Paris Opera Ballet : Ballets Russes

http://www.sydneyartsguide.com.au/paris-opera-ballet-ballets-russes/ this was fascinating here's my review for the Guide With this screening ballet lovers are in for a great treat with the wonderful Paris Opera Ballet bringing us an extraordinary quadruple bill of four famous Diaghilev Ballets Russes works that are very rarely performed on the contemporary stage. The performances took place as part of the Company’s Centenary program in 2009. The ballets have been lovingly recreated and beautifully danced. It felt almost like being in a time machine and being able to see these works at their premieres. Three of the works have links to the legendary Vaslav Nijinsky. At the start of the twentieth century, Serge Diaghilev’s Ballets Russes overthrew conventions and led the way in modernity, bringing together painters, musicians and choreographers of the avant garde. The artistic elite of the era was brought together in a dazzling team of stellar greats. They included artists of the calibre of Debussy, Stravinsky, Falla, Picasso, Bakst, Massine, Nijinsky, Fokine …. First in the program was the dreamy Spectre de La Rose based on the Mallarme poem. The Benois set is gloriously recreated with its large open windows, chairs and sofas (but no birdcage). As the dreamy young girl (the Karsavina role) in white– note the exquisite detailing of white ruffles and lace on the bodice– Isabelle Ciaravola is terrific, although perhaps looking a lot older than the role required– the close ups were cruel! In the famous Nijinsky role Mathias Heymann manages excellently to overcome his rather unappealing costumes which have been dyed various shades of pink. There is marvellous attention to detail in the petals and arm bands. But that hat! He has amazing extraordinary ballon with huge soft jumps and turns and the choreography alludes to another famous Nijinksy role that of the Golden Slave in Scherazade. As the essence of a rose Heymann is slightly alien, mysterious and exotic. The Fokine choreography demands at times gentle and sinuous arms with some fiendishly killing jetes and entrechats.Not forgetting that famous leap out the window at the end ….. Next we saw a recreation of Nijinsky’s L’Apres –Midi D’Un Faune ( Afternoon of a Faun) to Debussy’s lush, languid, pulsating and sensual music. At the time the work was considered ground breaking and very controversial as it goes against balletic convention with its turned in walk, frieze like poses and God forbid bare feet. Now that over a hundred years have passed we can hopefully better appreciate Nijinsky’s attempt to break choreographic forms. It is a lazy summer afternoon until the Faun spies the nymphs and their leader, startles them and captures the scarf the lead nymph drops, returning with the scarf to dream rather erotically on the rock. Nicholas Le Riche as the haughty Faune is spotted and dappled with vines and grapes on his shoulder and groin and tiny pointed horns on his head. The lead nymph’s (Emilie Cozette) costume- Ancient Greek dress- and shawl are plain, her companions wearing similar dresses but with spots or stripes as detail. A Greek vase brought to life. Le Tricorne (The Three Cornered Hat), which Massine famously choreographed and danced the role of the Miller is much exuberant fun with glorious dancing. The landmark Picasso sets and costumes are deceptively simple, bold and colourful masterpieces in their own right .The starring roles of the Miller ( José Martinez) and his Wife (Marie-Agnès Gillot ) are danced with dazzling technique and much relish. Martinez is tall, dark and dreamily handsome. Powerful and hypnotic his solo zapateado is fiery and captivating and brings the house down. Gillot is sultry and volcanic underneath. Her anguished solo when the Miller is arrested is tremendous. Mostly however she is bright, strong fiery and flirtatious. Her teasing of the Magistrate, played as a lecherous comic buffoon, is delightful. The ominous whirling of the other magistrates, like birds of ill omen, was well handled Last on the programme was another famous Fokine /Nijinsky piece, Petrouchka. The fairground scenes, with the clash between the busking acrobat and the dancer, the coachmen, elegant nursemaids was well done though a trifle artificial. The first appearance of the Magician,eerily played by Stéphane Phavorin gives one shivers. He is cold and manipulative yet terrified at the end when the ghost of Petrouchka comes to haunt him. Clairemarie Osta as the Ballerina in her pink and red outfit is doll like and enchanting,and the exotic Moor is wonderfully danced by Yann Bridard. Benjamin Pech as Petrouchka, channeling his inner Nijinsky, was superb. Fragile and poignant he is indeed ‘a puppet with a soul’, tormented by his love for the uncaring Ballerina and his enforced slavery to the magician. The glimpse of him in his cell railing and raging against the Magician was brilliant. This was a magnificent, quite shattering performance. This screening represents a wonderful opportunity for ballet lovers to see an extraordinary performance of four legendary works that still have much resonance today. Running time 2 hours and 20 minutes including one interval The Paris Opera Ballet in Ballets Russes is screening at selected arthouse cinemas until 16th March.