Dance Review: Ballet de Monte Carlo

Garimaldi Forum, December 27

By ORA BRAFMAN
January 1, 2012 21:50
2 minute read.
BALLET DE MONTE CARLO

BALLET DE MONTE CARLO 311. (photo credit: Courtesy of Angela Sterling))

 
X

Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analyses from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later

Jean Christophe Maillot, artistic director of the illustrious Ballet de Monte Carlo, had taken the iconic 19th-century ballet Swan Lake, set to Tchaikovsky’s score, and proposed his own rendition in Lac, a highly dramatic, rather sinister affair with layers of new psychological insights, challenging the original libretto.

It was a particularly festive premier, not only due to the presence of the company’s number one aficionado, princess Caroline, or the seasonal decorations galore, but because of the great company and the full philharmonic orchestra of Monte Carlo and its director Nicolas Brochot.

Be the first to know - Join our Facebook page.


Maillot had choreographed his own interpretations of some classics before, but touching the iconic, much-loved Swan Lake was a challenge since it called for new, relevant interpretation, using more contemporary tools.

The original ballet – as is any good dance – is a product of its time and clearly reflects social modes and perceptions and so should any later interpretation.

Maillot cooperated with Goncourt prize winner Jean Rouaud in developing the new scenario. It scraped the old story of its innocence, gave up the escapist, almost abstract signature sections; the “white scenes” which portray the period’s aesthetics and yearn for pious purity.

The center of mass shifted from the young lovers to the wicked queen of the night.

This magnificent diva, who ruled the new dramaturgy and certainly the stage, was portrayed by the company’s primary dancer Bernice Coppieters, whose dramatic powers are matched by her potent dancing skills. Under her spell, the flock of white swans, originally the support group of the beloved Odette, grew – so symbolically – gray feathers and disowned the poor swan.

JPOST VIDEOS THAT MIGHT INTEREST YOU:


Too much effort (considering he wasn’t the focus of the work) went into building a rather detailed psychological profile of the weakly prince who outgrew a homosexual phase through love for a swan. On the plus side were the imaginative and sophisticated overall design elements and more so the choreographic range within the neo-classical framework.

Maillot has a terrific sense of space in handling large scenes and a keen eye for details such as the arms ballet in the trio of the domineering queen of the night and her two ominous subordinates.

The ballet was intense and Swan Lake will never be the same after the tempestuous Lac.

Join Jerusalem Post Premium Plus now for just $5 and upgrade your experience with an ads-free website and exclusive content. Click here>>

Related Content

Sarah Silverman
August 26, 2014
Jewish women take home gold at 2014 Emmys

By JTA