This series offers a glimpse into the rehearsals of iconic variations and pas de deux from the ballet Giselle, in preparation for its 2022 revival at the Palais Garnier.Part 1 (3 episodes) - Peasant pas de deux, featuring young dancers from the Paris Opera Ballet, Inès McIntosh and Nathan Bisson, guided by Sabrina Mallem, Ballet Mistress.Part 2 (5 episodes) - Pas de Deux from Act 2 with Corps de Ballet dancers Alice Catonnet and Axel Magliano, guided by 'Étoile' Dancer Stéphane Bullion. Part 3 (4 episodes) - Mad Scene: On the occasion of her farewell to the stage, 'Étoile' Dancer Alice Renavand prepares to portray Giselle for the first time, rehearsing this iconic passage with 'Étoile' Dancer Monique Loudières. © Opéra national de Paris - 2023

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Giselle, rehearsing with... Alice Renavand and Monique Loudières_trailer

Giselle, rehearsing with... Alice Renavand and Monique Loudières 1/4 

This series offers a glimpse into the rehearsals of iconic variations and pas de deux from the ballet Giselle, in preparation for its 2022 revival at the Palais Garnier. Part 1 (3 episodes) - Peasant pas de deux, featuring young dancers from the Pari

Giselle's variation and Mad scene

Giselle, rehearsing with... Alice Renavand and Monique Loudières 1/4

Jean Coralli, of Italian origin (Bologna), was born in Paris in 1779. After graduating from the Ecole de Danse de l'Opéra, he made his debut as a dancer in 1802. He then left Paris for London. He had already begun choreographing at the Vienna Opera (Paul et Rozette, 1800), but returned and remained there until 1806, producing Les Abencérages, Le Calif généreux, Les Incas, and Hélène et Pâris. Then, in Milan, Jean Coralli and his second wife Teresa formed the star couple at La Scala, performing Salvatore Vigano's masterpieces. Between 1815 and 1822, Coralli divided his time as ballet master between Milan, Lisbon and Marseille. In 1825, he took over from Frédéric-Auguste Blache at the Théâtre de la Porte Saint-Martin. He was in charge of the entertainment for some fifteen shows, and his dancers included Joseph Mazilier and Jules Perrot.In 1831, the new head of the Opéra, Dr Véron, invited Jean Coralli to work for the Royal Academy of Music: He choreographed L'Orgie (1831), La Tempête ou l'île des génies (1834), Le Diable boîteux (1836) for Fanny Elssler, La Chatte métamorphosée en femme (1837), La Tarentule (1839), Giselle in collaboration - with Jules Perrot (1841), La Péri (1843) for Carlotta Grisi.Most of these ballets were successes that were regularly revived and remounted by the great ballet companies. Arthur Saint-Léon described his style as ‘essentially French, that is to say refined, delicate and poetic’. He had many pupils, including his son Eugène, who became a renowned mime. He retired in 1848 and died in Paris in 1854 at the age of 75.

Jules Perrot was born in Lyon in 1810. Hired by the Théâtre de la Gaité (Paris), he studied with Vestris and then danced at the Théâtre de la Porte-Saint-Martin. He joined the Paris Opera Ballet from 1830 to 1835, where he danced with Marie Taglioni, Fanny Elssler and Fanny Cerrito. He went to Naples where he met Carlotta Grisi, who became her student and dance partner. They performed together until their breaking-up in 1842. He staged for her Giselle in 1841 at the Paris Opera, among other ballets all inspired by the Romantic Movement. Perrot led a successful international career. He was ballet master at Her Majesty’s Theatre in London, at the Scala de Milan and at the Imperial Theatre in St. Petersburg. Back in France in 1861, he gave classes at the Paris Opera. Edgar Degas immortalized him in his painting The Dance class in 1876. Jules Perrot died in 1892.

The son of an Alsatian composer and pianist, himself piano teacher at the Paris Conservatoire, Adolphe Charles Adam was born on July 24, 1803. He defied his father and started to study music in secret. He then entered the Paris Conservatoire in 1817 and became a pupil of François-Adrien Boieldieu, who quickly directed him to comic opera, a genre that was undergoing a major transformation at the time. In 1825, he won the Prix de Rome’s second prize. In 1834, Adam had one of his greatest popular successes with Le Chalet, an opera comic which has since been considered the starting point of French operetta and which influenced Offenbach in his early years. Above all, his successful, lively and brilliant “operas bouffes”, such as Le Postillon de Longjumeau in 1836, made him famous. In 1840, he composed a funeral march for the return of the mortal remains of Napoleon I and the burial in Hôtel des Invalides. From 1847 to 1848, he tried to found his own theater house, the Opéra‑National, but the experience failed and left him financially ruined. He worked as music critic and taught composition at the Conservatoire, where Léo Delibes was his student. After the success of Giselle (1841), he composed the score of several ballets: La Jolie fille de Gand for Albert Decombe (1842), Le Diable à quatre (1845), Griseldis ou les cinq sens (1848) and Le Corsaire (1856) for Joseph Mazilier, as well as La Filleule des fées for Jules Perrot (1849).

1990 :&nbsp;Enters the Paris Opera Ballet School.

1997 :&nbsp;Joins the Paris Opera Corps de Ballet.

2004 :&nbsp;Promoted to « Coryphée ». Dances Eurydice / Orphée et Eurydice (Pina Bausch).

2005 :&nbsp;Promoted to&nbsp;« Sujet ».

2008&nbsp;:&nbsp;AROP Dance Prize.

2012 :&nbsp;Promoted to « Première danseuse ». 

Alice Renavand was named "Danseuse Étoile" on December 20th 2013, following the performance of Le Parc (Angelin Preljocaj) in which she danced the main female role for the first time. Alice Renavand was named Chevalier dans l’ordre des Arts et des Lettres.

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