/  Repertoire  /  Lucifer




  • 24th June 2011 at Zénith de Pau with l’Orchestre de Pau Pays de Béarn, under the direction of Fayçal Karoui


  • and plot Guillaume Connesson


  • Thierry Malandain

Décor et costumes

  • Jorge Gallardo

Direction de la production, conception lumière

  • Jean-Claude Asquié

Réalisation costumes

  • Véronique Murat


  • Orchestre de Pau Pays de Béarn, Espaces Pluriels Scène conventionnée danse-théâtre Pau-Béarn, Festival Le Temps d’Aimer la Danse de Biarritz, Teatro Victoria Eugenia de San Sebastián – Ballet-T, Malandain Ballet Biarritz


  • for 16 dancers


  • 35 minutes

Note of intent

Lucifer, ballet in two parts by Guillaume Connesson, on a libretto by the composer, retains from the Book of Enoch angels cast down for having loved simple female mortals. They were considered rebellious angels that Lucifer symbolises in the Christian tradition. The work is composed of many scenes : the crowning of the holder of light, the meeting, the judgement, the fall, blivion, etc. All these episodes, the choreography follows to the letter. Except during the epilogue xhen the man who discovered the emerald crown that Lucifer lost during the fall. Thus, we witness a symbolic representation of the birht of the first man, as stated in Genesis, who was the companion of Eve. He too was expelled from Paradise for disobedience ; he too was a bearer of light, as was the Prince of Darkness, because the day is nothing without night.
Thierry Malandain


One is surprised by the invention shown by Malandain in the diversity of the movements and his ability to continue to enrich his style with the emotional, expressive content that characterizes it. Perhaps the choreographer is stimulated by the arrival in the company of a new generation of young dancers, who are already molded by Malandain to his style, which gives the company a real coherent identity. […] The Pau and Pays de Béarn Orchestra, led at an infernal pce – that is indeed fitting – by Fayçal Karoui, the music director of the New York City Ballet since 2006, leaves no respite for dancers, who as early as in the first tableau, are launched at full speed into the noisy court of the Archangels. Daniel Vizcayo makes quite an attractive Lucifer, full of sound and fury and who knows how to give up his pride when faces with love. As to the woman, Miyuki Kanei, she is simply superb, with exquisite liés and déliés.
Ballet 2000, Sonia Schoonejans • November 2011
The result is pleasing, vivacious, driven by the powerful surge of the music. […] This sensual « Lucifer », almost sexual in the duets, also shows beautiful ensembles, with a great number of back and forth movements between the couple and the disapproving angels. The consistency of this ballet in Biarritz owes much to its generosity and freshness. The dancers are lively, involved and their enthusiasm infects the house. And following this Lucifer was rather tempting.
Sud Ouest, Céline Musseau • 13th September 2011
This ambitious ballet had bright moments : lighting flashes of beauty and sensuality, including a particularly beautiful pas de deux in which the angel tastes the charms of amortal woman that result in his fall. he ensembles, constructed on powerfully expressive ideas, structure cleraly the changes in the musical drama, for which Malandain, a subtle thinker and scholar, went to look for in the book of Enoch, where he found a basis for his hero, that like Prometheus, is punished for having found knowledge. The music by Connesson, a wonderful composer, challenges with a dynamic force worthy of Stravinsky, swings like Bernstein, shakes like Roussel, and shimmers like Connesson.
Concert Classic, Jacqueline Thuilleux • 12th September 2011
The choreography is sublime, with clear light effects following and setting the soft pace of movements of the two lovers’ bodies and santifying that dazzling moment. Malandain has already proven in the past that he could manage to change and santifies the events of human life, as he did in Romeo and Juliet. […] Once again, the whole company asserts itself through its vivacity and generosity ; the audience felt its energy and enthusiasm. Malandain has managed once again to create a ballet in which his essential and pure style and choreographic language stand out at their best.
Note di danza, Antonella Poli • September 2011

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