Read feature on Benjamin's new role at Paris Opera Balletin the New York Times http://nyti.ms/10YEtwR
Benjamin became Director of Paris Opera Ballet on November 1, 2014.
Benjamin feature in the November issue of Vogue. http://vogue.cm/1yasyG5
L.A Dance Project performs REFLECTIONS in Japan (November 8 - 9) and Korea (November 11 - 15.) http://bit.ly/1tF8CdN
The Mariinsky Ballet performs WITHOUT at Brooklyn Academy on January 24th. http://nyti.ms/1z2uVft
Ballet de Lyon performs SARABANDE in Paris at Theatre de la Ville from November 17 - 26, 2014. http://bit.ly/1qryYwk
January 24, 2015
The Mariinsky Ballet performs "Without" at Brooklyn Academy of Music
February 22, 2015
L.A. Dance Project performs at the Verizon Hall in Philadelphia, PA
March 11, 2015
L.A. Dance Project performs at the Centre National des Artes in Ottawa, Canada
March 27-28, 2015
L.A. Dance Project performs at the Festival Hall of Lingon in Vernier, Switzerland
April 1, 2015
L.A. Dance Project performs at the Grand Opera in Avignon, France
April 8-11, 2015
L.A. Dance Project performs at the Theatre du Chatelet in Paris, France
April 14, 2015
L.A. Dance Project performs at the Theatre de Chartres in Chartres, France
April 17-18, 2015
L.A. Dance Project performs at the Teatro Ristori in Verona, Italy
April 22, 2015
L.A. Dance Project performs at the Theatre de Creil in Creil, France
Ballet du Rhin performs "Without"
May 20-21, 2015
L.A. Dance Project performs at Le Quartz in Brest, France
May 28-29, 2015
L.A. Dance Project performs at the Théâtre des Arts, Opéra de Rouen, in Rouen, France
June 2, 2015
L.A. Dance Project performs at L'Avant Seine Theatre de Colombes in Colombes, France
August 19-22, 2015
L.A. Dance Project performs at the Ted Shawn Theatre in Becket, MA
Born in France, Benjamin Millepied began his dance training at the age of eight with his mother, Catherine Flori a former modern dancer. From the age of thirteen to the age of sixteen he attended the Conservatoire National de Lyon, studying with Marie France Dieulevin and Michel Rahn. In the summer of 1992, Mr. Millepied came to New York City to attend the summer program at the School of American Ballet, the official school of New York City Ballet. The following year, he became a full-time student at the school, having received the “Bourse Lavoisier,” a scholarship award from the French Ministry. At SAB he studied with Stanley Williams and Adam Luders. In the 1994 SAB Spring Workshop, Mr. Millepied originated a principal role in Jerome Robbins’ 2 & 3 Part Inventions, set to music by J.S Bach. He was awarded the “Prix de Lausanne” the same year. In his last year at SAB, Mr. Millepied received the Mae L. Wien Award for Outstanding Promise and was invited to become a member of New York City Ballet. In the spring of 2001, he was promoted to the rank of Principal Dancer at NYCB, where he remained until his retirement as a dancer in 2011.
With the New York City Ballet, Mr. Millepied danced a vast repertoire of works by George Balanchine and Jerome Robbins. Many original roles were also created for him by Jerome Robbins, Alexei Ratmansky, Christopher Wheeldon, Mauro Bigonzetti, Angelin Preljocaj, Peter Martins, among others.
Mr. Millepied started choreographing in 2001, and in 2002 he founded “Danses Concertantes”. The company gathered different dancers for each tour, and for over 8 years performed new works and ballet repertory in prestigious venues all over the world.
From 2006 to 2007, Mr. Millepied was choreographer-in-residence at the Baryshnikov Arts Center. During his time at BAC, Mr. Millepied created the solo “Years Later” for Mikhail Baryshnikov. In 2007, he received the United States Artists Wynn Fellowship. In 2010, he was made Chevalier in the Order of Arts and Letters by the French Ministry of Culture.
Mr. Millepied’s many ballets are in the repertory of major dance companies around the world including the New York City Ballet, the Paris Opera Ballet, American Ballet Theatre, the Mariinsky Ballet, Pacific Northwest Ballet, Pennsylvania Ballet, Ballet de Geneve, the Lyon Opera Ballet, the Royal New Zealand Ballet, and the Dutch National Ballet. His collaborators include composers and artists such as Nico Muhly, David Lang, Thierry Escaich, Philip Glass, Daniel Buren, Christopher Wool, Barbara Kruger, Paul Cox, Rodarte, Iris Van Herpen, and Santiago Calatrava.
In 2010, Mr. Millepied choreographed and starred in Darren Aronofsky’s Black Swan.
In 2012, Mr. Millepied moved to Los Angeles, where he conceived of and founded the new dance company L.A. Dance Project. L.A. Dance Project’s mission is to promote new collaborative work by emerging and established artists, and to revisit influential multidisciplinary dance collaborations from the past. The company creates innovative platforms for contemporary dance and expands the experience of dance and dance education to audiences of all ages.
During L.A. Dance Project’s September, 2012 inaugural performances at the Los Angeles Music Center’s Walt Disney Concert Hall, the company performed Moving Parts, a collaboration between Mr. Millepied, composer Nico Muhly, and visual artist Christopher Wool. In May 2013, L.A. Dance Project presented Reflections, a new work which was the result of a collaboration between Mr. Millepied, composer David Lang, artist Barbara Kruger, and which was created with the support of the historic jewelry house Van Cleef and Arpels.
In 2013, Millepied founded the Amoveo Company with composer Nicholas Britell. Amoveo is an artist collective, active in digital media, television and film.
In January 2013 the Paris Opera Ballet announced Mr. Millepied’s appointment as its new Director.
New York Times , October 3, 2014
" Hearts & Arrows" for L.A Dance Project
"A propulsive, kinetic stream of movement to Philip Glass’s “String Quartet No. 3 (Mishima),” the as-yet-untitled work offers a glowing display of Mr. Millepied’s craftsmanship — the way he keeps his eight dancers constantly moving through asymmetrical and contrapuntal patterns, surging in and out of groups, separating into solos and pairs. Tiny narratives, emotion, histories, memories are evoked in the way the dancers coalesce and part, the surprise of formations and their dissolution. Everything is unexpected, everything feels serendipitously right"
New York Times, May 12, 2014
"Daphnis & Chloe" for Paris Opera Ballet
"Mr. Millepied’s choreography — imaginative, musical, attentive to the gifts of his dancers — is perhaps the best work he has done yet. He has long demonstrated talent and potential, with admirable craftsmanship in his ensemble patterning and inventive partnering. But his work can often feel dry, theoretical. Here he finds a wonderful suspension between abstraction and narrative, in a physical language that is balletic but spare, with frieze-like compositional echoes of figures on Greek vases, and floor-skimming partnering that never feels showy or overly elaborated"
"Mr. Millepied’s ability to create ever-shifting pattern — often echoing Mr. Buren’s geometries — is on dazzling display here, fully equal to the music’s intensifying dynamics and colors."
The London Times, May 13, 2014 -Debra Craine
"Daphnis & Chloe" Paris Opera Ballet
"Benjamin Millepied’s choreography of Ravel’s ballet was shimmering yet contemporary, his most passionate work to date"
New York Times, September 20, 2013 -Brian Seibert
"Neverhwere" New York City Ballet
"Though both the music and the dance are broken into sections — silences met with blackouts — it’s in fluency that choreographer and composer are well matched. Particularly in a late, tender duet for Sterling Hyltin and Tyler Angle, the endless thread typical of Mr. Millepied’s partnering floats on Mr. Muhly’s drone"
Dance Magazine, May 11, 2012 -Wendy Perron
"Two Hearts" New York City Ballet
"Tiler Peck and Tyler Angle are both the kind of dancers who can make their breath visible, and they create a flow of Millepied's inventive moves in three separate duets. The partnering doesn’t have nifty geometry like Wheeldon’s, or elaborate swirls like Ratmansky’s. It’s Millepied’s own voice—and partnering was always his strong suit. These duets have an intimacy tinged with a sense of loss. The first duet feels like the flush of dawn, the second is more sinuous, and the third is slow and concentrated. - See more at: http://www.dancemagazine.com/blogs/wendy/4390#sthash.2rcZ5wp7.Rarely have I seen such an enthralling whiff of romance in a thoroughly contemporary ballet"
New York Times, January 6, 2010 -Alistair Macaulay
"3 Movements" Pacific Northwest Ballet
Its other impressive item is Benjamin Millepied’s “3 Movements,” which closes the program. It’s externally important: you can’t miss its structural sophistication. The entrances and exits of the opening alone show Mr. Millepied’s command. Small groups of men and women successively cross the stage from left to right; the sequence makes them feel like a whole population. When they return from right to left, we see a new weapon in his armory: they’re now in vertical rows, as if regimented. A later grouping shows the dancers in concentric rings, the women in turns (on point) circumnavigating, clockwise, the men.
New York Times, October 31, 2014
"His Plan: Have One Eye on Everything - Benjamin Millepied Takes Over at Paris Opera Ballet
One thing was clear after spending two days with Mr. Millepied in early October, as he plotted his first season, for 2015-16, and shaped his plans for the company: No detail is too small, no project too large.
Whether insisting that the stage gets cleaned between ballets, proposing the Palais Garnier’s Grand Foyer be used as an installation space (“like the Tate Modern”), improving partnering skills among the dancers, or planning ambitious artistic collaborations and musical commissions, Mr. Millepied appears to have his eye on every ball and — at least for the moment — to be hitting them too." Full article
Vogue, October 18th, 2014
"Natalia Vodianova’s Grand Tour of the Paris Opera Ballet with New Director Benjamin Millepied
Millepied brings the positivity and can-do enthusiasm of two decades spent in the States to an establishment notorious for its bureaucracy. “He’ll be up against a lot of institutional crustiness,” observes Sulcas. “Things are done in a certain way because they’ve always been done that way. But he’s an incredibly talented director, fund-raiser, and people manager—he proved that early on with his entrepreneurial ventures. All of that bodes very well for Paris.” Millepied is also used to wearing many hats. He fondly remembers one heady evening when he danced with NYCB at the Opéra Bastille and then took a motorbike taxi to see his own ballet at the Palais Garnier. “It was amazing,” he remembers," Full article