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Subject: "POB - Paquita's reviews" Archived thread - Read only
 
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Catherine

27-01-01, 00:21 AM (GMT)
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"POB - Paquita's reviews"
 
   I'm trying to make the review of the both first Paquita by Lacotte.

Yesterday night was the first of Paquita, in a re-creation of Lacotte. Initially Aurélie Dupont which was wounded yesterday evening was replaced by Clairemarie Osta. Aurélie' wound cannot be not serious and she can will take again her role the next week. Against video is cancelled for problems of insurance. Thus let us greet Clairemarie Osta which ensured the first with a disconcerting ease, and I think that it would deserve to be named Etoile amply after what I saw this evening.
The argument is perhaps obsolete and dates seriously but this ballet is full with charm like the theater plays of this time and the dance is the queen. Lacotte had fun obviously much to reconstitute the various dances of kind and to regulate the various variations. Paquita makes me think of the parts of Victor Hugo as « Le roi s’amuse » (same story than Rigoletto) where the tragedy of the situation becomes comic because of the counterparts. Here one finds this atmosphere in particular in famous the second scene which is a long scene of MIME where Paquita tries to explain to Lucien who try to charm her, that Inico which is with them seeks to kill it, in particular the scene of the sword, or the chimney whose bottom is swivelling makes somewhat laugh today

Concerning the frame, Paquita girl raised in gitans saves the life of Lucien a French officer. After having thwarted the plot woven against Lucien by Inico and Don Lopes, she learns she is of noble birth and can thus marry Lucien naturally. On this simple and perhaps simplistic frame, Lacotte makes a charming ballet in two acts and three scenes. The first scene occurs in the camp gitan and is pretext with many dances initially of villager, then of gitanes and Spanish girls and Spanish boys. It also gives place to the dance of the coats interpreted by 12 dancers of which Bouché which was noticed particularly. The choreography of this first act keeps the Pas de trois addition by Petipa and which slices somewhat of the unit, initially by the costumes of both short soloists in tutus compared to the other dancers, and the music is completely different. As for Paquita, Lacotte made many variations, all harder the ones than the others with too many work of bottom of legs. Clairemaire Osta was remarkable throughout ballet, with towers attitudes slowed down, a superb work of knitting. Side of play it is very convincing in spite of the naivety of this history. Manuel Legris at its sides camps a Lucien full with ardour whose variations enchainent they also the difficulties. One wants to say to Lacotte " too step " so much it multiplied the difficulties. It is obvious that its choreography was adapted to the talents of our current dancers. In the pas de trois Emmanuel Thibault terrified crowd in his variation which it indeed removed very well, Melanie Hurel was lyric in the second variation in the second variation Laetitia Pujol although dancing very well lack of something. In the role of Inico, Gil Isoart made wonder in particular in his variation full of entrechats and petite batterie.
The second scene occurs in a house gitane where the plot against Lucien is woven. There still, Lacotte regulated a very pretty variation for Paquita. In a way the argument seems somewhat obsolete today in particular when Lucien tries to open the gate with his sword. The second act is held in a ballroom, still the dresses are superb pinks or brown, Lacotte again choreography many dances for the corps de ballet especially waltz, quadrille and other ball dance which just like does not spare Paquita and Lucien which after having thwarted the plot and to acknowledge their love dances a first pdd, of which coded it is splendid, and enchaine with famous Grand pas. It is at this time there that one sees which was undoubtedly the final pdd of origin, which seems closer to the Sylphid than great ballets of Petipa - more especially the scottisch friends pas de deux by the side dances of accompaniment of the female corps de ballet for the variation of Paquita and masculine for that of Lucien and that added by Petipa. Lacotte undoubtedly did not want to disappoint the public by removing Grand Pas completely but dancers dance hard variations on hard variations. In Grand pas we could particularly notice Sandrine Marache, Fanny Fiat and again Melanie Hurel. There still Osta and Legris were imperial, and one must rented their talents when one sees what they did with only one day of rehearsal. By the way the school of dance in the traditional Mazurka was bad, it is seem-you he youngest and they miss overall. Clairemarie and Manuel were still splendid throughout this second act and in more they dance quickly. On the other hand in the great step the corps de ballet was not very together. Just as Elizabé and Belem in the role of two officers. Elizabé was really very convincing by the precision of his petite batterie. Even if it is not a head of imperishable work, it is a pleasant ballet, which is let see without displeasure, even if Lacotte takes a malicious pleasure to complicate the steps and to add difficulties. The costumes are superb and the colors wonderful. Elisabeth Platel was artistic assistant of Lacotte and Guizerix is not a any more ballet master. Choreography seems made for small dancers and I wonder what will give Agnès and Marie-Agnes inside. If Aurélie does not begin again Clairemarie should more undoubtedly ensure all its representations those with Jérémie.
Other information Legris will make its Romeo last four in July with Elisabeth Maurin, but after finished for this role.

I assisted this evening to second representation of Paquita, and it were Marie-Agnes Gillot and Jean-Guillaume Bart. Indeed Agnès Letestu seems to be wounded. Apparently the series of the wounds is not finished and from here there is only Clairemarie and Marie-Agnes which dance the role it have there only one step. I hope that one will be able to thank them in their giving the supreme title. It seems in more than it no replacing ballerina envisaged there.
The ballet is always also pleasant and the music evokes much that of the Sylphid, in particular in its orchestration except the passages of Minkus (pas de trois and traditionnal Grand pas). Marie-Agnes Gillot'Paquita is completely different from Clairemarie Osta'one. That is not only due to the gauge of the two dancers which is certainly very different but also with the manner of interpreting the character. Clairemarie is more reserved Paquita and shy person that the vision of Marie-Agnes. The great scene of mime in the second table is completely different in particular. Marie-Agnes dances wonderful, in spite of a small tear in a diagonal where it inopportunely slipped. She has in particular splendid movements of busts cambered downwards. But curiously the variations seemed somewhat different. Saiz in Inico removed very well its variation in spite of pirouettes à la seconde when the leg don't stay at the same level. His play is better than Isoart who play a few too. Jean-Guillaume Bart as a Lucien engraves his variations, it dances well but it misses the experiment of Legris which undoubtedly gives more legato to its movements. Moreover the manege of the variation in first pdd of second act was changed for Bart, whereas Legris enchaine grands jetés and sauts de Basque, Bart made saut de basque and small jetés with short-nap cloth of the ground. The addition of Grand pas was much more sensitive this evening. Indeed, Marie-Agnes seems to forget her character to be the soloist Etoile of the Grand pas, against her variation with the grand jetés was impressive just as the manège of coupés-jetés of Jean-Guillaume, which are certainly among most beautiful not saying most beautiful of the Opera. In the PAs de trois Jérémie Bélingard seemed better to me than Thibault binding its steps more. Melanie Hurel still interpreted the second variation with same lyricism as yesterday evening. Let us hope that it passes sujet to the next intern promotion concours. Geraldine Wiart in first variation was much better than Pujol indeed she seems much more concerned and are not satisfied with enchainer the steps. Against the school of dance is always also not together. It should be noted that Lacotte regulated superb scenes of waltz, of quadrille for the scene of the ball which opens the second act. In a other side the female corps de ballet is still not very together in the Grand pas. One noticed there this evening still Melanie Hurel, Fanny Fiat and especially Sandrine Marache.



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  RE: POB - Paquita's reviews Jim 27-01-01 1
     RE: POB - Paquita's reviews Catherine 27-01-01 2

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Jim

27-01-01, 01:59 AM (GMT)
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1. "RE: POB - Paquita's reviews"
In response to message #0
 
   Thank you for explaining the plot of Paquita - I never really knew it! I have been trying to find a video of part of a performance I recorded from the television some time ago, but it must be in the middle of something else and I haven't found it yet. I can't even remember which company danced it.

You are lucky to see Paquita on two evenings! Were the performances at Palais Garnier, or Bastille (or Chatelet)? And how are the acoustics in these theatres? And how was the orchestra? Did it do justice to Minkus' beautiful music?

I am so sorry to hear about the injuries of the dancers. I hope they recover very soon.


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Catherine

27-01-01, 10:12 AM (GMT)
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2. "RE: POB - Paquita's reviews"
In response to message #1
 
   Performance were at Garnier and acoustic is really good in Garnier. The most part of the music is by Delvedez and really few by Minkus except Grand pas and Coda of pas de trois, it seems that pas de trois entry and two first variation are by Delvedez too. The boy variation is about Adam' Diable à quatre.
For the plot, Inico Paquita's loving and Don José who don't care french man wants to kill Lucien d'Hervilly. Paquita hears all that and saves him. She said at Lucien's father during the ball which is the treacherous.


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