the son of “Sissi”, a depressive prince who does not leave marble at the Garnier opera

It is an entry to the repertoire all the more exciting because it is unusual in the world of classical ballet: Mayerling, the other great ballet by Kenneth MacMillan (1929-1992) after Manon’s story surprises in more ways than one, and first of all because it offers one of the most disturbing and demanding male roles.

The curtain rises on a coffin hastily buried in a rainy wood. Fade to black, here we are at the court of Vienna, its luxury, its huge portraits, its imperial family in a gallery overlooking the ballroom, itself flanked by soldiers in ceremonial dress. The sets and costumes, in autumnal hues of rust and sienna, by Nicholas Georgiadis, reflect a power in decline.

It is in this stifling atmosphere that we will witness the descent into hell of this crown prince, neglected by his parents, progressive and provocative, seductive and brutal. While we feared getting bogged down in the historical fresco, the dance really started with a pas de deux between Rodolphe and one of his former mistresses. A light and languorous duo, the bodies interlocking in a series of sensual lifts.

We are all the more gripped by the violence and cruelty of the following duo: in the bedroom, on the wedding night, Rodolphe joins Stéphanie de Belgique (melancholic Charline Glezendanner), the young wife who has been imposed on him; he terrorizes her with a skull and a gun brandished in front of her. A pas de deux of unprecedented violence in a classical ballet.

Mayerling will thus alternate grandiose paintings and intimate scenes, sometimes losing us if we do not know the story: for example the officers who whisper in the ear of Rodolphe are in fact nobles who are working for the independence of Hungary (independence fiercely refused by François-Joseph, his father).

Stéphane Bullion in the role of Rodolphe, alternating with Hugo Marchand, impresses in the expression of the torments of the young man, weakened by his addictions, clutching his head in his hands, writhing in psychic pain. Bullion-Rodolphe continues a succession of often acrobatic duets with the women in his life. Among them Mizzi Caspar (sparkling Roxane Stojanov), an actress who soothes him and whom he finds in a cabaret, a colorful and unbridled scene! Another character, the Countess Larisch (Imperial Héloïse Bourdon), a matchmaker who will introduce him to the young Mary Vetsera (juvenile and graceful Hannah O’Neill).

The relationship with the young woman, obsessively in love, is the culmination of the ballet with two striking duets. One exalted, full of tension and passion, where Mary submits to Rodolphe’s fantasies, also dancing with a skull and shooting a pistol. It is to this young woman whom he will only have known for a few weeks that Rodolphe proposes this death pact which will materialize in a feverish and carnal pas de deux in which she clings to him to an agonizing and passionate music by Liszt. .

Mayerling, is the name of the hunting lodge in the Viennese forest where the two lovers killed themselves. Mary Vetsera was only 17 years old. In any case, we will not forget this entry into the repertoire of the Paris Opera for the intensity of the story told to us; nor will we forget this abrupt and violent choreography, which can no doubt be blamed for its abundance of lifts in the pas de deux and the lack of large tableaux in which the entire corps de ballet would dance.

Alternating distributions, as often for this kind of large production: Hugo Marchand, Mathieu Ganio, Stéphane Bullion, Paul Marque (four star dancers) in the crushing role of Rodolphe; in that of Mary, Dorothée Gilbert, Valentine Colasante, Laura Hecquet and Hannah O’Neill.

Mayerling by Kenneth MacMillan
Palace garnish
Until November 12, 2022
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