Avant-première
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with l’Orchestre Symphonique d’Euskadi, at Versailles - Opéra Royal, 11, 12 and 13 décember 2015
Première Française
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Lyon - 17e Biennale de la Danse de Lyon, Amphithéâtre Cité Internationale, 16, 17 and18 september 2016
Musique
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Piotr Ilitch Tchaïkovski
Chorégraphie
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Thierry Malandain
Décor et costumes
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Jorge Gallardo
Conception lumières
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Francis Mannaert
Réalisation costumes
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Véronique Murat
Réalisation décor et accessoires
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Frédéric Vadé
Réalisation des Masques
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Annie Onchalo
Coproducteurs
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Opéra Royal / Château de Versailles Spectacles • Biennale de la danse de Lyon 2016 • Opéra de Saint-Etienne • Ballet T - Teatro Victoria Eugenia Donostia / San Sebastián • CCN Malandain Ballet Biarritz
Partenaires
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Donostia / San Sebastián Capitale Européenne de la Culture 2016 • Orquesta Sinfónica de Euskadi • Opéra de Reims • Opéra de Vichy • Teatro Mayor de Bogota • Fondazione Teatro Communale Città di Vicenza • Dance Open Festival de Saint Petersbourg • Teatros del Canal de Madrid • Equilibre-Nuithonie-Fribourg • Théâtre Olympia d’Arcachon
Ballet
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for 22 dancers
Durée
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77 minutes
Brochure
Note of intent
Without revisiting all of the tale’s interpretations, a coming-of-age story can be detected designed to resolve the duality of being, with Belle embodying the human soul and the Beast being its life force and instincts. With Jean Cocteau, whose film appeared in cinemas in 1946, the focus is on the portrayal of the artist’s inner demons through the Beast’s duality. Whether it be lost unity or human nature torn apart, accompanied by Tchaikovsky’s symphonic works, our version of the Beast, freed from his inner demons, marries Belle under a blazing sun.
Thierry Malandain
Press
The choreography, remarkably adapted to music fits like a glove and is brimming with amazingly inventive variations that are clearly visible to any ‘balletomanes’ keen on the art of choreography, but it’s the stage design which unveils the most fascinating strokes of inspiration, demonstrating an exceptional mastery of the art. [...] The piece is indeed punctuated by heaps of little inspirational strokes of this kind, each one more entertaining than the last, always unpretentious, giving a new dimension to this ballet, strewn with bits of humour, which, nevertheless, does not diminish its extreme elegance, and thus confirming the choreographer’s acute sensitivity, wit and talent.Critiphotodanse, Jean-Marie Gourreau • 13 December 2015
We’re captivated by this duo who are two very different beings, overwhelmed by the delicacy through which their feelings slowly evolve, going from bestiality to affection and sensuality, the Beast’s suffering, his fear of letting himself be tamed and Belle’s fear of being won over, outside of normal criteria for being seduced. [...] From the beautiful and regal Claire Lonchampt, straight out of a romantic novel, to the amazing Mickaël Conte, a powerful Beast with impressive leaps and contagious suffering, as well as the superb precision of Arnaud Mahouy and the expressive power of Frederik Deberdt, Beauty’s father. Talking about Neoclassicism is essential here due to the style of the portés, the dance ensemble patterns, the high-quality of the elegantly traditional costumes, and even the intrusion of a few pointes by little Patricia Velázquez in the role of Love.Concertclassic.com, Jacqueline Thuilleux • 14 December 2015
His play is extraordinarily beautiful, with a myriad of choreographic innovations truly making him France’s leading choreographer.Le Figaro, Ariane Bavelier • 20 December 2015
Minimalist stage design for virtuoso choreography. Such is this new version of Beauty and the Beast created by Thierry Malandain [...].Résidences-décoration.com, Serge Gleizes • February 2016
