To say goodbye, he chose Rudolf Nureyev's ballet Cinderella. A work he has already performed several times, including in 2015 in Dubai alongside Ludmila Pagliero. This time, Karl Paquette will take over the role of the Prince with the dancer Valentine Colasante, named star in January.
Cinderella's act III, as well as the inaugural gala of the 350 years of the Paris Opera at the Palais Garnier, will be retransmitted on Arte, Arte concert and operadeparis.fr. Karl Paquette is a star dancer who has stood out for his prestigious duets. He was hired at the age of 17 in the Corps de ballet and became First Dancer in 2001. He played with dancers such as Sae Eun Park, Isabelle Ciaravola and Dorothée Gilbert. Karl Paquette, knight of Arts and Letters in 2010, was named star on December 31, 2009 after a performance of The Nutcracker. He then participated in renowned ballets, such as Onegin, Phedre or Romeo and Juliet. If the stars culminate at the top of the ballet hierarchy, one is rarely promoted without having crossed all degrees: quadrille, coryphae, subject, first dancer. The in-house promotion of ballet at the Opéra national de Paris is organized on 9 and 10 November. Two positions of first dancers, one of the first dancer, a woman subject, and two men subjects are particularly sought after. Last year, no first dancer was selected.
The choreographic art, until then devolved to the entertainment of the Court, now has a scene: the troupe dances in the interludes of operas. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed augue mi, posuere ac pharetra a, gravida imperdiet nunc. Etiam vitae bibendum nisi.
While we should celebrate the three hundred and fifty years of the Paris Opera, difficult to place Simon Boccanegra, a work entered so late in the repertoire, as part of this anniversary; between the upcoming Lady Macbeth and the next Traviata set in 2019 in Garnier, this season is more of an attempt to copy Gerard Mortier's grand strokes than a tribute to the institution's history. Early on, there had been a cabal around Johan Simons' production of the Verdian work, which has since been seen by some as a powerful production.
Today, the spontaneous and spontaneous boos received by Calixto Bieito on his arrival at the greetings reflect only a black and sad work, that of a theatrical gesture centered around the psychology of the main character, on a stage that we would have vastly preferred empty, like the sumptuous proposal of the recent Lohengrin Arpad Schilling in Stuttgart, rather than wrapped up with a massive prank deconstructed ship, both manufactured and useless.
Il must however justify the price of places each season higher and the work of the many technical teams of Paris. So Bieito, still so inspired at the beginning of the season for Moses und Aaron at the Dresden Semperoper, laid a big piece of boat whose empty hull turns and waltzes with the same neutrality as Castellucci's bull for Moses on this stage. The Catalan artist tries to justify his choice in a short page in the program of the room, but dwells more on the importance of the Spanish theater through the play of Guttiérrez, than on the eponymous libretto of Piave retouched by Boito for the version, indisputably superior, of 1881, that obviously chosen in Paris. Cleared of these panels, the hull presents a wedge with two stages, used here for a group of patricians, there for the ghost of Maria, whose soul and the body were raised at the end of a Prologue to applause immediately dried up by the cries of distress of the new Doge.
