Benjamin Millepied presents its new creation at the Opera of Paris – Le Figaro

This Friday night at the Palais Garnier, the choreographer, whose resignation was announced Thursday presented Night ends . A choreographed creation closer to the dancers, which magnifies their qualities.

Ten minutes of ovation, thanks, cheers greeted the creation of Benjamin Millepied, this Friday night, at the Palais Garnier. After greeting, one of three dancers went to get the wonderful pianist Alain Planès, who played The Apassionnata Beethoven. She then invited Benjamin Millepied, entrenched behind the scenes, to get back on stage. In turn, the dancers led the salute with them, and then left him alone before the public. There was, in the fervor of applause in the hands beating wildly, this overflow of emotion by which we let overwhelm, in the farewell evening stars, when surrenders to make tribute with a heavy heart, the burning hands if they become numb. It is but a goodbye, since Millepied remain in post until 15 July and announced two creations for next season, one in fall and one in spring.

Night ends is the title of the latest installment of Millepied. He wrote it for six dancers, Amandine Albisson, Sae Eun Park, Ida Viikinkovski, Hervé Moreau and Marc and Jeremy Quer-Loup, in a staggering complicity. Dedicated to the memory of Nicholas Petrides, a relative of the choreographer, the piece as the score, exalts the storms of the heart and soul in front of a wall pierced by three arcades. A couple of pink door, the other red, and the last of the blue in the first part. Lines of boys or girls, not two, tutti which break, many arms of effects. The first part is only the antechamber of the minute, passed to the other side of the night, the passion leads the way lovers and haunted solitudes.

Hervé Moreau opens with Amandine Albisson loose hair, all dressed in white, in a pas de deux with a beauty breathtaking. The other couples succeed them, one black, the other gray, varying the different ways to embrace or escape. No formal revolution in this ballet choreographed creation but closer to the dancers, which magnifies their qualities, and they respond by hatching in their dance, on edge, feelings that carries the music.

Night ends , the sixth piece, he created for the Paris Opera, with whom he began working in 2006, says a choreographic evolution works to the blueprint and feeling. In simplicté inspired by that of his mentor, Jerome Robbins.