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Subject: "L'Histoire de Manon: Paris Opéra Ballet 15.03.2001" Archived thread - Read only
 
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Conferences What's Happening Topic #1456
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Jim

16-03-01, 06:06 PM (GMT)
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"L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
 
   LAST EDITED ON 16-03-01 AT 06:29 PM (GMT)

"Without even realizing it she drags the young man down into a life of degradation where he becomes despicable and steals and kills for her"

I was just one of several hundred people in the Palais Garnier who were there especially to see Sylvie Guillem. When it became clear that she was injured and was to be replaced by Fanny Gaïda, there was naturally a little disappointment in the air. However I, for one, was determined to try and enjoy my evening and put the disappointment behind me. I did not need to try very hard. As soon the first chords of that beautiful overture (The last sleep of the Virgin)started to play and the curtain rose to reveal a solitary Lescaut encircled by his black cloak, I was already melting away... Half-way through the first pas de deux I was reaching for my hankie to wipe away a tear....

But I think I'll start with the orchestra. Again the Ochestre Colonne (under the baton of David Coleman) was in superb form - the sharpness, intonation, dynamic and sheer musicality of the performance would have made the it worthy of a concert on its own. For the ballet, I will deal first with what I feel was the weakest link. For me, Monsieur G.M. always has been, and always will be, Derek Rencher. I am not saying that Laurent Queval was bad (indeed his dancing was good) but he just seemed to lack that air of affluent lustfulness which is needed. He seemed to go through the motions of lust without actually experiencing them (not that I would recognize the symptoms, of course). But he had clearly rehearsed the technique well and the pas de trois with Lestcaut and Manon in the bedroom (when Des Grieux had gone to post the letter to his dad) looked really smooth and effective (it's one one my favourite items and can look a bit awkward if not done well). Maybe his best moment was when he was outraged with Lescaut and shot him for double-crossing him - he really did look angry!

Seeing Nicolas Le Riche as the Chevalier was also a bonus for me. In his first solo (trying to attract the attention of Manon) I felt he was slightly lacking in confidence in those archetypal MacMillanesque "controlled off-balance" movements. But he got stronger through the evening and in the last act he was chucking her around with suberb confidence - great stuff. In the brothel scene I wondered if he might have lacked a little conviction. There is a glorious passage (undoubtedly my favourite MacMillan pas) when Manon flirts with, and is passed around by, a number of men, while Des Grieux watches helplessly (it starts with those gorgeous little fluty quintuplets of Massenet's nocturne from La Navarraise). There are are couple of occasions when he slips in and Manon finds herself confronted by him. Cope and Hilaire seemed to lurk waiting for the opportunity to dash in and steal her back, but I felt Le Riche seemed almost apologetic, as if it happened by accident. I kept wanting to shout out "They're taking your girl - why don't you DO something!".

Lescaut (Yann Saïz) was excellent, contriving and double-cossing and controlled the important role of linking Manon, Des Grieux and GM superbly. Maybe his druken scene was a little too "polished" - I'm not convinced he was really drunk! (but that is the fault of Irek Mukhamedov who is unmatchable in that dance). Anyway the children in my box had a good laugh! Lescaut's mistress (Marie-Agnès Gillot) was terrific, she looked technically assured and fitted the role perfectly.

Well, I think that is everybody, isn't it? Oh, I nearly forgot, there's Fanny Gaïda, of course. What can I say? She completely stole my heart. I have seen Guillem dance this three times (and Jennifer Penny on video countless times) but Fanny brought me something I had not felt before. Just the way she stole the pen from Des Grieux; the way she stole glances at him by tilting her head back; the sparkle in her eyes reflecting the sparkle of the diamonds proffered by GM... I could go on and on without mentioning the dancing! Her solo in the brothel, in that lovely embroidered black gown had me trembling, whilst in the "passing around the men" dance she looked so triumphant as she was lifted up - you could really see: "Look at me - I am the most beautiful girl in the world and all these men want me". And yet when she found herself confronted with her chevalier as he slipped in, she guiltily avoided his eyes...

The final act was heart-breaking and so beautifully danced. Why, oh why don't they make it a law to have at least five minutes to compose one's self before they switch on the lights ? It is so embarrassing....

I know that some don't like the dangling threads in the swamp scene, but I find it really scary - just try getting stuck in the Everglades at dawn to see how realistic it is..... And I love all the recapitulation bits as they are lying together delirious with fever - Lescaut, the prostitutes, the rat-catcher all revisit... (Oh, the rat-catcher, I have often wondered about him. He appears for a few moments at the start of the first act, then for a few more in the last. Does he have to sit all that time in his dressing room with his trap on the stick?).

There is so much more I could say, but this is getting too long. So it's two visits to POB in a month and I've been bowled over (sorry you 'continentals' - that's an analogy from our cricket game) by two étoiles, first Agnès Letestu and now by Fanny Gaïda. Are there any more? Perhaps someone may like to make a recommendation?

Man of the Match

I don't always award this to the étoile, but often to someone who gives me unexpected pleasure for some reason. Last night Fanny Gaïda was dancing before a packed house knowing only too well that they hadn't come to see her. She must have felt under great pressure. If at the end there was anybody in the audience who felt she had 'let them down', then they shouldn't have been there. I give her my champagne.

I am starting to find myself at home in the Garnier. The post-ballet cognac in the Café de l'Entracte is becoming a bit of a habit too...


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  Subject     Author     Message Date     ID  
  RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 Ann Williams 16-03-01 1
     RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 Viviane 16-03-01 2
         RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 Jim 16-03-01 3
             RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 Catherine 16-03-01 4
                 RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 Liz P 17-03-01 5
                     RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 Tomoko.A 17-03-01 6
                         RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 Kevin Ng 18-03-01 8
  RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 jANE 18-03-01 7
     RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 junko 18-03-01 9
     RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 MPN 18-03-01 10
         RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 jANE 18-03-01 11
             RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 MPN 18-03-01 12
             RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 Viviane 18-03-01 13
                 RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 Elise 18-03-01 14
                 RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 jAYNE 18-03-01 15
                     RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001 Tomoko.A 18-03-01 16
                         Reply to jANE Jim 18-03-01 17
                             RE: Reply to jANE Ann Williams 18-03-01 18
                             RE: Reply to jANE Jim 19-03-01 19
                             RE: Reply to jANE jAYNE 19-03-01 23
                             RE: Reply to jANE Jim 19-03-01 24
                             RE: Reply to jANE Catherine 19-03-01 20
                             Histoire de Manon - Sense and Sensibility Catherine 19-03-01 22
                             RE:Manon Kevin Ng 19-03-01 21
                             RE: Reply to jANE Catherine 19-03-01 25

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Ann Williams

16-03-01, 06:42 PM (GMT)
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1. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #0
 
   >
(Oh, the rat-catcher,
>I have often wondered about
>him. He appears for a
>few moments at the start
>of the first act, then
>for a few more in
>the last. Does he have
>to sit all that time
>in his dressing room with
>his trap on the stick?).
>
Yes Jim, he probably does have to, but I believe the French RSPCA insist that the rat is let out of the trap to have a good run round the dressing room before his brief reappearance in the last act..

Seriously, Jim this is the most enjoyable review I've read in ages - you have a real gift! And why haven't we had a report of your visit to the French Institute last week to seem Mlle Guillem introducing her film?


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Viviane

16-03-01, 07:12 PM (GMT)
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2. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #1
 
   Oh no ! James Fowler ....
I'm afraid I have to go to Paris again !

Next time I NEED to "skip" your posting !


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Jim

16-03-01, 07:51 PM (GMT)
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3. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #2
 
   Ann: Thank you - well, I find it helps t have the music still ringing in your ears! No, sadly I can't get everywhere. But I think she's coming to London soon - maybe I'll try for that.

Viviane:

>I'm afraid I have to go to Paris again !

Well you better hurry, there are only four performances left....

Now, haven't I heard that before somewhere?


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Catherine

16-03-01, 09:29 PM (GMT)
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4. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #3
 
   Five performances again and Manon is a dance' masterwork to my eyes. I enjoy this ballet.
tomorrow, sunday, and next saturday (matinee and evening) and tuesday 27.
It should be Guérin, Legris, all the dates except the saturday matinee where it must be Maurin, Romoli.


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Liz P

17-03-01, 10:55 PM (GMT)
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5. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #4
 
   Thanks for your review Jim. I'm glad you enjoyed your evening so much. I'll be going to Paris next weekend to see the premiere of Kylian and then to see Manon on Sat night. Last time Paris danced manon I saw 2 casts, Guerin/Legris and Gaida/Hilaire. This time I thought I would have seen Dupont/Bart but the casting's changed and I am only too happy to see Isabelle Guerin again. I would have loved to see Nicolas Le Riche as Des Grieux but hopefully might see him in the Kylian programme. I haven't managed a trip to Paris since last April when i saw Cinderella but have manged to get my POB/Nicolas fix in Salford and London.


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Tomoko.A

17-03-01, 11:41 PM (GMT)
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6. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #5
 
   Jim, I too enjoyed your review very much and I'm pleased to hear you had a wonderful evening at the Opera. I wanted to go to Paris for Manon, but I couldn't. But I've just booked a ticket for the Kylian programme on 18th April and I'm now looking forward to going to Paris ! Liz, it would be great if you could post your review of the Kylian programme when you get back from Paris !


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Kevin Ng

18-03-01, 03:39 AM (GMT)
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8. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #6
 
   Jim, your excellent review was most enjoyable to read. Tomoko and Liz, I look forward to your reports of the POB's Kylian programme.


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jANE

18-03-01, 00:03 AM (GMT)
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7. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #0
 
   I have been reading with interest the ravings of one and all about the performances of Manon at Palais Garnier,danced by Paris Opera Ballet, I have seen all the performances, and the only one I could relate to was the Guillem and Hilaire, the others were in my opinion , so unMcMillan, I dread what Lady McMillan must have felt seeing her late husbands marvellous work being so crudely executed.
I enjoy so very much P.O.B, in all things, they dance so wonderfully well, and the corps are a force to be reckoned with, but acting OH DEAR NO, and as for McMillan and Ashton, forget it, they just cannot manage these choreographers at all, let them stick with the ones they can manage, it was such a disapontment to see dancers such as Dupont, Bart, Moussin, LeRiche, Gaida, Maurin,and Romoli, making such a hash of the ballet.
I am most surprised the English Balletomanes who were in Paris for Manon, found it good, our R.B is 100% better, they shine like the stars in Aston and McMillan works, what next will P.O.B be trying to tackle Mayerling and Judas Tree, I HOPE NOT


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junko

18-03-01, 04:28 AM (GMT)
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9. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #7
 
   How I wish to be there ! I enjoyed all the reviews here very much, because I don't know many pieces such as McMillan and Ashton and have never seen them. For the moment, I will try to enjoy them on video, hoping to see the REAL in the future.


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MPN

18-03-01, 08:47 AM (GMT)
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10. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #7
 
   If too play is make MacMillan, I'm sure that Hilaire and Guillem were perfect (how they play for amphitheatre) but I have not the feeling, dancers from POB are different of the cast I saw in video and which is Dowell and Penney, they don't play too, they dance as the french. And I'm happy to see our french dancers in this ballet and that THE majority of English ballet lovers love our dancer in this so typical english ballet to your eyes.
Dance is international and it's not because McMillan is english that THE french must not dance it well.
Mc Millan gave us when he was alive and never he made too act our dancers and I would want just remember Gaida and Legris were choosed by him, alive as well as Hilaire (Guillem danced it with Royal ballet and came as guest in 1990).


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jANE

18-03-01, 10:51 AM (GMT)
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11. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #10
 
   come alive P.o.b just cannot dance Manon, the P.O.B Manon is nothing like the video recording of Penny and Dowell, how can you compare, its gold to tin and believe me the P.O.B are the tin, rusty as well.
Why french ballet public never say that there are thingS P.O.B just cannot get the feet around,
I am surprised Jim although a lover of Guillem has, haw written such a glowing review of Manon, maybe too many cognac's !!!!!! I am sure Jim must have seen the wonderful production the R.B put on, how can he compare, or has he not seen it in London?


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MPN

18-03-01, 11:22 AM (GMT)
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12. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #11
 
   Perhaps just french audience have taste and Jim has taste too.
I don't understand how you can say so awful things about Jim, (even it's a joke), he said he had often seen the ballet and if he loves the french production, it's his right and he has good taste.
I think nobody says to him what he must love. What a pity that english ballet lovers swears only by Royal Ballet. Not only the Royal ballet is able to dance english choreography and Manon is very fine danced by POB dancers.
As say Michael in an other thread Bart danced as well as Dowell the rule, as Legris when I saw him two years ago and ten years when he was choosen by Mc Millan himself


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Viviane

18-03-01, 12:04 PM (GMT)
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13. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #11
 
   Sorry to say jANE but I'm getting really fed up with 'posters'
who suffers from 'identity-crises'.
If you feel it's necessary to say such -un-founded- things then -at least- be so strong to do this not faceless.


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Elise

18-03-01, 12:47 PM (GMT)
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14. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #13
 
   Just wanted to say that the performance of Manon last night (17.03), where Isabelle Guérin and Manuel Legris stood in for the initially planned Guillem and Hilaire, was one of the most incandescent performances I have ever seen, of this ballet or of any other, for that matter. You saw the tragic unfolding of a passionate love affair, not just gorgeous dancers dancing beautifully. I don't think I was the only one to feel this way…


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jAYNE

18-03-01, 01:00 PM (GMT)
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15. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #13
 
   Viviane, you were at Palais Garnier to see Manon???? if so how did you find the performance, compared to the R.B?
and who did you see dance, I am most interested in your opinion, as so far we have had very few postings from the Covent Garden people, who were in Paris for Manon. yes I am faceless,because last time I showed my face, I recieved too many personal emails.
Lets have some more positive opinions from the Covent Garden clan ,re P.O.B Manon, we seem to be getting the same people posting there comments most of the time, come on lets feel how others feel, variety is the spice of life.


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Tomoko.A

18-03-01, 07:53 PM (GMT)
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16. "RE: L'Histoire de Manon: Paris Opéra Ballet 15.03.2001"
In response to message #15
 
   I've never seen POB's Manon, so I can't compare. But I personally think that it would be boring if the POB danced Manon with the Royal style. They are different, which makes ballet world interesting. I remember Deborah MacMillan mentioned a company, which did a copied performance of the RB's Manon video. She said they copied every single detail of the acting. Mrs MacMillan said it was unnatual and dreadful. I think it is wonderful the English ballets by MacMillan and Ashton are danced by different companies in the world. I'm sure the Royal dance Balanchine's ballets in a differenct style. They are different from the NYCB.


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Jim

18-03-01, 10:13 PM (GMT)
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17. "Reply to jANE"
In response to message #16
 
   Dear jANE,

Thank you for your comments about my review of Manon. I wonder how carefully you read it? I did say the cognac was post-ballet

Maybe I should give some context. After the terror of having to go in an aeroplane to Paris (with nobody to hold my hand, I have to read a book about a boat to make me forget where I am) followed by an exciting day in Paris seeing all sorts of things, my bloodstream levels of adrenaline were already super-charged. Walking up the steps of the magnificent Palais Garnier, my heart was beating like a sledge-hammer, and maybe I was seeing things a litle "larger than life". I admit that but, as I said in my Paquita review, ISN'T THAT WHAT IT'S ALL ABOUT?

Having said that, you should notice that I was not without adverse criticism. I tried to be fair. I said GM didn't look lustful enough (though I also said he looked angry). I said Le Riche might lack a little confidence, and "conviction" in the brothel, but I also mentioned his heroic performance in the final act. I also thought Lescaut didn't really look drunk (though remarked that others thought him funny). When it comes to comparing with the Royal Ballet, you notice I praised Derek Rencher, the performances of Irek Mukhamedov and Jonathan cope (in fact in my opinion, the Guillem/Cope parnership is the best of them all).

When you say:

> come alive P.o.b just cannot dance Manon

I wonder if you remember that this ballet is based on a French classic novel by Prévost? I wonder if you have ever read it? It is set mainly in Paris, and describes lucidly the customs and subtleties that the French must know best. In this context I think POB is uniquely well-equipped to perform this story. I tried not to make invidious comparisons, but if you want them I can give them. I think the brothel scene was the best all-round I have ever seen. The corps seemed "alive" and energetic, and the pas de trois for the three men was spot on - out of this world.

I agree absolutely with MPN when he (she?) says:

> Dance is international and it's not because MacMillan is
> English that the French must not dance it well.

I find it curious that you appear to extoll the virtues of the English dancers, and yet in another thread you criticise Sarah Wildor who is perhaps our greatest assest when it comes to the "English style".

The two companies certainly give different performances, but who is to say who is best? Vive la différence! You say you were in all the Manon performances? So what exactly were you doing when the curtain finally came down last Thursday? Covering your face in your hands to hide your shame? I was covering mine to conceal my tears and I make no apologies for that. Now that I have "come down to earth" and the adrenaline has been metabolised, I might edit the odd word for clarity but I don't want to change a single sentiment.

I think your argument is illogical and contradictory. I am thick-skinned enough to take any criticism, but your words are an insult to the Paris Opéra Ballet, and to its fans. Moreover, you are an insult to Lady MacMillan. When you have learned to spell her name correctly, you may gain some credibility.

Yours sincerely,

Jim


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Ann Williams

18-03-01, 11:50 PM (GMT)
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18. "RE: Reply to jANE"
In response to message #17
 
   Well said, Jim, but - to be fair - I think jAYNE has a point about POB's performances of 'Manon'. I didn't see all casts, but this time around I saw Aurelie Dupond and Jean Guillaume Bart as the lovers, and a few years ago I saw Fanny Gaida's Manon. Both performances were disappointing for the same reason: half-hearted, lacklustre acting. It's as if the dancers are afraid of letting go, which is a shame because this undermines their wonderful dancing.

The production as a whole had sharpened immeasurably this time, and some of the performances, such as the beggars', were better than before, but I was still disappointed. The RB indeed do it much better; even their matinee performances are better than POB's evening performances. This is undoubtedly because it is such a familiar piece for them - they have after all been doing it far longer than POB - and this familiarity provides the confidence to be bolder and clearer with the dramatics. I know there's an argument here - the same dancers haven't been performing 'Manon' since its creation in 1974 - but still, it has been an RB 'family' piece from the beginning, and it shows.

I only wish that the breathless legion of French 'Manon' admirers (Catherine et al) could for once take their gaze off POB and watch some of the RB's performances (Eurostar goes both ways, did you know that?) or at least look again at that peerless Penney/Dowell/Wall video and be more objective about the current POB performances.


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Jim

19-03-01, 07:26 AM (GMT)
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19. "RE: Reply to jANE"
In response to message #18
 
   Well, Ann, it goes back to jANE'S comment:

>I am surprised Jim although a lover of Guillem has.. written
> such a glowing review of Manon

And I am merely trying to point out that my review was not without some criticism, especially in the department of "acting". And I felt her "rusty tin" remarks were insulting and totally uncalled for. However, I shall shut up on this now. After all, I do have that Ashley Page thing to look forward to on Thursday. Now, I wonder what POB would make of that


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jAYNE

19-03-01, 11:13 AM (GMT)
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23. "RE: Reply to jANE"
In response to message #19
 
   Jim, you might even enjoy the Ashlet Page ballet, although no one has to date, please tell all, after you have seen it, I will be looking at the postings Friday with bated breath.


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Jim

19-03-01, 12:10 PM (GMT)
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24. "RE: Reply to jANE"
In response to message #23
 
   >Jim, you might even enjoy the
>Ashlet Page ballet, although no
>one has to date, please
>tell all, after you have
>seen it, I will be
>looking at the postings Friday
>with bated breath.


Thank you for replying!

I have actually seen the Page thing a couple of weeks ago (see the "Triad" thread) and I reserved judgement. My main disappointment now is that Sylvie isn't dancing in The Concert. I enjoyed Sarah Wildor, but I was really looking forward to seeing Sylvie.


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Catherine

19-03-01, 09:24 AM (GMT)
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20. "RE: Reply to jANE"
In response to message #18
 
   I'll want to go to Royal Ballet
I love too many english repertory, and I'm glad we have Manon at our french repertory as well as Rhapsody from Ashton. I saw the Penney/Dowell video and I love really it.
I know when RB came in tour in France, I saw it and loved it. I saw all the programm and to see Bussell in Odette/Odile in Swan Lake I miss Vulpian'Farewells. I saw also Ballet Impérial, Still life at Penguin Cafe, A Month in a country, Gloria, Judas Tree, Mayerling where I saw Leanne Benjamin who was not again Principal and find her really fine.
RB has a particularly repertory based on acting more on technical, and I love it. I love too many Mac Millan and Ashton, and I dream to see one time the full Anastasia, too many MacMillan and Ashton were filmed for television or video and I have all of it but never Anastasia, I just saw Sansom and Durante pdd in a Tribute to Tchaïkovsky.
Just a word they pass on french TV, latest Coppelia with Benjamin and Accosta, and Act one is really bad filmed. It's really "sad" because they dance really well and soloist in third act too .


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Catherine

19-03-01, 09:35 AM (GMT)
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22. "Histoire de Manon - Sense and Sensibility"
In response to message #20
 
   I think french dancers has not the use to act too. In all the ballets they have the use to dance well, and not to play too.
I think it's a school question and a repertory's question too. We don't have too many story ballet as in England. All the story ballets from the Lifar era were lost deeper in memory.
I think it's also a sensibility' question, they prefer perhaps show their feeling without too acting. It's perhaps more difficult, don't see a critic of english dancers. It's more a tradition' question .
If you saw Guérin and Legris in Manon, perhaps did you change completely your advice, because, Legris choosed by Mac Millan to create Des Grieux rolls adores this part and dances it more and more fine as each time. It's his favourite rolls and we see it. He has the perfect style and the just play to my taste.
I think it's a large question : british and french repertory. But it's interesting to see the british ballets in France even it's not exactly what you wait for.
Hopefully we have this ballet and I'm really glad to have it


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Kevin Ng

19-03-01, 09:28 AM (GMT)
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21. "RE:Manon"
In response to message #18
 
   In June it will be also interesting to see the Kirov Ballet's Manon at Covent Garden with Peter Farmer's new costumes.


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Catherine

19-03-01, 12:24 PM (GMT)
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25. "RE: Reply to jANE"
In response to message #18
 
   I only wish that the breathless
>legion of French 'Manon' admirers
>(Catherine et al) could for
>once take their gaze off
>POB and watch some of
>the RB's performances (Eurostar goes
>both ways, did you know
>that?) or at least look
>again at that peerless Penney/Dowell/Wall
>video and be more objective
>about the current POB performances.

I'm objective and love the Penney/Dowell video and the POB interpretation too, and as Jim say, Derek Rencher is a better Monsieur de GM than Queval but I find all the couple also interesting than Dowell Penney. And if they're choosed to dance Manon, it's by Monica Parker and Patricia Ruanne who certainly find they are the best interpret for this ballet, they don't give the rule to all etoile who wants dance it.

Gaida was choosed by MacMillan himself when she was just première danseuse in 1990. If you don't like her, you should think that Mac Millan had no taste. He didn't cast Lormeau as Lescaut at the creation and prefer Belarbi which created also Lescaut rule as Legris Des Grieux.
Interpretation and dance in each country must change with year. We don't hopefully dance and play like 10 years ago. I think nobody would love it if we saw exactly the same dancers with the same kind of technic and play than long time ago.


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