Photo courtesy Sebastien Mathe
Superlatives are more often than not a cause for suspicion. And when one finds the adjective “world’s greatest” in a press release (as opposed to, say, the window of a coffee shop), one might find oneself searching for counterexamples or, more likely, wondering exactly how greatness in art is measured. In the case of the Paris Opera Ballet, the term can claim some objective verity when placed against the concrete gauge of time. This 150-plus-member company is the first, the original, conceived by King Louis XIV more than a hundred years before our nation severed itself from the British monarchy. Since then the institution has stood as the hallmark of the form, stationed in Paris, the epicenter of European high art.
When the Paris Opera Ballet first visited the new world in 1948 (and then in all subsequent tours) it hit only the coasts. This week of performances at the Harris, accompanied by the Grant Park Orchestra, is the first time the company will appear in the Midwest. It’s a kind of living history on tour, like getting to see a wing of the Louvre in the Loop. Particularly so in the case of the first three nights—all performances of “Giselle,” created for the company in 1841. The fantastical, arboreal love story originated the Romantic “ballet blanc” aesthetic of a large corps of dancers in white tutus—what most of us think of when we hear the term “classical ballet.” It’s been a big year for “Giselle” on tour; American Ballet Theatre brought it here in March, the Kirov Ballet last September.
Friday through Sunday, the program moves into the twentieth century, with neoclassical works by Serge Lifar, Maurice Bejart, Roland Petit and, breaking the Gallic streak, “Orpheus and Eurydice” by Pina Bausch. The Paris Opera Ballet is the only company outside Bausch’s Tanztheater Wuppertal with rights to perform the dance opera, set to music by Gluck. (Sharon Hoyer)
At the Harris Theater, 205 East Randolph, (312)334-7777. June 26-July 1.
Related Stories
Whose Side (of History) Are You On: A Review of Latin History For Morons at Broadway In Chicago You don't have to be a moron to enjoy John Leguizamo's new one-man show. But it does help to keep an open mind about just how little you might know about Latin American history.- Movement Makes Us Humane RECOMMENDED Molly Shanahan's Mad Shak performances tend to blur the line between the visible reality of the physical world and an emotional reality of an unseen, but no less perceptible one. Last year's "And We Shall Be Rid of Them" at the Chicago Cultural Center with Jeff Hancock transported the audience into the psychological space between two intimates, often using tender humor…
- The History of History: A Review of We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as South West… The latest from Steppenwolf's educational arm is among the most unflinching and edifying works the company has produced in recent years.
- From Words, Movement: The Joffrey Ballet Brings Cathy Marston's "Jane Eyre" to Chicago Cathy Marston's translation of the gothic romance opens the Joffrey's final season on the Auditorium Theatre stage.
- Their Future is Our Future: A&A Ballet Presents an Art Deco Nutcracker and Trains the Next Generation of Ballet Dancers The Studebaker provides a unique stage for A&A's vision: one large enough to put up a spectacle of scenic design and a massive cast, while intimate enough a house to afford every audience member a view of facial expressions and movement nuances without use of opera glasses.
- Deal Of A Lifetime: A Review of Faust at Lyric Opera of Chicago Lyric Opera's newest production must have made a deal with the devil because it truly has it all.
