posted on: October 19, 2020
L'histoire de Manon, generally referred to as Manon, is a ballet choreographed by Kenneth MacMillan to music by Jules Massenet and based on the 1731 novel Manon Lescaut by Abbé Prévost. Elle l'est. Upon reflection, Dupont’s interpretation becomes more and more interesting. Manon is quite the center of attention and Guillot begins to flirt with her. (prévoir header particulier si oui) : Oui. These casts fielded three excellent Lescauts. First performed in 1974 and celebrating its 40th anniversary, this production is the second in this year’s season following The Royal Ballet’s. L’Histoire de Manon | Ballet de l’Opéra de Paris. When Dupont performed, I kept thinking about how Manon backs away from all the male characters in rapid sets of bourrées – she even moves away from Des Grieux – as though on some level she doesn’t consent or doesn’t want to be touched. The long opening shot which has the camera travelling from the typical straight Parisian boulevards towards and into the Palais Garnier, up the monumental staircase, across the plush auditorium and stage, and finally into the gorgeous "Foyer de la danse" where Dupont is seen rehearsing, has to be one of the most exciting intros to a ballet performance ever put on film. Forgive me while I drop into full ballet speak: Standing in an open tendu derrière, her torso pointing away from Des Grieux and her toes reaching to him, she slowly revolved back to him, resting for a moment in tendu devant before deliberately rolling through her front foot and coming into tendu derrière once more. Klapisch included a short bit of the curtain calls, often more emotional than the ballet itself. Subscribe In Regency Paris, bourgeois society gorges itself on luxury and easy pleasures. Il fallait une grande œuvre. >> Complete list of DanceTabs Contributors and more info. Last-minute changes meant I missed both Agnes Létestu and Ludmila Pagliero as Manon (neither of them ended up performing the role at all, I believe). Jérémie Bélingard was the wildest, a man who plays hard and doesn’t care about the results, and the most reckless, in characterization and in the wildness of his steps. Kenneth MacMillan's acclaimed tragic ballet is a modern masterpiece. Had Manon stayed with him, how different her life could have been. With her fine technique and strong stage presence, she has the potential to be a wonderful Manon herself, I think. In act two, when that other life appeared gone, she became cold and hard in her black dress, glittering like Odile. The Paris Opera Ballet, rich in historical tradition, stages some 180 performances per season in Paris, the French regions and abroad. 25 April, 3 and 5 May 2012 When Ciaravola performed the role, this step became more of a coquettish trick – as though she were saying, “Can you catch me?” – as well as an indication of hesitation or doubt. Torn between love and the comforts of money, Manon’s indecisiveness leads her across the globe to her ultimate ruin. It certainly took my breath away. However, I’m very satisfied with the performances I saw: one by Aurélie Dupont/Josua Hoffalt and two by Isabelle Ciaravola/Mathieu Ganio. Klapisch's 2009 documentary on the ballerina ("Aurélie Dupont danse l'espace d'un instant"), re-screened with the French TV broadcast of her farewell, would have been the ideal bonus for this release. She seduced because she had to, not because she wanted to. The next time I saw Ciaravola, I looked forward to this moment, but the clarity and deliberation I had found so moving the first time were missing from the step. Manon, de Jules Massenet (1884), es un verdadero paradigma del ballet francesa, se basa en L’histoire du chevalier des Grieux et de Manon Lescaut del abbé Prévost (Amsterdam, 1731) y es una de las más fieles al original entre las existentes del mismo tema. In contrast, Ciaravola’s Manon (especially in the first of the two portrayals I caught) was a coquette. Her act two dance with all the gentlemen callers almost evoked a perverse Rose Adagio, an uneven grouping in which each man hoped to hold on to her. However, as act two went on, Saïz’ interpretation of Lescaut as a weak man made increasing sense. Paris Opera Ballet Manon (L’histoire de Manon) Paris, Palais Garnier 25 April, 3 and 5 May 2012 www.operadeparis.fr. Overall, her Manon seemed almost empty, like a vessel for people to put eroticism into or to act upon. In act one, do you watch Lescaut’s mistress perform and reveal her wares, or do you watch Manon, sitting on a chair upstage, taking in all the action for the first time too? Composed by Jules Massenet. Kenneth MacMillan constructs his three‐act ballet, L'Histoire de Manon, on a mosaic of extracts from Massenet, finding in the music the drama and romanticism necessary for this grand fresco in dance. All three jailors – Vincent Cordier, Mathieu Botto, and Aurélien Houette – were excellent, foreboding, and terrible. Hoffalt’s Des Grieux seemed more innocent and naïve, not sure what he should or could do to hold on to this woman he’d encountered. While Alice Renavand, Muriel Zusperreguy, and Nolwenn Daniel all tackled the role of Lescaut’s Mistress with gusto and energy, I found Daniel the most memorable of the three: coquettish, appealing, hard to ignore. Each seemed as though he could crush his Manon. Benjamin Bernheim reste le grand vainqueur de la soirée. Here’s hoping Manon shows up again in the POB’s repertoire, and soon. Over the years it has played host to many of the world’s greatest choreographers: George Balanchine, Serge Lifar, Rudolf Nureyev, Roland Petit, Maurice Béjart, and of course Pina Bausch. France Musique, The American Friends of the Paris Opera & Ballet, Visit the Palais Garnier and the Opera Bastille. Manon a fait l’objet d’une captation réalisée par François-René Martin, coproduite par l’Opéra national de Paris et Telmondis, avec la participation de France Télévisions et de Medici.tv, le soutien du CNC et de la Fondation Orange, mécène des retransmissions audiovisuelles de l’Opéra national de Paris. She is escorted by her cousin Lescaut. Orchestre et Choeurs de l’Opéra national de Paris, (29 Feb., 4, 10, 17, 25, 31 March, 3, 7, 10 April. He gave such a smooth rendering of the act one solo, showing off his liquid lines, that it was easy to see why Manon falls for him. A couple of older films of the Royal Ballet in Manon are still available on DVD, yet a recording of the Paris version is welcome. Yann Saïz started out as the weakest – this is not to say that his dancing was weak but that his Lescaut was. (Kudos to the quick-thinking Monin, whose Monsieur GM stepped carefully on a trailing piece of tulle during the act one pas de trois and averted a further costuming mishap while remaining in courtly character.) But overall this is a magnificent performance with a ballerina at the height of her art. Sorry, your blog cannot share posts by email. The exception – the act one bedroom pas de deux with Des Grieux – was short-lived. Two wealthy Parisians, Guillot and De Brétigny, are at an inn near Paris. The natural elegance and sophisticated manner of both dancers upgrades the ill-fated characters in MacMillan's graphic interpretation of Abbé Prévost's novel considerably, especially in the last Act where they are somewhat less convincing. A charming girl, Manon, arrives on her way to enter a convent. L'Histoire de Manon était un ballet de circonstance pour MacMillan, qui se devait de réussir cette commande, alors qu'il était injustement décrié par la direction de Covent Garden et la critique londonienne. When Hoffalt performed, I wondered why he let Lescaut grab him and force the coins into his hand at the end of act one; why he didn’t run after Manon right away in act three, when the jailer’s minions snag her. As ballet fans know, Aurélie Dupont's farewell was far from the end of her career at the Paris Opera. She went from beautiful tendu to beautiful tendu, but this time faster, with less precision – almost as if she were in a hurry to return to her Des Grieux. There are some moments where the camera seems to love Dupont a bit too much at the expense of other dancers (the evening was broadcast live in European movie theaters), but generally this is a highly recommendable ballet film. Whether you’re a member of Arop or not, the friends of the Opera can reserve seats for you on all performance dates, including those not yet open for sale and those announced as sold out. She is escorted by her cousin Lescaut. © 1995-2020 Classical NetUse of text, images, or any other copyrightable material contained in these pages, without the written permission of the copyright holder,except as specified in the Copyright Notice, is strictly prohibited. The ballet was first performed by The Royal Ballet in London in 1974 with Antoinette Sibley and Anthony Dowell in the leading roles. Perhaps the single most beautiful moment in all the performances came from the smallest of steps Ciaravola executed during the act one bedroom pas de deux. Kenneth MacMillan's acclaimed tragic ballet is a modern masterpiece. Subscribe Her shoulders shimmied from the start; she walked flirtatiously and was immediately intrigued by the whores’ lifestyle. Carried off in this whirlwind, the sensual yet naïve Manon is unable to resist temptation and she drags down the faithful Des Grieux with her in her fall. Ganio made you understand too, in a different way: this Des Grieux is so caught up in love he loses sight of his better judgment. Aurélie Dupont danced Kenneth MacMillan's ballet L'Histoire de Manon for her final show. Here, it seemed, was the happiness she could have had. What better farewell is there than to appear one last time in an emotionally-charged role like Manon, offering passionate pas de deux and guaranteed to knock out the audience with an utterly poignant death of the heroine in the final scene? It continues to be performed and recognised internationally. Thank you.
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