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. Available from November 2023. © Opéra national de Paris - 2023

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BA_S1E1 - Giselle, rehearsing with...Sabrina Mallem

Giselle, rehearsing with... Sabrina Mallem - Ep. 1

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

Peasant pas de deux - Ep. 1

Giselle, rehearsing with... Sabrina Mallem 1/3

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’.&nbsp;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.&nbsp;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.&nbsp;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.&nbsp;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.&nbsp;

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).

Trained at the Paris Opera Ballet School, Sabrina Mallem joined the Corps de Ballet in 1998. One year later, she was a semi-finalist at the Varna Dance International Competition. She was named Coryphée in 2004 then Sujet in 2007. She performed classical and neoclassical dance repertoire with the Corps de Ballet, while being cast on soloist roles: Rubies / Jewels, Agon, the Siren in Prodigal Son, Choleric in The Four Temperaments (Balanchine); Suite en blanc, OEnone in Phèdre (Lifar); Prudence in The Lady of the Camellias (Neumeier); the Street Dancer and one of the two friends in Don Quixote, The Indian Soloist, the Pas de trois des Ombres in La Bayadère, the Pas de trois one of the Four Principal Swans in Swan Lake, one of the Two Sisters and Winter in Cendrillon (Nureyev); The Bohemian in The Wolf (Petit). Later on, she also danced in many works of the contemporary repertoire: William Forsythe (Pas. / Parts, In the Middle Somewhat Elevated), Wayne McGregor (L’Anatomie de la sensation, Genus), Benjamin Millepied (Amoveo), Crystal Pite (The Seasons’ Canon).

MALLEM Sabrina_sujet_(c)Alice Fenwick_VD

2011/2012: Double curriculum at the Paris National Conservatory (CRR).2013: Enters the Paris Opera Ballet School.2019: Joins the Paris Opera Corps de Ballet.2021:&nbsp;Promoted to "Coryphée". 1st prize unanimously at the Rudolf Nureyev Competition.2022: Promoted to "Sujet".2023: Promoted to "Première danseuse".2024: AROP Dance award.

MCINTOSH_Ines-16

2014 Enters Paris CNSMD.2017 Enters the Paris Opera Ballet School.2018 Joins the Corps de Ballet.

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Dietlin

Hired in the Paris Opera Corps de Ballet in 1959, Patrice Bart was nominated Étoile in 1972, after his first solo as the Prince in Swan Lake (Bourmeister’s version). He danced the greatest roles of the repertoire, from Petrouchka to Sleeping Beauty’s Prince, Don Quixote, the Fils prodigue… He took part in the creations of Serge Lifar (Constellations, 1969), Roland Petit (Mouvances, 1976), MacMillan (Métaboles, 1978), and Nureyev (Rothbart in Swan Lake, 1984). He won the Nijinsky Prize (Université de la Danse) in 1974. An accomplished technical dancer (pas de six in Napoli or La Vivandière), a brilliant partner (from The Corsaire to Palais de cristal), an excellent actor (Coppélia and La Fille mal gardée), Patrice Bart is also keen on performing character roles, such as the grandfather in Nureyev’s Nutcracker. He worked first as repetiteur from 1986, then as ballet master, from 1987, before his farewells to the stage in 1989. Very involved in the artistic organization of the Company, he took with Eugène Polyakov the transitional Dance Direction after Rudolf Nureyev’s departure in November 1989. From 1990 to 2011, he was associated to the Dance Direction. In 1991 he revived with Eugène Polyakov the classic version of Giselle for the 150th anniversary of its creation, and in 1992 he assisted Nureyev on La Bayadère’s creation. Himself a choreographer, he staged Don Quixote in 1993 for the Berlin Staatsoper, and then in 1995 for the Finnish National Ballet; Giselle in 2000 (1996 for La Scala de Milan), Swan Lake (1997), Verdiana, set in 1999 to some opera music by Verdi (2001 for the Teatro Comunale di Firenze), The Nutcracker (1999), Prokofiev’s Romeo and Juliet (2002). He created for the Paris Opera Coppélia (1996), La Petite Danseuse de Degas (2003), and for the Munich Bayerische Oper La Bayadère in 1997 (version in 4 acts) and for the Finnish National Ballet Tchaikovsky (2005). Patrice Bart is Commander of the Arts and Letters, of the National Order of Merit and Knight of the Legion of Honour.

Eugène Polyakov joined, at 10, the School of Bolshoi and became soloist in the Novosibirsk Dance Company (Siberia). He began at an early stage of his career setting choreographies: Variations on a Theme by Purcell (Benjamin Britten), Songs without words (Mendelssohn). In 1970 he put an end to his dance career but came back to the Bolshoi as a teacher. In 1976, he left Russia to settle in Italy. He became ballet master at Le Fenice, in Venice, where he created Francescada Rimini, and his own version of the Spirit of the Rose. He also revived Giselle for Elisabetta Terabust, Rudolf Nureyev, Cyril Atanassoff and Patrice Bart. In 1977 and 1978, he founded the company “Viva la Danza” and toured in Italy. In 1978, he was appointed Dance Director at the Teatro Comunale in Florence. Between 1978 and 1983 he staged: The Fairy’s Kiss, Nightingale (Stravinsky), Themes and Variations (Tchaikovsky), Rideau Réversible (Stravinski/Petrassi), Andante Pomeridiano (Richard Strauss), The Favourite (Donizetti), Computer Valse (Grossi), Goldberg Suite (Grieg/Bach). Eugène Polyakov also worked with the Balletto di Toscana, creating for them Correspondences (based on Baudelaire’s work), Grand cru, Sinthonic (Pergolèse), Five pieces instead of silence (Schumann), Les parcours d’une promenade (Philip Glass). In 1983, he was invited by Rudolf Nureyev as ballet master at the Paris Opera. In 1985, he took part in the creation of the “Ballet du Louvre” as the Artistic Director, where he revived Giselle. In 1992, he left the Paris Opera to take the direction of the Teatro Comunale Ballet (Florence). There, he mounted his own versions of The Nutcracker, Swan Lake, and created The Lady with the Camellias, Cinderella, La Folie (Coralli), and La Ronde (music by Matteo d’Amico). He also revived some of Nureyev’s choreographies (Raymonda, Don Quixote) at the Stockholm Opera, the Berlin Staatsoper and the Scala de Milan. He came back to the Paris Opera in January 1996 as a ballet master. He died in Paris on October, 25 1996.

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