Paris Opera Ballet
The Paris Opera Ballet is a French ballet company that is an integral part of the Paris Opera. It is the oldest national ballet company, and many European and international ballet companies can trace their origins to it. It is still regarded as one of the most prominent ballet companies in the world, together with the Bolshoi Ballet in Moscow and the Royal Ballet in London.
Since December 2022, the company has been under the direction of José Martínez, the director of dance. The ballet company consists of 154 dancers, among them 17 Danseurs Étoiles. The principal dancers give 180 dance performances each year, primarily at the Palais Garnier.
Just as prestigious as the Paris Opera Ballet is its dance school, the Paris Opera Ballet School, considered to be one of the world's best dance schools. Its former pupils have won a record of 20 Benois de la Danse awards. The school celebrated its tercentennial in 2013.
The competition for admission to both institutions is extremely fierce. For a dancer to enter the Paris Opera Ballet, it is almost compulsory to be admitted to the Paris Opera Ballet School, to pass the annual competitive examinations in May, and to attend at least the final two classes. 95 percent of the admitted dancers in the Paris Opera Ballet are French.
History
Naming
The Paris Opera Ballet has always been an integral part of the Paris Opera, which was founded in 1669 as the Académie d'Opéra, although theatrical dance did not become an important component of the Paris Opera until 1673, after it was renamed the Académie Royale de Musique and placed under the leadership of Jean-Baptiste Lully. The Paris Opera has had many different official names during its long history, but since 1994, it has been called the Opéra National de Paris.Background
The Paris Opera Ballet had its origins in the earlier dance institutions, traditions and practices of the court of Louis XIV. Of particular importance were the series of comédies-ballets created by Molière with, among others, the choreographers and composers Pierre Beauchamps and Jean-Baptiste Lully. The first was Les Fâcheux in 1661 and the most important, Le Bourgeois gentilhomme in 1670. Many of these were also performed by Molière's company at the public Théâtre du Palais-Royal in Paris, which was later to become the first permanent home of the opera company and the opera ballet.Also in 1661, Louis XIV had founded the Académie Royale de Danse in an effort "to improve the quality of dance instruction for court entertainments". Members of the academy, as well as the dance teachers who were certified by it, and their students, participated in creating the ballets for the court, Molière, and later the opera. In 1680, Beauchamps became the chancellor of the Académie Royale de Danse. Although the Académie Royale de Danse and the Opera were closely connected, the two institutions remained separate, and the former disappeared with the fall of the monarchy in 1792.
Founding and early history
On 28 June 1669, Louis XIV granted a privilege to the poet Pierre Perrin giving him a monopoly to form a separate academy for the performance of opera in French. The first production of the company founded by Perrin, the Académie d'Opéra, was Pomone, which was first performed on 3 March 1671 at the Jeu de Paume de la Bouteille and included ballets choreographed by Anthoine des Brosses.In 1672, Lully purchased Perrin's privilege and also obtained new letters patent limiting the use of musicians and dancers by other French companies. With Anthoine des Brosses and Lully as choreographers and Carlo Vigarani as stage designer, Lully's company, now called the Académie Royale de Musique, produced Lully's first opera, Les fêtes de l'Amour et de Bacchus in November 1672 at the Jeu de Paume de Béquet. This work consisted primarily of excerpts from Lully's prior court ballets connected with new entrées choreographed by des Brosses. A crucial difference, however, from the previous court ballets was that the members of the court no longer participated, and all of the dancers were professionals.
Lully's next production, Cadmus et Hermione, the first tragédie lyrique, also premiered at the Jeu de Paume de Béquet and was choreographed by Anthoine des Brosses. Pierre Beauchamps, who had been working with Molière at the Palais-Royal, joined Lully's company in June 1673, when Lully took over the Palais-Royal theatre, forcing Molière's troupe to move to the Théâtre Guénégaud. Lully and Quinault continued to collaborate on a series of successful productions, in the process creating a new genre of French opera in which dance interludes played an important part in the musical drama. The ballets for these works were created by Beauchamps, des Brosses, and d'Olivet. Jean-Baptiste Dubos explains that Beauchamps and des Brosses were responsible for the ballets ordinaires, while d'Olivet specialized in ballet-pantomime:
Lully paid such great attention to the ballets mentioned here that he engaged for their choreography a 'maître de danse particulier' named d'Olivet. It was he, and not des Brosses or Beauchamps, whom Lully engaged for the 'ballets ordinaires', who composed the ballets of the infernal scenes of Psyché and Alceste. It was also d'Olivet who composed the ballet of the old men in Thésée, of the baneful dreams in Atys, and of the tremblers in Isis. This last was composed solely of pantomimic gestures by men seized with cold, and he did not introduce a single usual dance step into it.
Initially the dancers of the Paris Opera Ballet were all male. Mademoiselle de la Fontaine became the first professional ballerina when she danced in the premiere of Lully's ballet Le Triomphe de l'Amour on 21 January 1681. Pierre Beauchamps continued to collaborate with Lully at the Paris Opera until Lully's death in 1687.
Subsequent history
The 18th century saw the creation of an associated school, now referred to as the Paris Opera Ballet School, which opened in 1713. The operas of Rameau, and later Gluck, raised standards for the dancers. Jean-Georges Noverre was a particularly influential ballet master from 1776 to 1781. He created the ballet Les petits riens in 1778 on Mozart's music. Maximilien Gardel was ballet master from 1781, with his brother Pierre Gardel taking over after Maximilien's death in 1787. Pierre Gardel survived the Revolution creating ballets such as La Marseillaise and Offrande à la Liberté. He remained the ballet master until 1820 and continued to work up to 1829.In 1820, Pierre Gardel was succeeded as ballet master by Jean-Louis Aumer, who was however highly criticized for using too much mime and failing to use choreography which furthered plot or character. In 1821, the company moved to a new house, the Salle Le Peletier, where Romantic ballet was born. In 1875, the company moved to the Palais Garnier, where it continues to perform.
Serge Lifar as ballet director
In 1929, Jacques Rouché invited 24-year-old dancer Serge Lifar to become the maitre de ballet of the Paris Opéra Ballet, which had fallen into decline in the late 19th century.As ballet master from 1930 to 1944, and from 1947 to 1958, he devoted himself to the restoration of the technical level of the Opéra Ballet, returning it to its place as one of the best companies in the world.
Lifar gave the company a new strength and purpose, initiating the rebirth of ballet in France, and began to create the first of many ballets for that company. During his three decades as director of the Paris Opéra Ballet, Lifar led the company through the turbulent times of World War II and the German occupation of France. Lifar brought the Paris Opéra Ballet to America and performed to full houses at the New York City Center. Audiences were enthusiastic and had great admiration for the company of dancers.
Era of Rudolf Nureyev
In the world of ballet, Rudolf Nureyev is regarded as the greatest classical dancer ever and as one of the most preeminent choreographers. In 1983, Rudolf Nureyev was appointed director of the Paris Opera Ballet, where, as well as directing, he continued to dance and to promote younger dancers.The top female ballet dancer at that time, if not of all times, was Sylvie Guillem, who was nominated principal dancer at the age of 19 by Rudolf Nureyev in 1984. They were an exceptional dance couple. The years of Nureyev marked a golden era of the Paris Opera Ballet.
Brigitte Lefèvre
, director from 1995 to 2014, with Patrice Bart as maitre de ballet from 1990 to 2011, succeeded to maintain the high standard that Nureyev has set.Brigitte Lefèvre invited some of the most preeminent choreographers, such as William Forsythe, Angelin Preljocaj, Saburo Teshigawara, and John Neumeier.
Transition
There were turbulent times for the company with Benjamin Millepied, director of the Paris Opera Ballet from November 2014 until he quit on 15 July 2016. There were two stumbling blocks with Millepied, a French dancer and choreographer, who left France in 1993, at the age of 16, got his main professional education as a dancer and choreographer in the United States and came back to France in 2014 as newly appointed director of the Paris Opera Ballet. The first one was that Millepied wanted the Paris Opera Ballet dancers to interpret La Bayadère, a classic ballet choreographed by Rudolf Nureyev in 1992, like a contemporary ballet. To achieve this goal, he had already hired guest principal dancers to present La Bayadère.The other stumbling block was that Millepied had broken the hierarchy of the "Danseurs Étoiles" dancing the leading roles, as he had chosen for the cast of his first contemporary ballet creation "Clear, Loud, Bright, Forward" out of the 154 danseurs a "dream team" of 16 dancers which he considered to be the fittest to put to practice his ideas and visions. Karl Paquette, principal dancer, said in an interview that he had never felt as bad in his 30 years at the Paris Opera Ballet as he had the past 6 months. Stéphane Bullion, principal dancer, added that it was clear that things could not be straightened out.
Stéphane Lissner, the Paris Opera director who hired Benjamin Millepied in January 2013 — and who has final authority on decisions about budget, hiring and promotion — said at a news conference at the Palais Garnier on Thursday 4 February 2016 that he had no regrets about that choice. “He leaves too soon, but others leave too late.” Lissner added, “I think that the two jobs, director of dance and a choreographer who is more and more in demand, not just at the Opera, raised a certain number of questions.”