Summer Festivals: Gala de danse - Centre d'Art et de Culture de Meudon

By Patricia Boccadoro

PARIS, 23 September 2004 - Throughout France each summer, the many festivals allow people outside the capital to see works such as J.C. Gallotta's Trois Generations, at the Théatre de l'Archeveché in Aix-en Provence, or Angelin Preljocaj' Near Life Experience in Montpellier, ballets shown in Paris earlier in the season. Lesser known troupes, including those of Guilherme Botelho, Michèle Noiret and Catherina Sagna, also at Aix, get an opportunity to enlarge their audience, while in the capital itself, those hesitant to head South have Philippe Decouflé in Solo, as part of the Paris, quartier d'été programme at the beginning of August after the many small galas where young dancers from the Paris Opéra Ballet can be found in roles normally barred to them by their youth.

Georges Piletta, teacher at the Centre d'Art et de Culture de Meudon, étoile of the great French company from 1969 to 1985, a brilliant character dancer, had the idea of staging a fine work, Laissons rever nos enfants, a five-part ballet set to music by Nino Rota which he choreographed himself. It was followed by the second act of Giselle with three particularly gifted dancers from the Paris Opéra interpreting the main roles.

Not since a 1966 performance of Fonteyn and Nureyev have I been so moved by the second act. The person next to me was unashamedly sobbing. Moreover, within the first five minutes it was as if we had seen the first part of the work where Albrecht, tired of the futility of his life and fleeing his imposed marriage, had fallen in love with Giselle, and where only a stupid set of circumstances had prevented the blossoming of that love.

Emmanuel Thibault was Albrecht. From the moment he entered on stage accompanied by the drifting scent of the lilies he carried, his slender vulnerable figure, half hidden by his cloak, marked him as a figure of sympathy and pity as much as Giselle. It was easy to see that only a second's thoughtless irresponsibility had caused that hesitation in act one which had cost Giselle her life. Devastatingly sincere, it was plain to see that not only had the young hero lost the girl he adored, but that he blamed himself bitterly for the tragic mistake. All too often, the dancers who interpret Albrecht today forget that they were responsible for the death of Giselle.

Technically, Emmanuel Thibault has little left to prove. Acclaimed by most critics as one of the finest classical dancers of today, he has accumulated prizes, with medals from Varna, Paris and Helsinki , where his performance as James in La Sylphide not only won him the Eurovision contest, but left an indelible memory on those who saw him. Recognition has also come from such associations as the Paris Opéra's A.R.O.P.as well as an increasing group of admirers who ensure that when he dances, all seats are sold. Coached by Noella Pontois, partner of Mikhail Baryshnikov in 1977 and 1978, he skimmed across the ground in a diagonal of brisés volés, fast travelling steps with a beat, which recalled the days of glory of the great Russian dancer. Aerial and precise with a light, fluid style, he demonstrated in Meudon that he also possesses the artistry to live the great roles.

His partner, eighteen year old Mathilde Froustey, already chosen for a leading role in Ivan the Terrible, had little choice but to follow him.

"He was so intense I really began to believe I was Giselle", she said. "He was so real and spontaneous, I had to throw myself into the role to match him; he was a wonderful partner." Froustey herself, small and delicate, has the ideal physique for Giselle, and given time will surely develop the full dramatic depths of the role. Nineteen year old Josua Hoffalt danced Hilarion, but with his long elegant jumps and physique of young premier, it should not be long before he too comes to the forefront of the scene. Not least, all praise to the Wilis, the young girls from the school.

The performance ended with showers of clear, bright rose petals covering the stage; Piletta, when not teaching, has gardens of old roses. The reds of the damask rose, the lilac pink of the Rosa Centifolia, the delicate apricot petals of Abraham Darby and the deep true pink of Gertrude Jekyll came fluttering down as all the performers were presented with rose bouquets of every hue and perfume.