Cinema Screening from Opéra National Bastille.
28 May 2025.
The Sleeping Beauty by the Paris Opera Ballet opens with the prologue – the baptism of Princess Aurora, followed by Three Acts in this version by Rudolf Nureyev, after Marius Petipa. Noticeable as soon as the curtain rises and the famous music by Tchaikovsky fills our ears, is the ornate scenery and lavish costumes.
There is an abrupt start to the cinema screening tonight, jumping straight from normal film trailers and adverts into the arrival of the conductor in the orchestra pit and the start of the overture. There were also no intervals for cinema viewers which made it rather a long sit, without time to digest the previous Act before the next was starting.
Both set and costume exude an air of mystery and fairytale, and waiting staff hold lit candleabras as they enter the vast stage, followed by the guests and then the baby Aurora is presented. The Fairies in exquisitely detailed costumes begin to enter with their attendants, arms linked in small, elegant groupings. Their entrances are rapid, and there is so much detail all at once. The dancing is flower-like here, lots of intertwining and arms opening in canon like a flower bud. There is a gorgeous moment of ‘spot your favourite arabesque’ as the fairies, attendants and guests dance in a circular pattern around the ballroom. This is a company that celebrates dancers of differing physiques and heights.
As always, a joyful part of watching a cinema screening is the closeness of the camera to the dancers, enabling viewing of so much detail in both expression and costume.
Dark lighting and rumbling thunder indicate the inevitable entrance of Carabosse, angry at her exclusion from the celebrations. She enters elaborately dressed in black and purple with a tall headdress, followed by crawling, prowling attendants who spin the fairies around in charismatic partner work. Carabosse is full of manic smiles and laughter which at times seem over-theatrical but in keeping with the style of production. She delivers her ‘gift’ via intricate mime gesture, and Aurora can be seen as a prophesised vision on a higher platform, pricking her finger and collapsing.
Of course, the Lilac fairy enters next – in this production she is a character artist like Carabosse. She consoles the King and Queen and reduces the death sentence to a deep sleep for a hundred years.
Act One takes us straight into Aurora’s 16th birthday party. A dark opening with Carabosse presenting knitting needles to three village girls (sharp items are banned from the palace following the prophecy) who are caught and put into stocks! The Queen’s compassion is called upon to free them, and the birthday celebrations begin. The Butler plays a large organisational character role in this ballet. He is busy throughout sweeping across the stage with large gestures.
The corps de ballet are dressed in sage green dresses and there is a joyous, elevated grands allegro section from the men, who then use flower arcs to attractively frame the ladies. Once the stage is filled and busy, Princess Aurora, danced by Bleuenn Battistoni, enters in a white tutu with fast, light and energetic footwork matched with a bright appealing presentation. Her parents introduce her to the extravagantly dressed Princes from the four corners of the world. Her balance is stressed today in the Rose Adagio, but her presentation remains bright.
Aurora is gifted a bouquet of flowers concealing a needle by a hooded Carabosse. When she pricks her finger, the whole cast are involved as she sways and collapses following a whirlwind of turns. She is carried overhead to her resting place before the Lilac Fairy sinks the rest of the palace into sleep in an attractive scene. She checks on them all and closes the palace gates to secure their safety. An overhead camera shot of the Sleeping Aurora is effective for the end of Act One.
Act Two begins immediately and introduces Prince Desiré, danced by Guillame Diop, in the forest amid games. He enters in white, to applause from the live audience. Diop has energy and charisma, great eyeline and connection with both the audience and fellow dancers. The Lilac Fairy introduces him to the vision of Aurora.
This scene is very calming and pleasant with soft blue toned lighting, and the corps de ballet also dressed in powder blue create some beautiful lines together as the Prince and the vision of Aurora perform their grand pas de deux.
The air of mystery continues as the Lilac Fairy brings the prince on a gliding boat across the stage through dry ice towards the Palace and Aurora’s resting place. Entering through the gates, the prince tests some of the sleeping figures by lifting their hands, which float back down. He discovers and kisses Sleeping Beauty awake.
Act Three, the Wedding Scene, is a joyful act full of dance from start to finish. Again, richly dressed, with an understated but very effective colour palate of browns, pinks, greens and yellows.
The Bluebird duet is a masterful showcase, and Puss in Boots and the White Cat full of fun and humour. Aurora and the Prince appear in their wedding finery – Aurora in a white laced-sleeved tutu with a cascade of rosebuds sweeping down the bodice and around the back of the skirt.
Lots of folk and national dance featured in group dances here, and such a high level of energy sustained until the end, bringing the fairytale to its satisfying ‘happy ever after’ conclusion.
By Louise Ryrie of Dance Informa.
