Spring is here, and the 154 ballet dancers of the Paris opera are ready to put into action. They are acting in their two Parisian places in rising programs. In the Palais Garnier, DepartmentCreated in 2000 for 12 artists from the Parisian institution by the Swedish teacher Mats EK, he has returned for the third time, and what emotional trip. Running until April 18, shares the place with the ballet Vary the Mort [To Death] For nine dancers, for The Israeli choreographer Sharon Eyal, who has renewed its program Toc love (2015). As fascinating as it is, its mannerist Parade is a bit eclipsed by the power of the bite of the domestic saga of EK, which, on Tuesday, April 1, left nothing in its path, except the spectators and euphoric.
On Wednesday, April 2, the equally enthusiastic public of Opéra Bastille expressed his enjoyment of Rudolf Nureyev’s The Sleeping Beauty of the Forest (The Belle Au Bois latent). Established in the music of Tchaikovsky, this monument of fur powder, created in 1989 based on the choreography of Marius Petipa (1818-1910), revived in a new production in 1997, it seems not to have aged one day, since it develops without a wrinkle. Whether in the glare of Eyal’s great ardor in the Louis XIV style of this eternal Perrault story or in the European contemporary Raw championship, the cast in both places are so crashed with a young generation that is not yet brown as a tiara of brown tiara-so-tia-so-Atiarawe. Proof that the company is at its maximum form.
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