La Dame aux Camélias

I saw a performance last week with Claire-Marie Osta, Mathieu Ganio, and Michaël Denard. It's running until March, and since I bought tickets for these two performances less than two weeks ahead of time, I figured I could get at least something for the end of February and March. Ha. No. They were (almost) sold out. After handing me my now-much-more-prized-10-euro-ticket they are *completely* sold out.

So I made it to three La Dame aux Camélias.

Although, I will probably try buying the tickets "with no visibility" and go down to the 4th balcony to stand and watch... I stand in any case.

Intermission.

Tuesday, 2/9/2010:

with Claire-Marie Osta, Mathieu Ganio, and Michaël Denard

[no photos, sorry]

I think this was a better performance than the opening night. Emotionally a little warmer, a little freer dancing-wise.

I liked Osta. Although her acting was not especially strong, she was present and lived through her part of the role -- unfortunately without much reciprocity from Ganio. He dances well, partners well, his technique is strong and clean, he is handsome... too bad he doesn't ever forget about it. This makes for a very one-sided relationship between Marguerite and Armand. I'd like to see more sincerity on his part when he extends his arms toward his beloved, instead of, "come to me, I am handsome, aren't I, oh I love you so!"

Just sayin'.

The highlight of the night was seeing Myriam Ould-Braham as Olympia. She stands out from the majority of French dancers. She brings her personality on stage, whereas others have a tendency to appear as professionals at work. She looks at the audience -- her head and face, her eyes are the focal point, instead of feet or no focal point at all.

She is exceptionally graceful.

I look forward to seeing her more! T

here was another girl in the corps de ballet who also stood out, but I haven't figured out who it is.

* * *

Monday, 2/15/2010:

with Delphine Moussin, Benjamin Pech, Andreï

Klemm

Better, stronger than the prior two performances. Moussin is a bit older, so her character had more weight and authority. She seemed to be La Dame, while Osta seemed to have just ended up in the story and went from there. Moussin had more expressive posture,

a stronger 'ballerina-appearance

.' She also danced with abandon, as did Pech. Their duet was, finally, a duet.

In general, the one thing I have yet to experience from Paris Opéra is that feeling of magic, of inspiration, at least of something special happening on stage. They often seem to have this aura of professionals doing their job. Also, the joking around in the country-side could have been more elegant. I know hopping on pointe is hard, but...

Better acting in this performance. No weak flinging aside of jewelry -- Moussin just let it drop. If you can't do it so that it's a statement, don't chuck it at all, IMHO, because it comes off as a feeble "meh!" Not the desired effect.

Moussin and Pech.

I've totally confused my family as to why I'd go to see three performances of the same ballet.

“So you mean it’s the same choreography, every time, same ballet, but different dancers? And it’s different? But the choreography is the same?” Since I didn't really get to answer because everyone was distracted with the two-year-old dropping something, I will forever be the strange girl who likes ballet too much :).