"Brigitte Lefevre" tag
Emilia Gisladdottir in Carmen.© Jesus Vallinas. (Click image for larger version)

National Ballet of Spain – Carmen – Cannes

More from the Cannes Dance Festival and director Brigitte Lefèvre definitely kept the best for the last night with Johan Inger’s full-length production of Carmen performed by the National Ballet of Spain…

Cannes Dance Festival – Ballet du Capitole de Toulouse: The Beast and Beauty, Lyon Opera Ballet: Kylian bill – Cannes

For the festival Brigitte Lefèvre chose an eclectic mixture of popular and audacious programmes from twelve different companies – mainly regional French companies… some smaller independent groups and international companies from Korea, Argentina and Spain.

Nicolas Le Riche farewell - final curtain calls.© Sébastien Mathé / Opéra national de Paris. (Click image for larger version)

Paris Opera Ballet – Nicolas Le Riche Farwell Gala – Paris

Only the official retirement age of 42 requires him to leave the company, alas, though he may be invited back as a guest.

Alice Renavand in Fall River Legend.© Anne Deniau. (Click image for larger version)

Paris Opera Ballet – Fall River Legend, Miss Julie – Paris

…an unusual choice of bill. Unusual firstly as the work of two women choreographers, and secondly in that it gives audiences a rare chance to see ballets from the extremely interesting and creative period of the 1940’s and 1950’s, now sadly neglected.

Ballet Preljocaj in Les Nuits.© Jean-Claude Carbonne. (Click image for larger version)

Ballet Preljocaj – Les Nuits – Cannes

Les Nuits is inspired by the Thousand and One Nights, stories which have come together from Indian, Persian, Arabian and North African sources. Preljocaj is quoted as being influenced by the erotic content of the stories…

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…

Agnès Letestu and Hervé Moreau in Woundwork 1.© Anne Deniau / Opéra national de Paris. (Click image for larger version)

Paris Opera Ballet – William Forsythe / Trisha Brown bill, Don Quixote – Paris

The middle piece, O Zlozony/O Compsite, is a beautiful work by Trisha Brown, made for the company in 2004. Bizarely it always reminds me of Ashton’s Monotones…

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…

Marie-Agnes Gillot and Stephane Bullion in Orpheus and Eurydice.© Stephanie Berger. (Click image for larger version)

Paris Opera Ballet – Orpheus and Eurydice – New York

Bausch is a mystery. To some, she represents the summit of poetry and expression, worthy of a cult-like following. Clearly, these dancers derive great emotional sustenance from performing her work. And it suits them. But, with the exception of Gillot’s solo and a few moments here and there, it left me cold.

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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