un plaisir de découvrir ce ballet "en vrai", d'autant que l'orchestre a plutôt bien joué.

Martinez avait été assez bon la veille, Moussin est toujours un peu juste techniquement. Pour la première, il y a eu des petits problèmes avec le corps de ballet. (pas toujours bien ensemble et des sauts manquants chez les garçons), c'était mieux le samedi. Le vendredi c'était plutôt le ballet de l'Opéra de Vichy. :roll:

@urelie wrote:
En revanche, là encore, le cadre de Batsille s'accorde mal à la flamboyance des costumes et des danses, donc: vivement l'an prochain à Garnier! Dorothée Gilbert était très impressionnante dans sa variation d'Henriette.

Surtout avec des décors réduits à quelques marches et des lustres.
Dorothé Gilbert était en effet flamboyante, la seule à y croire vraiment.


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PostPosted: Mon Apr 07, 2008 12:25 pm 
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Pour moi l'individualité qui s'est dégagée lors de la soirée de samedi est Mathieu Ganio. Cela faisait longtemps que je ne l'avais pas vu et ne serait-ce que lors du défilé il a dégagé une élégance à part. Ce sentiment a été pleinement confirmé dans les 4 tempéraments. Souhaitons qu'il puisse échapper au maximum aux blessures pour pouvoir danser au plus haut niveau.

Pour le reste, la soirée est tout de même faiblarde. J'avoue ne pas avoir compris ce qui unissait les trois ballets proposés, mais je l'avoue je n'ai même pas cherché à connaître l'explication (le prétexte ?) officielle de cette soirée. Pour moi l'enchainement entre les quatre tempéraments et Raymonda est difficile (j'étais déjà parti lors du forsythe, chacun son truc).

Si le Balanchine est correctement dansé avec quelques belles individualités, Raymonda est très très poussif et il n'y a guère que Dorothée Gilbert et son énergie pour sauver le pot-pourri de Raymonda.


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 Post subject:
PostPosted: Sat Apr 12, 2008 3:15 pm 
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Le Forsythe (11/04/08 ) assez original et très bien fait. Je l'ai vraiment trouvé tres beau ce ballet surtout la première partie et une "Chaconne" qui rend l'ambiance encore plus intrigante et caverneuse (la fosse d'orchestre éteinte rajoute de l'effet). Et qui plus est je me suis réconcilié avec Balanchine .
Petite Cace-dédi a Sarah Kora pour sa prestation (présente dans Balanchine et Raymonda) 8)

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 Post subject:
PostPosted: Mon Apr 14, 2008 3:19 pm 
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Des photos des Quatre tempéraments, de Raymonda, et d'Artifact Suite sur le site Fedephoto:

http://www.fedephoto.com/fotoweb/GridB. ... (Ouverture))

(Recopier le lien dans votre navigateur)

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 Post subject: Greasepaint
PostPosted: Wed Apr 16, 2008 6:12 am 
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Having just seen for the first time this season the triple bill, the author of these lines emerges with enhanced belief in greasepaint. Covers a multitude of ills.

Digression on greasepaint: the purpose of theatrical makeup, is to heighten, not the distance between the artist and his public, but the distance between the artist, and normal, humdrum, Everyday Life. This business with dancing in street makeup has gone too far. One should not be able to recognise, effortlessly, every man jack of Our Gang, as they issue forth from the wings in "street face". Nor does it serve to make classical dancing more "accessible" to the general public. Just makes it more BORING than strictly necessary.

On to Balanchine's "Four Temperaments". My husband being a maths buff, there are calculators all over the flat. So I took two along, one in each hand. The left hand hit a little button at each Pelvic Thrust, the right hand, at each Battement, whether grand, cloche or fouetté. Thirty-five minutes later, the score on the left was 237, and on the right, 195.

Might that be all there is to choreography? We should be told. Or at least, Hindemith should be told.

And what is this with Balanchine - whom I see as a pocket Blue Beard - and the Pelvic Thrust? Mummy and Daddy told me that people who babble on in public about a Certain Thing, may be rather less (....) in private. Am I alone in questioning Balanchine's virility, with all this very public crotch-display and pelvic-thrusting (now there's a New Verb for you!).

And, I say, let not the woman dance without a skirt on! The stage is a most unforgiving place, particularly for the Weaker Sex and whether one be fat or thin, and certainly, no place for practice costume.

Here, in all events, were the “Four Temperaments” in the form of an on-stage rehearsal. But we are used to that now at Paris ! One imagines that Hindemith would not have been ecstatic at the shenanigans on stage - assuming he would have tolerated the actual steps. At the very least, could we not give people enough rehearsal time to be rhythmically secure? And to be 100% certain about their positions?

And the most ill-assorted pairs. Ould-Braham, a ballerina of the first water, with Adrian Bodet?

In Melancholic (and later, in "Raymonda"), one found Fanny Fiat, paired as demi-soloist with Mathilde Froustey.

Whatever Mlle. Fiat's official rank may be, she is not a demi-soloist, but a ballerina. The clockwork precision, consistency and brillancy of her dancing are FRIGHTENING, actually, and watching her jump - literally - right up and over the head of the fragile, unsteady Froustey is doing the latter NO favours. This is one Odd Couple that should be unyoked - INSTANTLY.

Next on display, excerpts from "Raymonda".

Avoid carping on these old imperial ballets, that now appear fairly moth-eaten. We have got to a point, at Paris, where we will accept ANYTHING classical - if it be well-danced.

But it was not.

Ignore the gentlemen’s ghastly scarlet costumes - what is truly worrying, is that the dancing of the man in this fair city, is in parlous state.

Over the past twenty years, we have recruited men into the school and thence into the troupe, so frail of build, so extremely lax, so all-over-the-place, that quite a few might well be a girl. In the Czardas and the Grand pas hongrois, the dancing of the female corps de ballet was bolder, more vigorous, better-defined - manlier, in a nutshell, than that of the lads.

Men so slight may be photogenic, but they are simply not up to grand allegro technique, which has been the backbone of the trade for the last two centuries.

Sorry to be a spoil-sport, but what ah sees, ah says.

A somewhat pitiful display, mitigated by the great brio and accuracy of Muriel Zusperreguy in Henriette’s variation, Fanny Fiat – again saddled with the unfortunate Mlle. Froustey, and by Eve Grinstajn, a little unsteady yet as Clémence but she will get there.

The corps de ballet, in a state of near-chaos.

Rhythmically insecure, the Czardas’ majestic body-shapes and port de bras of this dance were obscured by outlandish leg-waving - rank vulgarity, and that rather recalls pseudo-Hungarian cabaret than theatrical character dancing on one of the world's great stages.

Add that to glaring partnering mishaps in the corps de ballet ... who were about to launch into Forsythe’s “Artifact Suite”...

In the latest issue of Ligne 8, the Paris Opera’s in-house mag, the tenor Toby Spence (besides posing for the photographer on a rumpled bed, or crowing about having sung, I kid you not, starkers, in Olivier Py’s Geneva staging of Curlew River – what was it we were saying above about the private, becoming so to speak, public?) does have something relevant to say about technique.

“It’s out of the question for me to give a Haendel recital if I’m singing in a Rossini opera at the same time. I would need to develop the musculature that music calls for, before directing it, gradually, towards another. The past few weeks, I have often sung Rossini, and worked on my high notes – and so the low notes disappeared. For “The Rake’s Progress”, I’ll be using the middle register, and so I imagine that the higher notes will vanish (....).”

In the ballet, though, we expect our lot to go down in Balanchine as a curtain-raiser, flinging their legs about, followed by hideously-difficult classical variations in “Raymonda”, that demand utmost control, only to launch into a one-hour long Forsythe Happening where the body cannot be properly held, while the articulations are opened to the uttermost. Whereas, it is incomparably harder for the entire body to adjust to such radical shifts, than for the vocal cords, and the physical harm all that much greater, indeed, lasting – if not permanent.

Any member of the public who would doubt this harm, should consult the cast lists, constantly altered due to injury. He might also wish to consider what it feels like, in one's own body, to repeatedly suffer injuries, that the man in the street may know but once or twice in his entire lifetime.


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 Post subject: Context
PostPosted: Mon Apr 21, 2008 10:14 am 
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The fact that this programme have been on for three full weeks, and have given rise to so little discussion, of any kind, is itself rather telling. And the house - or rather the barn, because Bastille is a giant barn utterly unsuited to the ballet - ain't nowhere near full.

Poor ol' 'Raymonda', squished in between a bloomin' bit of Balanchine and a blob of Forsythe.

Now, the imperial Russian ballets are terribly dated, no doubt about it.

However, if we cease to perform them, at the present time, given the dearth of fresh choreography, the art form will die out. It's that simple.

So we MUST perform them, and give them our all - at least, until something better take their place.

But the imperial ballets cannot be put up on a wing, a thought and a prayer. Or as a branch of Cash Converter.

Vast resources were at Petipa's beck and call these ballets. Over 150 artists, including two or so dozen mimes, a contingent of specialists in "character dance", and a hundred classical dancers who did NOTHING BUT classical dance. So they could dance it!

We are no longer in that condition at Paris.

We no have no proper mimes.

We have no specialists in character dance.

And we are down to a mere five or six people (name no names, but let's just throw the name of Mélanie Hurel into the hat, for the hell of it) who are actually classical dancers.

Whose bodies are not spoilt by hyper-extensions and suchlike tomfoolery - and whose minds have not been spoilt by the "desfachatez", the brazen mental immodesty, the lack of all mystery and poetry, that this Forsythian tomfoolery entails. Generally performed by unfortunates who do not even get to keep their tights on. (Footnotes to history: on stage, we all, all of us without exception, look like absolute HELL without tights. Particularly the Weaker Sex. Get them damn things back on).

Be that as it may, here at Paris we are down to five or six people, amongst those in leading positions, who are still mentally and physically strong enough to express IDEAS, the which, requires a special technique. YOU command the body, the body does NOT command you.

So we take these imperial ballets and TRIVIALISE them completely, by plonking them down in a negative, down-beat, sordid and frankly oppressive CONTEXT, like "Artifact Suite", which boils down to thrusting either one's reproductive apparatus (ain't that what the pelvic thrust is all about, duckie?) or one's blasted foot into someone's face - and then we're all surprised, because 'Raymonda' looks, and sounds, ludicrous.

Two very poor counsellors: cynicism and despondency. Fire them!

For December 2008, we are told that 'Raymonda' is on, in all three interminable Acts. If we are going to do it, let us start now, and DO IT RIGHT.

Otherwise, let us cancel the whole shebang, and join forces with Miss Sarah Vernon, currently studying Striptease for a PhD (Yes - read the Sunday Mail), who runs the Academy of Burlesque and Cabaret. She says that striptease is "becoming respectable". A glance at some of the positions adopted by the tightless these days, will readily persuade one of the truth of her thesis.


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PostPosted: Tue Apr 22, 2008 1:37 am 
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Interview de Wilfried Romoli actuellement sur France Inter dans "Esprit Critique"
Il fait part des regrets qu'il a de quitter le corps de Ballet, son ambiance , ses potes. Un message touchant de Sylvie Guilhem qui lui souhaite de ne pas délaisser les studios, il aura la possibilité de transmettre son savoir. Melle Platel lui a proposé d'être prof à Nanterre.
Il rappel son enfance ou il a commencé par détester ses premier cours, puis petit à petit, il s'y est vraiment bien senti , surtout lors du premier spectacle de Danse une fois rentré à Nanterre. Il dit avoir "un peu" mal senti sa nomination tardive contrairement a ses amis, ceci sans doute due à des absence de concours certaines années et l'arrivée de grand danseur comme N Leriche. Noureev lui donnait beaucoup de grand rôle, mais Rudolph le laissait faire sans pour autant l'aider a devenir "Etoile".
Beaucoup de choses dites , podcast possible sur: http://www.radiofrance.fr/franceinter/chro/espritcritique/
ou http://www.radiofrance.fr/franceinter/pod/index.php

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 Post subject:
PostPosted: Mon May 05, 2008 8:57 am 
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FEAR OF HEIGHTS?


Monday, April 28th

Next attempt to get through this particular triple bill.

However, what in fact drew this writer into the theatre Monday week (April 28th) was Eve Grinsztajn, our new première danseuse, as Raymonda. Mlle. Grinsztajn proving, yet again, that she can dance most of us right off the edge into the orchestra pit. Her hands ! Her arms ! Her back ! And what charisma!

Now about 26, Mlle. Grinsztajn would scarcely qualify as a wilting violet. On graduating from the School, she was at first not admitted into the POB, but kept at arm’s length as a supernumerary. Having stuck this out against hell and high water for several years, the lady was finally admitted into the troupe – upon which, she was involved, if I recall rightly, in an automobile wreck, that prevented all performing for something like a year. But she has returned, and how ! In December 2007, her dancing at the Concours where she was promoted, seemed to come from some distant, and considerably more sympathetic, planet than our own.

If Mlle. Grinsztajn continue on this upward course, we shall shortly be dealing with a star of the first magnitude.

The girl had to dance for two, though, as tomb-like silence were meet, in relation to the desolate vision of Bruno Bouché as Jean de Brienne. As we reached his fouettés temps levé à la seconde sequence, sliding under one’s seat became the better part of valour. It is unfair to M. Bouché, to the troupe and to the public, to send him down in that condition.

The temptation, when things have Gone Wrong in High Places, is to nitpick about how awful M. X or Mlle. Y was.

Whereas, the problem, comes from Mount Olympus.

There is a great deal of talent in this troupe, most of it, at the present time, concentrated amongst the Weaker Sex.

The men all seem to go hide under the linoleum when Thibault is out of action for more than three days - could someone explain the phenomenon? Fear of Heights, perhaps?

Whatever - let us just say any troupe that can send down onto the stage such remarkable feminine talent as Ould-Braham, Hecquet, Fiat, S.K. Dayanova, Guerineau, Grinsztajn and Hurel - to name but those names - on a single evening, should, so to speak, be laughing all the way to the bank.

But no-one appears to be laughing. This triple bill is grim and very poorly instructed, while the situation amongst the men, facetiousness aside, is one for alarm.

Given so very little opportunity to dance the classical repertoire, those men who had technique are either losing it, or out injured, while the several youths who have, in point of fact, quite some talent, are most unlikely to acquire brio, strength, and endurance against the day they will need to call upon it.


WHERE WAS THE VETERINARY SERVICE WHEN WE NEEDED IT?

The kill rate in this theatre, with its dangerous hodge-podge of repertory, is utterly unacceptable. There are so many people out sick and injured at this point, that one wonders who will clamber (crawl?) onto the plane for China next week. Perhaps what the theatre needs is not a nurse and a physiotherapist, but rather a veterinary service with a Hot-Line to the Society for the Prevention of Cruelty to Animals. So far as I can see, one treats a pet dog with more tender solicitude than a theatrical artist. I mean, one doesn’t expect one’s pet dog to jump round and play for hours with a sprained limb or torn muscle – or does one?

Don’t just sit there and think about it! Do something about it. To every effect, a cause - and in this particular case, the causes are known.

Finally, we crave the reader's indulgence for one brief episode of "personal" criticism. The behaviour of the première danseuse Eleonora Abbagnato tends, not infrequently, to the unprofessional, as one could not but observe again last night.

As "Gamzatti", we have in the past been compelled to watch her stomping flat-foot across the stage, or even wiping the sweat from her brow. Last night, not only was her dancing as Clémence in the pas de trois markedly below that of Fanny Fiat – a fact, though not surprising, certainly embarrassing – but her stage manner was sulky to the point of petulant, and most certainly not what one would expect at so august a rank.

As for Mlle. Froustey - dare one hope that someone help her return to a normal weight before her bone structure be permanently damaged ? And tone down the tics and mannerisms that, once one be over the age of twenty, become rather difficult to overlook?


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PostPosted: Sat May 10, 2008 10:22 am 
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Deux photos ici:

http://www.thewinger.com

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