![]() ![]() ![]() The season before, étoile Emilie Cozette danced no less than ten Odettes/Odiles, half the total, with a string of different partners for lack of healthy alternates. Only three women made it on stage as Manon in May, with eight performances out of 17 going to Isabelle Ciaravola. Only last March, the company had to scramble for an unrehearsed Gamzatti on the morning of a live cinema broadcast following injuries to every single one of the dancers originally down for the part. This was by no means the first red flag for the Paris Opera Ballet. A fine day for social media, but now that the run is behind us some uncomfortable questions remain. A good number were reassigned twice, with ten performances each falling to Karl Paquette and Ludmila Pagliero guests had to be brought in from Vienna to fill in the holes and, in two or three cases, the audience was treated to on-the-day switcheroos made public by the dancers themselves on Twitter. Injuries played havoc with the casting throughout November and December, with only five performances out of 26 featuring the dancers originally scheduled to dance. It certainly did this season however, in what turned out to be a very long run of Rudolf Nureyev’s production at the Paris Opera Ballet. It’s not every day Petipa’s carefree Don Quixote comes with a health and safety warning. Ludmila Pagliero and Karl Paquette in Don Quixote. ![]()
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