Archives de Tag: Tournée NYC 2012

Le Ballet de l’Opéra à New York : Le temps du bilan 1/2

La tournée aux États-Unis, et particulièrement à New York; nous a intéressé plus qu’une autre car l’une d’entre nous était aux premières loges (si l’on peut dire car il n’y a pas de loge à l’ancien State Theater). Mini Naïla a assisté à quatre soirées et les a relatées en anglais. Nous en faisons un petit bilan accompagné de la traduction de quelques passages pour nos lecteurs non-anglophones.

Le programme Français

Mini Naïla n’était pas particulièrement excitée à l’idée de voir ce programme, en particulier parce qu’elle déteste la musique du Boléro.

Mais elle a eu un coup de cœur pour Suite en blanc :

« De la première à la dernière pose, je suis restée collée à mon siège et j’ai aimé ».

Un ballet comme Suite nécessite beaucoup de solistes ; l’homogénéité ne semblait pas exactement aux rendez-vous mais elle a particulièrement aimé Dorothée Gilbert dans la Flûte, le couple Aurélie Dupont-Benjamin Pech (Adage) et Nolwenn Daniel qui confirme l’excellente impression qu’elle nous a laissée cette saison. Au passage, notre Balletonut remarque une particularité stylistique de la danse française :

«Nolwenn Daniel a donné une qualité légère et pétillante à la « Sérénade » (qui a fini sans doute par être ma partie favorite de la chorégraphie). Elle n’a pas fait des fouettés un tour de force, ils étaient un pas comme un autre pour elle et elle les a intégrés à l’ensemble. Le public ne savait pas trop quoi faire à ce moment précis ; nous sommes tellement habitués à applaudir à la moindre sollicitation qu’au moment où tout le monde a réalisé « hé, des fouettés ! » elle était déjà passée à autre chose. »

Cette spécificité n’a pas nécessairement impressionné la critique américaine.

L’Arlésienne ne restera pas un de ses favoris malgré les qualités du couple central, Isabelle Ciaravola et Jérémie Bélingard. Est-ce le thème du ballet qui est trop obscur ou le ballet lui-même ?

Pour Boléro, Mini Naïla garde ses préventions sur la musique de Ravel mais s’avoue vaincue par la force d’interprétation de Nicolas Le Riche :

« J’ai adoré Nicolas Le Riche qui en un mot était… intense. Ses mouvements étaient tellement puissants qu’il avait presque l’air de se contenir pendant les mouvements tangués puis soudain s’échappait de lui-même et semblait désormais hors de contrôle. »

Notre jeune reporter nous en a avoué « une bien belle » au début de son article sur les Giselle.

Elle n’aimait pas ce ballet et s’était bien gardé de s’en ouvrir à ses collègues. Mais le ballet de l’Opéra s’est chargé de la faire changer d’avis. Ce combat victorieux, c’est surtout le corps de ballet qui l’a remporté :

« L’ensemble était à couper le souffle. Ce qui était encore mieux, c’est que comme je n’étais pas distraite pas tel bras ou telle jambe, j’ai pu me concentrer sur combien ils étaient musicaux et, pour tout dire, obsédants. Leur synchronisation donnait l’illusion d’une forêt emplie de Willis ; car chaque mouvement de chaque danseur était en parfaite harmonie, la scène ne semblait montrer qu’une fraction de spectre. J’aurai pu jurer que ces alignements de fantômes faisaient des kilomètres. Je ne vais pas me remettre de tant de beauté avant très longtemps ».

Dans sa description des interprétations du rôle titre, MN nous a parfois surpris. Dorothée Gilbert a accompli un premier acte assez en accord avec sa personnalité (une scène de la Folie plutôt vériste). Par contre, son second acte correspondait plus au souvenir que nous avions de celui d’Osta : une Giselle vraiment spectrale qui n’a qu’un sens très vague qu’elle est en relation avec son amant parjure. Clairemarie Osta, quant à elle, fut, pour sa soirée d’adieux, une Giselle lucide et terre à terre au premier acte et un spectre farouchement protecteur au deuxième.

Orphée et Eurydice de Pina Bausch

Ce ballet tenait une place toute particulière dans le cœur de Mini Naïla puisque, vu à Paris en 2008, il avait été prémonitoire de son « retour en danse ». A la revoyure, notre Blog trotter n’est pourtant pas aussi enthousiasmée qu’elle l’aurait voulu.

J’ai aimé, vraiment. Néanmoins, je ne pense pas que c’est une pièce que je serai excitée de revoir tous les ans. D’un point de vue émotionnel, c’est lourd et difficile à surmonter. On ne sort absolument pas exalté du théâtre. Oui, la danse était superbe mais personnellement, j’étais trop prise par l’ambiance générale de la pièce pour remarquer la chorégraphie. Le plus frappant étant : y a-t-il dans l’esprit de Bausch une différence entre le deuil et la paix ?

[…] Il était étrange de voir ce « paradis » rempli d’âmes certes apaisées mais également vides ; surtout après avoir vu combien les enfers étaient terribles. Eurydice ne faisait pas exception ; elle reconnait Orphée et prend sa main mais ce n’est pas avant la mi-chemin entre l’au-delà et le monde des mortels qu’elle commence à se sentir concernée. Oh ! mais quand elle se sent concernée… Il y a quelques authentiques et superbes moments de danse.

Marie-Agnès Gillot semble recueillir tous les suffrages, même ceux de notre cousine d’Amérique peu convaincue par sa prestation dans la Cigarette de Lifar :

« Gillot est une distribution parfaite ; avec ses longs membres, elle m’a fait penser à un arachnide, dans le sens positif du terme, vraiment. Ses lignes sont tout simplement interminables et la façon dont elle a interprété les mouvements de Bausch m’ont fait croire que ce rôle avait été chorégraphié pour elle. En un mot, sensationnelle. Si seulement Eurydice dansait davantage. »

Un Bilan ?

La réception du public, à l’image celle de Mini Naïla, semble avoir été chaleureuse. De la première, notre balletonaute dit :

« Les applaudissements pour Suite en blanc étaient OK, mieux que polis mais pas enthousiastes, pour l’Arlésienne, ils étaient chaleureux et après Boléro c’était l’ovation ».

D’autres échos semblent aller dans le même sens :

«les ovations étaient incroyables – Six rappels, je crois. », mentionne une amie de Fenella lors d’une Giselle, tandis qu’une autre parle de petits cris étouffés pendant les représentations.

Le gagnant incontesté semble là encore avoir été le corps de ballet plus que les solistes :

« Nous avons particulièrement aimé le second acte –Le corps de ballet était proprement incroyable ! Je n’avais jamais vu Giselle sur scène mais mon amie Cathy l’a vu de nombreuses fois et pense que ce corps de ballet était extraordinaire et de loin le meilleur qu’elle ait vu dans n’importe quel ballet. »

La réception critique ? Vaste programme. Cela devra être l’objet d’un autre article.

A suivre, donc….

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Esprit de corps

It gladdens my heart that friends in New  York– one still quite new to ballet, the other a veteran of watching modern dance –  have discovered Giselle for the first time with the Paris Opera Ballet.  By definition, that meant that they would discover the work of the corps.

1) “Giselle” was breathtaking[…] the corps de ballet honestly shined the most. Some of their dancing left people around me gasping. Hopping on one flat foot and then going straight up to pointe without losing balance, brava!”

2) “my friend Kathy and I are floating after tonight’s performance of « Giselle » The NYTimes review [MacAuley, you don’t need a link] does not do it justice.  We particularly loved the second act – the corps was absolutely incredible! I had never seen « Giselle » live but Kathy has seen it multiple times and thought this corps was extraordinary and by far the best she has seen in any ballet.  We were not alone as the ovations were incredible – six curtain calls I think.”

The Paris Opera Ballet’s corps knows just how to float, and make the audience float with them. Sometimes one individual will attract your eye –Ciaravola and Gilbert, not too long ago, could hypnotize my binoculars – but never break the spell.

Even so, I had been leery of the POB’s choice to bring Giselle to the States.  That well-known Benois set that wobbles at every knock, those over-fluffy long tutus for the second act…and, good lord, New York gets to see Giselle almost as much as the Nutcracker!  Bo-or-ing.

I should have remembered that I owe my own love of ballet to the corps in, guess what?

My adorable godfather had treated me to my first ballet: Nutcracker, what else?  I hated it so much – only the“Snowflakes” made the evening tolerable — I cried when my parents stuck me two years later into a school that included ballet in the curriculum…While  I worked and worked at all of this painful and unnatural crap I kept thinking “blech, if I’m to end up in Nutcracker, what’s the point in all this?”

Then my glamorous friend Andrea  ( two year’s older! Quite a coup for a skinny and mournful mite) dragged me to see my second ballet ever: Giselle with ABT  (that company which later got lost along the way).

Whenever I find myself ending up with aching and dully-bruised knees – that means often, I’m clumsy — I think of that first Giselle.  I can still remember being both in pain and in heaven the end of that night.  Perched up on seats in the very last row, house right, at City Center – Andrea on the aisle, me one off.  My ears having begun to explode in response to the startlingly fresh yet structured music hammered up to us by the orchestra during the overture, I began to lean so far forward in this last seat up there that I kept repeatedly falling over onto my knees while the sound of the seat I should have sat on continually annoyed those around me by clapping shut.  I clonked down over and over again, despite Andrea hissing at me that I was making a fool of myself during each solo, duet, the mad scene. By Act II, giving up on the seat altogether, I basically remained in my position of prayer once the corps began to cross the stage.  Andrea started leaning forward…

I still get to tease her about her much too subtle fall-off-the-seat technique : when I tell her that once again in Paris I found myself slipping dangerously forward from my top-of-the-house seat during the second act of Giselle.

Therefore, I’ve been deeply concerned by the average two to four-year turnover in the ABT corps for years now.  It shows on stage.  It used to be a company of soloists who weren’t bothered by being part of the group for they knew they had a chance to one day get promoted.  That’s been lost:  you get stars plus background noise, not a family. I love the way Ailey and POB hold on to their dancers.  L’esprit de corps only works if each individual feels valuable. Neumeier does this in Hamburg, London’s Royal Ballet under Monica Mason found that feeling again, and Manuel Legris has started to give his corps in Vienna that same élan.

While, of course, the stars appeal to me, those who all sublimate their egos and urge to take over space in order to create a unified and living work of art for the audience to share with them remain my heros.  The corps? My definition of performance artists.

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Ballet de l’Opéra à New York. Orphée et Eurydice de P. Bausch : Circles

Ballet de l’Opéra en tournée à New York. Lincoln Center Festival, Friday July 20th. Eurydice : Marie-Agnès Gillot; Orphée : Stéphane Bullion; Amour : Muriel Zusperreguy.

It is not possible for me to be unbiased when it comes to Pina Bausch’s Orpheus and Eurydice. I first saw it when I was one of those third year girls. “You know, American college kids. They come over here to take their third year and lap up a little culture… They’re officious and dull. They’re always making profound observations they’ve overheard.” Yeah, guilty on all counts, BUT I did manage to “lap up a little culture” as Jerry Mulligan so dryly notes in An American in Paris. I fell in love with Paris, and more specifically but certainly not exclusively, its ballet. Orpheus and Eurydice was the first time I saw the Paris Opera Ballet, my first opera, and the first time I saw a performance at the Opera Garnier; obviously Orpheus and Eurydice holds a very special place in my heart. Honestly, though, I don’t remember a lot about the ballet itself; at this point I had stopped dancing completely for three years (it would be another two before I was forced back into class kicking and screaming… another reason to love Paris) and hadn’t begun my ballet history education. I hadn’t heard of Pina Bausch; more seriously, I can’t swear to even knowing who George Balanchine was. Yeah, that level of ballet history education. Here’s what I do remember thinking: “This is awesome.” Also, I was so distracted by the beauty of the building that I almost fell down the main staircase on the way out. Well, I’m still that clumsy, but I’d like to think I know a bit more about ballet now than I did four years (seriously?! Four years?!) ago.

So, the verdict from years later? I loved it, really. However, I don’t think this is something that I would get excited about seeing every year. Emotionally, it’s heavy and sometimes hard to get through; you do not come out of that theater uplifted, at all. Yes, the dancing was gorgeous (for the most part, more on that in a moment) but, at least personally, I was way too caught up in in the overall feeling of the piece to notice a lot of choreography. Most strikingly, in Bausch’s mind, is there a difference between mourning and peace? Because that choreography seemed eerily similar. For Bausch, it seemed like peace is more the absence of external stimuli than an emotional state originating from a person. Everyone in the Elysian Fields was a zombie. I could more readily accept that idea in Mourning; that level of grief (for a dead spouse, just for example) can numb you completely and take you out of this world, but peace? The Elysian Fields are where the ‘good’ souls go. Growing up with the idea of Heaven and Hell (paradise vs. eternal torture) it was strange to see a ‘Heaven’ filled with yes, peaceful, but also empty souls, especially after seeing how awful Hades was. Eurydice was no exception to this; she recognized Orpheus and took his hand, but it wasn’t until halfway between the underworld and the mortal world that she started caring. Oh, but when she cared… That was some truly gorgeous dancing.

What I really did love was the idea of circles. We begin with Mourning, moving through violence and peace (both stages in the mourning process) and end with? Death, more mourning. You could almost take the whole ballet as a meditation on the grieving process and even on the life’s cyclical nature. We begin with grief of the deepest nature; in the opera Orpheus literally uses his wife’s name as a cry of pain. We see the Violence (second movement) and anger of losing someone, and in this case, Orpheus’s determination to get them back. Peace, at least for Eurydice, when tragedy is accepted; Orpheus knows no peace until he, too, dies. Is this Bausch’s view of life? True peace only in accepting death? Finally, death, a final one for Eurydice and Orpheus’s first. One part of this movement that I really loved was that it was Orpheus’s singer (since he is a musician, I took this to be his soul) that embraced Eurydice when he’s ready to die while Bullion hunched with his back to the audience. At that point, his body didn’t matter; it was his soul that was still bound to life. Once the soul gave in, the body/dancer was allowed to die. When he did die, the choreography from Mourning was repeated, but by one of the dancers playing Cerebus, suggesting that even the guardian of death was grief stricken. Yes, I loved this ballet, but maybe give me another four years?

Gillot as Eurydice was perfect casting; with her long limbs she reminded me of a spider, but in a good way, the best way really. Her lines simply do not end, and the expression she gave to Bausch’s movement made me believe the ballet had been choreographed just for her. In short, glorious. I wish Eurydice danced more.

Bullion, well… I’ll just say I was unsurprised. What is it about him that fails to inspire? I don’t quite understand it. He did everything tolerably well (wobbly pirouettes but whatever, I can overlook that), but he just felt so blah. This ballet is about the most beautiful musician ever to live who loves his wife so much that he literally goes through Hell to find her and bring her back, only to lose her again. Plus, he does it all wearing beige underwear. There is no part of that description that should make anyone go ‘eh’ and yet, he did! That’s actually kind of perversely impressive.

To make the evening a bit more challenging, The State Theater is not an opera house anymore, which means there were no sub or supertitles. Thank goodness I had a cheat sheet for the plot, because I think I would have been very lost (Everyone in Hades yelling NEIN! was pretty obvious, but my German stops there.) However, as much as I would have loved to know the exact words, not having a translation made me really focus on what was trying to come through in the choreography and how the music was sung. The singer for Orpheus repeating ‘Eurydice’ over and over in the beginning was touching and Eurydice’s singer was as close to an absolute meltdown as you can get while remaining beautiful, and Gluck’s music really is beautiful. I almost like not having the words flashing in front of me as it would have been much harder to simply watch and absorb everything. All in all, a wonderful finale to the summer ballet season here in New York. See you all for NYCB on September 19.

Incredibly appropriately, I’m seeing the Greek trilogy: Apollo, Orpheus and Agon before jetting off for Paris to see the Paris Opera Ballet do… Balanchine. How perfect a circle is that?

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Ballet de l’Opéra à New York. Giselle : This Mortal Coil

« Giselle », Ballet de l’Opéra de Paris en tournée à New York. Soirée du 18 juillet (Gilbert, Hoffalt, Hecquet). Soirée du 19 juillet (Osta, Leriche, Daniel).

Giselle has never been my cup of tea. I know, I’m sorry, please don’t yell at me.  I mean, I understood why so many people are obsessed with it: it’s the epitome of romantic ballet, one of the greatest classics ever, the most challenging role for a ballerina, etc. etc. Fine, whatever. For me, it was boring. The whole ballet felt like the story had to be there as an excuse for dancing, and the second act especially seemed like it had no plot. Consequently, I was bored.   Last night I saw the Paris Opera Ballet’s production for the first time, and that part of my ballet life is over. The Paris Opera’s tour has been the biggest ballet gift I’ve received since moving back to New York; ABT has absolutely exquisite moments every season but something usually seems a bit off. NYCB is fantastic at what it does: Balanchine, Robbins, Wheeldon, etc. but telling stories has never been their thing; even The Nutcracker (as much as I adore it) is really a series of self-contained segments that don’t really connect to an overarching narrative.  Paris Opera Ballet gave me the best of both worlds. They have the technique, that’s never even a question, but they also know how to be in the story, how to make the steps serve the narrative; they know how to make a ballet come alive, even if everyone in it is dead. I’ve said that New York audiences love to applaud when a dancer does something technically brilliant, and that’s true, but every time they did during Giselle it felt superfluous. Like, of course they can hop on their pointes, their pirouettes are perfect and they can balance forever. Who cares? That’s missing the point entirely. I’m not going to write about technique, it’s unnecessary. Instead, let’s focus on how the dancers used it.

First, a word on the corps de ballet. I’m pretty hard on various companies’ corps; for me, soloists and stars simply cannot shine as brightly if the corps is a mess. It’s very distracting if there’s an arm out of place or varied timing and, frankly mistakes like that make the entire company look bad. The Paris Opera Ballet is the reason I feel like it’s not only appropriate, but necessary to insist on proper corps work. Look! This is what you could be! This is what you’re aiming for! They were together and musical, proving that those values do not have to exist in a vacuum! Instead of individual members competing for audience attention by dancing separately, they worked together and as a result the group was breathtaking as a whole. The best part about this is that because I wasn’t distracted by various legs and arms, I could focus on how very musical and, well, haunting they were (sorry, but that’s the right word). Their synchronicity gave the illusion of a forest full of Willis; because every movement of every dancer was in perfect harmony, the stage could only show a tiny fraction of the ghosts. I could almost swear that those lines went on for miles.  I’m not going to get over how truly beautiful this was anytime soon.

My two Giselles were Dorothée Gilbert and Clairemarie Osta (in her final performance). Both dancers were lovely and both are largely responsible for why I now actually enjoy this ballet. They did have slightly different approaches to the character which I’d like to address through their respective ‘mad scenes’ and second acts.

Gilbert, I felt, was the dancer that really showed Giselle losing her mind. She wavered back and forth on her pointe shoes, and instead of letting her hair fall down gracefully, she pulled half of it out of the bun, making her appear deranged. This, for her, was not supposed to be pretty. As she remembered time spent with “Loys,” Gilbert had a smile on her face and eyes that were completely glazed over while her body, almost without her realizing it, reenacted the daisy and the promise.  She ran maniacally through the crowd of villagers, but she wasn’t saying “help me, help me.” Rather, she didn’t seem to realize she was running.  As a Wili, Gilbert made the decision to keep her face completely blank; she kept her eyes glazed over. Mentally, she was dead, she didn’t consciously recognize Albrecht, and yet she knew him. Everything the girl Giselle wanted to say to Albrecht was expressed through the Wili’s movements. She couldn’t really see him or talk to him, but some small glimmer of recognition buried deep down made her protect him.

Osta, by contrast, gave her Giselle more lucidity. In act one she knew exactly what was going on but she didn’t want to believe it. When she remembered Loys’s promise and their morning together, it looked like she was going through everything to reassure herself that it actually happened. “No, I’m not crazy, he said this, he promised me… how is this happening? This can’t be real.” Osta reached out for help as she ran and when she finally got to Albrecht, it was the final realization that he would never be the man she thought (aka Loys) that killed her.  Her act two was the opposite of Gilbert’s but just as gorgeous. Her Giselle knew Albrecht; she actively wanted to protect him, but she was incorporeal and could not physically do as much as she wanted to. Physically, she was more ghostly, though her soul and mind were completely intact. She seemed to fight, to try to push beyond what she had become and break back into the mortal world in order to save Albrecht. Her interpretation made me doubt at times that Albrecht could see her; he sensed her as a protective spirit, but I’m not sure that he actually saw her as a ghost. When he woke up in front of her grave, he almost believed the entire thing had been a dream. It certainly was for me.

Shockingly, I didn’t cry either night. Normally, I’m a huge crybaby at ballets, but I was far too busy thanking God/Louis XIV/Terpsichore/ whatever deity you pray to for allowing this ballet to exist. I think that sums it up.

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Ballet de l’Opéra à New York. « Programme français » : Warming Up

Wednesday night saw the opening of the Paris Opera’s stint in New York on their US tour. They haven’t been in New York for sixteen years, and I don’t think the audience knew quite what to expect. The program was called « French Masters of the 20th Century » and included Suite en Blanc (Lifar) L’Arlésienne (Petit) and Boléro (Béjart). Initially, this was the night I was least excited about. I’ve wanted to see Suite en Blanc for a long time (and how nice to finally see some Lifar in New York, in Balanchine’s theater no less!) but I didn’t really know that much about L’Arlésienne, and I’ve never liked the music for Boléro, so I must admit to having been less than psyched about seeing Bejart’s version. In a happy turn of events, I cannot imagine a better opening night; it was a triumph (with some very minor complaints).

Suite en Blanc was incredible. From the opening pose to the last one, time didn’t seem to exist; I just sat there and loved it. Now to details! « La Sieste », for me, seemed to be more about the choreography than the dancers. Aurelia Bellet, Marie-Solene Boulet, and Laura Hecquet were nice, but none of them made me go ‘wow!’ Seen as a whole though, it did feel very dreamy. « Thème Varié » united Cozette, Paquette and Bullion, and it went about as well as expected given that particular line up. But let’s move on. Nolwenn Daniel gave a light and bubbly quality to her « Sérénade » (which turns out to be possibly my favorite part choreography-wise). She didn’t turn the fouettés into a trick, they were just another step for her and she made them blend in. The audience didn’t know quite what to do here; we’re so used to clapping at the least provocation that by the time everyone realized that ‘Hey! Fouettés!’ she had moved on.  The « Pas de Cinq » I loved as well. Alice Revanand is definitely a dancer I want to get to know more. She reminded me a bit of a fairy, as if the steps were so natural for her that she could just sort of play and be flirty and enjoy herself. Gillot replaced Letestu in « La Cigarette ». Of course her technique is flawless, but I didn’t love her in the role. It just didn’t work with the rest of the ballet. I think I feel the same about her as I do about Sara Mearns at NYCB.  I really would have loved to see Letestu do this. Thank goodness for YouTube! Does anyone know why Letestu was replaced? Is she injured? Ganio did the Mazurka which I thoroughly enjoyed; everything was big without being too heavy, which is no small feat considering the music! Dupont and Pech did the Adage which was lovely. My problem with Dupont is lack of expression (which is weird since she “loves to act”) but here it works; she can just be pretty, that’s fine. No acting required. What was really fun to see though, is that she and Pech clicked. There were moments on stage where they looked at each other and grinned a bit; I think they were having fun, which is wonderful because I really found it wonderful too! OK, last was La Flute with Gilbert, which couldn’t have been better. When little girls say they want to be a ballerina princess when they grow up, this is what they mean. By the finale I was ecstatic; this is why I love ballet.

L’Arlesienne I loved a bit less. Ciaravola was a great Vivette; very pretty and did a convincing job of comforting poor, desperate, Belingard’s Frédéri…but he sometimes forgot to act. Don’t get me wrong, technically there are no complaints or anything but his expressions kind of went in and out. I will say that his suicide scene was masterful. People around me gasped, which is always a good sign!

Finally, Bolero. I cannot be an impartial judge here; I really -really- dislike the music so there was a snowflake’s chance in Hell that this one would become one of my favorites. I will say that I loved Nicolas Le Riche who was, in a word, intense. His movements were so powerful that it almost seemed like he was trying to hold himself back during the rocking movements and suddenly he would escape and burst out of control. This might be because of the red table and the spotlight, but he made me think of a solar storm. In any case the audience loved it.

I think I understand what the Paris Opera was trying to do with this program: Show the US that they can do everything: classical, contemporary, you name it, they’re masters both in choreography and performing. That’s going to be hammered in with Giselle and Orpheus and Eurydice, but this was their introduction and it was big. I think once the audience kind of got a feel for the company they loved it. Applause for Suite en Blanc was OK, more than polite but less than enthusiastic; for L’Arlesienne it was warm; and after Bolero there was a standing ovation. As far as introductions go, this was perfect. I think New York is more than excited to see what else they’ve brought. Oh, this is exactly the way I wanted to end my ballet season! More please!

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