Numerous choreographers have delved into Shakespeare to find dramatic material for their ballets, beginning with Jean-Georges Noverre, an ardent defender of the “action ballet” and Marius Petipa, who was the first to use Mendelssohn’s stage music. George Balanchine, who also loved the score, would prove no exception. In 1962 he created his version of Shakespeare’s comedy for New York City Ballet. Faithful to the Bard’s vocabulary whilst adding a subtle touch of pantomime, he portrays a complex love story in two acts and six scenes. Theseus, Duke of Athens, and Hippolyta, queen of the Amazons, become caught up in a domestic quarrel between the king of the elves and the queen of the fairies which results in the intervention of the mischievous Puck and his magic potion along with a troupe of amateur actors. The denouement is celebrated in the form of a grand virtuoso entertainment. One of George Balanchine’s rare narrative ballets, A Midsummer Night’s Dream is entering the Paris Opera Ballet’s repertoire. The sets and costumes for this production have been designed by another magician of the stage, Christian Lacroix.&nbsp;&nbsp; Les Étoiles, les Premiers Danseurs et le Corps de Ballet, avec la participation des élèves de l’École de Danse Orchestre et Chœurs de l’Opéra national de ParisA co-production of Opéra national de Paris and Telmondis With the participation of France Télévisions, NHK With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts And with the support of the Centre national du cinéma et de l'image animée. Director: Vincent Bataillon© Opéra national de Paris - Telmondis - 2017

Titania: Queen of the Fairies Oberon: King of the Fairies Hermia: In love with Lysander Lysander: Beloved of Hermia Helena: In love with Demetrius Demetrius: Suitor to Hermia Hippolyta: Queen of the Amazons Theseus: Duke of Athens Bottom A weaver   Puck The first Butterfly Divertissement’s Principals

Le songe d'une nuit d'été

A Midsummer Night's Dream

Numerous choreographers have delved into Shakespeare to find dramatic material for their ballets, beginning with Jean-Georges Noverre, an ardent defender of the “action ballet” and Marius Petipa, who was the first to use Mendelssohn’s stage music. Ge

George Balanchine

Inspired by the character of Siddharta, Angelin Preljocaj offered in 2010 a new creation to the Paris Opera Ballet. The choreographer revisits the legend of this prince who became the 'enlightened one', or the Buddha, making a personal and free version, exploring the character's path to asceticism and sacrifice in his quest for truth. Beyond a simple tale, Preljocaj unveils the torments and the mysteries of this long inner path towards light, full of obstacles and doubts. For his fourth creation for the Paris Opera Ballet, Angelin Preljocaj has gathered an incredible team of artists: Bruno Mantovani, author of a long symphonic poem, Eric Reinhardt for the libretto, visual artist Claude Lévêque, and finally Dominique Bruguière and Olivier Bériot for the lighting and costumes. Les Étoiles, les Premières Danseuses, les Premiers Danseurs et le Corps de Ballet de l’Opéra Orchestre de l’Opéra national de Paris.Coproduction Opéra national de Paris, LGM, MEZZO With the participation of France Télévisions and the support of the Centre National de la Cinématographie Director: Denis Caiozzi© SIDDHARTA (2010) &nbsp;Visuel © Ann Ray / OnP&nbsp; &nbsp;&nbsp;

Siddharta

Inspired by the character of Siddharta, Angelin Preljocaj offered in 2010 a new creation to the Paris Opera Ballet. The choreographer revisits the legend of this prince who became the 'enlightened one', or the Buddha, making a personal and free versi

Angelin Preljocaj

Drawing on ancient Slavic and Norse mythology where destiny is often born out of the mysterious forces of nature, Swan Lake has become a legend in its own right. Tchaikovsky’s first ballet score is imbued with a deep sense of nostalgia, echoing the composer’s own experience of love as elusive as it was impossible. However the work remained misunderstood until 1895 when Marius Petipa undertook his own choreographic interpretation. With the help of Lev Ivanov, Petipa created majestic figures for the female corps de ballet and breathed life into the swan‑dancer. In Rudolf Nureyev’s “Freudian” version, conceived for the Paris Opera Ballet in 1984, Prince Siegfried, manipulated by the evil Rothbart, shuns the realities of power and marriage to take refuge in dreams where a magic lake symbolizing idealised love appears to him. Nureyev elevated the role of the prince to that of the heroine by giving him a deeper psychological dimension whilst opting to give this masterly action ballet a tragic denouement more in tune with its musical substance. Les Etoiles, les Premiers Danseurs et le Corps de Ballet Orchestre de l’Opéra national de ParisA co-production of the Paris National Opera and François Roussillon et Associés with the participation of Medici.tv / MUSEEC, the support of the Orange Foundation, patron of the Paris National Opera's audiovisual broadcasts, and with the assistance of the Centre National du Cinéma et de l'image animée. Director: François Roussillon© Opéra national de Paris - François Roussillon et Associés - 2016Visuel ©Loboff / OnP

Siegfried: Young prince in love with Odette, he swears fidelity to her and seeks to save her from her curse. Unfortunately he is deceived by Rothbart and Odile. Odette: Young princess transformed into a swan by Rothbart, only eternal love can free her. Odile: Rothbart’s daughter, she takes the appearance of Odette to trick Siegfried. Rothbart: A huge bird of prey, he transforms young women into swans and prevents Siegfried and Odette’s union. Wolfgang: The Prince’s tutor, he mysteriously disappears when Rothbart appears.

20161201-LAC-Loboff-06

Le Lac des cygnes

Swan Lake

Bastille salle

Performance at the Bastille Opera, from 10 December 2022 to 01 January 2023

Drawing on ancient Slavic and Norse mythology where destiny is often born out of the mysterious forces of nature, Swan Lake has become a legend in its own right. Tchaikovsky’s first ballet score is imbued with a deep sense of nostalgia, echoing the c

Rudolf Nureyev

Four contemporary choreographers come together for a programme that leads the Opera’s dancers to a new form of modernity where bodies vibrate with intensity. To open the evening, James Thierrée takes over the public areas of the Palais Garnier and introduces us to his dream-like world. Canada’s Crystal Pite returns with The Seasons’ Canon, a dazzling creation that thrilled audiences at the Palais Garnier last season. Spain’s Iván Pérez occupies the stage of the Opera for the first time with a creation for ten male dancers. To conclude the evening, Israel’s Hofesh Shechter, often lauded for his telluric, trance-evoking dances, offers a new version of his piece The Art of Not Looking Back.

Les Étoiles, les Premiers Danseurs et le Corps de Ballet

A co-production of the Paris Opera, BEL AIR MEDIA and ARTE France With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre national du cinéma et de l'image animée Directors: Cédric Klapisch, Miguel Octave



© Opéra national de Paris – Bel Air Media / France 2018Visuel ©Agathe Poupeney / OnP

Soirée Thierrée / Shechter / Pérez / Pite

Four contemporary choreographers come together for a programme that leads the Opera’s dancers to a new form of modernity where bodies vibrate with intensity. To open the evening, James Thierrée takes over the public areas of the Palais Garnier and in

Thierrée / Shechter / Pérez / Pite

Thierrée / Shechter / Pérez / Pite Evening

"I like creating worlds that have never been seen before." - Alexander Ekman A sparkling personality on the contemporary dance scene, Swedish choreographer Alexander Ekman has been invited for the first time to work with the dancers of the Paris Opera Ballet. Trained at the Swedish Royal Ballet, he danced with the Nederlands Dans Theater and the Ballet Cullberg before turning to choreography. His language, both visceral and tinged with humour, combines theatricality and classical and contemporary vocabulary alike. Best known for the spectacular quality of his pieces with their dreamlike imagery, he fills the stage of the Palais Garnier with metallic structures, dancers suspended in space, elevations… A surprising production carried along by enticing rhythms and communicative energy.Les Étoiles, les Premiers Danseurs et le Corps de Ballet Voice of Alan Watts from recordings on the Tao of Philosophy courtesy of alanwatts.orgA production of the Paris Opera, Bel Airt Média and SVT With the participation of France Télévisions and the support of the Centre national du cinéma et de l'image animée Director: Tommy Pascal © OPÉRA NATIONAL DE PARIS - BEL AIR MEDIA - SVT – 2018 Visuel : © Ann Ray / OnP

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"I like creating worlds that have never been seen before." - Alexander EkmanA sparkling personality on the contemporary dance scene, Swedish choreographer Alexander Ekman has been invited for the first time to work with the dancers of the Paris Opera

Alexander Ekman

Ballet in one prologue and three acts based on Alexandre Dumas fils’s novel&nbsp;&nbsp; Inspired by Alexandre Dumas Jr.’s novel, John Neumeier extracted the romantic essence of the story to deliver the tragic intimacy of its heroine, Marguerite Gautier. He paints characters of intense psychological depths and gives a body to the emotions of the famous courtesan. Throughout sumptuous ball scenes and sublime pas de deux the choreographer intertwines memories with dreams and connects Marguerite and Armand’s fate to the one of Manon Lescaut and the Chevalier des Grieux. Chopin’s score instils its own interiority into the ballet, while the costumes and decors designed by Jürgen Rose inhale the scent of a past era. Les Étoiles, les Premiers Danseurs et le Corps de Ballet Orchestre de l’Opéra national de ParisA Paris Opera and LGM coproduction with the support of France 3 and the Centre National de la Cinématographie. Director: Thomas Grimm© OPERA NATIONAL DE PARIS – LGM 2008Visuel © Svetlana Loboff / OnP&nbsp;&nbsp;

La Dame aux camélias

Ballet in one prologue and three acts based on Alexandre Dumas fils’s novel&nbsp;&nbsp;Inspired by Alexandre Dumas Jr.’s novel, John Neumeier extracted the romantic essence of the story to deliver the tragic intimacy of its heroine, Marguerite Gautie

John Neumeier

A legendary and fantastical Persia becomes the backdrop of the thwarted love triangle uniting the hunter Djémil, the beautiful Nouredda - engaged to the Khan- and Naïla, the water sprite. In his first creation for the Paris Opera Ballet, Etoile dancer Jean-Guillaume Bart revived an almost-forgotten ballet of the repertoire, originally premiered in 1866 at the Paris Opera. In a close collaboration with playwright Clément Hervieu-Léger, Jean-Guillaume Bart gave back to La Source its original freshness. He created a wonderful danced tale, poetic and virtuosic, enhanced by Christian Lacroix’s flamboyant costumes and Eric Ruf’s evocative stage set. Les Etoiles, Les Premiers Danseurs et le Corps de Ballet de l’Opéra national de Paris Orchestre de l’Opéra national de Paris A co-production of the Paris National Opera - François Roussillon et Associés - 2011 With the participation of France Télévisions, the support of the CNC and the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts. Director: François Roussillon Visuel ©Anne Deniau / OnP

La Source 

A legendary and fantastical Persia becomes the backdrop of the thwarted love triangle uniting the hunter Djémil, the beautiful Nouredda - engaged to the Khan- and Naïla, the water sprite. In his first creation for the Paris Opera Ballet, Etoile dance

Jean-Guillaume Bart

Both similar and different, two French composers and two choreographers of the New York City Ballet – Georges Balanchine who founded it and Benjamin Millepied who was trained there- are the heart of this evening. Georges Balanchine set his first creation for the Paris Opera Ballet in 1947 to an early work by Bizet, Le Palais de cristal, as a tribute to the company and the French ballet tradition. A refine work intrinsically connected to music, this piece is a model of academic virtuosity, unfolding in the wonderful case designed by an artist of colours and lights, Christian Lacroix. With Daphnis and Chloe, Benjamin Millepied offered his third creation to the Paris Opera Ballet, reviving the myth with the help of his friend Daniel Buren. Inspired by Balanchine, the choreographer drew his inspiration on the rhythms and colours of a “chorographical symphony” by Ravel for orchestra and chorus. These masterpieces of French music are conducted by Philippe Jordan who accompanies, for the first time, the dancers of the Paris Opera Ballet.Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra national de Paris Orchestre et Choeurs de l’Opéra national de Paris A co-production of the Paris Opera, Telmondis and Mezzo With the participation of France Télévisions - With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts and with the assistance of the Centre national du cinéma et de l'image animée Director: François Goetghebeur© OPÉRA NATIONAL DE PARIS – TELMONDIS - MEZZO - 2014Visuel ©Agathe Poupeney / OnP

Daphnis et Chloé - 17

George Balanchine / Benjamin Millepied Evening

Both similar and different, two French composers and two choreographers of the New York City Ballet – Georges Balanchine who founded it and Benjamin Millepied who was trained there- are the heart of this evening. Georges Balanchine set his first crea

George Balanchine, Benjamin Millepied

A comic yet tragic universal figure lost in his own world and out of place in the world of his contemporaries, ridiculous yet imposing, admirable yet pitiful, Don Quixote knows neither deceitfulness, abnegation, nor betrayal. The loss of his ideals and the surrender of principles: this was the death of Don Quixote. From the 17th century onwards, the character has inspired numerous avatars, not just literary ones, but in the fields of music and dance too. Their authors only had to draw from the abundance of episodes in the Cervantes novel—a veritable catalogue of adventures and anecdotes—which never fails to provide subject matter for artists short on inspiration. During the 19th century, all of Spain became a source of artistic creativity, almost to the point of cliché. Harsh, noble or picturesque, the work offers the best of itself through Mérimée’s pen, Bizet’s baton or Edouard Manet’s brush. With Marius Petipa, it gave rise to several ballets, including the famous Don Quixote. In Moscow and then Saint Petersburg, it was the same resounding success in successive adaptations by Petipa himself or by Alexander Gorski. The episode from the novel retained by the choreographer, the wedding of Kitri and Basil, paints the happiest aspect of the story. The shimmering colours and the character dances, together with the whirlwind of gypsies and beautiful Andalusian girls, were a huge success with audiences, won over as much by the new choreographic style as by the Iberian exoticism. In the following century, a young dancer by the name of Rudolf Nureyev would himself triumph in the very ballet that made the the Russian School famous. His memories of the work would accompany him to France where he revived it. In 1966, Nureyev staged his version of Don Quixote for the vienna Opera Ballet, before revising it for its entry into the repertoire of the Paris Opera in 1981. Since then, the Knight of the sad face has never really left the stage of the Opera. Presented since 2002 with new sets and costumes inspired by the paintings of Goya, each of its appearances enjoys the same endlessly renewed triumph. Les Etoiles, les Premiers Danseurs et le Corps de Ballet Orchestre de l’Opéra national de ParisA co-production of Opéra de Paris Production, ARTE France and François Roussillon et Associés with the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the assistance of the Centre National du Cinéma et de l'Image Animée. Director: François Roussillon© 2012 – OPERA DE PARIS PRODUCTION – ARTE France – FRANCOIS ROUSSILLON ET ASSOCIESVisuel ©Julien Benhamou / OnP

Kitri: Lorenzo’s daughter, in love with Basilio but betrothed to Gamache Basilio: Penniless barber, in love with Kitri Don Quixote: Knight errant who sets out to conquer the world Camacho: Rich peasant, betrothed to Kitri Lorenzo: Innkeeper, Kitri’s father Sancho Panza: Don Quichotte’s loyal squire The Queen of the Dryads: Nymph and guardian of the forests

Don Quichotte

A comic yet tragic universal figure lost in his own world and out of place in the world of his contemporaries, ridiculous yet imposing, admirable yet pitiful, Don Quixote knows neither deceitfulness, abnegation, nor betrayal. The loss of his ideals a

Rudolf Noureev

Inspired by L’Abbé Prévost’s legendary heroes, Kenneth MacMillan expresses his fascination for lost characters and dramatic subjects. The choreographer stays faithful to the novel’s plot and reconstructs the tragic story of the sensual yet naïve creature who is more victim than demiurge of her own fate. In Regency Paris, bourgeois society gorges itself on luxury and easy pleasures. Swept by this swirl, Manon can’t resist the temptations, dragging down with her her faithful lover Des Grieux. The choreographer structures his ballet on a mosaic of extracts by Massenet, choosing a music that brings drama, freshness and romance necessary to this great dance fresco. The crowd and ball scenes are followed by intimate, lively pas de deux, right up to the ballet’s sublime and tragic end. This recording was made during the farewell to the stage of the Dancer Etoile Aurélie Dupont. Avec les Etoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra national de Paris Orchestre de l'Opéra national de ParisA co-production of the Paris Opera, La Belle Télé and Mezzo With the participation of France Télévisions and the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre National du Cinéma et de l'image animée Director: Cédric Klapisch Co-director: Miguel Octave© Opéra national de Paris – La Belle Télé – Mezzo - 2015Visuel ©Anne Deniau / OnP

2014-15-MANON-251  (Dupont & Bollé) (c)Julien Benhamou-OnP

L'Histoire de Manon

Palais-Garnier-1--c--Jean-pierre-Delagarde--Opera-national-de-paris

Performance at the Palais Garnier, from 19 June to 15 July 2023

Inspired by L’Abbé Prévost’s legendary heroes, Kenneth MacMillan expresses his fascination for lost characters and dramatic subjects. The choreographer stays faithful to the novel’s plot and reconstructs the tragic story of the sensual yet naïve crea

Kenneth MacMillan

Ballet in two acts The ultimate romantic ballet, Giselle marked the apogee of a new aesthetic that saw diaphanous tutus, white gauze, tulle and tarlatan take over the stage. The Willis bring the illusion of immateriality to this ghostly transfiguration of a tragedy. First performed at the Académie royale de Musique on June 28, 1841, the ballet travelled to Russia, then temporarily disappeared from the repertoire before finally returning to France in 1910. Today’s version by Patrice Bart and Eugene Polyakov – which closely follows Jean Coralli and Jules Perrot’s original choreography – continues to reaffirm the ballet’s early success. Bright, earthly scenes and spectral, nocturnal visions: dance becomes the language of the soul and the ballerina’s ethereal presence seems to defy gravity. Les Étoiles, les Premiers Danseurs et le Corps de Ballet Orchestre PasdeloupUne coproduction Opéra national de Paris, François Roussillon et Associés With the participation of France Télévisions and TF1, the support of the Orange Foundation, patron of the audiovisual retransmissions of the Opéra National de Paris and the Centre National du Cinéma et de l'Image Animée. Director: François Roussillon© Opéra national de Paris – François Roussillon et Associés -2020Visuel ©Svetlana Loboff / OnP&nbsp;&nbsp;

Giselle: A young peasant girl. She falls in love with Loys, who turns out to be Duke Albrecht. Consumed by madness, she dies of a broken heart at the end of Act I. Albrecht: Duke of Silesia. Already betrothed to Princess Bathilde, he seduces Giselle during the harvest season. Myrtha: Queen of the Wilis, spirits of young maidens who have died before their wedding day. At night, they lure men into a deadly dance. Hilarion: The village gamekeeper who is in love with Giselle. He reveals Albrecht’s true identity then dies, punished by the Wilis.

Giselle

Ballet in two actsThe ultimate romantic ballet, Giselle marked the apogee of a new aesthetic that saw diaphanous tutus, white gauze, tulle and tarlatan take over the stage. The Willis bring the illusion of immateriality to this ghostly transfiguratio

Jean Coralli, Jules Perrot

Numerous choreographers have delved into Shakespeare to find dramatic material for their ballets, beginning with Jean-Georges Noverre, an ardent defender of the “action ballet” and Marius Petipa, who was the first to use Mendelssohn’s stage music. George Balanchine, who also loved the score, would prove no exception. In 1962 he created his version of Shakespeare’s comedy for New York City Ballet. Faithful to the Bard’s vocabulary whilst adding a subtle touch of pantomime, he portrays a complex love story in two acts and six scenes. Theseus, Duke of Athens, and Hippolyta, queen of the Amazons, become caught up in a domestic quarrel between the king of the elves and the queen of the fairies which results in the intervention of the mischievous Puck and his magic potion along with a troupe of amateur actors. The denouement is celebrated in the form of a grand virtuoso entertainment. One of George Balanchine’s rare narrative ballets, A Midsummer Night’s Dream is entering the Paris Opera Ballet’s repertoire. The sets and costumes for this production have been designed by another magician of the stage, Christian Lacroix. Les Etoiles, Les Premiers Danseurs et le Corps de Ballet de l’Opéra national de Paris Orchestre de l’Opéra national de Paris Une production de l’Opéra national de Paris Director: Isabelle Julien © Opéra national de Paris - 2020 Visuel © Little Shao / OnP

Solor: A noble and valiant warrior from the Indian kingdom of Golconda. He is in love with Nikiya. Nikiya: Temple dancer and guardian of the Temple’s sacred fire. She is in love with Solor. The High Brahmin: High priest of the temple. He is secretly in love with Nikiya. The Rajah of Golconda: Monarch of the kingdom, father of Gamzatti. He wants her to marry Solor. Gamzatti: The daughter of the Rajah of Golconda and Solor’s fiancée. The Kshatriyas: Friends of Solor and members of the caste holding temporal power. The Slave: Dances with Nikiya at the betrothal of Gamzatti and Solor. Aiya: Gamzatti’s servant. The Golden Idol: Incarnation evoking the god Shiva, holding the position of the lotus flower. The Shades: The ghosts of dead bayadères.

Live Bayadere

La Bayadère

Created in 2004 by Trisha Brown, an emblematic figure of New-York avant-garde, O złozony / O composite was a milestone in the “Postmodern Dance” era at the Paris Opera, a major step for both the performers and the choreographer who intensely questioned theatrical conventions. “The body is the place where any dream can come true”: in this piece, Trisha Brown explores an experimental work where poetry is put in motion and dance is weaved and intertwined along the verses of poets Czeslaw Milosz and Edna St. Vincent Millay. Working in cycles, she unveils here an attempt to combine classical and postmodern dance languages, echoed by Laurie Anderson’s music that embellishes the Polish sonorities of the text, and danced under a sky full of stars designed by Vija Celmins.A co-production of Opéra de Paris production and Souffleurs de vert With the support of the Centre national du cinéma et de l'image animée, the participation of France Télévisions, the support of the American Friends of the Paris Opera & Ballet and the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts Director: François Goetghebeur(c) - 2013 - OPERA DE PARIS PRODUCTION– SOUFFLEURS DE VERT

O złozony / O composite 

Created in 2004 by Trisha Brown, an emblematic figure of New-York avant-garde, O złozony / O composite was a milestone in the “Postmodern Dance” era at the Paris Opera, a major step for both the performers and the choreographer who intensely question

Trisha Brown

Run by Élisabeth Platel, the Paris Opera Ballet School presents its movie “Pas d’école”. With this video featuring the 2020-21 Season School Demonstrations filmed inside the school and without audience due to the sanitary crisis, the spectators will discover the daily training of the students s well as the different classical ballet steps. Thanks to their teachers’ help and corrections, the students are taught how to refine their technique and give life to a dance repertoire as they rehearse, to live piano accompaniment, various sequences from the works of the Paris Opera Ballet. Filmed inside of the Paris Opera Ballet School in December 2020 Avec : La Directrice de l’École de Danse : Élisabeth Platel Les élèves de l’École de Danse de l’Opéra national de Paris The teachers of the Paris Opera Dance School : Carole Arbo, Roxana Barbacaru, Marie Blaise, Marc du Bouaÿs de Couësbouc, Fabienne Cerutti, Jessica Choppe, Véronique Doisneau, Christophe Duquenne, Iris Florentiny, Fanny Gaida, Muriel Hallé, Karl Paquette, Yasmine Piletta, Scott Alan Prouty, Marie-Josée Redont, Wilfried Romoli, Yann Saïz, Géraldine Wiart The conductor of the song : Laurent Choukroun The pianists accompanying the dance classes: Ellina Akimova, Antoine Bouchaud, Philippe Cavagnat, Claire Djourado, Craig Edwards, Matthieu Lecoq, Gaëlle Sadaune, Masako Shimura, Yuko Tsuchiya, Isabelle Van Brabant, Valeria VitaternaA BEL AIR MEDIA and Opéra national de Paris coproduction With the participation of France Télévisions and the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and of the Centre national du cinéma et de l'image animée. Director: Miguel Octave© OPÉRA NATIONAL DE PARIS - BEL AIR MEDIA – 2021Visuel ©Svetlana Loboff / OnP

Démonstrations de l’école de danse en dvd - 51

Pas d'École

Run by Élisabeth Platel, the Paris Opera Ballet School presents its movie “Pas d’école”. With this video featuring the  2020-21 Season School Demonstrations filmed inside the school and without audience due to the sanitary crisis, the spectators will

Démonstrations

Long reputed difficult – if not impossible- to dance, Gustav Mahler’s music has inspired many artists since the 1960s. Kenneth MacMillan, Maurice Béjart, Pina Bausch, Jirˇí Kylián and Maguy Marin have successfully tackled this challenge. But one name will undoubtedly remain attached to the musician’s: John Neumeier, who explored about ten of Mahler’s works. Created in 1975 in Hamburg, Gustav Mahler’s Symphony No. 3 entered the Paris Opera’s repertoire in 2009. What seems today obvious was, back then, perceived as an audacious, even bold choice, a crazy and disturbing ambition: few were the choreographers, apart from Maurice Béjart with the Symphony No. 9, who dared to create a choreography on symphonic music. And choosing Mahler’s work, considered to be even harder to apprehend than Beethoven’s, could imply an unusual attraction for complexity. But the result belied the ominous critics, and Gustav Mahler’s Symphony No. 3 was an immediate (and lasting) success. Avec les Etoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra national de Paris Orchestre et Choeurs de l’Opéra national de Paris Maîtrise des Hauts-de-Seine / Chœur d’enfants de l’Opéra national de ParisA co-production Paris Opera Production CLC Productions With the participation of France Télévisions, the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the assistance of the Centre National du Cinéma et de l'image animée Director: Thomas Grimm© Opéra de Paris Production - CLC Productions 2013&nbsp;Visuel ©Christian Leiber / OnP

La Troisième Symphonie de Gustav Mahler

La Troisième Symphonie De Gustav Mahler

Long reputed difficult – if not impossible- to dance, Gustav Mahler’s music has inspired many artists since the 1960s. Kenneth MacMillan, Maurice Béjart, Pina Bausch, Jirˇí Kylián and Maguy Marin have successfully tackled this challenge. But one name

This triptych spans ten years of creation (from 1986 to 1995) and bears witness to Anne Teresa De Keersmaeker’s remarkable dialogues with the great scores of classical music. The term “dialogue” is undoubtedly too tame to describe this almost physical confrontation between two arts. De Keersmaeker addresses music using all the nuances of passion: need, defiance, oneupmanship… The key notion is polyphony. The irresistible energy that sets free these fluid, nervous bodies – at times openly insolent, at others exhausted as if conquered by the musics – is essentially that of “dizzying counterpoint”. Additional voices continually emerge; new connections or unexpected combinations multiplying the curves of a spiral of movements in which the audience joyfully loses all sense of direction. De Keersmaeker's work on Bartók’s Quartet N°4 displays her initial style: a combination of short motifs, danced with dry humour by a quartet of adolescent girls. The virtuoso choreography to Beethoven’s Die Grosse Fuge, which this time is highly masculine and based on a falling motif, allows us to appreciate the development of the choreographer’s compositional technique. The third section, Verklärte Nacht (Transfigured Night), dedicated to the young Schönberg, finally reveals her most intimate side: the evening ends in heartrending abandon, with the almost narrative evocation of a couple transfigured by the gift of love –, portrayed in dance suffused with a passion for music. Sharing the same musical intensity, these three ballets form a poetic and mysterious ensemble. A co-production of Idéale Audience, Opéra national de Paris and ARTE France With the participation of Mezzo and the ERR, with the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre national de la cinématographie et de l'image animée. Director: Louise Narboni
 © OPERA NATIONAL DE PARIS – ARTE France - IDEALE AUDIENCE - 2015 Visuel ©Agathe Poupeney / OnP

Anne Teresa De Keersmaeker

This triptych spans ten years of creation (from 1986 to 1995) and bears witness to Anne Teresa De Keersmaeker’s remarkable dialogues with the great scores of classical music. The term “dialogue” is undoubtedly too tame to describe this almost physica