3 Centuries

Sometimes it is difficult to imagine how long a century is. Attending the Paris ballet in the former home of the Opera is a means to grasp the notion when one notices the hall was dedicated in 1669 and the ceiling was painted nearly 300 years later by Chagall in 1964. Chagall picked up where the original architects left off naming composers by including Berlioz and Rameau on his fresco. Outside one finds the names of Bach, Mozart and other classical composers carved into the building with larger than life letters.

Seating in the 5 levels is quite tight, perhaps reminding us that 17th and 18th century Parisians were shorter and more compact than 21st century ballet patrons. Our box had 6 individual, movable chairs; however, only the front 2 had an unobstructed view of the stage. Being in seats 3 and 4 (effectively a 2nd row) we enjoyed it when the dancers happened to leap into view, whether on point or not. Regrettably, the two patrons behind us saw nothing but could hear the beautiful music by Chopin.

The tribute to Jerome Robbins included a hilarious reenactment of The Mistake Waltz during which 1 of the 6 ballerinas always lands in the wrong location, faces the wrong way, or in some other obvious way ruins the choreography. The audience roared with laughter, applauding wildly when the music stopped while she realized her mistake and walked defiantly to the correct position. At the end, the male dancers literally folded the women like chairs and props, carrying them off stage helter skelter. The female dancers demonstrated amazing physical conditioning, holding their bodies stiff as manikins as they disappeared from view.

Leaving the Opera House, the crowd walks down the same marble steps used by more than 3 centuries of patrons, continuing the wear patterns on each step. To think of who has walked there before leaves me truly aware, as aware as I can be, of how long a century is.