Sunday, September 28, 2014

Paris Opera Ballet: Lander/Forsythe

The lights dimmed…the audience fell into a silence charged with anticipation...the red curtains rose… A bright spotlight at center stage illuminated a single ballerina, resplendent in a pristine white tutu…
Palais Garnier. Spectacular dancing is about to begin!

This was what I experienced from my seat at Palais Garnier, also known as Opéra Garnier, when my husband and I took in a performance of Lander/Forsythe, the first production of the Paris Opera Ballet’s 2014 – 2015 Season

As the audience broke into an enthusiastic applause of welcome, the ballerina responded by performing a deep reverence. But that bow was something more than a simple greeting – it was an invitation to witness something extraordinary: classical ballet technique in its most clear, vibrant, and meticulous form.

And so began Danish choreographer Harald Lander’s “signature work” Études.

Choreographed to the music of composer Carl Czerny, Études, the French word for ‘studies’, unfolds from start to finish as a ballet class on stage. This fly-on-the-wall glimpse into the structure of the ballet class showcases how the technique builds on itself and celebrates the progression from the barre to the bows, with all the ports de bras, turns, leaps and pas de deux in between.

It began, as most classes de danse classique begin – at the barre. Each musical note of Czerny’s rich piano score was punctuated by quick tendus, sweeping battements, and exact frappes performed simultaneously across the stage. The dancers in the opening barre section were lit from such an angle that only their legs and feet were clearly visible; their ports de bras and head movements were performed in shadow. The technique was literally in the spotlight and all you could see were long lines of turn out and a flurry of razor-sharp footwork.

The ronds de jambe section was especially mesmerizing and the Mirror Dance section sprinkled in touch of magic and whimsy as each dancer ‘mirrored’ her counterpart and added a small, poignant progression to the phrase. The grand allegro section of dancers leaping downstage from each corner – ladies from the left, men from the right – was so joyful and a breathless example of how grand jetés combine power and grace in a single movement.

The build from basic to advanced vocabulary highlighted the impeccable ensemble of the corps, as well as their incredible stamina. As any ballet dancer knows, the goal is to give your all in each exercise AND still have something left in the tank for the finish. The few (very few) moments of imprecise timing during the pirouettes hardly detracted from the flow. Instead, I saw them as small reminders of the humanity of the dancers in a piece that accentuates their other-worldly abilities. In short, they made it look easy and effortless. Études was a beautiful tribute to the foundations of ballet, to its strength, its grace and the discipline that makes it so captivating and it was an amazing way to start the evening.

Standing in 3rd position during intermission.
That’s right – that was only Act One! 

Act Two switched gears for a completely different experience, both visually and musically, through two contemporary ballet pieces, Woundwork 1 and Pas./Parts, by American choreographer William Forsythe.

In Woundwork 1, only four dancers filled the stage. They were lit from the back and sides, which created an interesting effect where there were shadows somewhere on their bodies throughout the entire piece. It was an exploration of counterparts – sustain/release, push/pull, extend/withdraw – and of shared weight and balance.

The movement had a heavy and weighted quality. They danced in the floor, rather than on top of it. In some places, they seemed to be dancing against the music: when Thom Willems’ haunting score was slow and drawn-out, the dancers moved at a staccato pace, creating sharp, angular lines with elbows, knees and hands. This juxtaposition of music and movement was at times unexpected, but it was an intriguing way to emphasize the strength and solid ensemble of the dancers.

Pas./Parts was yet another change of sight, sound and pace. It utilized a large ensemble of dancers, and a rough, clanging, and industrial score by Thom Willems. At first glance, with its colourful costumes and bright, bold lighting design, Pas./Parts seemed to be at the opposite end of the spectrum from Études but as it progressed, key connections could be seen between the two pieces.

Forsythe uses the same vocabulary – the same jumps, turns, extensions and partner work – as Lander does, but the order and the progression is modified and reorganized, while still being very much grounded in the technique of ballet. The underlying technical precision and acute attention to details is still there, mixed in with a contemporary fluidity and undulation of the dancers’ arms and torsos. Where Études was a study of precision and unison, Pas./Parts layered the phrases on top of each other, at the same time and had the dancers spread across the planes of the stage in solos, in pairs – both same sex and mixed – and in small groups. The effect was a bright and bold piece, bursting with power and intensity, which brought the performance to a satisfying conclusion.

Except I didn’t want it to end!

If Lander/Forsythe is any indication, the rest of the Paris Opera Ballet’s 2014 – 2015 Season should be just as exciting and as well done. I feel so lucky I got to see such a spectacular performance and I can’t think of a better way to be introduced to this incredible company than watching it pay tribute to the classical tradition, and then take that technique and run with it to new and innovative places.

A magical theatre, beautiful music, and outstanding dancing – and this was only the first of five performances I get to see this season! Ballet tickets are truly the anniversary gift that keeps on giving. 


In front of Palais Garnier. A truly magical evening!

Friday, September 12, 2014

Danse Classique in Paris

41 Rue Temple, 4th Paris, France
Since we decided to accept the transfer to France months ago, there’s one thing I was really looking forward to – taking dance class in France. I was excited beyond belief -who wouldn’t be? France is the birthplace of ballet and to take class where it all began would be absolutely amazing!

And after all the stress of goodbyes and moving and getting set up in the first three and a half weeks we’ve lived here - plus all the researching into Le Centre de Danse du Marais, metro schedules, buying the 5-class trial pass online, and doing a re-con mission to make sure I could find the place - I finally made that one thing happen. 


I took a dance class in Paris, France!

Specifically, it was a ballet class, which is called Danse Classique in France.

Simply put, it was one of the best days ever!

Multi-lingual dance studio!
Before the Débutant/Moyen (Beginner/Intermediate) class on Thursday, I carefully put my hair up in a bun, tucked my ballet shoes into my purse, filled my water-bottle and headed to the metro. Two trains later, I got off at L’Hôtel de Ville and walked to Le Centre de Danse du Marais, at 41 Rue Temple.

The first time I went there on my re-con mission, I walked right past it since it’s tucked away at the end of a cobblestone courtyard. The building itself is really beautiful, with studios all the way around the courtyard and a lovely café directly opposite the main doors. My class was on the second floor and soon I found myself in a sunny waiting room, stretching and warming up with the other dancers. Then we moved into the studio, pulled out the barres and got down to business. 
Wagner Studio has a lovely view of the courtyard below.

A short foot warm-up, pliés, tendus, dégagés, ronds de jambes, développés, fundus and battements – the barre exercises progressed so fluidly with Laurence, our teacher, demonstrating each exercise while we marked it. While each new exercise built onto the previous one and each become more challenging, I kept thinking over and over –

I’m really here! I’m taking a ballet class in Paris!

And as my body responded to the instructions and corrections, as I turned my legs out from the hips and pressed my feet into the floor with each tendu and my eyes followed each movement of my arms, I also felt something else...

I felt like I was home.

It was that feeling of being somewhere so recognizable and welcoming, somewhere safe and familiar, surrounded by people you love. In a dance studio in Paris, France, in a building from the 1600s, surrounded by a new teacher and new dancers, I was home.

It was amazing.

As we moved into the center, we did some petit allegro to Gene Kelly’s Singing in the Rain, which added a fun, classic-musical theatre element to traditional ballet vocabulary. We even got to use rosin on the slippery, worn wood dance floor! 

My favorite center exercise was the beautiful adage accompanied by the classic Gershwin standard, S’wonderful. It was by no means easy, especially the phrase that started with a developé devant, transferred to an arabesque-promenade, then an attitude-promenade, and finally to a fondu-penché. Phew! It was a challenge to really lengthen each movement and to use breath and control - especially on the extensions - to transition from each position to the next, but the music helped it flow together so smoothly. I felt like I already knew the combination and when we ran it without following our teacher, it felt like real choreography, not just an exercise. It was joyous and I loved it!

No Danse Classique class would be complete without some jumps and I admit I let out a delighted squeal when the theme from Fame came on for a short warm-up sauté combo. No one else seemed that excited about it; they all had these ‘Silly Canadian girl!’ looks on their faces. But I swear it helped me jump higher because it made me think of my sister and my fellow dancers back in Canada. We did a classic glissade, assemblé combo coming forward to Chicago’s All That Jazz and naturally, a grand-jeté combo finished off our center practice.

Thank you, feet! 
It was an incredible 90 minutes and after the reverence and some sneaky photo-taking of the studio, I had to take a minute to really process what I just did and what it meant. As I sat there in the waiting room, sweaty and exhausted, smiling so big while my muscles – especially my hips – were already feeling the extent of the physical and technical exertion, I felt a huge sense of joy. I did it –

I took a ballet class in France!

But it was more than that. I felt intense gratitude – towards my body, towards my training, and towards my teachers and my family. They helped instill a love of dancing and learning in me that propels me to go after what I want and to keep pushing and putting myself out there.

That’s why I dance.

And it’s that gratitude and joy - and the fact that writing this post was a chance to relive the experience - that makes me thrilled to share this journey with you.

I’m so inspired, and still smiling so big, and I can’t wait to check out other classes at Le Centre and elsewhere, and to dance again!

Le Centre de Danse du Marais
membership card and gift bag.

Le Centre de Danse du Marais is one of many dance studios in Paris that offer classes in many different styles and at different levels. For more information, check out their website:


(Don’t worry, there’s an English version!)