Paris Opéra Ballet - Giselle May 2024

[Silver Capricorn]

13 minutes ago, Missfrankiecat said:

From Instagram posts, it looks as if Marianela Nunez and Hugo Marchand had a great reception at their first performance of Giselle last night.  Did anyone see it?

Yes, I was there.  It was an unforgettable evening.  Marianela Nuñez formed a great partnership with Hugo Marchand and they were rewarded with a standing ovation by the Parisian crowd.  The Paris production of Giselle is one of the most beautiful, and in conjunction with such amazing actors and a great female corp de ballet, the result is breathtaking (and Hugo's 30 entrechat six is just the icing on the cake😃).

[Missfrankiecat]

6 minutes ago, Silver Capricorn said:

Yes, I was there.  It was an unforgettable evening.  Marianela Nuñez formed a great partnership with Hugo Marchand and they were rewarded with a standing ovation by the Parisian crowd.  The Paris production of Giselle is one of the most beautiful, and in conjunction with such amazing actors and a great female corp de ballet, the result is breathtaking (and Hugo's 30 entrechat six is just the icing on the cake😃).

I saw an apparently illicitly recorded clip on social media of Marchand starting his 30 entrechats and it looked stunning.  I would love to see this production.

[MAB]

It is indeed a handsome production and the Parisian corps is magnificent.  30 entrechats? - ugh, I'd be forced to look away.  The epitome of vulgarity.

[Silver Capricorn]

16 minutes ago, MAB said:

It is indeed a handsome production and the Parisian corps is magnificent.  30 entrechats? - ugh, I'd be forced to look away.  The epitome of vulgarity.

I don't find anything vulgar about it.  Hugo has such charisma that even if he just sat on the stage for 2 hours, the audience will go crazy, so he really doesn't need to prove anything.  Me and everyone enjoyed the show.  I also don't mind, for example, 32 fuettes in Swan Lake.

[Sophoife]

2 hours ago, Missfrankiecat said:

I saw an apparently illicitly recorded clip on social media of Marchand starting his 30 entrechats and it looked stunning.  I would love to see this production.

 

Half the Paris company seem to have been recording bits from the wings, fellow Argentine Ludmila Pagliero not excluded! 

 
Marchand's entrechats, reposted by himself are so far from "vulgar", @MAB!

 
(IG story)

Edited May 26 by Jan McNulty
Amended to remove embedded video

[JNC]

2 hours ago, Silver Capricorn said:

The Paris production of Giselle is one of the most beautiful,

I was lucky to see Dorothee Gilbert and Marchand in Giselle two years ago. One of my top five ballet performances ever (maybe top three?). Their performances and chemistry were incredible, I imagine Marchand Nunez would be fantastic also. Marchand really captured Albrecht’s heartbreak so well and is a brilliant dancer maybe more of the Nureyev type (powerful but able to be emotionally soft too). 
 

I agree that POB Giselle hands down is the best production. Even with the fantastic principals we have at the Royal, the Peter Wright production for some reason doesn’t have the same magic (and I really can’t figure out why as on the surface it isn’t dissimilar to Paris). ENB Skeaping I think is better at creating a plot/atmosphere than Wright’s I think, but Paris is a different world. 
 

I feel in POB version the Willis are definitely more scary/spooky, so act 2 just has more tension and drama. The costumes and sets are also gorgeous. 
 

I would have loved to have seen Hannah O’Neill’s debut as Giselle but couldn’t justify the costs (and was reminded why we’re lucky to have advance casting in London, in Paris the tickets are always sold out before casting is announced a month or two before the performances). 

Edited May 26 by JNC

[Sim]

 

I am surprised that the Paris audience seems to be like the Russian audience, filming blatantly from out front, and whooping during the entrechats six.  There is no way that the ushers at the ROH would allow anyone to film like this.  And who knows, maybe if the RB dancers were allowed to do 30 entrechats then the London audience would whoop as well!

 

1 hour ago, Sophoife said:

 

Half the Paris company seem to have been recording bits from the wings, fellow Argentine Ludmila Pagliero not excluded! 

 

[Sophoife]

I could have posted links to all the company members who were filming from the wings but decided not to (space restrictions 😉). Camille Bon and Bianca Scudamore to name just two.

 

Also, I noted that in a photo from Maria-Helena Buckley of Miss Nuñez' costume label, she was called "Étoile" which clears up the question some of us had when Marcelino Sambé guested there in Fille recently.

Edited May 26 by Sophoife

[Jan McNulty]

6 minutes ago, Sophoife said:

I could have posted links to all the company members who were filming from the wings but decided not to (space restrictions 😉). Camille Bon and Bianca Scudamore to name just two.

 

Also, I noted that in a photo from Maria Helen Buckley of Miss Nuñez' costume label, she was called "Étoile" which clears up the question some of us had when Marcelino Sambé guested there in Fille recently.

Not stories.  When posting IG please just use the appropriate URL.  Thanks

[Sophoife]

Thanks @Jan McNulty. I will try harder to remember!

[San Perregrino]

3 hours ago, Sim said:

 

 

I am surprised that the Paris audience seems to be like the Russian audience, filming blatantly from out front, and whooping during the entrechats six.  There is no way that the ushers at the ROH would allow anyone to film like this.  And who knows, maybe if the RB dancers were allowed to do 30 entrechats then the London audience would whoop as well!

 

In my experience, the so-called ‘strapontin’ seats which fold down across the aisles mean that ushers have little or no access to patrons during the performance, at least, in the stalls and balcon seats. The same goes for all the loges and the baignoires where patrons are shut in by the ushers.
So, the audience is pretty much self-policing and, with some members being tourists rather than ballet lovers per se, they think it acceptable to film at will as one might if one was watching a Morris dance in an English pub or a folk dance in Tibet, Greece, Thailand or elsewhere.

[FionaM]

Re the entrechat six.  I found Hugo’s first 8 or so to be somewhat jarring as he and the orchestra were not together.  They did merge and then it looked good.  I noticed he lost energy in the last few … the jumps were lower and the beats became swizzly.
 

The young Bolshoi principals/soloists Dmitri Smilevski and Daniil Potaptsev are performing 40 entrechat six now … which are more musical (better connected conductor) and they have clearer beats.  This works well in the story, because Giselle then runs in after #40 to save Albrecht from entrechat six-ing himself to death. 
 

Re applause whilst dancing. It’s the modern way.  I prefer it to the stilted norm of UK audiences to not react to anything until it’s over. 
 

Re filming.  I was at a classical concert last night of a piano duo Pavel Kolesnikov and Samson Tsoy who are deliberately choosing night club style venues to attract a different audience.  The promoters tell the audience in advance that photos and short clips are welcome, and to post and tag all involved.  They do request that audience members do not record the entire show.  This duo (in their 30s) have sold out Carnegie Hall, Wigmore Hall and similar venues worldwide.  
 

It’s a new approach to filming that I agree with.  It helps with extending the reach online.  More people will come to the ballet.  AND forum members benefit because we can we all watch.   These posts are public on Hugo Marchand’s instagram stories until they expire.  

[MAB]

32 minutes ago, FionaM said:

Re applause whilst dancing. It’s the modern way.  I prefer it to the stilted norm of UK audiences to not react to anything until it’s over. 

 

Do you applaud over the music at the opera too?

[JNC]

Not to go off topic too much into audience behaviour thread territory but @FionaM I have to say I strongly disagree that filming should be permitted. I also do not think dancers should share such stories they are tagged in on social media as it clearly encourages such behaviour. 
 

I was surprised at someone openly filling when I went last time at the Garnier, it was just one person but the audience around them didn’t challenge them, the ushers presumably couldn’t (due to the aisles being blocked as mentioned - although they could employ the trick or the Coliseum and shone on torch on them?) and I was too far away (and can't speak french/didn't want a confrontation) to say anything myself. 
 

Personally if this started to be allowed or encouraged at ROH I’d stop attending live performances. I don’t pay £££ to see something through someone’s phone screen. Arguably they shouldn’t be allowed at music concerts either (I know some musicians and singers have banned them) but usually they already have video projections of themselves on a large screen and there’s so many bright lights. Totally different to a dark auditorium . 
 

For me it would signal the end of live ballet, opera, and theatre. I’d save money watching cinema streams or DVDs! 
 

There are ways to promote things without filming shaky, blurry, low resolution amateur clips that come at the expense of others’ enjoyment.  Backstage interviews/media, rehearsal clips (and insights), clips from authorised recordings, etc…

Edited May 26 by JNC

[FionaM]

13 minutes ago, MAB said:

 

Do you applaud over the music at the opera too?

I don’t generally have time to also attend opera.  I don’t applaud in the middle of classical concerts if that makes you feel better.  
 

I’ve noticed smiles of acknowledgement from orchestras and conductors when audience applaud between movements as some now do.  It tends to be brief and that’s ok with me.  That’s another uncomfortable norm that assumes a prior level of knowledge in the audience.  It’s alienating to new audience members. 

[MAB]

Well, you seem to have solved the mystery of why the orchestra prefers playing from the opera.

[MAB]

59 minutes ago, JNC said:

I was surprised at someone openly filling when I went last time at the Garnier, it was just one person but the audience around them didn’t challenge them, the ushers presumably couldn’t (due to the aisles being blocked as mentioned - although they could employ the trick or the Coliseum and shone on torch on them?) and I was too far away (and can't speak french/didn't want a confrontation) to say anything myself. 

 

The problem with the Garnier is that it attracts a largely tourist audience.  They are there because of the musical.  There's actually a far better view at the Bastille but it isn't a tourist destination.

[Paco]

A 20 minute- standing ovation concluded this Monday’s performance of Giselle with Nunez and Marchand. Apart from the Etoiles farewell evenings, such a hysterical atmosphere from the audience had not been seen at Garnier since the Bolshoi tour in 2011.

 

It was a wonderful idea from José Martinez to invite one of the greatest Giselle to dance with one of today’s  greatest classical dancers. In a ballet where the ONP corps de ballet has always being outstanding (Giselle is really its DNA), and in one of the most beautiful productions of Adam’s ballet. In addition to the wonderful Paris Opera Orchestra and the amazing sound of its cellos, oboes….

 

The result was almost even better than expected!

 

I will not comment on Nunez Giselle here, as her interpretation is well-known since her multiple performances in this ballet at the Royal Ballet. However I was once again astonished by her technical strength at 42 years old, absolutely amazing (my god, the variation of the first act, astonishing! – greeted by a huge ovation). And on the other hand, by the fact that its interpretation continues to evolve in detail. A fascinating scene of madness (which was also perfectly highlighted by the extraordinary acting of Hugo Marchand and Jérémy-Loup Quer at this moment), a second act with moving musicality: Each gesture, each detail, fits naturally into the music and we constantly discover subtleties.

 

An amazing evening also thanks to the outstanding, moving partnership with Hugo Marchand, who knew so well how to create this dramatic and musical osmosis with Marianela Nunez. The “portés”, with astonishing ease, were so musically performed. They were in the continuity of the narrative. All this in addition to his impressive qualities as a classical dancer, including the entrechats-six completed with his arms crossed and a Christ-like face (striking image).

 

If we add to that a corps de ballet in very good shape, truly excellent (the Willis but also the peasant scenes), a very good Myrtha (Valentine Colasante) and a magnificent orchestra, we had there all the ingredients of an incredible evening, ...

 

Hysterical ovations from a packed house.

Edited May 27 by Paco

[Mora]

2 hours ago, Paco said:

A 20 minute- standing ovation concluded this Monday’s performance of Giselle with Nunez and Marchand. Apart from the Etoiles farewell evenings, such a hysterical atmosphere from the audience had not been seen at Garnier since the Bolshoi tour in 2011.

 

It was a wonderful idea from José Martinez to invite one of the greatest Giselle to dance with one of today’s  greatest classical dancers. In a ballet where the ONP corps de ballet has always being outstanding (Giselle is really its DNA), and in one of the most beautiful productions of Adam’s ballet. In addition to the wonderful Paris Opera Orchestra and the amazing sound of its cellos, oboes….

 

The result was almost even better than expected!

 

I will not comment on Nunez Giselle here, as her interpretation is well-known since her multiple performances in this ballet at the Royal Ballet. However I was once again astonished by her technical strength at 42 years old, absolutely amazing (my god, the variation of the first act, astonishing! – greeted by a huge ovation). And on the other hand, by the fact that its interpretation continues to evolve in detail. A fascinating scene of madness (which was also perfectly highlighted by the extraordinary acting of Hugo Marchand and Jérémy-Loup Quer at this moment), a second act with moving musicality: Each gesture, each detail, fits naturally into the music and we constantly discover subtleties.

Many thanks for this overview.

As far as I know, Giselle is one of HER roles (alongside Odette/Odile and Princess Aurora). In fact, I think that, the more classical the ballet, the better her performance. She really loves dancing the very classics.

[JNC]

@Mora yes, see also Nunez as Nikiya! Sublime. 

[Silver Capricorn]

On 26/05/2024 at 15:47, FionaM said:

Re entrechat šest. Hugových prvních 8 skladeb mi připadalo poněkud nepříjemné, protože on a orchestr nebyli spolu. Spojili se a pak to vypadalo dobře. Všiml jsem si, že v posledních několika letech ztratil energii... Skoky byly nižší a beaty se staly swizzly.
 

Mladí sólisté Velkého divadla Dmitrij Smilevski a Daniil Potaptsev vystupují se 40 entrechaty, šest ... které jsou muzikálnější (lépe připojený dirigent) a mají čistší beaty. To v příběhu funguje dobře, protože Giselle pak přiběhne za #40, aby zachránila Albrechta před tím, aby se zabil k smrti.
 

Znovu potlesk při tanci. Je to moderní způsob. Dávám přednost tomu před nabubřelou normou britského publika, že nereaguje na nic, dokud není konec.
 

Opětovné natáčení. Včera večer jsem byl na koncertě klasické hudby klavírního dua Pavel Kolesnikov a Samson Tsoy, kteří si záměrně vybírají místa ve stylu nočních klubů, aby přilákali jiné publikum. Organizátoři předem informují publikum, že fotografie a krátké klipy jsou vítány, a aby zveřejnili a označili všechny zúčastněné. Žádají, aby diváci nenahrávali celou show. Toto duo (ve svých 30 letech) vyprodalo Carnegie Hall, Wigmore Hall a podobná místa po celém světě.
 

Je to nový přístup k natáčení, se kterým souhlasím. Pomáhá s rozšířením dosahu online. Na balet přijde více lidí. A členové fóra z toho mají prospěch, protože se můžeme všichni dívat. Tyto příspěvky jsou veřejné v příbězích Huga Marchanda na instagramu, dokud nevyprší jejich platnost.

Of course, I personally do not take photos or videos during performances. But after visiting the performance of Giselle, I was really unhappy that there would be no record, no memory of this unique and unrepeatable event, including the amazing atmosphere in the audience. And I was very happy when I found a video of Nela's fangirl from Argentina, on a social network, in which she captured the most important and impressive moments of the performance in the span of about 40 minutes. The video is of excellent technical quality, so it can be watched without any problems even on my big TV screen. So I confess that in this case I am happy that this "pirate" recording was made.

[Sophoife]

@Silver Capricorn I love that you quoted as you read it, in Czech! Multilinguals of the forum, unite!

[San Perregrino]

1 hour ago, Silver Capricorn said:

Of course, I personally do not take photos or videos during performances. But after visiting the performance of Giselle, I was really unhappy that there would be no record, no memory of this unique and unrepeatable event, including the amazing atmosphere in the audience. And I was very happy when I found a video of Nela's fangirl from Argentina, on a social network, in which she captured the most important and impressive moments of the performance in the span of about 40 minutes. The video is of excellent technical quality, so it can be watched without any problems even on my big TV screen. So I confess that in this case I am happy that this "pirate" recording was made.

I hope this so called fan had a box all to herself so as not to spoil everyone’s evening. One has to question why she was there at all, it doesn’t sound like she was watching the ballet.

As the French do with counterfeiting of their luxury brands IMHO this ‘fan’ should be identified and prosecuted for breach of copyright and banned from the Garnier.

I was at Giselle on Wednesday evening and I had a young woman and her friend sitting next to me filming multiple sequences. After the interval I could bear it no longer. After Martha’s breathtaking entrance in Act 2 (Roxane Stojanov was mesmerising) starting my sentence with the word ‘Please’ I asked them to put their phones away. Which they did. Grace à Dieu!

The rest of the performance though they spent fidgeting and twisting in their (very expensive centre balcon seats), seemingly unable to connect with or enjoy the performance in front of them without a screen to view it through even yawning in the beautiful slow moments!!

[Silver Capricorn]

25 minutes ago, San Perregrino said:

I hope this so called fan had a box all to herself so as not to spoil everyone’s evening. One has to question why she was there at all, it doesn’t sound like she was watching the ballet.

As the French do with counterfeiting of their luxury brands IMHO this ‘fan’ should be identified and prosecuted for breach of copyright and banned from the Garnier.

I was at Giselle on Wednesday evening and I had a young woman and her friend sitting next to me filming multiple sequences. After the interval I could bear it no longer. After Martha’s breathtaking entrance in Act 2 (Roxane Stojanov was mesmerising) starting my sentence with the word ‘Please’ I asked them to put their phones away. Which they did. Grace à Dieu!

The rest of the performance though they spent fidgeting and twisting in their (very expensive centre balcon seats), seemingly unable to connect with or enjoy the performance in front of them without a screen to view it through even yawning in the beautiful slow moments!!

I think it is filmed from the box. However, those who did not have the opportunity to see the performance can easily find the recording on FB, where it is publicly accessible. I don't think that even Garnier has sanctioned anyone for spreading such videos, because they are often taken and published directly by the dancers. Marianela and Hugo Marchand also shared them. Since I usually sit in the seats in the first row, I don't have much of an overview of the frequency of filming and photography in the auditorium behind me. But for purely selfish reasons, this record made me happy, because I will never see such a charming performance again, and I will cherish this memory of it carefully.

[Garnier]

Having people film next to me totally destroys my enjoyment of the performance, no matter how amazing it is. I wrote to POB a few months ago to make a complaint about someone next to me who had filmed for pretty much the whole performance (despite my request to them to stop) and received a very considerate and clear reply from them that filming is considered unacceptable in all circumstances.
 

if it’s from the wings by other dancers I obviously wouldn’t care as I can’t see it, but the comments above about lots of people filming from the seats makes me very hesitant to see any ballets involving « stars ». particularly at Garnier which as MAB says draws a lot of tourists.

[JNC]

On 31/05/2024 at 09:19, Silver Capricorn said:

Marianela and Hugo Marchand also shared them.

I really wish they wouldn’t do this.
 

Surely POB should have a rule about their dancers not doing it, at least in their venues, as it breaches their policy and encourages such behaviour. Or maybe they don’t care and are happy to turn a blind eye, despite what they’ve communicated to you @Garnier

 

Unfortunately unless people are reprimanded, and ultimately maybe barred from performances (for example ejected at interval) it may not stop. 

[FionaM]

I’m forever grateful for sidestage videos by dancers and audience videos taken discretely to give me a flavour of what I’ve missed.  It entices me to buy more tickets.   A number of times I’ve thought to myself that I’d not bother with a particular production or cast, and then a clip has persuaded me otherwise.  
 

Clips taken discretely with no disruption to audience members around is the important thing.

[San Perregrino]

13 hours ago, FionaM said:

audience videos taken discretely

IMHO 99.9% of the time I’d say that this is an oxymoron.

Also once a person has gotten away with it she/he tends to become more brazen the next time. e.g. rustling around in a bag to get a camera out just before the end of a show and not waiting for the curtain to fall as on a previous visit.
Not so long ago the discussion was about taking photos, it has now moved on to recording videos of increasing length. Where next?

There are plenty of official photographs and videoclips posted that are widely available for everyone to enjoy. I honestly don’t understand people’s addiction/obsession to capturing illicit footage against House rules. Is it a sickness? Is it akin to shoplifters who steal as a cry for help, for recognition ? Is it for self-aggrandisement and promotion? Is it for profit? I Can someone explain it? I don’t know the answer,   What i do know is that those who do this are being inconsiderate and oblivious to the negative impact that she/he is having on others.

 

 

[Jan McNulty]

31 minutes ago, San Perregrino said:

IMHO 99.9% of the time I’d say that this is an oxymoron.

Also once a person has gotten away with it she/he tends to become more brazen the next time. e.g. rustling around in a bag to get a camera out just before the end of a show and not waiting for the curtain to fall as on a previous visit.
Not so long ago the discussion was about taking photos, it has now moved on to recording videos of increasing length. Where next?

There are plenty of official photographs and videoclips posted that are widely available for everyone to enjoy. I honestly don’t understand people’s addiction/obsession to capturing illicit footage against House rules. Is it a sickness? Is it akin to shoplifters who steal as a cry for help, for recognition ? Is it for self-aggrandisement and promotion? Is it for profit? I Can someone explain it? I don’t know the answer,   What i do know is that those who do this are being inconsiderate and oblivious to the negative impact that she/he is having on others.

 

 

I took photographs of the curtain calls and videoed the whole of Abby’s valedictory speech last night.  I have taken curtain call pics at NB performances this season.

[San Perregrino]

2 minutes ago, Jan McNulty said:

I took photographs of the curtain calls and videoed the whole of Abby’s valedictory speech last night.  I have taken curtain call pics at NB performances this season.

I do the same myself. And that’s permitted by most companies. If in doubt, say in Birmingham or Southampton, I ask.  
I’m talking about the period from when the curtain rises on the performance until it falls at the end. In London, Paris and elsewhere the performance is generally proceeded by an announcement, in one or more languages, stating “The taking of photographs and recording of the performance is strictly forbidden.”  How hard is that to understand? 

[Sim]

Last night at NB R&J a chap sitting in front of me was filming the Dance of the Knights from start to finish.  I was in the 2nd circle and there wasn’t an usher nearby to tell or take any action.  

[MJW]

27 minutes ago, San Perregrino said:

I do the same myself. And that’s permitted by most companies. If in doubt, say in Birmingham or Southampton, I ask.  
I’m talking about the period from when the curtain rises on the performance until it falls at the end. In London, Paris and elsewhere the performance is generally proceeded by an announcement, in one or more languages, stating “The taking of photographs and recording of the performance is strictly forbidden.”  How hard is that to understand? 

 

Apparently for some people - its very hard to understand

[San Perregrino]

1 hour ago, San Perregrino said:

I do the same myself. And that’s permitted by most companies. If in doubt, say in Birmingham or Southampton, I ask.  
I’m talking about the period from when the curtain rises on the performance until it falls at the end. In London, Paris and elsewhere the performance is generally proceeded by an announcement, in one or more languages, stating “The taking of photographs and recording of the performance is strictly forbidden.”  How hard is that to understand? 

as it happens I’m at the French Open tennis today. I’m surrounded by people using their phones to text, take photos or videos (but not making or taking calls). It isn’t bothering me. Which leads me to ask why is it ok here and not at the Palais Garnier?

The answer seems to be that, if House rules allow as they do here,  the use of a phone for ‘silent’ functions in daylight is unobtrusive whereas in the darkness of an auditorium or theatre the sudden brightness of a screen is intrusive, distracting and invasive. It equates to a light being turned on in the middle of the night waking one from ‘sleep’ thereby breaking the spell of the illusory world created onstage.