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Paris Opera Ballet

The Paris Opera Ballet (French: Ballet de l'Opéra national de Paris) is a French ballet company that is an integral part of the Paris Opera. It is the oldest national ballet company, and many European and international ballet companies can trace their origins to it. It is still regarded as one of the four most prominent ballet companies in the world, together with the Bolshoi Ballet in Moscow, the Mariinsky Ballet in Saint Petersburg and the Royal Ballet in London.[2][3][4][5]

Paris Opera Ballet
Logo of the Paris Opera
General information
NameParis Opera Ballet
Local nameBallet de l'Opéra national de Paris
Previous names
  • Académie Royale de Musique
  • Académie Impériale de Musique
  • Théâtre National de l'Opéra
Year founded1669; 354 years ago (1669)
Principal venuePalais Garnier, Place de l'Opéra, Paris, 9th arrondissement, France
Websitewww.operadeparis.fr
Senior staff
AdministratorFlavien Moglia
DirectorJosé Martínez
Other
Associated schoolsParis Opera Ballet School[1]
FormationÉtoile
Premier Danseur
Sujet
Coryphée
Quadrille

Since December 2022, the company has been under the direction of José Martínez, the director of dance. The ballet company consists of 154 dancers, among them 17 Danseurs Étoiles. The principal dancers give 180 dance performances each year, primarily at the Palais Garnier.[6]

Just as prestigious as the Paris Opera Ballet is its dance school, the Paris Opera Ballet School (French: École de danse de l'Opéra national de Paris), considered to be one of the world's best dance schools.[7] Its former pupils have won a record of 20 Benois de la Danse awards. The school celebrated its tercentennial in 2013.

The competition for admission to both institutions is extremely fierce.[8] For a dancer to enter the Paris Opera Ballet, it is almost compulsory to be admitted to the Paris Opera Ballet School, to pass the annual competitive examinations in May, and to attend at least the final two classes.[9] 95 percent of the admitted dancers in the Paris Opera Ballet are French.[9]

History

Naming

The Paris Opera Ballet has always been an integral part of the Paris Opera, which was founded in 1669 as the Académie d'Opéra (Academy of Opera), although theatrical dance did not become an important component of the Paris Opera until 1673, after it was renamed the Académie Royale de Musique (Royal Academy of Music) and placed under the leadership of Jean-Baptiste Lully.[1][10] The Paris Opera has had many different official names during its long history, but since 1994, it has been called the Opéra National de Paris (Paris National Opera).[11]

Background

 
Louis XIV as Apollo in the Ballet Royal de la Nuit (1653)

The Paris Opera Ballet had its origins in the earlier dance institutions, traditions and practices of the court of Louis XIV. Of particular importance were the series of comédies-ballets created by Molière with, among others, the choreographers and composers Pierre Beauchamps and Jean-Baptiste Lully. The first was Les Fâcheux in 1661 and the most important, Le Bourgeois gentilhomme in 1670.[12] Many of these were also performed by Molière's company at the public Théâtre du Palais-Royal in Paris, which was later to become the first permanent home of the opera company and the opera ballet.

Also in 1661, Louis XIV had founded the Académie Royale de Danse (Royal Academy of Dance) in an effort "to improve the quality of dance instruction for court entertainments". Members of the academy, as well as the dance teachers who were certified by it, and their students, participated in the creation of the ballets for the court, Molière, and later the opera.[13] In 1680, Beauchamps became the chancellor (director) of the Académie Royale de Danse.[10][14] Although the Académie Royale de Danse and the Opera were closely connected, the two institutions remained separate, and the former disappeared with the fall of the monarchy in 1792.[15]

Founding and early history

On 28 June 1669, Louis XIV granted a privilege to the poet Pierre Perrin giving him a monopoly to form a separate academy for the performance of opera in French. The first production of the company founded by Perrin, the Académie d'Opéra (Academy of Opera),[16] was Pomone, which was first performed on 3 March 1671 at the Jeu de Paume de la Bouteille and included ballets choreographed by Anthoine des Brosses.[17]

In 1672, Lully purchased Perrin's privilege and also obtained new letters patent limiting the use of musicians and dancers by other French companies. With Anthoine des Brosses and Lully as choreographers and Carlo Vigarani as stage designer, Lully's company, now called the Académie Royale de Musique, produced Lully's first opera, Les fêtes de l'Amour et de Bacchus (a pastorale) in November 1672 at the Jeu de Paume de Béquet.[18] This work consisted primarily of excerpts from Lully's prior court ballets connected with new entrées choreographed by des Brosses.[19] A crucial difference, however, from the previous court ballets was that the members of the court no longer participated, and all of the dancers were professionals.[20]

Lully's next production, Cadmus et Hermione (27 April 1673), the first tragédie lyrique (with a libretto by Philippe Quinault), also premiered at the Jeu de Paume de Béquet and was choreographed by Anthoine des Brosses.[19] Pierre Beauchamps, who had been working with Molière at the Palais-Royal, joined Lully's company in June 1673 (not long after Molière's death), when Lully took over the Palais-Royal theatre, forcing Molière's troupe to move to the Théâtre Guénégaud. Lully and Quinault continued to collaborate on a series of successful productions, in the process creating a new genre of French opera in which dance interludes played an important part in the musical drama.[21] The ballets for these works were created by Beauchamps, des Brosses, and d'Olivet. Jean-Baptiste Dubos explains that Beauchamps and des Brosses were responsible for the ballets ordinaires, while d'Olivet specialized in ballet-pantomime:

Lully paid such great attention to the ballets mentioned here that he engaged for their choreography a 'maître de danse particulier' named d'Olivet. It was he, and not des Brosses or Beauchamps, whom Lully engaged for the 'ballets ordinaires', who composed the ballets of the infernal scenes of Psyché and Alceste. It was also d'Olivet who composed the ballet of the old men in Thesée, of the baneful dreams in Atys, and of the tremblers in Isis. This last was composed solely of pantomimic gestures by men seized with cold, and he did not introduce a single usual dance step into it.[22]

Initially the dancers of the Paris Opera Ballet were all male. Mademoiselle de la Fontaine (1665–1738) became the first professional ballerina when she danced in the premiere of Lully's ballet Le Triomphe de l'Amour on 21 January 1681.[23] Pierre Beauchamps continued to collaborate with Lully at the Paris Opera until Lully's death in 1687.[14]

Subsequent history

 
Adelaïde Simonet as the Princess in the pantomime-ballet Ninette à la Cour, first produced by the Paris Opera Ballet in 1778 with choreography by Maximilien Gardel, as performed in London in 1781

The 18th century saw the creation of an associated school, now referred to as the Paris Opera Ballet School (French: École de Danse de l’Opéra de Paris), which opened in 1713. The operas of Rameau, and later Gluck, raised standards for the dancers. Jean-Georges Noverre was a particularly influential ballet master from 1776 to 1781. He created the ballet Les petits riens in 1778 on Mozart's music. Maximilien Gardel was ballet master from 1781, with his brother Pierre Gardel taking over after Maximilien's death in 1787. Pierre Gardel survived the Revolution creating ballets such as La Marseillaise and Offrande à la Liberté.[1] He remained the ballet master until 1820 and continued to work up to 1829.[24]

In 1820, Pierre Gardel was succeeded as ballet master by Jean-Louis Aumer, who was however highly criticized for using too much mime and failing to use choreography which furthered plot or character.[24] In 1821, the company moved to a new house, the Salle Le Peletier, where Romantic ballet was born. In 1875, the company moved to the Palais Garnier, where it continues to perform.[1]

Serge Lifar as ballet director

In 1929, Jacques Rouché invited 24-year-old dancer Serge Lifar to become the maitre de ballet of the Paris Opéra Ballet, which had fallen into decline in the late 19th century.

As ballet master from 1930 to 1944, and from 1947 to 1958, he devoted himself to the restoration of the technical level of the Opéra Ballet, returning it to its place as one of the best companies in the world.

Lifar gave the company a new strength and purpose, initiating the rebirth of ballet in France, and began to create the first of many ballets for that company.[25] During his three decades as director of the Paris Opéra Ballet, Lifar led the company through the turbulent times of World War II and the German occupation of France. Lifar brought the Paris Opéra Ballet to America and performed to full houses at the New York City Center. Audiences were enthusiastic and had great admiration for the company of dancers.[25]

Era of Rudolf Nureyev

In the world of ballet, Rudolf Nureyev is regarded as the greatest classical dancer ever and as one of the most preeminent choreographers.[26] In 1983, Rudolf Nureyev was appointed director of the Paris Opera Ballet, where, as well as directing, he continued to dance and to promote younger dancers.

The top female ballet dancer at that time, if not of all times,[27][28] was Sylvie Guillem, who was nominated principal dancer at the age of 19 by Rudolf Nureyev in 1984. They were an exceptional dance couple.[29] The years of Nureyev marked a golden era of the Paris Opera Ballet.[26]

Brigitte Lefèvre

Brigitte Lefèvre, director from 1995 to 2014, with Patrice Bart as maitre de ballet from 1990 to 2011, succeeded to maintain the high standard that Nureyev has set.

Brigitte Lefèvre invited some of the most preeminent choreographers, such as William Forsythe, Angelin Preljocaj, Saburo Teshigawara, and John Neumeier.[30]

Transition

There were turbulent times for the company with Benjamin Millepied, director of the Paris Opera Ballet from November 2014 until he quit on 15 July 2016.[31] There were two stumbling blocks with Millepied, a French dancer and choreographer, who left France in 1993, at the age of 16, got his main professional education as a dancer and choreographer in the United States and came back to France in 2014 as newly appointed director of the Paris Opera Ballet.[32] The first one was that Millepied wanted the Paris Opera Ballet dancers to interpret La Bayadère, a classic ballet choreographed by Rudolf Nureyev in 1992, like a contemporary ballet.[33] To achieve this goal, he had already hired guest principal dancers to present La Bayadère.[34]

The other stumbling block was that Millepied had broken the hierarchy of the "Danseurs Étoiles" dancing the leading roles, as he had chosen for the cast of his first contemporary ballet creation "Clear, Loud, Bright, Forward" (the first one in his time as director) out of the 154 danseurs a "dream team" of 16 dancers which he considered to be the fittest to put to practice his ideas and visions (on the programming, the dream team was named "United visual artists").[35][36][37] Karl Paquette, principal dancer, said in an interview that he had never felt as bad in his 30 years at the Paris Opera Ballet as he had the past 6 months. Stéphane Bullion, principal dancer, added that it was clear that things could not be straightened out.[33]

Stéphane Lissner, the Paris Opera director who hired Benjamin Millepied in January 2013 — and who has final authority on decisions about budget, hiring and promotion — said at a news conference at the Palais Garnier on Thursday 4 February 2016 that he had no regrets about that choice.[38] “He leaves too soon, but others leave too late.” Lissner added, “I think that the two jobs, director of dance and a choreographer who is more and more in demand, not just at the Opera, raised a certain number of questions.”

Aurélie Dupont

Aurélie Dupont took over the direction of the ballet company on 1 August 2016. She was Danseuse Étoile from 1994 to 2015.

Dupont was the inspiration behind the Cédric Klapisch film about the star,[39] considered the grande dame of the Paris Opera Ballet.

Dupond is stepped down from the position on 31 July 2022, as announced in June of that year.[40]

José Martínez

José Martínez took over the company in December 2022.[41]

Hierarchy

The hierarchy of the Paris Opera Ballet is very strict. For a dancer, it is virtually compulsory to enter first the Paris Opera Ballet School. As Mathilde Froustey put it: "You cannot get into the company if you have not done the school".[9] The competition for admission to both institutions is extremely fierce, as well as the competition for the highest ranks in the ballet company.

More than 90 percent of the candidates don't pass the Ballet School entrance examination, and 20 percent of its pupils have to leave at the end of the year after failing the annual competitive examinations ("les concours annuels") in May.[7] Only 5 to 20 percent of the Ballet School graduates are accepted in the Paris Opera Ballet, initially as dancers on trial (the "stagiaires").[42]

To become a regular member of the Paris Opera Ballet as "Quadrille" (fifth and lowest rank in the hierarchy), you have to pass the annual competitive examination in November. Promotion to the next rank depends exclusively on success in the following annual competitive examinations ("les concours internes de promotion") in front of a board of judges. To achieve the highest rank as Danseur Étoile (only by nomination) you have to perform in leading roles as "Premier Danseur" for many years before you are nominated due to outstanding excellence and merit.[43]

Small scandals and the lost generation

As the Paris Opera Ballet has a large quantity of first-class French dancers, there are hard times for those who have not been promoted to the highest ranks as dancers or have not been appointed afterwards to positions for which they would have been extremely qualified.[44]

Mathilde Froustey, Sujet from 2005 till 2013, left the Paris Opera Ballet in July 2013 and joined the San Francisco Ballet as a principal dancer because there was no chance for her becoming eventually Danseuse étoile (principal dancer) in this company.[45] In November 2014 Benjamin Millepied, a former principal dancer of the New York City Ballet and French, took over the direction of the company and promised a change: "They asked for a change and they will get a change."[46] When Benjamin Millepied nominated for the first (and only) time a "Danseuse étoile", Laura Hecquet was chosen. Laura Hecquet and Mathilde Froustey were described in the press as "the lost generation" of dancers working up the ranks who have become soloist (Sujet) but have been unlucky for years as far as climbing up the last step of the career ladder is concerned.[44][47]

The Paris Opera Ballet School has churned out some of the most famous dancers of all time, such as Sylvie Guillem and Laurent Hilaire.[9]

Yet Sylvie Guillem, being principal dancer since 1984, left the company in 1989 at the age of 24 because she wanted more freedom, the right to perform with other companies, an arrangement the management of the Paris Opera Ballet declined.[29]

Laurent Hilaire was highly appreciated as principal dancer. After his farewell as a dancer he continued his career in the company attaining in 2011 the second-highest position as "Maitre de ballet associated to the direction". Laurent Hilaire was the favourite of Brigitte Lefèvre, director of the ballet, and Nicolas Joel, director of the Paris Opera at the time.[48] In January 2013 Stéphane Lissner the new director of the Paris Opera (in the hierarchy above the Paris Opera Ballet's director) appointed Benjamin Millepied. Hilaire announced in May 2014 his departure and quit the company in July. The Paris Opera Ballet's new director Benjamin Millepied on his part stayed only two seasons and was followed in August by Aurélie Dupont, who was as Danseuse étoile the Grand-dame of the Paris Opera Ballet.

Paris Opera Ballet School

The Paris Opera Ballet School (French: École de danse de l'Opéra national de Paris) is one of the most preeminent dance schools in the world.[49] It has six classes for boys and girls separately named sixième division to première division.

In 1987, the Paris Opera Ballet School moved from the Palais Garnier (where most of the Paris Opera ballets take place) to a new building located 10 kilometres west of the centre of Paris, in Nanterre. The new dance school building was designed by Christian de Portzamparc. Since 1995, the Paris Opera Ballet School has been a boarding school.[50] Nowadays, from 8 a.m. until noon, all pupils attend school classes leading to the obtention of the French baccalauréat (the bac), the general qualification for university entrance in France.

Among the dancers of the Paris Opera Ballet, 95 percent have attended the Paris Opera Ballet School.[51] To describe it differently, for a young dancer to be accepted in the Paris Opera corps de ballet, it is virtually obligatory to enter the Paris Opera Ballet School and attend at least the final two classes (deuxième et première division). More than 90 percent of the candidates do not pass the entrance examination.[52] Even some of the dancers who have later become premiers danseurs (first soloists) or danseurs étoiles (principal dancers) of the Paris Opera Ballet passed the entrance examination only on the second attempt, or were accepted only as fee-paying pupils.[53]

Choreographers

Choreographers associated with the Paris Opera Ballet and works created for the Paris Opera Ballet are:[54]

Dancers

There are five ranks of dancers in the Paris Opera Ballet; from highest to lowest they are: Danseur Étoile, premier danseur, sujet, coryphée, and quadrille. Promotions to the higher rank depend on success in the annual competitive examinations, except for danseurs étoiles who are nominated by the Director of the Opera, on a proposal from the Director of the Ballet.

Étoiles

The maximum number of active danseurs étoiles within the company, originally limited to four, has progressively increased over time and is nowadays set at eighteen.[57] The title is conferred for life and is therefore kept after retirement, which is set at a maximum age of 42, like for all other dancers of the Paris Opera Ballet.[58]

Notable former dancers

See also

References

Notes

  1. ^ a b c d "Paris Opera Ballet" in Crane and Mackrell 2000, pp. 360–361.
  2. ^ "There are three world-best ballet companies, unquestionably the Royal Ballet, unquestionably the Bolchoi Ballet, and unquestionably the Paris Opera Ballet" - « Il y en a trois meilleures compagnies du monde, sans doute Le Royal Ballet, sans doute Le Bolchoï et sans doute Le Ballet de l'Opéra de Paris.», Philippe Noisette, journaliste, dans La Danse à tout prix, television documentary by Carlos Simoes, 2012, 129 min, broadcast on 26 December 2012 on France 2.
  3. ^ Haut vol 2015-03-28 at the Wayback Machine interpreted by Éleonore Baulac and Allister Madin, choreography by Benjamin Millepied, film by Louis de Caunes.
  4. ^ Pourquoi les ballets de l'Opéra de Paris font partie des spectacles favoris des fêtes, article by Martine Robert, 27 December 2013, Les Echos.
  5. ^ If you add the St Petersburg Mariinsky Ballet and the New York City Ballet to the list, you get the top five ballet companies in the world.
  6. ^ Paris Opera Ballet, site of the Paris Opera.
  7. ^ a b Paris Opera Ballet School - a World of its Own 2016-03-03 at the Wayback Machine, L'école de danse, un monde à part, review of the press of April 2013.
  8. ^ See below (paragraph hierarchy).
  9. ^ a b c d Interview with New San Francisco Ballet Principal, Mathilde Froustey, by Laura Jaye Cramer, 23 January 2014, SF Weekly, extract: "You cannot get into the company if you have not done the school" (Mathilde Froustey).
  10. ^ a b Christout 1998, p. 86.
  11. ^ Histoire de l'Opéra national de Paris 2016-04-03 at the Wayback Machine (in French) at the Paris Opera website. Retrieved 19 July 2011.
  12. ^ Guest 2006, pp. 5–7.
  13. ^ Astier 1998a, p. 3.
  14. ^ a b Astier 1998b, pp. 396–397.
  15. ^ Astier 1998a, p. 4. The last list of its members was published in the 1779 Almanach des spectacles de Paris Archive Larousse.
  16. ^ Also referred to as the Académie Royale des Opéra (Powell 2010, p. 178).
  17. ^ Powell 1995, p. 179; Guest 2006, p. 7; Powell 2010, p. 178. It is frequently stated that Beauchamps choreographed the ballets for Pomone (e.g., Astier 1998a, p. 3). According to Powell, this misunderstanding is based on the 'Recueil de Tralage' (ca. 1697; MS 6544, Bibliothèque de l'Arsenal, Paris). A manuscript legal document in the Archives of the Comédie-Française makes clear, however, that Anthoine des Brosses, who had earlier served as dancing master for the Théâtre du Marais, choreographed the ballets for Pomone. Beauchamps only took over des Brosses's position with Perrin's company in the late autumn or early winter of 1671, when des Brosses moved back to the Marais to choreograph Jean Donneau de Visé's musical machine-play Le Mariage de Bacchus et d'Ariane (performed at the Théâtre du Marais in the winter of 1671–1672).
  18. ^ Powell 2008, pp. 127, 233 note 44; Powell 2010, p. 178; Jérôme de La Gorce, "Lully's first opera. A rediscovered poster for Les fêtes de l'Amour et de Bacchus", Early Music, vol. 15, no. 3, Lully Anniversary Issue (Aug., 1987), pp. 308–314, JSTOR 3137552. Libretto, 1672; ms score from the Philidor Collection, 1705.
  19. ^ a b Powell 2010, p. 178.
  20. ^ Astier 1998a, p. 3. Note however that the Gazette d'Amsterdam reports that nobles did dance in public at certain performances (cited by La Gorce 2002, pp. 189–190).
  21. ^ Christout 1998, pp. 86–87.
  22. ^ Quoted and translated by Powell 1995, p. 185, citing Réflexions critiques sur la poésie et sur la peinture, Paris, 1719, p. 357. See p. 247 of the Troisième Partie of the 1740 edition at Gallica.
  23. ^ Guest 2006, p. 9; Pitou 1983, pp. 249, 325–326. Le Triomphe de l'Amour at operabaroque.fr. Score of Le Triomphe de l'Amour at Gallica.
  24. ^ a b Babsky 1998, p. 202.
  25. ^ a b Crisp, Clement (Winter 2002). "ICARE: Remembering Serge Lifar". Dance Research: The Journal of the Society for Dance Research. 2. 20 (2): 3–15. doi:10.3366/1290812.
  26. ^ a b Philippe Noisette, « Que reste-t-il de Noureev ? » Les Échos, 1 March 2013.
  27. ^ Sylvie Guillem: the greatest female dancer I have ever seen, article by Sarah Crampton, 4 November 2014, The Telegraph.
  28. ^ Sylvie Guillem: Life in Progress - the greatest dancer of our time calls it quits, article by Nick Miller, 1 August 2015, The Sydney Morning Herald.
  29. ^ a b « Sylvie Guillem:Force of Nature », The Culture Show, BBC Two, 9 octobre 2013.
  30. ^ "Brigitte Lefèvre" (in French). France Inter. Retrieved 18 March 2014.
  31. ^ Benjamin Millepied Opens Up on Leaving Paris Opera Ballet, article by Roslyn Sulcas, 10 February 2016, The New York Times.
  32. ^ Vernay, Marie-Christine (27 October 2009). "Les mille et une vies de Benjamin Millepied (The Many Lives of Benjamin Millepied)". Libération (in French). (English translation via Google)
  33. ^ a b Benjamin Millepied démissionne de ses fonctions de directeur de la danse à l’Opéra de Paris, article and interview by Rosita Boiseau, 4 February 2016, Le Monde.
  34. ^ Départ surprise de Benjamin Millepied: les sujets qui fâchent, interview of Benjamin Millepied by Ariane Bavélier, 17 December 2015, Le Figaro
  35. ^ Benjamin Millepied explained his ideas in a documentary "Relève" which could be watched in a preview on 25 November 2015 and broadcast regularly on Canal+ on 23 December 2016.
  36. ^ Relève, le documentaire sur le ballet de Benjamin Millepied - Bande annonce CANAL+, 1:07 min
  37. ^ documentary "Relève", site of canal+.
  38. ^ Benjamin Millepied to Step Down From Paris Opera Ballet, article by Roslyn Sulcas, 4 February 2016, The New York Times.
  39. ^ In 2010, Cédric Klapisch released a documentary about Dupont, L'espace d'un instant, which had been made over the previous two years. See L'espace d'un instant at IMDb
  40. ^ Marshall, Alex (16 June 2022). "Paris Opera Ballet Loses Its Second Head in Six Years". New York Times.
  41. ^ Sulcas, Roslyn; Cappelle, Laura (28 October 2022). "José Martinez Named New Director of Paris Opera Ballet". New York Times.
  42. ^ "Graines des étoiles", documentary film by Françoise Marie from 2013, was broadcast starting on 2 February 2013 on France 3, 156 min, six episodes of 26 min.
  43. ^ La Danse, film by Frederick Wiseman, 2009, 159 min.
  44. ^ a b Laura Hecquet nominated Principal Dancer, article "Laura Hecquet nommée Danseuse Étoile" by Aurélie Bertrand, 27 March 2015.
  45. ^ Laura Hecquet : « Avoir des responsabilités est quelque chose qui me plait », article by Amélie Bertrand, 27 March 2015, extract: "Quand je suis rentrée à l'École, j'ai tout de suite beaucoup apprécié cette danseuse. Avoir Mathilde Froustey dans votre classe vous tire vers le haut. ... Nous sommes rentrées ensemble dans la compagnie. Nous avons été poussées très vite toutes les deux, avant de nous retrouver bloquées dans la classe des Sujets. Je crois que nous l'avons vécu de la même manière, même si Mathilde a dansé un peu plus que moi des premiers rôles. On ne comprenait pas pourquoi nous étions bloquées. Sans forcément que l'on en parle, ce sentiment nous a unies et nous a donné énormément de force. ... Mathilde Froustey a continué, mais ça ne marchait pas mieux pour elle, ça ne décollait pas non plus. Elle a pris cette décision de partir. J'ai trouvé qu'elle avait eu beaucoup de courage d'aller tenter sa chance ailleurs." (Laura Hecquet).
  46. ^ Benjamin Millepied fait souffler un vent nouveau sur l'Opéra, interview of Benjamin Millepied by Élisabeth Quinn on Madame Figaro 6 February 2015.
  47. ^ Truly Exceptional - Our Top 12 Standout Performances of 2015, review containing a paragraph on Laura Hecquet by Laura Capelle, Pointe, extract: "Like her classmate, San Francisco Ballet principal Mathilde Froustey, Hecquet was pegged as a future star when she graduated from the POB School in 2002. A decade as a sujet and a serious knee injury later, it seemed like the company would never give her the opportunity to prove herself.".
  48. ^ Brigitte Lefèvre quittera le ballet de l'opéra de Paris en 2014, 29 September 2012, Revista da danca.
  49. ^ The Ballet School, site of the Paris Opera.
  50. ^ Between 1987 and 1995 the Paris Opera Ballet School was a boarding school as well, but obtaining the bac was not compulsory.
  51. ^ Pourquoi les ballets de l'Opéra de Paris font partie des spectacles favoris des fêtes, article by Martine Robert, 27 December 2013, Les Echos
  52. ^ The first entrance examination is a physical test, the second one an audition.
  53. ^ For example Laura Hecquet and Léonore Baulac, who passed only on the second attempt, or Mathias Heymann, who was accepted only as a fee-paying pupil.
  54. ^ MémOpéra Retrieved 16 May 2020.
  55. ^ Review: William Forsythe’s Wonderful Love Letter to Ballet, by Roslyn Sulcas, 5 July 2016, The New York Times.
  56. ^ JARRE, M.: Notre-Dame de Paris (Petit, Paris National Opera, 1996) (NTSC).
  57. ^ "Le chemin des étoiles, 1972–2014". Google Cultural Institute. Retrieved 3 November 2014.
  58. ^ "Retraite des danseurs de l'Opera National de Paris".

Sources

  • Astier, Régine (1998a). "Académie Royale de Danse" in Cohen 1998, vol. 1. pp. 3–5.
  • Astier, Régine (1998b). "Beauchamps, Pierre" in Cohen 1998, vol. 1., pp. 396–397.
  • Babsky, Monique (1998). "Aumer, Jean-Louis" in Cohen 1998, vol. 1, pp. 201–203.
  • Christout, Marie-Françoise (1998). "Paris Opera Ballet" in Cohen 1998, vol. 5, pp. 86–100.
  • Cohen, Selma Jeanne, editor (1998). International Encyclopedia of Dance (6 volumes). Oxford: Oxford University Press. ISBN 978-0-19-509462-6 (hardcover). ISBN 978-0-19-517369-7 (2004 paperback edition).
  • Craine, Debra; Mackrell, Judith (2000). The Oxford Dictionary of Dance. Oxford: Oxford University Press. ISBN 978-0-19-860106-7.
  • Guest, Ivor (2006). The Paris Opéra Ballet. Alton, Hampshire: Dance Books. ISBN 978-1-85273-109-0.
  • La Gorce, Jérôme de (2002). Jean-Baptiste Lully (in French). Paris: Fayard. ISBN 9782213607085.
  • Pitou, Spire (1983). The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. Genesis and Glory, 1671–1715. Westport, Connecticut: Greenwood Press. ISBN 978-0-686-46036-7.
  • Powell, John S. (1995). "Pierre Beauchamps, Choreographer to Molière's Troupe de Roy", Music & Letters, vol. 76, no. 2 (May), pp. 168–186. JSTOR 737729.
  • Powell, John S. (2008). "Pierre Beauchamps and the Public Theatre", pp. 117–135 in Dance, Spectacle, and the Body Politic, edited by Jennifer Nevile. Bloomington: Indiana University Press. ISBN 9780253351531. Online pdf.
  • Powell, John S. (2010). "Performance Practices at the Théâtre de Guénégaud and the Comédie-Française: Evidence from Charpentier's Mélanges autographes", pp. 161–183 in New Perspectives on Marc-Antoine Charpentier, edited by Shirley Thompson. Farnham, Surrey: Ashgate. ISBN 9780754665793.

External links

  • Official website

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The Paris Opera Ballet French Ballet de l Opera national de Paris is a French ballet company that is an integral part of the Paris Opera It is the oldest national ballet company and many European and international ballet companies can trace their origins to it It is still regarded as one of the four most prominent ballet companies in the world together with the Bolshoi Ballet in Moscow the Mariinsky Ballet in Saint Petersburg and the Royal Ballet in London 2 3 4 5 Paris Opera BalletLogo of the Paris OperaGeneral informationNameParis Opera BalletLocal nameBallet de l Opera national de ParisPrevious namesAcademie Royale de MusiqueAcademie Imperiale de MusiqueTheatre National de l OperaYear founded1669 354 years ago 1669 Principal venuePalais Garnier Place de l Opera Paris 9th arrondissement FranceWebsitewww operadeparis frSenior staffAdministratorFlavien MogliaDirectorJose MartinezOtherAssociated schoolsParis Opera Ballet School 1 FormationEtoilePremier DanseurSujetCorypheeQuadrilleSince December 2022 the company has been under the direction of Jose Martinez the director of dance The ballet company consists of 154 dancers among them 17 Danseurs Etoiles The principal dancers give 180 dance performances each year primarily at the Palais Garnier 6 Just as prestigious as the Paris Opera Ballet is its dance school the Paris Opera Ballet School French Ecole de danse de l Opera national de Paris considered to be one of the world s best dance schools 7 Its former pupils have won a record of 20 Benois de la Danse awards The school celebrated its tercentennial in 2013 The competition for admission to both institutions is extremely fierce 8 For a dancer to enter the Paris Opera Ballet it is almost compulsory to be admitted to the Paris Opera Ballet School to pass the annual competitive examinations in May and to attend at least the final two classes 9 95 percent of the admitted dancers in the Paris Opera Ballet are French 9 Contents 1 History 1 1 Naming 1 2 Background 1 3 Founding and early history 1 4 Subsequent history 1 5 Serge Lifar as ballet director 1 6 Era of Rudolf Nureyev 1 7 Brigitte Lefevre 1 8 Transition 1 9 Aurelie Dupont 1 10 Jose Martinez 2 Hierarchy 3 Small scandals and the lost generation 4 Paris Opera Ballet School 5 Choreographers 6 Dancers 6 1 Etoiles 6 2 Notable former dancers 7 See also 8 References 9 External linksHistory EditSee also History of ballet Naming Edit The Paris Opera Ballet has always been an integral part of the Paris Opera which was founded in 1669 as the Academie d Opera Academy of Opera although theatrical dance did not become an important component of the Paris Opera until 1673 after it was renamed the Academie Royale de Musique Royal Academy of Music and placed under the leadership of Jean Baptiste Lully 1 10 The Paris Opera has had many different official names during its long history but since 1994 it has been called the Opera National de Paris Paris National Opera 11 Background Edit Louis XIV as Apollo in the Ballet Royal de la Nuit 1653 The Paris Opera Ballet had its origins in the earlier dance institutions traditions and practices of the court of Louis XIV Of particular importance were the series of comedies ballets created by Moliere with among others the choreographers and composers Pierre Beauchamps and Jean Baptiste Lully The first was Les Facheux in 1661 and the most important Le Bourgeois gentilhomme in 1670 12 Many of these were also performed by Moliere s company at the public Theatre du Palais Royal in Paris which was later to become the first permanent home of the opera company and the opera ballet Also in 1661 Louis XIV had founded the Academie Royale de Danse Royal Academy of Dance in an effort to improve the quality of dance instruction for court entertainments Members of the academy as well as the dance teachers who were certified by it and their students participated in the creation of the ballets for the court Moliere and later the opera 13 In 1680 Beauchamps became the chancellor director of the Academie Royale de Danse 10 14 Although the Academie Royale de Danse and the Opera were closely connected the two institutions remained separate and the former disappeared with the fall of the monarchy in 1792 15 Founding and early history Edit On 28 June 1669 Louis XIV granted a privilege to the poet Pierre Perrin giving him a monopoly to form a separate academy for the performance of opera in French The first production of the company founded by Perrin the Academie d Opera Academy of Opera 16 was Pomone which was first performed on 3 March 1671 at the Jeu de Paume de la Bouteille and included ballets choreographed by Anthoine des Brosses 17 In 1672 Lully purchased Perrin s privilege and also obtained new letters patent limiting the use of musicians and dancers by other French companies With Anthoine des Brosses and Lully as choreographers and Carlo Vigarani as stage designer Lully s company now called the Academie Royale de Musique produced Lully s first opera Les fetes de l Amour et de Bacchus a pastorale in November 1672 at the Jeu de Paume de Bequet 18 This work consisted primarily of excerpts from Lully s prior court ballets connected with new entrees choreographed by des Brosses 19 A crucial difference however from the previous court ballets was that the members of the court no longer participated and all of the dancers were professionals 20 Lully s next production Cadmus et Hermione 27 April 1673 the first tragedie lyrique with a libretto by Philippe Quinault also premiered at the Jeu de Paume de Bequet and was choreographed by Anthoine des Brosses 19 Pierre Beauchamps who had been working with Moliere at the Palais Royal joined Lully s company in June 1673 not long after Moliere s death when Lully took over the Palais Royal theatre forcing Moliere s troupe to move to the Theatre Guenegaud Lully and Quinault continued to collaborate on a series of successful productions in the process creating a new genre of French opera in which dance interludes played an important part in the musical drama 21 The ballets for these works were created by Beauchamps des Brosses and d Olivet Jean Baptiste Dubos explains that Beauchamps and des Brosses were responsible for the ballets ordinaires while d Olivet specialized in ballet pantomime Lully paid such great attention to the ballets mentioned here that he engaged for their choreography a maitre de danse particulier named d Olivet It was he and not des Brosses or Beauchamps whom Lully engaged for the ballets ordinaires who composed the ballets of the infernal scenes of Psyche and Alceste It was also d Olivet who composed the ballet of the old men in Thesee of the baneful dreams in Atys and of the tremblers in Isis This last was composed solely of pantomimic gestures by men seized with cold and he did not introduce a single usual dance step into it 22 Initially the dancers of the Paris Opera Ballet were all male Mademoiselle de la Fontaine 1665 1738 became the first professional ballerina when she danced in the premiere of Lully s ballet Le Triomphe de l Amour on 21 January 1681 23 Pierre Beauchamps continued to collaborate with Lully at the Paris Opera until Lully s death in 1687 14 Subsequent history Edit Adelaide Simonet as the Princess in the pantomime ballet Ninette a la Cour first produced by the Paris Opera Ballet in 1778 with choreography by Maximilien Gardel as performed in London in 1781 The 18th century saw the creation of an associated school now referred to as the Paris Opera Ballet School French Ecole de Danse de l Opera de Paris which opened in 1713 The operas of Rameau and later Gluck raised standards for the dancers Jean Georges Noverre was a particularly influential ballet master from 1776 to 1781 He created the ballet Les petits riens in 1778 on Mozart s music Maximilien Gardel was ballet master from 1781 with his brother Pierre Gardel taking over after Maximilien s death in 1787 Pierre Gardel survived the Revolution creating ballets such as La Marseillaise and Offrande a la Liberte 1 He remained the ballet master until 1820 and continued to work up to 1829 24 In 1820 Pierre Gardel was succeeded as ballet master by Jean Louis Aumer who was however highly criticized for using too much mime and failing to use choreography which furthered plot or character 24 In 1821 the company moved to a new house the Salle Le Peletier where Romantic ballet was born In 1875 the company moved to the Palais Garnier where it continues to perform 1 Serge Lifar as ballet director Edit In 1929 Jacques Rouche invited 24 year old dancer Serge Lifar to become the maitre de ballet of the Paris Opera Ballet which had fallen into decline in the late 19th century As ballet master from 1930 to 1944 and from 1947 to 1958 he devoted himself to the restoration of the technical level of the Opera Ballet returning it to its place as one of the best companies in the world Lifar gave the company a new strength and purpose initiating the rebirth of ballet in France and began to create the first of many ballets for that company 25 During his three decades as director of the Paris Opera Ballet Lifar led the company through the turbulent times of World War II and the German occupation of France Lifar brought the Paris Opera Ballet to America and performed to full houses at the New York City Center Audiences were enthusiastic and had great admiration for the company of dancers 25 Era of Rudolf Nureyev Edit In the world of ballet Rudolf Nureyev is regarded as the greatest classical dancer ever and as one of the most preeminent choreographers 26 In 1983 Rudolf Nureyev was appointed director of the Paris Opera Ballet where as well as directing he continued to dance and to promote younger dancers The top female ballet dancer at that time if not of all times 27 28 was Sylvie Guillem who was nominated principal dancer at the age of 19 by Rudolf Nureyev in 1984 They were an exceptional dance couple 29 The years of Nureyev marked a golden era of the Paris Opera Ballet 26 Brigitte Lefevre Edit Brigitte Lefevre director from 1995 to 2014 with Patrice Bart as maitre de ballet from 1990 to 2011 succeeded to maintain the high standard that Nureyev has set Brigitte Lefevre invited some of the most preeminent choreographers such as William Forsythe Angelin Preljocaj Saburo Teshigawara and John Neumeier 30 Transition Edit There were turbulent times for the company with Benjamin Millepied director of the Paris Opera Ballet from November 2014 until he quit on 15 July 2016 31 There were two stumbling blocks with Millepied a French dancer and choreographer who left France in 1993 at the age of 16 got his main professional education as a dancer and choreographer in the United States and came back to France in 2014 as newly appointed director of the Paris Opera Ballet 32 The first one was that Millepied wanted the Paris Opera Ballet dancers to interpret La Bayadere a classic ballet choreographed by Rudolf Nureyev in 1992 like a contemporary ballet 33 To achieve this goal he had already hired guest principal dancers to present La Bayadere 34 The other stumbling block was that Millepied had broken the hierarchy of the Danseurs Etoiles dancing the leading roles as he had chosen for the cast of his first contemporary ballet creation Clear Loud Bright Forward the first one in his time as director out of the 154 danseurs a dream team of 16 dancers which he considered to be the fittest to put to practice his ideas and visions on the programming the dream team was named United visual artists 35 36 37 Karl Paquette principal dancer said in an interview that he had never felt as bad in his 30 years at the Paris Opera Ballet as he had the past 6 months Stephane Bullion principal dancer added that it was clear that things could not be straightened out 33 Stephane Lissner the Paris Opera director who hired Benjamin Millepied in January 2013 and who has final authority on decisions about budget hiring and promotion said at a news conference at the Palais Garnier on Thursday 4 February 2016 that he had no regrets about that choice 38 He leaves too soon but others leave too late Lissner added I think that the two jobs director of dance and a choreographer who is more and more in demand not just at the Opera raised a certain number of questions Aurelie Dupont Edit Aurelie Dupont took over the direction of the ballet company on 1 August 2016 She was Danseuse Etoile from 1994 to 2015 Dupont was the inspiration behind the Cedric Klapisch film about the star 39 considered the grande dame of the Paris Opera Ballet Dupond is stepped down from the position on 31 July 2022 as announced in June of that year 40 Jose Martinez Edit Jose Martinez took over the company in December 2022 41 Hierarchy EditThe hierarchy of the Paris Opera Ballet is very strict For a dancer it is virtually compulsory to enter first the Paris Opera Ballet School As Mathilde Froustey put it You cannot get into the company if you have not done the school 9 The competition for admission to both institutions is extremely fierce as well as the competition for the highest ranks in the ballet company More than 90 percent of the candidates don t pass the Ballet School entrance examination and 20 percent of its pupils have to leave at the end of the year after failing the annual competitive examinations les concours annuels in May 7 Only 5 to 20 percent of the Ballet School graduates are accepted in the Paris Opera Ballet initially as dancers on trial the stagiaires 42 To become a regular member of the Paris Opera Ballet as Quadrille fifth and lowest rank in the hierarchy you have to pass the annual competitive examination in November Promotion to the next rank depends exclusively on success in the following annual competitive examinations les concours internes de promotion in front of a board of judges To achieve the highest rank as Danseur Etoile only by nomination you have to perform in leading roles as Premier Danseur for many years before you are nominated due to outstanding excellence and merit 43 Small scandals and the lost generation EditAs the Paris Opera Ballet has a large quantity of first class French dancers there are hard times for those who have not been promoted to the highest ranks as dancers or have not been appointed afterwards to positions for which they would have been extremely qualified 44 Mathilde Froustey Sujet from 2005 till 2013 left the Paris Opera Ballet in July 2013 and joined the San Francisco Ballet as a principal dancer because there was no chance for her becoming eventually Danseuse etoile principal dancer in this company 45 In November 2014 Benjamin Millepied a former principal dancer of the New York City Ballet and French took over the direction of the company and promised a change They asked for a change and they will get a change 46 When Benjamin Millepied nominated for the first and only time a Danseuse etoile Laura Hecquet was chosen Laura Hecquet and Mathilde Froustey were described in the press as the lost generation of dancers working up the ranks who have become soloist Sujet but have been unlucky for years as far as climbing up the last step of the career ladder is concerned 44 47 The Paris Opera Ballet School has churned out some of the most famous dancers of all time such as Sylvie Guillem and Laurent Hilaire 9 Yet Sylvie Guillem being principal dancer since 1984 left the company in 1989 at the age of 24 because she wanted more freedom the right to perform with other companies an arrangement the management of the Paris Opera Ballet declined 29 Laurent Hilaire was highly appreciated as principal dancer After his farewell as a dancer he continued his career in the company attaining in 2011 the second highest position as Maitre de ballet associated to the direction Laurent Hilaire was the favourite of Brigitte Lefevre director of the ballet and Nicolas Joel director of the Paris Opera at the time 48 In January 2013 Stephane Lissner the new director of the Paris Opera in the hierarchy above the Paris Opera Ballet s director appointed Benjamin Millepied Hilaire announced in May 2014 his departure and quit the company in July The Paris Opera Ballet s new director Benjamin Millepied on his part stayed only two seasons and was followed in August by Aurelie Dupont who was as Danseuse etoile the Grand dame of the Paris Opera Ballet Paris Opera Ballet School EditThe Paris Opera Ballet School French Ecole de danse de l Opera national de Paris is one of the most preeminent dance schools in the world 49 It has six classes for boys and girls separately named sixieme division to premiere division In 1987 the Paris Opera Ballet School moved from the Palais Garnier where most of the Paris Opera ballets take place to a new building located 10 kilometres west of the centre of Paris in Nanterre The new dance school building was designed by Christian de Portzamparc Since 1995 the Paris Opera Ballet School has been a boarding school 50 Nowadays from 8 a m until noon all pupils attend school classes leading to the obtention of the French baccalaureat the bac the general qualification for university entrance in France Among the dancers of the Paris Opera Ballet 95 percent have attended the Paris Opera Ballet School 51 To describe it differently for a young dancer to be accepted in the Paris Opera corps de ballet it is virtually obligatory to enter the Paris Opera Ballet School and attend at least the final two classes deuxieme et premiere division More than 90 percent of the candidates do not pass the entrance examination 52 Even some of the dancers who have later become premiers danseurs first soloists or danseurs etoiles principal dancers of the Paris Opera Ballet passed the entrance examination only on the second attempt or were accepted only as fee paying pupils 53 Choreographers EditChoreographers associated with the Paris Opera Ballet and works created for the Paris Opera Ballet are 54 Jean Dauberval La Fille mal gardee 1789 Pierre Gardel Telemaque 1790 Psyche 1793 Le Jugement de Paris 1793 La Dansomanie 1800 Louis Milon Les Noces de Gamache 1801 in collaboration with Gardel Philippe Taglioni La Sylphide 1832 Jules Perrot Giselle 1842 Jean Coralli Giselle 1842 George Balanchine Le Palais de cristal Symphony in C 1947 Carlo Blasis Arthur Saint Leon Coppelia 1870 Louis Merante Sylvia 1876 Serge Lifar Les Creatures de Promethee 1929 Icare 1935 Istar 1941 Suite en blanc 1943 Kenneth MacMillan Metaboles 1978 Les Quatre Saisons 1978 Rudolf Nureyev Raymonda 1983 Swan Lake Le Lac des cygnes 1984 Romeo and Juliet 1984 The Nutcracker 1985 La Bayadere 1992 Maurice Bejart Arepo 1986 William Forsythe In the Middle Somewhat Elevated 1987 Woundwork I Pas Parts 1999 Blake Works I 2016 55 Angelin Preljocaj Le Parc 1994 Annonciation 1996 MC 14 22 Ceci est mon corps 2004 Le Songe de Medee 2004 Roland Petit Notre Dame de Paris 1965 56 Clavigo 1999 Pina Bausch Le Sacre du printemps 1997 Orpheus et Eurydice 2005 Wayne McGregor Genus 2007 L Anatomie de la sensation 2011 Sasha Waltz Romeo and Juliet 2007 Saburo Teshigawara Air 2003 Darkness is Hiding Black Horses 2013 John Neumeier La Dame aux Camelias 2006 Song of the Earth 2015 Dancers EditThere are five ranks of dancers in the Paris Opera Ballet from highest to lowest they are Danseur Etoile premier danseur sujet coryphee and quadrille Promotions to the higher rank depend on success in the annual competitive examinations except for danseurs etoiles who are nominated by the Director of the Opera on a proposal from the Director of the Ballet Etoiles Edit Amandine Albisson Leonore Baulac Valentine Colasante Emilie Cozette Guillaume Diop Mathieu Ganio Dorothee Gilbert Laura Hecquet Mathias Heymann Germain Louvet Hugo Marchand Paul Marque Marc Moreau Hannah O Neill Myriam Ould Braham Ludmila Pagliero Sae Eun Park Alice Renavand The maximum number of active danseurs etoiles within the company originally limited to four has progressively increased over time and is nowadays set at eighteen 57 The title is conferred for life and is therefore kept after retirement which is set at a maximum age of 42 like for all other dancers of the Paris Opera Ballet 58 Notable former dancers Edit Cyril Atanassoff Karin Averty Jean Babilee Patrice Bart Kader Belarbi Claude Bessy Giuseppina Bozzacchi Yvette Chauvire Isabelle Ciaravola Florence Clerc La Camargo Lycette Darsonval Frances Davis Michael Denard Michel Descombey Patrick Dupond Aurelie Dupont Flemming Flindt Marie Agnes Gillot Isabelle Guerin Sylvie Guillem Jean Guizerix Laurent Hilaire Josua Hoffalt Charles Jude Dominique Khalfouni Attilio Labis Nicolas Le Riche Manuel Legris Pauline Leroux Agnes Letestu Emma Livry Monique Loudieres Jose Martinez Herve Moreau Clairemarie Osta Karl Paquette Lucien Petipa Marie Claude Pietragalla Wilfride Piollet Elisabeth Platel Laetitia Pujol Michel Renault Marie Salle Marie Taglioni Ghislaine Thesmar Emmanuel Thibault Auguste Vestris Gaetan Vestris Claude de Vulpian Carlotta ZambelliSee also EditHistory of ballet List of productions of Swan Lake derived from its 1895 revival Rudolf NureyevReferences EditNotes a b c d Paris Opera Ballet in Crane and Mackrell 2000 pp 360 361 There are three world best ballet companies unquestionably the Royal Ballet unquestionably the Bolchoi Ballet and unquestionably the Paris Opera Ballet Il y en a trois meilleures compagnies du monde sans doute Le Royal Ballet sans doute Le Bolchoi et sans doute Le Ballet de l Opera de Paris Philippe Noisette journaliste dans La Danse a tout prix television documentary by Carlos Simoes 2012 129 min broadcast on 26 December 2012 on France 2 Haut vol Archived 2015 03 28 at the Wayback Machine interpreted by Eleonore Baulac and Allister Madin choreography by Benjamin Millepied film by Louis de Caunes Pourquoi les ballets de l Opera de Paris font partie des spectacles favoris des fetes article by Martine Robert 27 December 2013 Les Echos If you add the St Petersburg Mariinsky Ballet and the New York City Ballet to the list you get the top five ballet companies in the world Paris Opera Ballet site of the Paris Opera a b Paris Opera Ballet School a World of its Own Archived 2016 03 03 at the Wayback Machine L ecole de danse un monde a part review of the press of April 2013 See below paragraph hierarchy a b c d Interview with New San Francisco Ballet Principal Mathilde Froustey by Laura Jaye Cramer 23 January 2014 SF Weekly extract You cannot get into the company if you have not done the school Mathilde Froustey a b Christout 1998 p 86 Histoire de l Opera national de Paris Archived 2016 04 03 at the Wayback Machine in French at the Paris Opera website Retrieved 19 July 2011 Guest 2006 pp 5 7 Astier 1998a p 3 a b Astier 1998b pp 396 397 Astier 1998a p 4 The last list of its members was published in the 1779 Almanach des spectacles de Paris Archive Larousse Also referred to as the Academie Royale des Opera Powell 2010 p 178 Powell 1995 p 179 Guest 2006 p 7 Powell 2010 p 178 It is frequently stated that Beauchamps choreographed the ballets for Pomone e g Astier 1998a p 3 According to Powell this misunderstanding is based on the Recueil de Tralage ca 1697 MS 6544 Bibliotheque de l Arsenal Paris A manuscript legal document in the Archives of the Comedie Francaise makes clear however that Anthoine des Brosses who had earlier served as dancing master for the Theatre du Marais choreographed the ballets for Pomone Beauchamps only took over des Brosses s position with Perrin s company in the late autumn or early winter of 1671 when des Brosses moved back to the Marais to choreograph Jean Donneau de Vise s musical machine play Le Mariage de Bacchus et d Ariane performed at the Theatre du Marais in the winter of 1671 1672 Powell 2008 pp 127 233 note 44 Powell 2010 p 178 Jerome de La Gorce Lully s first opera A rediscovered poster for Les fetes de l Amour et de Bacchus Early Music vol 15 no 3 Lully Anniversary Issue Aug 1987 pp 308 314 JSTOR 3137552 Libretto 1672 ms score from thePhilidor Collection 1705 a b Powell 2010 p 178 Astier 1998a p 3 Note however that the Gazette d Amsterdam reports that nobles did dance in public at certain performances cited by La Gorce 2002 pp 189 190 Christout 1998 pp 86 87 Quoted and translated by Powell 1995 p 185 citing Reflexions critiques sur la poesie et sur la peinture Paris 1719 p 357 See p 247 of the Troisieme Partie of the 1740 edition at Gallica Guest 2006 p 9 Pitou 1983 pp 249 325 326 Le Triomphe de l Amour at operabaroque fr Score of Le Triomphe de l Amour at Gallica a b Babsky 1998 p 202 a b Crisp Clement Winter 2002 ICARE Remembering Serge Lifar Dance Research The Journal of the Society for Dance Research 2 20 2 3 15 doi 10 3366 1290812 a b Philippe Noisette Que reste t il de Noureev Les Echos 1 March 2013 Sylvie Guillem the greatest female dancer I have ever seen article by Sarah Crampton 4 November 2014 The Telegraph Sylvie Guillem Life in Progress the greatest dancer of our time calls it quits article by Nick Miller 1 August 2015 The Sydney Morning Herald a b Sylvie Guillem Force of Nature The Culture Show BBC Two 9 octobre 2013 Brigitte Lefevre in French France Inter Retrieved 18 March 2014 Benjamin Millepied Opens Up on Leaving Paris Opera Ballet article by Roslyn Sulcas 10 February 2016 The New York Times Vernay Marie Christine 27 October 2009 Les mille et une vies de Benjamin Millepied The Many Lives of Benjamin Millepied Liberation in French English translation via Google a b Benjamin Millepied demissionne de ses fonctions de directeur de la danse a l Opera de Paris article and interview by Rosita Boiseau 4 February 2016 Le Monde Depart surprise de Benjamin Millepied les sujets qui fachent interview of Benjamin Millepied by Ariane Bavelier 17 December 2015 Le Figaro Benjamin Millepied explained his ideas in a documentary Releve which could be watched in a preview on 25 November 2015 and broadcast regularly on Canal on 23 December 2016 Releve le documentaire sur le ballet de Benjamin Millepied Bande annonce CANAL 1 07 min documentary Releve site of canal Benjamin Millepied to Step Down From Paris Opera Ballet article by Roslyn Sulcas 4 February 2016 The New York Times In 2010 Cedric Klapisch released a documentary about Dupont L espace d un instant which had been made over the previous two years See L espace d un instant at IMDb Marshall Alex 16 June 2022 Paris Opera Ballet Loses Its Second Head in Six Years New York Times Sulcas Roslyn Cappelle Laura 28 October 2022 Jose Martinez Named New Director of Paris Opera Ballet New York Times Graines des etoiles documentary film by Francoise Marie from 2013 was broadcast starting on 2 February 2013 on France 3 156 min six episodes of 26 min La Danse film by Frederick Wiseman 2009 159 min a b Laura Hecquet nominated Principal Dancer article Laura Hecquet nommee Danseuse Etoile by Aurelie Bertrand 27 March 2015 Laura Hecquet Avoir des responsabilites est quelque chose qui me plait article by Amelie Bertrand 27 March 2015 extract Quand je suis rentree a l Ecole j ai tout de suite beaucoup apprecie cette danseuse Avoir Mathilde Froustey dans votre classe vous tire vers le haut Nous sommes rentrees ensemble dans la compagnie Nous avons ete poussees tres vite toutes les deux avant de nous retrouver bloquees dans la classe des Sujets Je crois que nous l avons vecu de la meme maniere meme si Mathilde a danse un peu plus que moi des premiers roles On ne comprenait pas pourquoi nous etions bloquees Sans forcement que l on en parle ce sentiment nous a unies et nous a donne enormement de force Mathilde Froustey a continue mais ca ne marchait pas mieux pour elle ca ne decollait pas non plus Elle a pris cette decision de partir J ai trouve qu elle avait eu beaucoup de courage d aller tenter sa chance ailleurs Laura Hecquet Benjamin Millepied fait souffler un vent nouveau sur l Opera interview of Benjamin Millepied by Elisabeth Quinn on Madame Figaro 6 February 2015 Truly Exceptional Our Top 12 Standout Performances of 2015 review containing a paragraph on Laura Hecquet by Laura Capelle Pointe extract Like her classmate San Francisco Ballet principal Mathilde Froustey Hecquet was pegged as a future star when she graduated from the POB School in 2002 A decade as a sujet and a serious knee injury later it seemed like the company would never give her the opportunity to prove herself Brigitte Lefevre quittera le ballet de l opera de Paris en 2014 29 September 2012 Revista da danca The Ballet School site of the Paris Opera Between 1987 and 1995 the Paris Opera Ballet School was a boarding school as well but obtaining the bac was not compulsory Pourquoi les ballets de l Opera de Paris font partie des spectacles favoris des fetes article by Martine Robert 27 December 2013 Les Echos The first entrance examination is a physical test the second one an audition For example Laura Hecquet and Leonore Baulac who passed only on the second attempt or Mathias Heymann who was accepted only as a fee paying pupil MemOpera Retrieved 16 May 2020 Review William Forsythe s Wonderful Love Letter to Ballet by Roslyn Sulcas 5 July 2016 The New York Times JARRE M Notre Dame de Paris Petit Paris National Opera 1996 NTSC Le chemin des etoiles 1972 2014 Google Cultural Institute Retrieved 3 November 2014 Retraite des danseurs de l Opera National de Paris Sources Astier Regine 1998a Academie Royale de Danse in Cohen 1998 vol 1 pp 3 5 Astier Regine 1998b Beauchamps Pierre in Cohen 1998 vol 1 pp 396 397 Babsky Monique 1998 Aumer Jean Louis in Cohen 1998 vol 1 pp 201 203 Christout Marie Francoise 1998 Paris Opera Ballet in Cohen 1998 vol 5 pp 86 100 Cohen Selma Jeanne editor 1998 International Encyclopedia of Dance 6 volumes Oxford Oxford University Press ISBN 978 0 19 509462 6 hardcover ISBN 978 0 19 517369 7 2004 paperback edition Craine Debra Mackrell Judith 2000 The Oxford Dictionary of Dance Oxford Oxford University Press ISBN 978 0 19 860106 7 Guest Ivor 2006 The Paris Opera Ballet Alton Hampshire Dance Books ISBN 978 1 85273 109 0 La Gorce Jerome de 2002 Jean Baptiste Lully in French Paris Fayard ISBN 9782213607085 Pitou Spire 1983 The Paris Opera An Encyclopedia of Operas Ballets Composers and Performers Genesis and Glory 1671 1715 Westport Connecticut Greenwood Press ISBN 978 0 686 46036 7 Powell John S 1995 Pierre Beauchamps Choreographer to Moliere s Troupe de Roy Music amp Letters vol 76 no 2 May pp 168 186 JSTOR 737729 Powell John S 2008 Pierre Beauchamps and the Public Theatre pp 117 135 in Dance Spectacle and the Body Politic edited by Jennifer Nevile Bloomington Indiana University Press ISBN 9780253351531 Online pdf Powell John S 2010 Performance Practices at the Theatre de Guenegaud and the Comedie Francaise Evidence from Charpentier s Melanges autographes pp 161 183 in New Perspectives on Marc Antoine Charpentier edited by Shirley Thompson Farnham Surrey Ashgate ISBN 9780754665793 External links EditOfficial website Retrieved from https en wikipedia org w index php title Paris Opera Ballet amp oldid 1144065456, wikipedia, wiki, book, books, library,

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