#Les Ballets de Monte-Carlo

[dance-world]

Lucien Postlewaite - Les Ballets De Monte-Carlo

[miss-mollys-ballet-blog]

I’m going to see Les Ballets de Monte-Carlo’s Cendrillon tonight.  It seems rather interesting and Jean Christophe Maillot pieces are always a show.  I’m excited, plus it’s live ballet again!

[lovelyballetandmore]

Alexandre Joaquim | Les Ballets de Monte Carlo | Photo by Alice Blangero

[bonnie131313]

[theblackestofsuns]

Simon Bailly’s illustration for Brian Seibert’s brief piece on Les Ballets Trockadero de Monte Carlo in this week’s New Yorker magazine.

[dozydawn]

“A dancer of Les Ballets de Monte-Carlo performs in 'La Bella' directed by Jean Christophe Maillot, during a rehearsal.”

07 January 2005.

[onlyonetifosi]

Behind the camera: chapter 1

<- previous series masterlist my main masterlist next ->

It was a warm summer afternoon in the small town of Monte Carlo, Monaco, where the Leclerc family resided. Yn and Charles, just three years old, were playing in their backyard, their laughter echoing through the air. Despite being twins, Yn and Charles had their distinct personalities and looks, yet they shared an unbreakable bond

"Charles, catch me if you can!" Yn giggled, running around the garden, her little feet barely keeping up with her enthusiasm

"Attends, Yn! I'm coming!" Charles called back, his eyes shining with excitement as he chased after his sister

Their playtime was always filled with joy and mischief, and today was no exception. Their older brother, Lorenzo, joined in the fun

"Lorenzo, regarde! Look at me!" Yn shouted as she tried to perform a somersault. "Je peux le faire! I can do it!"

Lorenzo clapped his hands, "Wow, Yn! That was great!"

Charles, feeling a little competitive, decided to show off too. "Watch this! Je vais faire un saut en hauteur! I'm going to do a high jump!"

Yn and Lorenzo watched in awe as Charles jumped, trying to touch the lowest branch of a nearby tree. He didn't quite reach it, but his attempt was still impressive.

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In the following weeks, Yn attended her ballet classes with enthusiasm, and her love for dancing only grew. Charles, on the other hand, developed an interest in racing from a young age. Hervé, a racing enthusiast himself, couldn't be happier to see his son's passion for speed and cars. He gifted Charles a small toy race car, which quickly became his most treasured possession

"Maman, look what I can do!" Yn twirled around clumsily, trying her best to imitate the graceful movements she had seen on TV. Her parents smiled lovingly, encouraging her tiny attempt at ballet

"Très bien, ma chérie! You're doing great," her mother praised, clapping her hands. "You'll be a wonderful little ballerina!"

"Charles, you should try too!" Yn beamed, hoping her brother would join in her enthusiasm for ballet.

Charles laughed and shook his head. "No, no, Yn. I want to be a race car driver like Papa! Vroom vroom!" He pretended to steer an imaginary car, and Lorenzo enthusiastically joined in the play

Pascale and Hervé watched their daughter with pride, celebrating every little step she took in her ballet journey. However, Yn's clumsiness soon caught the attention of the other girls in her ballet class, who began to tease and make fun of her

"Regardez-la, elle danse comme un éléphant maladroit! (Look at her, she dances like a clumsy elephant!)" one of the girls mocked, causing the others to giggle.

Yn felt her enthusiasm waning, her heart heavy with sadness. She couldn't understand why the other girls were mean to her, but she was determined not to let their words discourage her.

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As the twins grew older, they started kindergarten, and Yn was excited to embark on this new adventure with her brother. However, things didn't go as smoothly as she had hoped. Charles, being the more outgoing and confident of the two, quickly made friends with the other children, while Yn struggled to connect with her peers

One day, after a particularly challenging day at school, Yn came home feeling downcast. She sat at the kitchen table with her parents, sharing her feelings

"Maman, Papa, pourquoi est-ce que Charles a toujours des amis, et moi, je n'en ai pas?" (Mom, Dad, why does Charles always have friends, and I don't?) Yn asked tearfully

Her parents exchanged understanding glances, and her father pulled her into a comforting hug. "Ne t'inquiète pas, ma chérie. Les amis viendront avec le temps. Tu es spéciale, tout comme ton frère." (Don't worry, my dear. Friends will come with time. You're special, just like your brother)

Yn nodded, trying to hold back her tears. She wished she could be as confident and popular as Charles, but it seemed like an impossible task

Months passed, and Yn tried her best to keep her feelings buried, not wanting to upset her brother or their parents. But one day, the weight of it all became too much to bear. Unable to hold back any longer, Yn confronted Charles during their walk home from school

"Charles, tu ne comprends pas. C'est difficile pour moi. Les autres se moquent de moi et je n'ai pas d'amis" she finally confessed, her voice quivering with emotion. (Charles, you don't understand. It's hard for me. The others make fun of me, and I have no friends)

Charles stopped in his tracks, finally seeing the pain in his sister's eyes that he had been blind to for so long "Je suis désolé, Yn. Je ne savais pas) he said, feeling regretful (I'm sorry, Yn. I didn't know)

They sat down on a nearby bench, and Yn poured her heart out to Charles about the loneliness she had been enduring. Charles listened attentively, his heart aching for his sister. He realized how selfish he had been, caught up in his own excitement without noticing the pain she was going through.

"Je suis vraiment désolé, Yn. Je ne voulais pas te faire du mal. Je serai là pour toi, quoi qu'il arrive" Charles said, his eyes filled with sincerity. (I'm truly sorry, Yn. I didn't mean to hurt you. I'll be there for you, no matter what happens)

Tears welled up in Yn's eyes as she hugged her brother tightly “Merci, Charles. Je t'aime” she whispered, feeling a rush of relief (Thank you, Charles. I love you)

From that day on, Charles made a conscious effort to include Yn in his circle of friends, and the two became inseparable. Yn also found solace in pursuing other hobbies and interests, such as drawing and storytelling, where her creativity and uniqueness were celebrated.

Their relationship grew stronger as they navigated through childhood together. Their parents often marveled at how inseparable they were, and even though they had their fair share of fights, their bond only deepened with time.

[liamlawsonlesbian]

in case anyone was wondering, Monaco DOES have a national ballet company, Les Ballets de Monte Carlo, which has its own ballet school, Académie Princesse Grace

[shakespearenews]

I believe the first ballet to A Midsummer Night’s Dream was Marius Petipa’s version for the Maryinsky Ballet in St. Petersburg in 1876. It was this that Michel Fokine in 1906 adapted and amended for students of the Imperial School. The cast included Vaslav Nijinsky, and it proved one of the very early works of Fokine to capture the attention of the impresario Serge Diaghilev. Fokine later reworked the score into Les Elfes for his own company at the Metropolitan Opera House in 1924. In 1933 Col. W. de Basil’s Ballets Russes de Monte Carlo staged David Lichine’s first ballet, Nocturne, using not Mendelssohn but Rameau music, with Alexandra Danilova as Titania, Léonide Massine as Oberon, and Lichine himself as Puck.

But the four most interesting versions for me are George Balanchine’s for New York City Ballet in 1962, Frederick Ashton’s for Britain’s Royal Ballet in 1964, John Neumeier’s for the Hamburg Ballet in 1977, and Christopher Wheeldon’s for the Colorado Ballet in 2000. All, except for the Ashton, are full-evening ballets. Wheeldon’s version not unexpectedly owes something to both Ashton and Balanchine. Neumeier’s version—which is by far the most adventurous and original and incorporates modern music by György Ligeti—has also been staged by the Paris Opera Ballet and the Royal Danish Ballet.

[alldancersaretalented]

Some PDL 2025 statistics

Studios with multiple dancers at PDL:

The Affiliated Secondary School of Beijing Dance Academy (5)

Basileu Franca, Brazil; Sunhwa Arts Middle School, South Korea (4)

Sunhwa Arts High School, South Korea; Kaywon High School of Arts, South Korea, Zurich Dance Academy, Switzerland; Seoul Arts High School, South Korea, Shanghai Dance School, China (3)

The Rock School for Dance Eduction, USA; Elite Classical Coaching, USA; John Cranko School, Germany, Cary Ballet Conservatory, USA; (2)

Ages at PDL:

17 year olds - 27 (~31.4%)

15 year olds - 25 (~29%)

18 year olds - 19 (~19%)

16 year olds - 15 (~27.4%)

Youngest Contestants at PDL (Top 10):

15 years, 1 month: Elisa Akita, Wakui Ballet School (Japan)

15 years, 1 month: Chloe Helimets, Bayer Ballet Academy (USA)

15 years, 2 months: Hono Hamasaki, Tuki Yokunaga Ballet School (Japan)

15 years, 2 months: Ohsung Kwon, Sunhwa Arts Middle School (South Korea)

15 years, 2 months: Jian Suh, Sunhwa Arts Middle School (South Korea)

15 years, 3 months: Seia Oishi, Acri Horimoto Ballet Academy (Japan)

15 years, 4 months: Martina Tolaba, Basileu Franca (Brazil)

15 years, 4 months: Oscar Taggart, Alegria Dance Studios (Australia)

15 years, 4 months: Minori De Silva, MorningStar Dance Academy (USA)

15 years, 4 months: Darin Choi, Sunhwa Arts Middle School (South Korea)

Oldest Contestants at PDL (Top 9):

18 years, 11 months: Nikita Gacinovic, Academy of Dance - Mannheim (Germany)

18 years, 9 months: Ryan Handa, John Cranko School (Germany)

18 years, 7 months: Shinnosuke Yasuumi, Reiko Yamamoto Ballet School (Japan)

18 years, 7 months: Xinyao Zho, Shanghai Dance School (China)

18 years, 6 months: Afonso Nunes Sousa, Pôle National Supérieur de Danse Rosella Hightower (France)

18 years, 5 months: Samuel Lance, Zurich Dance Academy (Switzerland)

18 years, 5 months: Reito Nashiki, John Cranko School (Germany)

18 years, 4 months: Hector Jain, Académie Princesse Grace - Les Ballets de Monte-Carlo (Monaco)

18 years, 4 months: Anna Simonov, Oslo National Academy of the Arts (Norway)

[fellshish]

Fresh Gulf Coast shrimp or Les Ballets Trockadero de Monte Carlo?

#UnhingedAsk

I DID NOT KNOW COMIC BALLET WAS A THING BUT I AM GLAD I KNOW NOW THANK YOU

[dance-world]

Lucien Postlewaite - Les Ballets De Monte-Carlo

[fashionbooksmilano]

Étonne-moi! Serge Diaghilev et les Ballets Russes

sous la direction de  John Bowlt, Zelfira Tregulova, Nathalie Rosticher Giordano,

Skira, Milano 2009, 339 pagine, 25 x 29 cm, 300 ill.colori, ISBN 9788857200910

euro 50,00

email if you want to buy booksinprogressmilano@yahoo.it

Exposition Monaco, Moscou 2009

En mai 1909, Serge Diaghilev stupéfia le monde de la danse avec les premières représentations parisiennes de ses ballets, combinaison sans précédent de grâce et de vitalité, d’originalité et de raffinement technique. Monte-Carlo, qui fut pour Diaghilev un important centre d’activités pendant l’existence de la compagnie connue sous le nom de Ballets russes, célèbre ce centenaire par une grande exposition comptant plus de 300 oeuvres d’art ayant trait aux Saisons russes de 1909 à 1929. L’exposition s’accompagne d’un catalogue entièrement illustré auquel ont contribué les plus grands spécialistes de l’histoire du ballet et des arts visuels russes. Les productions légendaires du Pavillon d’Armide, de Cléopâtre, de Schéhérazade, du Sacre du printemps de Petrouchka, de Parade et de bien d’autres ballets revivent à travers des projets de décors, des costumes, des tableaux, des sculptures, des photographies, des éditions de luxe, des programmes et des objets de culture matérielle. Les oeuvres d’art proviennent d’une grande variété de collections publiques et privées, nationales et internationales, telle la collection Fokine du Musée du théâtre de Saint-Pétersbourg. Les créations scéniques de Diaghilev s’accompagnent d’un nombre important de tableaux, de dessins et d’autres objets contextuels qui ont caractérisé la renaissance culturelle russe dans les premières décennies du XXe siècle. L’exposition et son catalogue s’inscrivent dans une plus vaste série de manifestations ayant trait à l’activité de Diaghilev à Monte-Carlo et à Moscou, comprenant des spectacles de ballet, des films, des conférences et un colloque international.

30/05/23

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[lovelyballetandmore]

Jake Speakman | Les Ballets Trockadero de Monte Carlo | Photo by Patrick Lupinski

[sorrowandpride]

I'll start this off by saying that I'm a woman who's studied ballet for pretty much her entire life. When I was a child, I had teachers who wanted to train me professionally with the goal of training at Canada's National Ballet School in mind, so I think I know what I'm talking about.

I recently learned about the Sophie Rebecca controversy, and it's absolutely disgusting. The transphobes who are screeching and clutching their pearls over Sophie taking syllabus classes with the RAD are absolutely ridiculous. They're the only ones who are embarrassing themselves by speaking on something they know nothing about (from what I've read, they can't even spell "pointe" properly).

I'll clear a few things up regarding ballet that transphobes are consistently getting wrong.

Ballet is not a single-sex space, so stop clutching your pearls. It may be XX female-dominated, but danseurs have been integral to the discipline since its creation. Believe it or not, danseurs can and do teach female students (and vice versa). Members of the male sex have even danced female roles (Les Ballets Trockadero de Monte Carlo, for example, is an all-male drag troupe that performs parodies of romantic and classical ballets).

Sophie is taking RAD syllabus classes. These are simply classes that build skill in ballet (as well as other forms of dance, such as character). While syllabus classes and exams are part of professional training, most syllabus students are recreational dancers. Sophie is too old to pursue a conventional career as a danseuse, and many dancers retire at her age. The amount of schools that would accept her into a professional program that feeds into a major company are close to, if not zero. Nobody "lost a spot" to her. As long as they can pay the fees, anybody can take RAD syllabus classes and exams. They give you a sense of achievement and track measurable progress. The RAD has defended Sophie Rebecca and stated publicly that she is NOT a professional danseuse. As far as I'm aware, her highest level of completion is Intermediate Foundation. If I remember correctly, Intermediate Foundation exams don't even include pointework (since ballet is, you know, far more than pointework). No serious company is going to hire a student who's only reached Intermediate-level classes, and very, very, very few will a hire a danseuse who's not proficient in pointework. All she's doing is showing a love for adult recreational ballet. That's it. She's not taking anything away from XX girls. Ballet is open to EVERYONE, not just pale, skinny XX women.

[monacowsla]

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