Tonight was the first performance of 2001’ Young dancers evening. This evening is more based on the romantical and academic ballets. Just two pieces was in the modern spirit one from Reversibilité by Kelemenis and also Aunis by Jacques Garnier.
This performance regrouped 25 dancers, youngest were 17, older were 27. Can we call young dancern dancer of 27, they are young and they are dancer but they don’t merit the name Young dancer which is almost gift to debutant and espoirs. By an other way, it’s completely unusual to see dance in this performance three surnumeraires who perhaps never enter in the company.
The Opening of the night was Pas de quatre by Perrot revised by Dolin, restaged by Ghislaine Thesmar who gave to the four dancer the required style but have not the cute side of this ballet. They were too young and not so brilliant to show the brightness of this choreography. Only Myriam Ould Braham seems to have something, she has the light touch in Fanny Cerrito variation. Miho Fujii is interesting too, especially in petite batterie. Against Christine Peltzer, despite her experiment has not the spirit of Taglioni, she is not glamourous and Peggy Dursort danced but in a scolar way. They are all together and the coda is really well danced. But I think this ballet is not for unexperimented young dancers.
After was the Pas de trois called « Pas de l’ombre » in Sylphide by Taglioni revised by Lacotte and rehearsed by Elisabeth Platel. Juliette Gernez, new coryphée, is a complete misunderstood in Sylphide, she has not at all the style, she has beautiful arabesque but really too high for be in the romantical style, she makes neoclassical arabesque not romantical and she has not the right position of the torso which is stiffness and right. She has not the Sylphide coquetry, she is proud Moreover her technic was not extraordinary too. Beside her, Julien Meyzindi as James if he is a perfect « tourneur » and has the perfect partnership as well as with Juliette Gernez than with Dorothée Gilbert (Effie), but he is deceiving in his jumps, where his back leg never is at the same level than the front. Against he plays really fine, we have really the feeling of his hesitation between Effie and la Sylphide. The pearl was really Dorothée Gilbert, unhappy at the last internal competition where she should be must promoted. She is the Character with her light, her smile, her sadness, her love. She has completely understand the style of this ballet and it’s a name to not forget.
In Swan Lake, white Swan pdd, by Ivanov, was danced by both of new coryphées Aurore Cordellier has the same problem than the dancer of Pas de quatre, too young to be the character, she has not the necessary maturity, she is very applicated to make the pas, but she has nothing as feeling, and she seems to have Stage fright. Beside her Stéphane Bullion was a prince with her nobless, and a perfect partnership, it’s sad to see him only in a partner role.
The first part concluded by Romeo and Juliet, balcony pdd from Nureyev version. It’s a very difficult pdd. Nicolas Paul is a good Romeo alone, he has a brilliant technic but the couple he forms with Myriam Kamionka, his Juliet doesn’t go. They dance alone together, they lack of love, it’s a passion pdd and nothing pass out of the stage.
The second part opened on the creation at Opera of Diable à quatre in a Jean-Guilaume Bart Choréography. The male etoile of POB after make ballet tribute to Balanchine or Robbins, his principal inspiration, make a tribute to the romantical, academical ballet « à la Bournonville or Petipa » without forget the wink to Balanchine. On the music of Adam which evocate irrestibly Delvedez Paquita music, he made a brilliant pas de six with pas de deux, pas de trois, variations for boy or girls. The pas de six began in the style of Napoli, the first girl variation danced with spirit and charm by Nathalie Vandard looks in Giselle spirit, with a diagonale in the same way. After this variation, we have a pas de trois for a boy and two girls make to show the brightness of petite Batterie. In these pas de trois, Ninon Raux, new quadrille is absolutely charming and Pascal Aubin was terrific in the end of succession of brisés-volés and tour en l’air. Severine Westermann danced the third variation mixed in Bournonville way with the girl hanging her dress, and with Balanchine inspiration too in arms or torso movement. Aurelia Bellet was charming too in her last variation. The coda is bright to and regroup all the dancers. They ‘re look happy to dance this short piece. And for the first time of the evening I saw Dance with a big D.
After this happyfull piece, Carnaval de Venise by Petipa entered at POB repertory. Perhaps must be the pdd dance by more brilliant dancer than Lise-Marie Jourdain and Jean-Sébastien Colau. They are perfectly together, have the spirit of the pdd. But Lise Marie Jourdain doesn’t raise up her legs in the variation and it’s a few « sad » especially when we saw dancer as Fallou or Dupont in the same variation. Lise-Marie Jourdain has the cute of the piece, and a good technical level. Jean Sebastien Colau has feet problem. Against they have completely uinderstood the style.
Reversibilité was created for POB by Michel Kelemenis in 1999 for Elisabeth Maurin, Kader Belarbi and Wilfried Romoli. Caroline Bance is really beautiful in this piece beside Pierre Retif and Jean-Philippe Dury. Without judge of their quality, they make the creation of the ballet with Kelemenis and have easily understood the Kelemenis style. I find more passion with this three interprets than with the creation cast.
To close the evening, Aunis by Jacques Garnier on original music played on accordeon by the composer Maurice Pacher was the way to see two boys surnuméraires Alexandre Carniato and Martin Chaix besides of Simone Valastro, quadrille in the company. The ballet was fine rehearsed with Wilfried Romoli. On this piece evocating Britain, three boys in black trousers and white shirt dance always together. This happy piece ended the soiree on a joy note and was really well danced even something is missing, but it’s certainly only the use of the stage.
Only problem we don’t discover really young talent we don’t already know. They just confirm that too many dancers merit promotion they don’t have at the last intern competition as Dorothée Gilbert, Myriam Ould Braham, Bruno Bouché or again Nathalie Vandard and the promoted were not always the best.
Too many other young dancer should have to participate at this evening as Emilie Cozette, Adrien Bodet, Sébastien Bertaud, or Eve Grinztajn, Julie Martel and so on.