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Home , Jewels (ballet), John Lanchbery, Kader Belarbi, Pas de trois, Rudolf Nureyev, Swan Lake (Balanchine)

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NUREYEV AND HIS DEFINING SWAN Photo © Christian Leiber By Valerie Lawson

Rudolf Nureyev was 20 when in court into the unreal world of the swans, the In the original /Lev Ivanov version 1958, he made his debut in a melancholy solo was considered so successful of , the interest is focussed on the that it was retained in future productions. ballerina who dances the lyrical role of the that was to dominate and But not without a cost. Diane Solway's white swan, Odette, and the virtuosic role of define his life. biography of Nureyev, describes how the sharp the seductive and deceptive black swan, Odile. eyed de Valois, known in the ballet world as In such traditional productions, the prince is passive, merely a pawn of both Odile and her As a new member of the Kirov Ballet in St. “Madam'', was putty in the hands of the partner in deceit, the evil Rothbart. Petersburg, he appeared in a relatively small charming, naughty and egotistical Nureyev, dancing part, in the pas de trois in Act 1 of Swan then 24. The production in was a hit. Life Lake. In rehearsals,he demanded that there be no music magazine commissioned Lord Snowden for a photo shoot of Nureyev and Fonteyn, and, Four years later, in the principal role of Prince after the variation for the Black Swan, Odile, in during the premiere, a record 89 curtain calls Siegfried, he thrilled western audiences and Act 3, so that he could walk on stage in silence to were taken in the course of the four acts. startled conservative critics by showing his prepare for his variation. manner of dancing Swan Lake – brooding, Solway quotes the conductor, , Twenty years later, Nureyev gave an even charismatic, virtuosic, and always with the telling de Valois: “I hate saying this, Madam, but greater emphasis to the role of Prince spotlight firmly fixed on him. don't you think it makes it look terribly like a Siegfried, with a new production for the Opera Ballet, where he had become artistic As a dancer, he used the ballet as a showcase circus?'' “Oh Jack,” she replied, “it's like a circus director in 1983. prepared for him, he introduces into his life the iconic older woman whom he admired, such as for his remarkable talents.As a choreographer, anyway. Go on, let him do it.” vision of the lake, the ‘other place’ that he is . he continued to place the emphasis on the role In a prologue, the Prince is an isolated figure, After Nureyev continued to stop the orchestra, drawn to. An idealised love comes to life in his of the prince, not to satisfy his own ego, but to sitting on a throne. He is asleep and dreaming “By its pyschoanalytical dimensions,” wrote the asking that the score be played at a slower mind with the taboo that it represents. (The create a psychological basis for the implausible (rather like James in ) of a beautiful, dance historian, Sylvie Jacq-Mioche, Nureyev's tempo, Lanchbery asked de Valois: “Whom do white swan is the untouchable woman. The story of a prince falling in love with a swan unattainable woman,who is captured by a vulture. Swan Lake "forms part of the exploratory I follow, him or the score?” De Valois replied: black swan is its reverse image, just as the evil queen kept captive by a spell. “You listen to him.” The image returns at the end of the ballet. traditions that go from John Cranko (1963) to Rothbart is the perverse transposition of John Neumeier (who in 1976 turned his Prince Each encounter with the ballet pointed It appears that everything in this Swan Lake Some critics fretted that a mere 24 year old could Wolfgang, the tutor.)'' into King Ludwig II of Bavaria haunted by his Nureyev to his final Swan Lake destination, his happens in the mind of Prince Siegfried. His tinker with the ballet but audiences were ecstatic, The set by reinforces the Prince's delirium)” and the interpretations of production for the in 1984. dream encapsulates his anxiety about growing as they were in in 1964 when Nureyev desire to escape, as the high walls that give a contemporary choreographers, from Twenty-three years earlier, with the Kirov older and accepting adult responsibilities and danced in the ballet with Margot Fonteyn. sense of claustrophobia and entrapment, open Mats Ek to Matthew Bourne. Ballet, he had danced the role of Prince his sexual desire for an ideal woman, and Australian audiences outdid one another in an to reveal a romantic vision of a lake, like a Siegfried in Paris. perhaps for a man. attempt to match the 20 minute long curtains calls painting in the mind of the Prince. © Valerie Lawson Valerie Lawson is an author and It was just before his dramatic to the the starry duo had received in Europe. The vulture-like creature, Rothbart, is also the Nureyev's Swan Lake has been analysed every journalist who writes on dance for west, and as he acknowledged the tumultuous double of Prince Siegfried's tutor, Wolfgang, Nureyev made his first major choreographic which way. Rene Sirvan, dance critic for the The Sydney Morning Herald. applause for the last performance at the Palais who manipulates the prince into the fantasy foray into Swan Lake with a 1964 production Figaro has suggested that the Prince “prefers to des Sports, Nureyev must have been thinking and towards his final unhappy ending. Always for himself and Fonteyn with the Vienna State give his affection to a sublime and inaccessible of his imminent escape to creative and political interfering, Wolfgang-Rothbart becomes a Opera Ballet. creature as a way of suppressing his latent freedom at Le Bourget airport. third party in the Act 3 , which now There, he expanded the Prince's role once becomes a pas de trois. homosexuality (he lives in his palace His third major encounter with Swan Lake was more, developing the psychological impetus for surrounded by young boys. This is revealed in in London in 1963, when he danced in the behaviour of the distraught hero. Nureyev said of this production “For me, Swan the polonaise of Act I, replacing the dance of 's production with the Royal Lake is a long reverie by Prince Siegfried. In Vienna, being the home of Sigmund Freud, the goblets which is usually danced by Ballet. Inspired by romantic books that have fuelled couples).” Prince Siegfried became a manic depressive. his desire for infinity, he refuses the reality of That year, the formidable artistic director of “His inner longings are embodied by power and marriage that his tutor and mother Some see autobiographical references in the the company, , allowed him to Odette/Odile, dual characters who represent imposed on him. authority figure of Wolfgang who could be a introduce a new solo for the prince into Act 1. his spiritual and carnal side,” wrote Solway. father figure against whom Nureyev had to Forming a bridge from the real world of the “In order to escape the dreary destiny being struggle and in the Prince's devotion to an Photo © Jacques Moatti 14813 POB CAPITOL 13/6/07 11:21 AM Page 24

A SYMPHONIST GOES TO THE BALLET

Tchaikovsky’s music dances. Balanchine found his first – not just because he needed the dancing Tchaikovsky’s ‘sheer pleasure’, money but because he really wanted to try his and his choreographies to other Tchaikovsky hand at writing a ballet. He had in fact already music suggest that he wasn’t thinking only of tried his hand: the oboe theme that haunts the three great scores: Swan Lake, Sleeping Swan Lake was salvaged from a tiny children’s Beauty and Nutcracker. For Balanchine there ballet on a similar subject written years before. was something essentially balletic about Inventiveness of themes, subtlety of Tchaikovsky: ‘always Tchaikovsky for dancing.’ orchestration, and the use of long-range If your love of Tchaikovsky comes first from harmonic planning to build dramatic unity may Aust Ballet the ballet (if you saw Swan Lake before you ever have been commonplace in the symphony, but heard a symphony in the concert hall, or were they were novel qualities in ballet music of the doing pliés long before you took up piano), it 1870s.The Swan Lake audiences, accustomed to can be puzzling to encounter the snobbishness routine, shallow accompaniments, were AD that has surrounded his music. astonished and possibly perplexed by the Perversely,Tchaikovsky was accused of writing refinement of Tchaikovsky’s music. symphonies that were too balletic and ballet The astonishment would have been immediate. music that was too symphonic. In a review of Instead of securing the audience’s attention the first Sleeping Beauty one St. Petersburg critic with a conventional curtain-raiser,Tchaikovsky said that in the audience ‘the music was called floats the melancholy sound of the oboe and either a “symphony” or a “melancholy”.’ then the clarinet through the auditorium. The Neither was intended as a compliment. On the introduction encapsulates the emotional TCHAIKOVSKY other hand, Tchaikovsky’s pupil and friend, content of the drama, as well as the composer’s THE DANCER Sergei Taneyev, responded to his Fourth infallible instinct for atmosphere. It leads from Symphony by assigning it: ‘one defect to which the mournful sounds of B minor – associated When the composer Saint- I shall never be reconciled: in every movement throughout the ballet with the swans – to Saëns first visited Moscow there are phrases which sound like ballet majestic D major (a related key), associated in 1875 he and Tchaikovsky music…my inner eye sees involuntarily our with Prince Siegfried. struck up an instant prima ballerina which puts me out of humour In the same way that a painter might work with friendship, discovering a and spoils my pleasure in the many beauties of a colour wheel, Tchaikovsky’s harmonic the work.’ mutual fondness for dancing. strategy exploits the implied relationships In fact,Tchaikovsky’s symphonies are chock-full between different keys. As with colours, some The two middle-aged men of dance music (but then, he said, so are pairs may be complementary, others directly found a deserted stage in Beethoven’s) and his ballets do gain great related, and distant keys set up dissonance and the Moscow Conservatory strength from his adoption of symphonic tension. When, for example, Siegfried where, accompanied by strategies. unwittingly betrays Odette in Act III, Tchaikovsky, for his part, totally failed to Tchaikovsky shifts to the remote and disturbing pianist and conservatory A flat major. And in his overall scheme he director Nikolai Rubinstein, understand ‘why the expression ballet music should be used disapprovingly’, and his associates so-called ‘sharp’ keys with purity and they presented an bewilderment stemmed from a genuine love goodness – the swans, Odette and Siegfried – impromptu ballet on a for ballet. Even though all around him and ‘flat’ keys with the forces of evil and mythological theme. disagreed, he saw ballet as an art equal to other troubled emotions – Siegfried’s unhappiness, arts. He accepted the Swan Lake commission – Rothbart and Odile. 14813 POB CAPITOL 13/6/07 11:21 AM Page 26

Lord Howe Island NSW

Hat Head, North Coast of NSW

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NSW Tourism AD AD Yann Bridard (Rothbart) © Icare Karl Paquette (Rothbart) © Icare

Tchaikovsky also brings his mastery of Tchaikovsky self-deprecatingly observed that it gesture sometimes compared to the forced instrumental colour to the characterisations.The ‘presents no particularly successful ideas, but in mood of triumph that concludes the Fifth oboe presents the poignant swan theme in Act II workmanship it’s a step forward’.Workmanship of Symphony. But as commentator John Warrack (Tchaikovsky’s favourite).When Odile arrives at the symphonic variety was always a struggle for observes: for Tchaikovsky the truer ending is the the Act III ball this theme is presented in a harsh Tchaikovsky. It is most obvious in the first enigmatic close on a long-held B, coloured only Warrumbungles National Park, Heart of Country NSW and edgy colouration with all the winds: at once movement of the Third Symphony and it is telling by an open fifth and therefore neither major nor conveying her resemblance to Odette while that this was the movement that Balanchine minor, neither victory nor loss. We’ve already planned revealing her true nature. Elsewhere the omitted in creating Diamonds. The remaining four Swan Lake is brimming with evidence of the insinuating clarinet takes on the role of the ‘black movements are more effortless, and they profound love Tchaikovsky felt for his task, your next holiday swan’. And when Odette and the Prince declare effectively create a suite of dances – waltzes, fairy infusing the score with sophisticated and their love in Act II, they are presented as violin scherzo, Imperial polonaise. expressive symphonic elements without ever (soprano) and cello (baritone) in a duet rescued Ironically it is Tchaikovsky’s themes – full-blown losing sight of the practical demands of ballet from an abandoned opera, Undine. melodies that dancers find so grateful – that music. And not only did Tchaikovsky enact a There’s no place like NSW for a fantastic holiday. While it’s hard to top the world-famous harbour city of Sydney, travellers Tchaikovsky’s ballet music shares the strengths resist the traditional techniques of development symphonic revitalisation of ballet music but he of his symphonies, and the reverse is also true. expected in a symphony. Rather than pithy integrated his ballet style into the Romantic who venture further afield will be rewarded with unforgettable experiences. And there’s no better way to plan your holiday But Tchaikovsky was the first to admit to an motifs conducive to musical expansion and symphony. In addition to their moments of than with a New South Wales holiday planner, each packed with great places to visit and things to do. So if you’re looking ‘inability in general matters of form’, one of the argument, Tchaikovsky’s melodies are self- dancing exuberance,his symphonies at their best for the perfect holiday, chances are we’ve already planned it. supposed weaknesses of his symphonies.‘I have sufficient, and so he draws on the techniques have a theatrical eloquence and directness of in my music a vast amount of padding;’ he wrote familiar to Russians of the 19th century: expression. ‘Whether I write well or ill,’ said to the Grand Duke Konstantinovich,‘the thread repetition and variation. Tchaikovsky, ‘one thing is certain – that I write in the seams is always noticeable to the In Swan Lake it is the oboe’s swan theme that ties from an inward and irresistible impulse.’ experienced eye, and it is impossible to do the ballet together – repeated in different guises For your FREE NSW holiday planners Yvonne Frindle ©2007 anything about it.’ to trace the action and changes of atmosphere. Yvonne Frindle is Concert Programs Editor for the Sydney When he had completed his Third Symphony When it returns for the last time, it moves from call 13 14 52 or go to visitnsw.com Symphony and a freelance writer and speaker about music. She (used by Balanchine for the diamond act in ) B minor to an apparently triumphant B major, a was doing pliés long before she took up piano. An initiative of Tourism New South Wales on behalf of the NSW Government.

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Marie-Agnès Gillot & Hervé Moreau © Ann Ray Agnès Letestu & JoséSwan Martinez © Jacques Moatti Lake Aurélie Dupont & © Maurizio Petrone Image

© Maurizio Petrone 14813 POB CAPITOL 13/6/07 11:21 AM Page 30

SWAN LAKE JEWELS 16 TO 24 JUNE 2007 27 to 30 June 2007

BALLET IN THREE ACTS BALLET IN FOUR ACTS Emeralds Prologue Interval 1 (20 minutes) ACT I Rubies ACT II Interval 2 (20 minutes) Diamonds Interval (20 minutes)

ACT III Emeralds Music Gabriel Fauré ACT IV Rubies Music Music Piano Vassela Pelovska Diamonds Choreography Music Pyotr Ilyich Tchaikovsky After Marius Petipa and Lev Ivanov Choreography Set Design Set and Costume Design Christian Lacroix Ezio Frigerio Lighting Jennifer Tipton Costumes Franca Squarciapino SYDNEY LYRIC ORCHESTRA Conductor Paul Connelly Lighting Vincio Cheli Emeralds Premiered on 13 April 1967 with the at the SYDNEY LYRIC ORCHESTRA New York State Theatre, with and Conrad Ludlow. Conductor Vello Pähn Rubies Premiered on 13 April 1967 with the New York City Ballet at the New York State Theatre, with , This production was created for the Paris Opera Ballet Patricia McBride and . on 20 December 1984. Diamonds Premiered on 13 April 1967 with the New York City Ballet at the New York State Theatre, with and Jacques d’Amboise.

This production became part of the repertoire of the Paris Opera Ballet in December 2000. The performances of Jewels are presented with permission by the George Balanchine Trust SM, conforming to the standard execution of the Balanchine style, as instituted and outlined by the Balanchine Trust. Photo © Jean-Pierre Delagarde 14813 POB CAPITOL 13/6/07 11:21 AM Page 32

JEWELS A GREAT CREATOR’S CHOREOGRAPHIC AUTOBIOGRAPHY By Valerie Lawson Jewels is a tale of three cities and The ballet's music reflects the gemstones, with extra aspect of Balanchine hiding within the two centuries. Inspired by Paris the calmness of Fauré giving way to the fire of beauty of the work – his head for business. syncopated Stravinsky then the majesty of the and St. Petersburg in the 19th Jewels was created in 1967 as a crowd pleaser Tchaikovsky conclusion. when Balanchine needed audiences for New century, and the jazz age in 20th But most of all, the ballet, Jewels, tells us all we York City Ballet's new location at Lincoln century New York,the ballet is need to know about George Balanchine, as a Centre. dressed in three shades of stone, choreographer and as a man. In the last 10 years, the work has continued to the deep green of emeralds, the In the triptych of Jewels, we see the weight of work its magic, luring audiences in the handful hot red of rubies and the crystal- his past, from his travels, to his choreographic of cities, from Miami to Paris, in which it is white of diamonds. journey to his romantic life. And there is one performed.

Suzanne Farrell and George Balanchine visit to Claude Arpels, Place Vendôme in Paris, September 1976. © Bernand-Enguerand

Jewels’ premiere was accompanied by a bit of musical framework, Jewels reflects the three onstage.Thanks to Sleeping Beauty, I fell in love trumped up publicity and hazy reports of its ballet lives of Balanchine, beginning with his with ballet.” inspiration, the result of Balanchine’s meeting with childhood in St. Petersburg. Absorbing the works of Petipa, he began to the jeweller, Claude Arpels. Balanchine claimed The dance critic, Arlene Croce, believed that understand the , the formality that the windows of Van Cleef and Arpels’ New Balanchine began Jewels by first creating the of Petipa’s choreographic patterns, the York store provided the inspiration for a ballet long, stately pas de deux at the heart of hierarchy of courts, the role of kings and revolving around gems. Diamonds, in which the ballerina entices and queens, princes and princesses who populated Arpels also claimed the scenario was his idea.The enchants her suitor.That pas de deux and the Petipa's ballets. truth was, that Balanchine hoped (in vain as it patterns of the in Diamonds This history is seen in Diamonds,in the turned out) that Arpels would underwrite the refer to the ballets of St. Petersburg patterns, in the final polonaise (reminiscent of ballet’s premiere. Hence the ballyhoo surrounding choreographed by Marius Petipa – The Sleeping The Sleeping Beauty finale), in the civility of the one event staged for the media, when the Beauty, Swan Lake (with Lev Ivanov), Nutcracker principals, in the way in which the pas de deux ballerina, Suzanne Farrell, stood in costume by and , especially Odette’s pas de deux begins with the ballerina and her suitor open showcases at Van Cleef and Arpels while with Prince Siegfried in act two of Swan Lake. approaching one another in a stately walk and Balanchine and Arpels showered her with These works were in Balanchine's blood, as in its ending, with the man on one knee, like a precious stones. was the music of Tchaikovsky. courtier, kissing his partner’s hand. But if the New York premiere of Jewels jangled As a student of the Imperial Theatre School he After decades living in the United States, with commercial imperatives, its longevity lies in made his stage debut in The Sleeping Beauty, Balanchine was often asked: “What is your the nuances and references lying beneath its riding onto the Mariinsky stage in a golden nationality?” He replied: “By blood, I am elegant forms. cage, playing the role of a cupid. Georgian, by culture, Russian, but by The work is not only a perfect introduction to “And suddenly everything opened!” he wrote. nationality, Petersburgian.” but also a fascinating study for “A crowd of people, an elegant audience. And After he left Russia, Balanchine worked in balletomanes, critics and scholars. the , all light blue and gold. Monte Carlo for Diaghilev’s Ballets Russes, a Barbara Horgan, chair of the George And suddenly the orchestra started playing. I company built on the foundations of ballets by Balanchine Foundation, says “the three pieces sat...in an indescribable ecstasy, enjoying it all - Michel Fokine. of music are the key to it all”, but within the the music, the theatre, and the fact that I was Balanchine and his Jewels: Mimi Paul,Violette Verdy (Emeralds), Patricia McBride (Rubies) and Suzanne Farrell (Diamonds). Costumes by Karinska, 1967 © Martha Swope 14813 POB CAPITOL 13/6/07 11:21 AM Page 34

© Icare operaLife Amplified

Indulge yourself with Opera Australia this winter – eight irresistible operas, including three new productions and an Australian premiere.

THE BARBER OF SEVILLE ROSSINI | NEW PRODUCTION 26 JUNE – 30 AUGUST IL TROVATORE VERDI 3 JULY – 4 AUGUST Opera Aust THE ABDUCTION FROM THE SERAGLIO MOZART One Fokine work had entranced Balanchine since “moon-drenched romanticism” – a kind of thought the Rubies’ dancers were still 13 JULY – 10 AUGUST AD his student days – the plotless, ethereal Les prequel to Emeralds perhaps. representative of royalty.Instead of the princesses Sylphides,made as an homage to the Romantic age and princes of Emeralds and Diamonds, they were, A STREETCAR NAMED DESIRE By the time he made Le Palais de Cristal,Balanchine of ballet in the 1830s and 1840s. had been in the United States for well over a she wrote, like the royalty in a deck of cards and PREVIN | AUSTRALIAN PREMIERE With , Fokine overturned the rigid decade and adopted a number of Americanisms. “all part and parcel of the toy kingdom of ballet”. 2 – 29 AUGUST formations of Petipa’s ballets in favour of chain- He looked like a “Russianised version of a wild The kingdom of ballet is hierarchical, and Jewels like patterns and expressive ports de bras. The west dude”, in the words of Taper. can also be seen as a metaphor of that hierarchy, IL TRITTICO with the ballerina in Diamonds at its peak. dancers drifted in long, calf length tulle tutus in a The longer he stayed in the US,the more he wore PUCCINI glade-like setting. string ties, plaid vests, pearl buttoned cowboy That role was created by Balanchine for Suzanne 17 AUGUST – 26 SEPTEMBER In Emeralds, one can see Balanchine’s version of shirts, and Navajo jewellery. Balanchine Farrell, whom he loved, though she was more Les Sylphides, as well as his own tribute to the choreographed for Broadway shows and in than 40 years his junior. age, with that era’s emphasis on Hollywood and loved all things American,from ice As Laura Jacobs has written in The New Criterion, OFFENBACH | NEW PRODUCTION green forests, watery images and supernatural cream to jazz, from TV westerns to Gershwin. he hoped to make Farrell his fifth wife. She was 1 SEPTEMBER – 15 OCTOBER spirits. Emeralds also acknowledges the French In Jewels, the middle section, Rubies, is the “his Hope diamond, the ballerina in Jewels who training system, called the “danse d'école” and, to summation of the dance spirit of Balanchine’s doesn’t share the stage with a second [woman] THE GONDOLIERS many writers and scholars, it also appears to be adopted country,once described as his love letter because she was all women, all enchantments…in GILBERT & SULLIVAN Balanchine’s tribute to Parisian style. to America. one”. 18 SEPTEMBER – 3 NOVEMBER He had a long association with the city, Rubies’ girls and boys run, strut, lunge, walk on Her partner, kneeling at the end, was Balanchine’s choreographing 10 ballets which premiered in their heels and jut their hips, like a Broadway alter ego, as were the kneeling men at the end of TANNHÄUSER Paris between 1925 and 1933, many of them chorus line or circus troupe in the big tent. Emeralds. WAGNER during the short life of his company, Les Ballets Balanchine, a , ever searching for his 33. The dancer, Edward Villella, who danced the 8 OCTOBER – 2 NOVEMBER principal male role in Rubies, saw parallels in the ideal woman, had one lifelong belief that “in my In 1947, Balanchine was again in Paris as guest choreography to Broadway cabaret shows and ballets, woman is first. Men are consorts. God of the Paris Opera Ballet and there the style of , whom Balanchine greatly made men to sing the praises of women.” As they choreographed Le Palais de Cristal, later known as admired. do in Jewels. . WINTER OPERA AT THE SYDNEY OPERA HOUSE For Rubies, the girls discard their long Emeralds © Valerie Lawson Le Palais de Cristal has an adagio section, described tutus for showgirl costumes, short, sexy, sparkly. 26 JUNE – 3 NOVEMBER • Opera Australia (02) 9318 8200 by Balanchine’s biographer, Bernard Taper, as Valerie Lawson is an author and journalist who writes on dance for But despite their American pizzazz,Arlene Croce The Sydney Morning Herald. www.opera-australia.org.au • Sydney Opera House (02) 9250 7777 14813 POB CAPITOL 13/6/07 11:21 AM Page 36

Emilie Cozette Rubies © Sébastien Mathé Jérémie Bélingard RubiesJewels© Icare Delphine Moussin Rubies © Icare Image

© Christian Leiber 14813 POB CAPITOL 13/6/07 11:22 AM Page 38

CHRISTIAN LACROIX Qantas The Fashion Designer AD to come

Christian Lacroix was born on He spent his childhood between the was then in style.The second collection,in January May 16, 1951 in Arles, France, Camargue beaches and the Alpilles pine 1988, was awarded with a “Golden Thimble”. forests, amongst the Gallo-Roman ruins and under the sign of Taurus. In October 2002, together with the the remnants of the 1944 WWII bombings, presentation of the spring-summer 2003 attending bullfighting events and theatre or collections and the celebration of the 15th opera festivals, immersed in both Provencal anniversary of the Couture House, Christian and Gypsy traditions, and enjoying museum Lacroix received the insignia of Chevalier de la paintings and attic books. During his Légion d’Honneur from Mr. Bernard Arnault, adolescence, he discovered a passion for Chairman of LVMH. Oscar Wilde and the Beatles’ as well as Barcelona and Venice. He later studied Art Today, the Christian Lacroix House boasts History at the University of Montpellier. In approximately 60 points of sale in France 1973, he continued his studies in Paris at both (either Christian Lacroix boutiques or sales the Sorbonne and the Ecole du Louvre, with areas within a department store). Christian the ambition to become a museum curator. Lacroix fashion products and brands are sold in over 1,000 points of sale throughout the world. He then met individuals that would influence his destiny: Françoise, his future wife, who introduced him to the secrets of Paris and encouraged him to draw; Jean-Jacques Picart, a press attaché and advisor to several Designers and Haute Couture Houses, who found him a job at Hermes in 1978, then with SMH Guy Paulin in 1980. SMH In 1981, he began working at the Jean Patou House, and took up the challenge of Haute Couture, a profession that certain individuals claimed to be on the decline. Season after Ad season, he succeeded in defining the 1980s Ad with their bright colours, extravagance and luxuriance. In 1986, his work was awarded with a first “Golden Thimble”, after which he received the Award for the most influential foreign designer, given by the CFDA in New York in January 1987. At that time Christian Lacroix met Bernard CELEBRATING THE ARTS IN SYDNEY EVERY DAY Arnault, who founded the house of Christian Lacroix, which is located in a private mansion at 73, rue du Faubourg Saint Honoré in Paris. The first collection, in July 1987, highlighted eccentricity in opposition to the minimalism that

bllidd // AM 14813 POB CAPITOL 13/6/07 11:22 AM Page 40

Stéphanie Romberg – Rubies © Icare Emmanuel Thibault – Rubies © Icare

OrotonOroton ADAD

Mélanie Hurel – Emeralds © Sébastien Mathé Isabelle Ciaravola & Christophe Duquenne – Emeralds © Sébastien Mathé

Yann Bridard & Nolwenn Daniel – Emeralds © Icare Nathalie Riqué & Karl Paquette – Emeralds © Sébastien Mathé 14813 POB CAPITOL 13/6/07 11:22 AM Page 42

FAURÉ STRAVINSKY TCHAIKOVSKY MUSIC – miniature jewels – volatile rhythm – always dancing Fauré is the odd man out in that he never In 1910 made Stravinsky’s reputation It was Tchaikovsky who rescued ballet music Jewels composed music for ballet, although his Dolly and launched his career. Other Diaghilev ballets from the routine outputs of committees and Suite was orchestrated and staged during his followed: ,, and in 1920 endowed it with elegance, invention and creative lifetime. Nor did he compose a great deal in the The Song of the Nightingale.When, five years later, integrity. Before Tchaikovsky, ballet and its music way of orchestral music. But he found a dramatic Diaghilev revived The Nightingale with new was something disreputable. Eventually, as and orchestral outlet composing incidental choreography, it was the beginning of a 50-year Balanchine observed in 1981, most people had GABRIEL FAURÉ IGOR STRAVINSKY PYOTR ILYICH TCHAIKOVSKY music for the theatre. Shylock was his second association between Stravinsky and Balanchine. come around to Tchaikovsky’s viewpoint: ‘that (1845–1924) (1882–1971) (1840–1893) work in the genre, intended for a heavily adapted 1928 saw Apollon musagète, which Stravinsky said ballet was an art, equal to the other arts’. French organist and composer, especially of Russian-born, the greatest ballet composer of Such is the soaring quality of his melodies that French version of The Merchant of Venice. Always had been choreographed ‘exactly as he had It could be argued that nearly all of Tchaikovsky’s songs and chamber music in a subtle and lyrical the 20th century. In addition, many of his Tchaikovsky’s music is a favourite of dancers. In at home in song, Fauré included two numbers wished’. ‘As a thorough musician,’ he said, music is ballet music – at heart. ‘And then for the style. In addition to Emeralds, Balanchine later concert works have been choreographed – a the active Balanchine repertory are eight for tenor and orchestra, which Balanchine Balanchine ‘had no difficulty in grasping the finale, Diamonds,’ said Balanchine, ‘I move to choreographed Fauré’s Ballade. tribute to the rhythmic genius of his music. settings of his concert works, together with omitted in compiling his own ‘suite’ for Emeralds. smallest details of my music, and his beautiful Tchaikovsky – always Tchaikovsky for dancing.’ Balanchine created more than a dozen new versions of Nutcracker and Swan Lake. Balanchine did the same with the music for choreography clearly expressed my meaning.’ In this case the Tchaikovsky is his Third Symphony, Stravinsky ballets. Maeterlinck’s Pelléas et Mélisande, omitting Like Tchaikovsky before him, Stravinsky was Mélisande’s song.The remaining numbers include shorn of a cumbersome first movement to reveal EMERALDS RUBIES DIAMONDS attracted to ballet. When he composed his the famous lilting Sicilienne, originally composed a suite of dances: the opening waltz (‘alla tedesca’ Music from Shylock† and Pelléas et Mélisande: Capriccio for piano and orchestra Symphony No.3 in D major Danses concertantes, for example, it was a concert for Moliere’s , and the – in the German style); a sombre, elegiac slow Prélude I Presto II Alla tedesca work, but there were dancers lurking in the wings poignant ‘Death of Mélisande’. movement as the emotional heart; a delicate fairy La Fileuse II Andante rapsodico III Andante elegiaco – and Balanchine did choreograph it later on, scherzo; and a grand ‘tempo di Polacca’ Sicilienne III Allegro capriccioso IV Scherzo Incidental music calls for short numbers, often inspired by the ‘volatile quality of the rhythm’. (Polonaise) finale that says more about Imperial Entracte† (1929, rev. 1949) V Finale (Tempo di Polacca) written to exacting requirements: a song that The Capriccio for piano and orchestra falls in the Russia than it does about Poland. Epithalame† (1875) plays a direct role in the action, discreet same camp: a concert work first, written to Balanchine thought it ‘too bad’ that the early Nocturne† underscoring for dialogue, music of a certain expand Stravinsky’s personal repertoire as a Tchaikovsky symphonies are neglected, and tells of Final† mood and duration to cover for a scene change. pianist in the late 1920s. But it had already been a St. Petersburg joke in which Tchaikovsky wrote Mort de Mélisande It is not so different from the demands of 19th- twice choreographed before Balanchine used it three symphonies: the Fourth, Fifth and Sixth. But (1888†; 1898) century ballet music. The directions that Petipa for Rubies. Again, there is a volatility gave Tchaikovsky, for example, specified metre, Balanchine is full of praise for the balletic First (capriciousness) of rhythm, but there is Symphony and the brilliant finale of the Second, tempo, character, even the number of bars of something else: a Tchaikovskian grace and charm music required. Incidental music also requires and he describes the waltz of Third Symphony as ‘a inspired by Stravinsky’s work on The Fairy’s Kiss whole ballet scene exquisitely orchestrated’. the art of the miniaturist, an ear for atmosphere, ballet the year before.The Capriccio is a reminder Listen to the ballet…see the music and a subtlety and nuance that went well with that Stravinsky loved Tchaikovsky’s music, as did But what is that scene? One intriguing Fauré’s modest character. Each of the Balanchine. interpretation is to see Diamonds as critic Laura His father was a composer and singer, his would have abandoned music in any case: in the edgy neoclassicism of Balanchine’s movements in Emeralds – the longest little more Jacobs does: ‘a fifth act – a wish fulfilment – of mother a pianist. As a teenager he enrolled at 1915 he had seen three ballerinas on pointe. American ‘babes’, and the elegiac grandeur of than five minutes – is, in itself, a perfect jewel. Swan Lake’, negating the suicide-apotheosis with a the St. Petersburg Conservatory where he ‘The pointe,’ Balanchine said to Walter Terry in the Imperial ballerinas. wedding-coronation. The Third Symphony and studied piano, composition, harmony and 1962, had ‘made’ him: ‘If no pointes existed I the ballet were written in close succession, and Balanchine himself didn’t allow for such neat even the keys are right, with the symphony’s D counterpoint. would not be a choreographer. I would not be assessments, and he flatly denied any anything, probably. Perhaps a musician.’ major so closely related to Swan Lake’s B minor.If Was this Stravinsky? No – Stravinsky’s parents connection between Rubies and America. you’ve seen Swan Lake recently, it’s an appealing had insisted that he study law. Tchaikovsky It could be argued that, even as the 20th Rubies was ‘simply Stravinsky’s music’. thought to hold. perhaps? No – the son of a mining engineer,he century’s greatest choreographer, Balanchine Stravinsky might have agreed. Describing a too studied law and only entered the newly was still a musician. Not only was his thorough project from the 1940s (Balustrade, to his Or perhaps, bearing in mind that, like a symphony, founded St. Petersburg Conservatory at the grounding in music a practical asset, but music Violin Concerto), he said: ‘Balanchine Jewels is a plotless conception, it makes sense to relatively late age of 22. was an influential element throughout his body composed the choreography as he listened to view (and hear) Diamonds in the light of what has of work. Balanchine really does ask us to ‘listen my recording, and I could actually observe him gone before. The prominent horn theme in the This biography belongs to George Balanchine Andante elegiaco, for example, echoes the horn (Georgi Melitonovitch Balanchivadze), who to the ballet and see the music’. conceiving gestures, movement, combinations, and composition. The result was a series of calls from Fauré’s Pelléas music. Subtle gestures learned piano at the age of five, was taught In creating Jewels – the first plotless three-act such as this confirm a vision of Jewels as a singing by his father, and who auditioned for ballet – Balanchine drew from the work of dialogues perfectly complementary to and coordinated with the dialogues of the music.’ coherent work. It may have a score ‘by the famous Imperial Theatre School only three different composers. Together they committee’ – albeit a most illustrious one – but incidentally.(It was his sister who had hoped to represent 19th-century France and Russia, and As much musician as choreographer, there is a fourth composer behind this ballet, a be accepted.) The hardships of the revolution a 20th-century Russian in exile. As a result Balanchine’s choice of music is no casual man with a musical vision and an ear for dance: forced him to abandon his parallel study of Jewels is often seen as evoking the three golden matter.With no plot for distraction, Jewels is a George Balanchine. music, but during this period it was as a pianist ages of dance and three national styles: the ballet for listening and seeing. Yvonne Frindle ©2007 that he literally earned his bread. Perhaps he dreamy romanticism of Bournonville’s sylphs, 14813 POB CAPITOL 13/6/07 11:22 AM Page 44

Photo © Michel Lidvac Photo © Ann Ray Photo © Ann Ray Photo © Steve Murez Photo © Ann Ray Photo © P.Jauny

Emilie Cozette Aurélie Dupont Marie-Agnès Gillot Agnès Letestu Delphine Moussin Jérémie Bélingard ÉTOILE ÉTOILE ÉTOILE ÉTOILE ÉTOILE ÉTOILE 1993: Entered the Paris Opera Ballet School. 1983: Entered the Paris Opera Ballet School. 1985: Entered the Paris Opera Ballet School. 1983: Entered the Paris Opera Ballet School. 1980: Entered the Paris Opera Ballet School. 1987: Entered the Paris Opera Ballet School. 1998: Engaged in the Corps de ballet, aged 17. 1989: Engaged in the Corps de ballet, aged 16. 1990: Engaged in the Corps de ballet, aged 15. 1987: Engaged in the Corps de ballet, aged 16. 1984: Engaged in the Corps de ballet, aged 15. 1993: Engaged in the Corps de ballet, aged 18. She was awarded the first prize at the Paris 1991: Promoted to ‘Coryphée’. 1992: Promoted to ‘Coryphée’. 1988: Promoted to ‘Coryphée’. 1986: Promoted to ‘Coryphée’. 1994: Promoted to ‘Coryphée’.Won the bronze medal International Dance Competition. 1992: Promoted to ‘Sujet’. Finalist in the International Varna Competition. 1989: Danced the Siren in The (Balanchine). 1988: Promoted to ‘Sujet’. (junior) at the International Varna Competition. 2000: Promoted to ‘Coryphée’. Performed the role of She was cast in Attentat Poétique (Larrieu) and the He danced his first soloist roles since 1996 in Won the gold medal at the International Varna Promoted to ‘Sujet’ and awarded the Eurovision prize. She danced Jardin aux lilas, Dark Elegies (Tudor), Concerto Clemence in Raymonda (Nureyev), The Vertiginous Thrill following year in by Mats Ek. Nureyev’s productions: Fritz in The Nutckaker, the Competition. Danced Classique (Gsovsky). Barocco, Symphonie en trois mouvements, Le Palais de Cristal of Exactitude (Forsythe). Bluebird pas de deux in The Sleepins Beauty, Mercutio Is one of the three Shades in Rudolf Nureyev's La 1994: Promoted to ‘Sujet’, she danced the soloist roles in 1990: Won the gold medal at the International Varna (Balanchine), Notre-Dame de Paris (Petit), The Rite of Spring in Romeo and Juliet, the Golden Idol in La Bayadère. He 2001: Promoted to ‘Sujet’. Cast in Nureyev’s productions as Bayadère. Sérénade, dancing the Angel and Capriccio (Balanchine). Competition. (Béjart), In the Middle Somewhat Elevated (Forsythe), As Time was also the Faun in The Four Seasons (Robbins) and one of the three Shades in La Bayadère, one of the 1993: Danced the peasant pas de deux in Giselle,‘Sanguine’ in 1997: chose her for his creation Salle des pas gave her the part of the Death in Le Goes By, Push Comes to Shove (Tharp), Tantz-Schul (Kylián), Les danced the first movement in IXth Symphony (Béjart). Two Friends and the Maid of Honour in Don Quixote, and Tchaikovsky-pas de deux perdus in the ‘Dancers Choreographers’ series. She Jeune homme et la mort. Biches (Nijinska), Glass Pieces (Robbins). one of the four big Swans in Swan Lake. Danced 1999: Promoted to ‘Sujet’. (Balanchine). danced Signes (Carlson). 1991: She is chosen by William Forsythe for In the Middle 1988:Together with Lionel Delanoë,she won the Special Rubies / Jewels (Balanchine), Afternoon of a Faun Roland Petit cast him as Carlos in Clavigo and the 1994: Danced Gamzatti in La Bayadère (Nureyev) in the 1998: She danced The Rite of Spring (Nijinski), the first pas Somewhat Elevated and by Jerome Robbins for Glass prize of the jury and the Repossi prize at the Paris (Robbins). Clown in Les Forains. Danced the peasant pas de deux ‘Young Dancers’ series. de deux in Vaslaw (Neumeier), Manon, dancing the Pieces. She also danced Les Biches – dancing the Girl in International Dance Festival. in Giselle (after Coralli and Perrot), the pas de trois 2004: Promoted to ‘Première danseuse’. Lescaut’s Mistress (MacMillan). blue (Nijinska). 1995: Danced the pas de trois of (after Petipa), In the 1994: Promoted to ‘Première danseuse’. and the Neapolitan dance in Swan Lake (version by Subsequently she danced the sixth variation and the pas de Middle Somewhat Elevated (Forsythe), the pas de six in 1999: Promoted to ‘Première danseuse’. 1992: Rudolf Nureyev cast her as Gamzatti in his version of Subsequently she performed all the works by Rudolf Nureyev: Nureyev) and the role of Lucien d’Hervilly in Paquita cinq of the Precious stones in The Sleeping Beauty, one of the Napoli (Bournonville), Etudes (Lander). Subsequently, she danced a wide range of ballets: the roles of La Bayadère and as the Street Dancer in Don Quixote. Kitri in Don Quixote, Princess Florine in the ‘Bluebird pas de (Lacotte after Mazilier and Petipa) Stepsisters in , Rosaline in Romeo and Juliet, Odette / 1996: Cast as Clara in (Nureyev), the Young Diane in Sylvia and Hermia in A Midsummer Night’s Dream She is also Myrtha in Giselle (after Coralli and Perrot), deux’ in The Sleeping Beauty, Odette/Odile in Swan Lake, Odile in Swan Lake, Gamzatti in La Bayadère, the Queen of the 2001: Promoted to ‘Premier danseur’. Girl in Le Loup (Petit), The Four Seasons (Robbins) and (Neumeier),,Polymnie in ,Diamonds / Jewels, the Girl in Green in (Robbins). Clémence in Raymonda, Gamzatti and Nikiya in La Bayadère, Dryades in Don Quixote (Nureyev), Glass Pieces (Robbins), Subsequently he added to his repertoire: the Gipsy and Basilio Mary in Annonciation (Preljocaj). Violin Concerto, Symphonie en ut, the role of the Siren inThe Prodigal 1993: Promoted to ‘Première Danseuse’. Cinderella; the works by George Balanchine: The Four Pas./parts (Forsythe), Myrtha in Giselle (after Coralli and in Don Quixote, the Film-star hero in Cinderella (Nureyev), Bella Promoted to ‘Première Danseuse’. Son, Choleric in The Four Temperaments, Liebeslieder Walzer Temperaments, , Calliope in Apollo, ,, Perrot),The Etoile in La Petite Danseuse de Degas (Bart), Suite Subsequently she performed the role of the Chosen One in The Figura, Stepping Stones (Kylián), Puck in A Midsummer Night’s (Balanchine), In the Middle Somewhat Elevated, Woundwork 1 and Violin Concerto, and also the role of Myrtha in Giselle (after en blanc and The Moon in Les Mirages (Lifar), André Auria Subsequently she danced the ‘Scots pas de deux’ in La Sylphide Rite of Spring (Nijinsky), danced the ‘’ in Paquita Dream, Des Grieux in The Lady of the Camellias (Neumeier), Pas./parts (Forsythe), the title-role of Raymonda, Gamzatti and Coralli and Perrot), Coppélia, L’Etoile in La Petite danseuse de (Lock), Calliope in Apollo (Balanchine). (Lacotte after Taglioni), Soir de fête (Staats), Raymonda, Kitri in (after Petipa), Etudes (Lander), Jardin aux lilas (Tudor), Le Palais de the title-role in Le Fils prodigue, Rubies/Jewels,Agon (Balanchine), Nikiya in La Bayadère, Kitri in Don Quixote, Odette/Odile in Swan Degas (Bart), la Femme-aux-pommes de Till Eulenspiegel Don Quixote, Gamzatti in La Bayadère (Nureyev), Grand pas cristal, The Four Temperaments, Agon, Capriccio, Violin Concerto, Heathcliff in Wuthering Heights (Belarbi), Frederi in L’Arlésienne, Named ‘Etoile’ after the performance of Cinderella Lake (Nureyev), Myrtha in Giselle (after Coralli and Perrot), (Nijinski), Rythme de valses, the Gipsy in Le Loup, L’Arlésienne, classique (Gsvosky), title-role of Manon (MacMillan), Les Terpsichore in Apollo,Theme & , Serenade (Balanchine), Le Jeune homme et la mort (Petit), Frantz in Coppélia (Bart), (Rudolf Nureyev) on May 2007. Casanova, the Angel in Annonciation (Preljocaj), the Death in Le the Death in Le Jeune homme et la Mort (Petit), Les Sylphides, Sylphides (Fokine), Ancient Airs and Dances (Tanner), Dark Rythme de valses (Petit), Swan Lake,The Sleeping Beauty (Nureyev), Phrases de quatuor (Béjart), O zlozony / O composite (Brown), Jeune homme et la Mort, Esmeralda in Notre-Dame de Paris (Petit), the Young Girl in Le Spectre de la rose (Fokine), Soir de fête Elegies (Tudor). Sinfonietta (Kylián), Vaslaw,The Nutcracker, Magnificat (Neumeier), Suite en blanc (Lifar), L’Envol d’Icare (Malandain). IXth Symphony, Webern opus V (Béjart), the Queen in The Cage (Staats), Musings (Kudelka), Rhapsody (Ashton), Ancient Airs and Named ‘Etoile’ after the performance of Don Quixote Suite en blanc (Lifar), Myrtha/Bathilde in Giselle (version by Mats (Robbins), Paquita (Lacotte after Mazilier and Petipa). Dances (Taner), Auréole (Taylor), Magnificat, Titania in A Named ‘Étoile’ after the performance of Don Quixote (Nureyev) on December 31 1998. Ek), IXth Symphony (Béjart), Eja Mater (Grand-Maître). Midsummer Night’s Dream, Diane in Sylvia (Neumeier), Moves, (Rudolf Nureyev) on March 28 2007. Named ‘Étoile’ after a performance of Signes (Carolyn Named ‘Etoile’ after the performance of Swan Lake She has since added key roles to her repertoire: Sylvia Dances at a Gathering, In The Night,The Concert (Robbins), Le Soloist roles created with the Paris Opera Ballet: Pas./parts Carlson) on March 18 2004. (Rudolf Nureyev) on October 31 1997. (Neumeier), In The Night (Robbins), Capriccio/Rubies, Violin Concours, Webern opus V (Béjart), Woundwork 1, Pas./parts (Forsythe, 1999), Le Rire de la lyre (Montalvo, 1999), AIR She has since added to her repertoire: the title-role of Giselle Concerto, Symphonie en ut, Concerto Barocco, Liebeslieder Walzer, She added to her repertoire:title-role of Giselle (after Coralli and (Forsythe), Stepping Stones (Kylián), Shéhérazade (Li), Manon (Teshigawara, 2003), the title-role in Caligula (Le Riche, 2005), (version by Mats Ek), Glass Pieces (Robbins), Etudes (Lander), The Agon (Balanchine), The Sleeping Beauty, Cinderella, Nikiya in La Perrot), La Symphonie fantastique (Massine), Temptations of the (MacMillan), Anastasia in Ivan the Terrible (Grigorovitch), La Variations pour une porte et un soupir (Béjart, 2006), Artifact Suite Sleeping Beauty (Nureyev), Carmen (Petit), Les Mirages (Lifar), Boléro Bayadère, Romeo and Juliette, Swan Lake (Nureyev), Carmen Moon (Graham), L’Arlésienne (Petit), Don Quixote, Raymonda, Septième Lune (Bombana), La Sylphide (Lacotte after Taglioni). and Approximate Sonata (Forsythe, 2006). (Petit), A Midsummer Night’s Dream (Neumeier), Paquita (Béjart), Apollo – dancing Terpsichore, Agon (Balanchine). Nikiya in La Bayadère, Cinderella, Romeo and Juliet (Nureyev), Les Named ‘Étoile’ after performing Cinderella (Nureyev) (Lacotte after Mazilier and Petipa), Giselle (in both Mats Ek’s Soloist roles created with the Paris Opera Ballet: So Schnell Variations d’Ulysse (Gallotta),Woundwork 1 (Forsythe),Tchaikovski- on May 3 2005. version and the classical one after Coralli and Perrot), Le Parc (Bagouet, 1998), Clavigo – dancing L’Etrangère (Petit, 1999), Le pas de deux, Agon (Balanchine), Paquita (Lacotte after Mazilier and (Preljocaj), La Sylphide (Lacotte after Taglioni), Suite en blanc, Concours – dancing La Jurée américaine (Béjart, 1999), The Petipa), La Sylphide (Lacotte after Taglioni), In The Night (Robbins), She has subsequently added to her repertoire: Manon in The Les Mirages (Lifar). Vertiginous Thrill of Exactitude (Forsythe, 1999), Appartement (Ek, Webern, opus V (Béjart), Le Songe de Médée (Preljocaj),The Lady of Lady of the Camellias (Neumeier), Suite en blanc, Les Mirages (Lifar). Soloist roles created with the Paris Opera Ballet: Rythme de 2000), Rubies/Jewels (Balanchine, 2000), Stepping Stones (Kylián, the Camellias (Neumeier), Les Mirages (Lifar). valses (Petit, 1994), The Rite of Spring – dancing the Chosen 2001), Wuthering Heights – dancing the role of Catherine (Belarbi, Soloist roles created with the Paris Opera Ballet: Debussy pour Soloist roles created with the Paris Opera Ballet: The Four One (Bausch, 1997), Musings (Kudelka, 1997), Casanova 2002), AndréAuria (Lock, 2002), Le Songe de Médée (Preljocaj, sept danseurs (Petit, 1990), Attentat poétique (Larrieu, 1992), Seasons – dancing the Winter (Robbins,1996), Doux mensonges (Preljocaj, 1998), Le Concours – dancing the role of Ada (Béjart, 2004), and Eurydice (Bausch, 2005), Le Souffle du temps Passacaille (Petit, 1994), Fall River Legend – dancing the Accused’s (Kylián, 1999), Jewels (Balanchine, 2000), Stepping Stones 1999), Perpetuum (Naharin, 2000), Stepping Stones, Bella Figura (Lagraa, 2006), Approximate Sonata (Forsythe, 2006), White Mother (de Mille, 1996), Pas./parts (Forsythe, 1999), Le Rire de la (Kylián, 2001), Liebeslieder Walzer (Balanchine, 2003). (Kylián, 2001), Liebeslieder Walzer (Balanchine, 2003), Il faut Darkness (Duato, 2006). Lyre (Montalvo, 1999), Diamonds / Jewels (Balanchine, 2000), The qu’une porte (Kylián, 2004), O zlozony/O composite (Brown, She received the Benois de la danse prize (Moscow, 2005). She is Cage – dancing the Queen (Robbins, 2001), Stepping Stones 2004), The Lady of the Camellias (Neumeier, 2006), Amoveo entitled Chevalier of Arts and Letters. (Kylián, 2001), Shéhérazade (Li, 2001), Liebeslieder Walzer (Millepied, 2006). (Balanchine, 2003), La Petite Danseuse de Degas – dancing the She received the Benois de la danse prize (Moscow, 2001). Etoile (Bart, 2003), La Septième lune (Bombana, 2004). She is entitled Chevalier of Arts and Letters. She received the Danza & Danza prize (Italy, 1998) and the Positano prize (Italy, 2004). She is entitled Chevalier of Arts and Letters and of the Order of Merit. She received the Danza & Danza prize (Italy 1998), the Positano prize (Italy, 2004) and the Benois de la danse (2006).