What Makes the Paris OpÃ©ra Ballet the Paris OpÃ©ra Ballet?
New Yorkers are getting revved to see this company, which hasn’t come to the U.S. in 16 years. We know they are elegant, refined, and highly technical. But isn't that true of any ballet company? What, really, sets them apart? Most of the dancers come right out of the POB school, but what does that training emphasize? It’s not the Balanchine style of moving large and fast; it’s not the big bravura leaps of the Bolshoi or the ethereal port de bras of the Mariinsky (Kirov) Ballet. What does POB have that's unique?
We do know that Paris Opéra Ballet has incredible étoiles, which is a source of excitement in itself. As artistic director Brigitte Lefèvre says about the étoiles in our cover story on Marie-Agnès Gillot: “They have something from the au-delà [the other world], at the same time beautiful and fragile.”
POB in Pina Bausch's Orpheus and Eurydice. Photo courtesy Lincoln Center Festival.
I will be indulging in étoile-watching this week when POB comes to Lincoln Center Festival. (And by the way, Gillot really is a special creature on the stage.) But I will also be looking to see if I can discern a POB style. Stay tuned for my blog on this, and for dance historian Lynn Garafola’s review, which will be posted on our reviews page after the season is over.
POB in Maurice Bejart's Boléro. Photo courtesy Lincoln Center Festival.
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
We knew that Ivo van Hove and Anne Teresa de Keersmaeker's production of West Side Story would challenge our preconceived notions about the show.
But a recent Vogue story gives us a taste of just how nontraditional the Broadway revival will be. Most notably, van Hove is cutting "I Feel Pretty" and the "Somewhere" ballet, condensing the show into one act to better reflect the urgency of the 48-hour plot. (The choice has been approved by the West Side Story estate, including Sondheim, who has "long been uncomfortable" with some of the "I Feel Pretty" lyrics.)
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.