Choreographer-Director Jean-Christophe Maillot offeres dance lovers in Beijing an unprecedented ballet evening with his marvellous imagination from a novel perspective.
In the centurial history, the Les Ballets de Monte-Carlo has been sticking to its own style and cooperating with masters of set and costume designs, creating a series of fashion-forward modern ballet works.
As one of the company’s masterpieces, the Cendrillon, is adapted from Andersen’s classic fairytale and given a new implication by Maillot in a unique choreography.
In the Cendrillon, the bared feet are not in crystal shoes but covered with gold dust. The glittering feet appear in the spotlight for several times, becoming the core imagery that makes the ballet an organic whole.
The simple but abstract set design makes the stage a gorgeous fairy world, where pure-white moving props are used as the projection screen and the sailing boat on which the prince looks for love, becoming ingenious stage scenery.
In order to better embody the “style of Monte-Carlo”, the company invited Jérôme Kaplan as costumes designer, who abandoned the elegant, classical and humourless traditional ballet costumes to highlight the avant garde of modern ballet and different characters in the ballet.
On the opening night, Alessandra Tognoloni played Cinderella, rendering this delicate, graceful, innocent and kind-hearted character to life. Her beautiful looks, which needn’t be embellished anymore, the silk dress and amazing toes made her the most perfect fairytale character.
Matèj Urban and Francesco Mariottini, who play the father and the prince respectively, reveal the father’s hesitation and the prince’s faithfulness vividly with superb skills in a moving performing style.
Choreographer-Director Jean-Christophe Maillot offeres dance lovers in Beijing an unprecedented ballet evening with his marvellous imagination from a novel perspective.
In the centurial history, the Les Ballets de Monte-Carlo has been sticking to its own style and cooperating with masters of set and costume designs, creating a series of fashion-forward modern ballet works.
As one of the company’s masterpieces, the Cendrillon, is adapted from Andersen’s classic fairytale and given a new implication by Maillot in a unique choreography.
In the Cendrillon, the bared feet are not in crystal shoes but covered with gold dust. The glittering feet appear in the spotlight for several times, becoming the core imagery that makes the ballet an organic whole.
The simple but abstract set design makes the stage a gorgeous fairy world, where pure-white moving props are used as the projection screen and the sailing boat on which the prince looks for love, becoming ingenious stage scenery.
In order to better embody the “style of Monte-Carlo”, the company invited Jérôme Kaplan as costumes designer, who abandoned the elegant, classical and humourless traditional ballet costumes to highlight the avant garde of modern ballet and different characters in the ballet.
On the opening night, Alessandra Tognoloni played Cinderella, rendering this delicate, graceful, innocent and kind-hearted character to life. Her beautiful looks, which needn’t be embellished anymore, the silk dress and amazing toes made her the most perfect fairytale character.
Matèj Urban and Francesco Mariottini, who play the father and the prince respectively, reveal the father’s hesitation and the prince’s faithfulness vividly with superb skills in a moving performing style.
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