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Subject: "Jewels" Archived thread - Read only
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Conferences What's Happening Topic #1153
Reading Topic #1153
Kate R

21-12-00, 05:34 PM (GMT)
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   Was I the only English Balletco poster lucky enough to still be in Paris on Tuesday night? Bliss.

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  Subject     Author     Message Date     ID  
  RE: Jewels Ann Williams 21-12-00 1
     RE: Jewels Kate R 22-12-00 2
         RE: Jewels Catherine 22-12-00 3
             RE: Jewels Kate R 22-12-00 4
                 RE: Jewels Catherine 22-12-00 5
         RE: Jewels Bruce Madmin 31-12-00 6
             RE: Jewels Catherine 31-12-00 7
             RE: Jewels Catherine 31-12-00 8

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Ann Williams

21-12-00, 06:47 PM (GMT)
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1. "RE: Jewels"
In response to message #0
Could you tell us something about it? Was there proper lighting, for example? From what I can translate of Catherine's posting there was a problem.

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Kate R

22-12-00, 11:54 AM (GMT)
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2. "RE: Jewels"
In response to message #1
   Sorry for thedelay, I am not at work this week so I am not siting in front of the computer all day.

I cannot find Catherine's comments so I cannot see what she was saying.

I did not notice a problem with the lights but there may have been with what I think was a projection for the backdrop of Emeralds. Form where I was sitting it did not look like the representation in the sumptuous programme.

I thought the whole thing was terrific, particularly Diamonds. I will try and get a more detailed post on later.

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22-12-00, 12:07 PM (GMT)
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3. "RE: Jewels"
In response to message #2
   I was at the amphitheatre and from this place light seem strange on emeralds part, shadow on dancers feet were unhappy from high place.
I'm agree with you about Diamonds it was terrific especially Letestu, she is born to dance Balanchine ballets and how she is at my taste the best Swan of the POB, she looked wonderful in the pdd of Diamonds who remains Swan lake white adagio.
But how I wasn't sure to see again one time. I tried to see the more I can and didn't enjoy completely ballet. Trying to see the less details. But now how strike are finished I could see details the two next time I must to go to see Jewels with other cast and I will post my report

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Kate R

22-12-00, 01:00 PM (GMT)
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4. "RE: Jewels"
In response to message #3
   I was sitting in the Balcon and it looked fine. I think the lighting for Emeralds is supposed to be a bit dappled (shaded).

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22-12-00, 03:40 PM (GMT)
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5. "RE: Jewels"
In response to message #4
   It's sure that light for Emeralds are less brighting than for other ballets and I think it's the white floor who makes this strangely shadow on dancer feet. I don't feel it for the other ballet also rubies than Diamonds. Against I prefer the old men "pourpoint" of rubies than the news one. I love too many Diamonds costums who bright as true diamonds. It make me think to the Daperttuto Aria in Offenbach Hoffman Tales "Scintille diamant".

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Bruce Madmin

31-12-00, 10:48 AM (GMT)
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6. "RE: Jewels"
In response to message #2
   >I thought the whole thing was
>terrific, particularly Diamonds. I
>will try and get a
>more detailed post on later.

Oh yes please!

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31-12-00, 10:53 AM (GMT)
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7. "RE: Jewels"
In response to message #6
   Performance of the 19/12/2000 :
It is the first time that Jewels is given in his entirety to the Opera of Paris. It had already Rubies under Capriccio title in the original costumes of Karinska, for this input with the repertory, costumes and decorations were entrusted to a large French dressmaker Christian Lacroix. It imagined costumes close to those original by using pourpoints raised velvets of precious stones for the men, velvet tutu long and raised embroidered tulle of stars for the Emerald dancers, small red dress for immaculate Rubies and tutu white and argent for Diamonds. The very simple decorations on set are not very happy. Emerald photograph for the first, cuts ruby, and diamond pins suspended in the airs for Diamonds. The white floor and lightings are not inevitably happy especially in Emeraudes. Dancers indeed seem to have horrible feet because of the shades. In Emeralds, the first pdd was interpreted by Isabelle Guerin of which it was the great return after one year of absence due to maternity and Nicolas Le Riche. She is a splendid dancer balanchinienne it shone in the variation of "la Fileuse" in particular with superb cambered attitudes, at its sides Le Riche was an honest partner, but the style balanchinien is not it his and we ask what he makes in this ballet, it's not ballet for jumper. Fanny Gaida and Kader Belarbi made the second couple. Fanny also danced the variation known as " Sicilian ", his lyricism made wonder there. In their pdd, long walk on the toes stopped with breves arabesques and light carried, they made wonder, one can notice besides a homage to Lifar in this pdd. The pas de trois was entrusted on three young sujets Eleonora Abbagnato which made few days ago its beginnings in the role of Clara of Nutcraker, Nolwenn Daniel which would have also to dance this last Saturday role but it was cancelled (it should have a new luck at Saturday evening, but the threat of a strike is really very heavy) and Guillaume Charlot, prone to the unquestionable style. All three were very good in this pas de trois. The female corps de ballet was good though somewhat contracted but that is understood considering the situation of tension that the Opera currently saw. The music of Fauré is unfortunately a little tedious and the public somewhat was sulky this ballet with polished applause.
Came then Rubies, Aurélie Dupont not completely given of her injury of beginning of season preferred to be reserved for the creation of Paquita and left its place to the première danseuse Delphine Moussin at the sides of Manuel Legris and Marie-Agnes Gillot. Delphine Moussin in spite of her assets does not have unfortunately the technique of Aurélie Dupont and cannot make forget the service of this one the last year (she made with a disconcerting, triple or quadruple facility pirouettes, spectacular rising of legs and always with the same height). In spite of an obvious goodwill and a purer style balanchinien, it missed this taste for danger. Manuel Legris was brilliant as with its practice and Marie-Agnes Gillot as a soloist still showed us her splendid rising of legs, her superb extensions. It is a future etoile. The corps de ballet was correct especially the four boys. Came finally the fireworks which constitutes Diamonds. Agnes Letestu and José Martinez had the frightening privilege to create this role with the Opera. Their pdd, reminiscence of the great white pdd of Swan Lake was one unforgettable moment of grace and purity. Agnès Letestu would have been a model for Balanchine if it had met her. She was splendid of lyricism, and technique. At its sides José Martinez was a superb partner and showed its usual virtuosity in its variation of the third movement. The corps de ballet very in form shone of thousand fires at the time of final evoking completely the famous flutters of diamonds.

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31-12-00, 10:54 AM (GMT)
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8. "RE: Jewels"
In response to message #6
   LAST EDITED ON 31-12-00 AT 10:55 AM (GMT)

Performance from 26/12/2000 :
Second representation of Jewels and second distribution. Initially lightings appeared to me worked again since last Tuesday, in addition the corps de ballet was very at the point this evening but I think that the small tears of the last week was more due to the stress related to all these threats of strike action than on other thing. In Emeraudes danced this evening Maurin and Delanoé in place of Guerin and Le Riche. Maurin brings its sensitivity and its poetry with the variation of the Fileuse and its pdd with Delanoé was balanced perfectly. Delanoé is an accomplished balanchinian Dancer and has a true elegance and the French style required for this ballet. Averty in Sicilian danced very well but it does not have the lyricism of Gaïda, Phavorin replaced suffering Charlot in the pas de trois at the sides of Abbagnato and of Daniel, they were all the three perfect ones also. I could admire the work of the tulles of emeralds raised of green spangles. In Rubies, if Gillot were always the soloist, the couple was danced by Arbo and Quilleré. Arbo has the jazzy side which goes extremely well to this ballet, of the movements of arms and of the extraordinary bottom of legs and in spite of a pdd a little less good than that of Moussin and Legris it made splendid things with the rupture of balance. Quilleré of which it was the first role with the Opera for a long time was very well even if it does not equalize Legris. The four boys were even together than the first time.
In Diamonds, Bart succeeded Martinez. If in the pdd, it misses the complicity which exists between Martinez and Letestu, They were absolutely fabulous of style and elegance. Agnes is always also extraordinary in her held arabesques, her attitudes selected and her promptness. As for Jean-Guillaume Bart, it engraved the variations of the third movement. I must return to see one time at saturday evening, perhaps before.

Performance of 30th December
I return from the penultimate representation of Jewels and my impressions are very shared.
I undoubtedly saw the best Emeraudes of the series. Arbo was replaced by Guerin in pdd with Jean-Guillaume Bart. Jean-Guillaume Bart is a pure balanchinien, his two pdd with Guerin were splendid, it is true that in more Guerin completely lets itself go, splendid cambered attitudes, movements of fluid arms. Her "Fileuse" variation was more better than at the first performance, but it's true she frequently dance with NYCB. In second pdd, I will have seen only Kader Belarbi - this time at the sides of Gaïda which as the evening of the first was splendid of lyricism in the famous pdd on toes or in the "Sicilian" variation. In "Pas de trois", they was Osta, Pujol and Duquenne. They were splendid all three, Initially Osta seems to me more balanchinienne than Pujol. She has superb turned over arabesques, Pujol's dance is very well but its arms appear too lyric to me compared to the balanchinienstyle. Osta had "hard" arms movements of which stuck completely because even if it is a homage to the French school, that does not remain about it less of Balanchine all the same. Christophe Duquenne was perfect technician, and magnificent dancer, which lightness and which musical quality ! Balanchine does not seem to have secrecies for him either, and when one sees the final pas de trois which Christophe forms with Kader and Jean-Guillaume we ask us until Opera wait to make him become first dancer. This evening I saw most beautiful Emeraudes of the series because it was a perfect example of the great elegant French style. I was not bored only one moment and besides the public reacted better than the other evenings with more nourished applause and cheers.

In Rubies, even distribution that the evening of the first except for Gillot which was replaced by Delphine Baey. This one even if it does not have the authority of Gillot in this role, is really very well déhanchés perfect and superb rising of legs. Moussin was well more at ease that the evening of the first and was sublime at the sides of Legris equal to itself in this role, mixing relaxation and brilliance. Moussin had this side jazzy which it had somewhat missed the evening of the first.
In Diamonds they was Gillot and Le Riche. Their pdd lacks of the lyricism of those of Agnes Letestu and José Martinez or Agnes Letestu and Jean-Guillaume Bart. Le Riche is an attentive partner but when Gillot is given up, it does not follow and In Diamonds they was Gillot and the Rich person. Their pdd lack of the lyricism of those of Agnes and José or Agnes and Jean-Guillaume. Le Riche is an attentive partner but when Gillot is given up, it does not follow and wavers on its feet. Admittedly virtuoso in the third movement, I am not at all sensitive to his style, it is well done but too high, without style and elegance and god that it is painful this movement unceasingly cut by applause. I will say that it is the Russian style " bolchoi " and not the Russian style " Kirov ". As for Le Riche, I have the impression that at the present time it's like Guillem, when this one remains 10 seconds on toes, the audience is delirious, when it is Letestu, Dupont, or Averty who make the same thing not one applause, I had this same feeling by seeing LE Riche, When he turns, his pirouette are so quickly as José Martinez or Jean-Guillaume Bart but not an applause don't come to greet the both whereas the room applauds hardly Le Riche at the beginning of turn. To wonder whether it has a "Claque"...
Marie-Agnès Gillot showed splendid things, beautiful stopped arabesques, triple pirouettes, but it missed small something which had made of Agnes Letestu a Brigthing diamond. I think she's too tall and too large of shoulder to be a lyrical diamond. Finally in short a good evening especially with Emeralds splendid.

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