Ludmila Pagliero and Pierre-Arthur Raveau in Serenade. Pierre-Arthur Raveau, only 21 and being propelled by the company, took this role in both performances but does not yet have the presence to carry the relationship with the two competing women.

One of the newest etoiles, Ludmila Pagliero, who is widely admired, danced in both performances I caught but Pujol impressed more in the first performance whilst Mathilde Froustey, still only a sujet, and not originally cast, danced with delicate musical phrasing in the second. The company danced Serenade well but the very simplicity in its choreography, created as it was initially for students, ironically makes it hard to produce a perfect performance.

The atmosphere, the sense of mystery that develops in the second section and the preponderance of women dancers, all seem to parallel Les Sylphides. The lighting captures the eddying flows of dancers that Balanchine choreographs into constantly changing patterns. Karinska’s long blue tulle tutus, simpler than was her usual style, suit the romantic lyricism of Tchaikovsky’s music. The programme started with Serenade, a perfect opening ballet, that always looks wonderful on the Garnier opera house’s huge raked stage.

Ludmila Pagliero and Paris Opera Ballet in Serenade. It was a varied and well-balanced bill, mixing two early but very different ballets, Serenade and Prodigal Son, with Agon, one of his ‘black and white’ masterpieces. Paris Opera Ballet director, Brigitte Lefevre, opened her penultimate season with a trio of Balanchine classics. George Balanchine evening: Serenade, The Prodigal Son, Agon (Click image for larger version) New Paris Season, 2012-2013

Paris opera garnier schedule 2013