The former ballet dancer Benjamin Millepied which replaces the position of Director of Dance of the Opera of Paris, says his ambitions for his new position.
Aurélie Dupont was a star among stars, international fame. With roles gallery no end (the ballets of Nureyev, Neumeier, Balanchine, Mats Ek parts Forsythe, Pina Bausch, Preljocaj) where she shined with excellence. And a great capacity for expression, a great sensitivity, particularly. Is still remembered fondly his Miss Julie (Birgit Cullberg) it embodied in 2014 with Nicolas Le Riche, before saying goodbye in The story of Manon , the lag tears ballets of Kenneth MacMillan.
Leaving the scene was “difficult” she confided in a soft smile at the conference Thursday afternoon release, February 4, 2016. A time approached as ballet master alongside Benjamin Millepied (who resigned after fifteen months of the year), it was finally abandoned. Taking the place of the latter at the Opera as director of dance – “a different profession again” – she returned to the “house” where she worked … thirty-two for since its entry as little rat at the School of the Paris Opera Ballet at the age of ten years.
did you want this position?
No! I was not thinking at all. We had free conversations with Stephane Lissner. We agreed on many subjects. He offered to be director of dance, to my surprise. Beyond my passion and my love for this house, I have some strengths. I know every dancer. I followed the whole evolution of the company and its openness to a wider repertoire. I also observed changes in public taste. My story here is an advantage. Anyway, I’ll do my best!
What are the weaknesses of the Ballet today? It has just been so criticized ….
There is no shortage! They are good, the dancers of the Opera! The question is mainly to know what we can do for the company. In saying this I am not referring to work by Benjamin Millepied, whom I admire as a choreographer and I know the contribution to the company. I want to bring to the Stars ballets they need. The Opera Ballet is a classical company with an opening on the contemporary and not the reverse. But this season of thirteen productions, there are only three classic productions [two Nureyev with La Bayadère and Romeo and Juliet ; and Giselle Coralli / Perrot, note] is insufficient: it would take at least four! The classical school is the most difficult. Dance pieces twenty minutes using this technique, anyone can do it. The real challenge is to ensure ballet in three acts.
You’re not a choreographer, you will become the?
No I have no talent for it. So, I will focus full-time ballet dancers to be with every moment. I also dream to offer such as Romeo and Juliet from MacMillan, not registered in the repertoire of the troupe. Not to mention the contemporary choreographers, either, of course: there are plenty
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