The ballet Paquita might seem overly melodramatic. It has a predictable story of a noble-hearted young officer. It also portrays a royal child kidnapped and raised by gypsies. Why, then, do we still adore melodramas in opera or ballet? Because our appreciation for such performances is not rooted in their literary value or well-worn plots. Instead, the charm lies in the sensory and visual elements. The dance, costumes, colours, staging, and music come together in a harmonious whole. They transcend the predictable narrative and conventional characters.
This ballet, with its melodramatic storyline, was an undeniable success. The richness and uniqueness of the Empire-style costumes ensured its triumph. The beauty of the set designs contributed to its success. Above all, the perfection of Carlotta Grisi’s dance was pivotal to its victory.
Théophile Gautier, La Presse, 6 April 1846
Reconstructed by Pierre Lacotte and set to Minkus’s music, Paquita is a ballet-pantomime. It delivers joy to its audience. It also provides picturesque scenes of the Spanish countryside.
Who doesn’t enjoy a dose of lightness and festivity in life? From the very beginning of the ballet, the atmosphere is vibrant and colourful, filled with gypsy melodies and dances. This radiant rhythm instantly erases the winter monotony of Paris. On the evening of 26 December, we were fortunate to witness an exquisite performance. Germain Louvet portrayed Lucien d’Hervilly, the noble-hearted soldier, while Hannah O’Neil played Paquita, the young noblewoman raised by gypsies. These two stars of the Paris Opera Ballet seemed perfectly suited to their roles. They captured the vibrant, luminous spirit of Paquita.
Particularly remarkable was the dancing and presence of Hannah O’Neil. Her flamboyant red gypsy costume seemed tailor-made for her. Since I saw her portray Titania, the fairy queen in A Midsummer Night’s Dream, I have been enchanted by her dancing. At that time, I believed her radiant smile was the secret to her charm. Tonight, however, I discovered another key element: her ability to bring colour to life.
Red suits her like a second skin, extending her movements and emanating from her essence. The colour does not elevate her dance. It is this magnificent étoile. Through her artistry, she transcends materiality and light. As Pierre Lacotte said about his reconstruction of Paquita:
Even with music, steps alone are not enough to reconstruct a work. A ballet from the past is a complex and fragile creation. Its authenticity goes beyond mere choreography.
The gypsy costume of Hannah O’Neil does more than clothe the character of Paquita. It becomes a part of her. The costume merges with her body and movements. Through her performance, red comes alive, infusing every gesture with unparalleled energy and depth.
This transcendence between colours and dancers is crucial. It enables ballets like Paquita to continue captivating audiences. They have been triumphing since the 19th century. Melodramas receive supposedly clever and intellectual criticisms. Despite this, they gain a new dimension on stage through the magic of live performance. Ballet is an immersive experience. It offers a full fusion of senses and emotions. Dance, music, and costumes unite with artists to create an unforgettable moment. We will always be invited to dream, to feel, and to celebrate the timeless beauty of ballet.
