Soirée Maurice Ravel by the Ballets de Monte-Carlo – Whirlwind Memories – Review
Author: Jacqueline Thuilleux
In her detailed review, Jacqueline Thuilleux explores the rich artistic tapestry of the Soirée Maurice Ravel, performed by the Ballets de Monte-Carlo under the direction of Jean-Christophe Maillot. Conceived as a tribute to Prince Rainier III, who cherished the music of Ravel, the evening celebrated not only the composer’s genius but also the historical ties between Monte Carlo and the great choreographic tradition dating back to Diaghilev.
Thuilleux emphasizes how Maillot, one of the major choreographers of our time, continues to intertwine narratives with elegance, injecting allusions and playful references into his productions. Central to his creativity is his muse, Bernice Coppieters, whose role extends far beyond that of an assistant. Through her, Maillot’s choreographic vision is transmitted with vitality and precision, allowing gestures to live on even when the choreographer himself no longer executes them.
The program’s first highlight was Balanchine’s La Valse, staged under the careful supervision of Patricia Neary, the legendary former star of the New York City Ballet. Thuilleux describes the deceptive brilliance of this piece: beginning as a glamorous ball, it gradually unravels into a darker, more anxious atmosphere. Dancers Lou Beyne, Jérôme Tisserand, and Jaat Benoit embodied this descent with striking presence, their performance evoking shades of Goethe’s Erlkönig and Hoffmann’s tales.
The second part of the evening featured Maillot’s new interpretation of Ravel’s L’Enfant et les Sortilèges. Returning to a work he had first choreographed in 1992, Maillot infused the opera-ballet with humor, lyricism, and imaginative staging. Ashley Krauhaus delivered a powerful portrayal of the Child, while Jérôme Kaplan’s costumes dazzled with inventive forms inspired by origami, playful teacups, and fantastical animals. Dominique Drillot’s lighting added depth and vibrancy to Kaplan’s visual designs, completing the enchanting atmosphere.
Thuilleux also notes the strong contribution of the Monte-Carlo Opera Chorus, under the enthusiastic direction of Cecilia Bartoli, alongside the children’s choir of the Rainier III Academy of Music and Theatre. Conductor David Molard Soriano led the orchestra with fluidity and color, supporting the dancers and singers with finesse.
Overall, the review highlights the Ballets de Monte-Carlo’s ability to merge tradition with modernity, paying homage to Ravel while reaffirming Maillot’s creative versatility. Thuilleux concludes that this evening of music and dance reveals both the choreographer’s playful side and his darker, more ambiguous impulses, always presented with a sharp artistic vision.
Source: Concertclassic
