'Variations sur Carmen' reviews 'Corsaire' reviews 'Raymonda' reviews Legris in reviews Platel in reviews recent Paris Opera reviews more Anne-Fabienne Raven reviews

Manuel Legris and his six accompanying dancers of the Paris Opera Ballet, comprising of the renown Elizabeth Platel, three young male dancers (Yann Saïz, Stéphane Bullion, Bruno Bouché) and another two young female dancers (Laurence Laffont, Muriel Zusperréguy) are a delight to watch. Manuel Legris leads his small company with care, precision, kindness and panache - a rare combination in any artistic director - allowing his dancers to work in dedication, pleasure and harmony. The precision, wealth and quality of their technique is astounding given their young age, and so is the faultless professionalism and flaming passion with which they deliver their art.

The evening began with a pas de trois from Return to a Strange Land, choreographed by Kylian in 1975 for the Stuttgart Ballet, to music by Léos Janacek. The choreography is simple; it includes one woman (Muriel) who stays central to the action, object of the two men’s (Yann and Stéphane) attention, who encircle and support her, while hardly ever letting go of each other’s hands in that very Balanchinian manner. The effect is of an endless gyration ending in a final lift.

Returning to ballet’s earliest romantic roots at the Paris Opera Ballet, we were next presented by a Bournonville version of La Sylphide, of which Laurence and Bruno danced a pas de deux. The choreography is charming and endearing in that warm Danish manner, and the dancers render it with utmost stylistic truth, with Bruno’s jump astounding all of us as he soared to such heights in his variations. The result is an exquisite gem of a performance in which ballet’s historical foundation is brought back to stage-life.

The Magnificat pas de deux by Neumeier, created on dancers of the Paris Opera Ballet in 1987 and set to Bach’s enlightening Magnificat, was next. The choreography is of the simplest form, with demure movements calling upon the deepest emotions quoted from sacred iconography. Both Yann and Elizabeth are transformed into what seems like liquid mercury, as their intense concentration and deep sincerity fill their bodies. The poetic effect is cleansing.

Next, came the jewel of the evening: Manuel Legris in Variations sur Carmen especially choreographed for him by Roland Petit this year. So far this piece has been performed twice in Tokyo and once in France – tonight. This solo shows off Manuel at his most charismatic. His presence on stage is electrifying, taking the audience fully into his aura; we become the object of his desire; mere putty in his hands. As such he leads us through this shattering performance as he espouses the characters Carmen, Don José and Death itself – quite a sensation!

The intermission takes us back to the famous classic, Le Corsaire pas de deux. Danced by Muriel and Stéphane it is a showpiece for both their brilliant and seemingly effortless technique. Stéphane’s very powerful jump, that allows him to stay suspended in the air with that cool danseur noble manner that embodies the essence of the Paris Opera Ballet School training, leaves images in one’s mind to remember and ponder upon for many days yonder. He is most certainly a sensational star in the making. Muriel charmingly sailed through what are some of the most complex variations for the female ballet dancer.

Angel, choreographed by Renato Zenallo in 1999, on music by Arvo Pärt brings the star of the evening back on stage in another solo created especially for him. It is a vehicle for Manuel’s heart-wrenching poetic sensitivity as a world-class premier danseur of the 21st Century. He gave it his all this evening, from the core of his magnificently sculpted torso to the very end of his fingers and toes. I leave the rest to your imagination.

The evening ended with a pas de six from Raymonda act II, a very traditional classical piece that brought the show to a closure, showing off that perfect classic Paris Opera training installed by Bessy. Yann in his role as Abderam also showed off great star potential through his tremendous presence, essential vitality, fantastic line of jump and assured acting talent.

These young ballerinas and danseurs all deserve to be created upon by today’s leading choreographers – they are the best material to be desired for tomorrow’s ballet. May their careers be long, extremely successful and rewarding: they truly do deserve the very best that this career can provide!