"Aurelie Dupont" tag
Rihoko Sato in Sleeping Water.© Jean Michel Blasco. (Click image for larger version)

Saburo Teshigawara / KARAS – Sleeping Water – New York

★★✰✰✰   There are dances that one figures out in the first five minutes. Hope as one might that the piece will evolve or turn a corner, it soldiers on in the same vein, section after section, until the end.

Xin Ying in Martha Graham’s Chronicle.© Brigid Pierce. (Click image for larger version)

Martha Graham Dance Company – Gala + Cave of the Heart, Inner Resources, Rust and Chronicle bills – New York

★★★✰✰   The gala was a well-put-together, briskly-paced affair, a sampler of Graham excerpts dating back to her very first recital, in 1926.

Maya Plisetskaya.© Ensemble Productions. (Click image for larger version)

Ave Maya Gala in Memory of Maya Plisetskaya – London

★★★✰✰ Every gala needs a revelation, and this one was provided by Sergio Bernal, a Spanish dancer who dominated the stage in an imperious farruca solo from Antonio’s flamenco version of The Three Cornered Hat…

Noureev & Friends Gala poster.© Noureev & Friends. (Click image for larger version)

Noureev & Friends Gala – Paris

Graham Watts was at the Palais Des Congres for us to celebrate the 75th anniversary of Rudolf Nureyev’s birth…

Dorothee Gilbert in Giselle.© Michel Lidvac. (Click image for larger version)

Paris Opera Ballet – Giselle – Sydney

During the season, and over five nights, I saw each of the five Giselles – Dorothee Gilbert, Myriam Ould-Braham, Ludmila Pagliero, Isabelle Ciaravola and Melanie Hurel, and four Albrechts…

Marie-Agnes Gillot and Jeremie Belingard in The Prodigal Son.© Sebastien Mathe / OnP. (Click image for larger version)

Paris Opera Ballet – Serenade, The Prodigal Son, Agon – Paris

The company danced Serenade well but the very simplicity in its choreography, created as it was initially for students, ironically makes it hard to produce a perfect performance…

Paris Opera Ballet in Giselle.© Sebastien Mathé. (Click image for larger version)

Paris Opera Ballet – Giselle – New York

The arrival of the wilis takes one’s breath away. Not only are they individually beautiful, with their soft port-de-bras and milky-white shoulders, but they are all eerily the same, in every way: same size, same build, same arms, same tilt of the head, same gaze, same feet.

Nicolas Le Riche and Paris Opera Ballet in Maurice Bejart's Bolero.© Stephanie Berger. (Click image for larger version)

Paris Opera Ballet – Suite en Blanc, L’Arlesienne, Bolero – New York

Nicolas Le Riche was fabulously predatory in Bolero, a raging furnace of self-love and sex appeal. One imagines that after the show he must have ravaged a hundred virgins, but maybe he simply went home and soaked his feet in the tub, but in any case, he was magnificent, good taste (and choreography) be damned.

Paris Opera Ballet in Giselle.© Sebastien Mathé. (Click image for larger version)

Paris Opera Ballet – Giselle – Washington

With its exquisite staging, and most importantly with its understanding and respect of the Romantic ballet style, and whole-hearted dedication of the dancers to their roles, the Paris Opera Ballet demonstrated just how Giselle should be produced and performed.

Aurelie Dupont and Herve Moreau in Sasha Waltz's Romeo and Juliet. © Laurent Philippe. (Click image for larger version)

Paris Opera Ballet – Romeo and Juliet – Paris

The actual Roméo and Juliette sections of Waltz’s work are captivating, but when they stop dancing, it’s harder to remain invested in what’s going on around them. Even in an abstract version of Roméo et Juliette, Romeo and Juliet remain the focal points.

Aurelie Dupont and Josua Hoffalt in Manon. © Anne Deniau. (Click image for larger version)

Paris Opera Ballet – Manon – Paris

As Manon, Dupont started out as sweet and innocent. Overall, her Manon seemed almost empty, like a vessel for people to put eroticism into or to act upon.

Paris Opera Ballet – La Bayadère – Paris

At the end the curtain came up once again, and Brigitte Lefèvre (artistic director of the ballet) and Nicolas Joel (director of the opera as a whole) emerged to announce the promotion of the evening’s Solor, Josua Hoffalt, to the ultimate rank: étoile. There were buckets of tears, from Hoffalt, Gilbert, and Dupont. In fact, it was the high point of the evening. An uncontrolled release of emotion, at last.

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