1. Dorothée Gilbert and Josua Hoffalt in La Bayadere grand pdd

  2. Laetitia Pujol in Giselle act 2

    Laetitia Pujol in Giselle act 2

  3. Ludmila Pagliero rehearsing Bournonville’s La Sylphide at Mariinsky Theatre for The 22nd International Stars of the White Nights Festival

  4. Juliette Hilaire and Hugo Marchand in Nureyev’s Romeo and Juliet

  5. Amandine Albisson - Estée Lauder modern muse

  6. Beyond Good, Mlle. Aurelie Dupont as the Sylph, who has left one reeling from the shock of her technique. In her own discreet but determined way, Mlle. Dupont has actually improved upon our own P. Lacotte, by doing away with all those horrid, twee little crook-elbow wrist-flicking thingimajiggies that Taglioni undoubtedly never used, and replacing the lot with proper ports de bras. Her footwork must be seen to be believed. Admirable, a thousand times admirable! One found the cry “Brava!” literally torn from one’s throat.

    BEG BORROW OR STEAL a ticket to see the woman, because this sort of technique don’t grow on trees.

    …Let us all take the time to ponder over the quality of abstraction, the depth and sheer intensity of work, that yields the technical accomplishments we saw last night. And her originality! The French stage is NOT one, at the present time, where mezzo-tint dancing is esteemed. As Mlle. Dupont has herself stated, we are in a Theater where every movement, every articulation is ground to an extreme. But, amongst the many beauties in her work last night, notably a careful eschewal of excessively large, gaping figures, she has dared to dance the very rapid passages as one would have done in the 19th century, as a TRAJECTORY, skimming over the ground with the torso engaged, and the foot and leg almost relaxed. x

  7. Artists of Paris Opera Ballet in Balanchine’s Le Palais de Cristal 1st and 2nd movement

    Dancer’s name on the caption

  8. American Ballet Theatre corps Kaho Ogawa 10 pirouettes

    American Ballet Theatre corps Kaho Ogawa 10 pirouettes

  9. Le Jeune Homme is in the territory of realism with a dash of cubism, given that Roland was heavily influenced by Picasso, they moved in the same circles and worked together – for instance, it was Picasso who created the front cloth for Petit’s Le Rendez-vous.  Petit was also inspired by Cocteau, of course. Consider what Cocteau wrote for the scenario of Le Jeune Homme:

    ‘In a studio a young man awaits. Enter a young girl, agent of his distress. He throws himself at her, she rejects him, he pleads with her, she insults him, ridicules him and leaves. He hangs himself and the room vanishes, only the rope remains. Through the roof death arrives in a ballgown. Death removes her mask and we see the young girl. She places the mask on her victim’s face and together they flee towards the rooftop.’

    As you can see, it’s short, concise and very powerful, a bit spooky too and it leaves a lot for audiences to interpret. This is what I have always liked about Petit’s works: they are powerful pieces on the themes of life, death, love, despair and they deeply affect their interpreters. At the end you feel like you have completed a journey. It is what I love about his work.

    - Nicolas Le Riche x

  10. Mathilde Froustey in Tomasson’s Nutcracker

    Mathilde Froustey in Tomasson’s Nutcracker

  11. Dorothée Gilbert in Swan Lake pas de trois variation

  12. Aurélie Dupont in La Bayadere act 3

    Aurélie Dupont in La Bayadere act 3

  13. 2/5. Why you should see “La Bayadere”

    The Kingdom of the Shades

  14. Mathilde Froustey and Davit Karapetyan in Tomasson’s Nutcracker

    Mathilde Froustey and Davit Karapetyan in Tomasson’s Nutcracker

  15. Myriam Ould-Braham in Sleeping Beauty rose adagio

About me

Fangirling Aurélie Dupont, Xavi Hernandez and Benedict Cumberbatch
Paris Opera Ballet
FC Barcelona