Paris Opera Ballet in L'Histoire de Manon

Yes the MacMillan classic .A terrific version here's my review : http://www.sydneyartsguide.com.au/paris-opera-ballet-presents-lhistoire-de-manon/ Lush, lavish, opulent and very detailed with a huge cast, this is an extraordinarily powerful version of the MacMillan masterpiece, wonderfully performed by the Paris Opera Ballet with a Gallic flavour. What makes this performance extra special is that it is the farewell performance by the amazing Aurelie Dupont. Dupont plays the part of Manon and she is simply superb. Technically the dancing, as one would expect from the Paris Opera Ballet, is outstanding, with fine ensemble work and dazzling displays by the leads. There is great attention paid to characterisation and the sumptuous, detailed costumes- set and costume design are by Nicholas Georgiadis- are magnificent. Just for example observe Madame X’s superb bronze coloured ‘Watteau – back‘ opulent dress. Mostly the Georgiadis designs are in russet, autumnal tones. The sets range from glittering salons to market squares, wharves and swamps. The stage lighting is very atmospheric. Macmillan’s demanding, athletic choreography is almost death defying at times, and the dancers of the Paris Opera delight in the challenge. In some ways structured in a similar way to a traditional nineteenth century ballet, the work nevertheless broke new ground when it premiered. The Orchestra of the Paris Opera, under the excellent baton of maestro Martin Yates, is tremendous. My general comments about one of my favourite ballets remain synonymous with what I about the Royal Ballet production. There are several amazing pas de deux spaced throughout the ballet for Manon herself. These include a joyous, lyrical falling in love sequence with Des Grieux in Act 1, and a delicious, exuberant bed room scene that directly follows on. Also in regards to Des Grieux there are headlong rushes and jumps into his arms contrasted with smaller more intimate gestures of affection, (closely followed by an amazing, lust and corruption pas de trois between Manon, Lescaut and Monsieur G.M. whilst Des Grieux is momentarily away). Add to this the appalling, explicit rape scene with the menacing jailer in Act 3 and the final, exhausting pas de deux again with Des Grieux As well, there is the magnificent, extraordinary set piece in Act 2 Scene 1 at Madame X’s where Manon is passed around by the men like a jewel, just another possession to be owned, with Monsieur G.M. stepping in and saying ‘she’s mine’ leaving poor Des Grieux broken hearted at her deception. You could also, at times, pick phrases of movement reminiscent of Macmillan’s production of Romeo and Juliet. Dupont’s Manon is a triumph. Elegant, beautiful, refined, she is regal with a distinct aura. She skims, floats, dives effortlessly through the fiendishly difficult MacMillan choreography. We see her change from an innocent young schoolgirl, deliciously in love, to a kept woman to what then becomes her disastrous downfall. The scene in Madame X’s where she is passed around by all the men has quite an intense almost suffocating atmosphere here and the final , despairing pas de deux at the end of the work is shattering . Des Grieux, Manon’s true love, was magnificently danced by a dreamily handsome Roberto Bolle. His solo introducing himself in Act 1 is heartstopping , with dazzling, impeccable technique including glorious fluid jumps, wonderful ballon and a fluid line. He is also tremendous in his partnering. Encore! Lescaut, Manon’s brother, was exuberantly, delightfully portrayed by dark, handsome Stephane Bulion. His blind, drunk solo and duet with his mistress in Act 2 was wittily, dangerously danced. Bulion’s saucy , foxy , flirtatious mistress was excellently danced by Alice Renavand . Taller, leaner and younger than we usually see Monsieur G.M, Benjamin Pech Is cold, implacable and determined to get what he sees and desires. His attitude is that money can buy anything. His passions are hidden under his chilly exterior. An interesting aside, does he have a foot fetish as revealed in the Act 1 trio scene with Manon and Lescaut ?! Karl Paquette played the Jailer with icy blue eyes, cold and full of menace in Act 3, sinister and chilling in the rape scene. My only quibble is with some of the cinematography was unnecessarily jumpy,fractured and distracting at times. The idea of seeing the traffic around Paris and the outside of the Opera, taking us to inside the theatre was great , but it was shot so fast one almost had motion sickness. And did we really have to ‘be told’ who was who at the start of every scene ? (yes it is helpful reminder sometimes , but … ). At the end, Dupont takes several solo curtain calls, in tears, and silver star confetti rains down to tumultuous applause both on and off stage. A sad, stirring finale. Running time is 2 hours and 45 minutes .There is one short interval and a feature interview with Dupont talking about her career and her experience playing the part of Manon. The Paris Opera Ballet in L’HISTOIRE DE MANON is screening at selected art-house cinemas until 29th July. For more details visit- http://www.palaceoperaandballet.com.au/production/lhistoire-de-manon