REVIEWS

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.

 

 

 

FEATURES

 

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