Ballet de l'Opéra National de Bordeaux, France, 2024

Tour Dates: 21st April - 20th May, 2024

Born in France in the century of Louis XIV, ballet developed in Bordeaux from the 18th century and has since acquired a prestigious and creative dimension.

Tour Dates
  • 21st April - 20th May, 2024


Ballet de l'Opéra National de Bordeaux

Born in France in the century of Louis XIV, ballet developed in Bordeaux from the 18th century and has since acquired a prestigious and creative dimension. Since the 1990s, the Ballet de l'Opéra National de Bordeaux has been able to open its classical heritage to modernity through contact with numerous choreographers. Today it is made up of nearly 40 dancers.

He has received numerous awards including the Herald Angels Prize (Edinburgh International Festival), the Prize for Best Foreign Ballet in Cuba as well as the prestigious Lifar Prize (2001 and November 2014). In addition to the classical repertoire (The Nutcracker, Giselle, Sleeping Beauty, Swan Lake...), the Company dances ballets inherited from the Russian Ballets (Prelude to the Afternoon of a Faun by Nijinsky, Petrouchka by Fokine etc.) but also works by neo-classical or contemporary choreographers (Jirí Kylián, William Forsythe, Carolyn Carlson etc).

The Ballet de l'Opéra National de Bordeaux performs each season on the stage of the Grand Théâtre but also on tour in France and abroad. The 2018/2019 season marks the start of a partnership with the l'Opéra National de Paris and choreographer Angelin Preljocaj. Since the appointment of Eric Quilleré, the Ballet de l'Opéra National de Bordeaux has added to its repertoire, La Fille Mal Gardee (Ashton version), Notre-Dame de Paris by Roland Petit, Cendrillon by David Bintley, The Concert and In the Night by Jérôme Robbins, Snow White, La Stravaganza and Ghost by Angelin Preljocaj, Faun by Sidi Larbi Cherkaoui, Paz de La Jolla by Justin Peck, Obsidian Tear by Wayne McGregor, Cacti by Alexander Ekman, Celestial by Garrett Smith among others, the creations Bottom of My Sea by L. Komkova (winner of the 2nd competition for young choreographers 2018), Mythologies by Angelin Preljocaj.

Eric Quilleré

Eric Quilleré has directed the Bordeaux Opera Ballet since 2017. Spotted by Maurice Béjart, the latter invited him to Vienna in the “Compagnie du 20e siècle” to dance the ballet Wien Wien. He was promoted to Choryphée (1986), then Sujet (1988), and danced Etudes de Lander at the Metropolitan Opera in New York during the Paris Opera's tour in the United States and also danced at the Bolshoi on tour. He is a finalist in the prestigious Varna competition. Promoted to Principal Dancer in 1991 by Patrick Dupond, then Director of Dance at the Paris Opera. Eric Quilleré dances the classical repertoire and creates the pas de deux of Les Vendangeurs in Giselle by P. Bart and E. Poliakov, the Jester from Swan Lake at the Opéra Bastille (DVD Pietragalla Dupond 1992) but also the Golden Idol in La Bayadère by R. Noureev, Frantz in Coppélia by Pierre Lacotte, Mercutio in Roméo et Juliette and Cinderella by Rudolf. Nureyev. He also dances Puck in A Midsummer Night's Dream by J. Neumeier. Eric Quilleré also dances the neo-classical repertoire: Agon, Apollo, Capriccio and The Prodigal Son by G. Balanchine but also Jerome Robbins Shy Boy in The Concert (1992/93), or Kenneth Mac Millan The Song of the Earth. He also dances contemporary repertoire: Point In Space and Un Jour ou deux with Merce Cunningham, Push Comes to Shove with Twyla Tharp, Sinfonietta with Jirí Kylián. He danced The Rite of Spring by Pina Bausch during its creation at the Paris Opera, then that of Maurice Béjart, Debussy for seven dancers and in the creation of Rythmes de valse by Roland Petit. He also works with Karole Armitage and Rudy Van Dantzig. Eric Quilleré was then hired as an Etoile Dancer by Pierre Lacotte at the Nancy Ballet where for six months he danced, among others, the roles of the Prince in Giselle and the title role in Marco Spada by Pierre Lacotte. In 1995, with the agreement of Brigitte Lefèvre, Director of Dance at the Paris Opera, Eric Quilleré divided his time between this house and the Miami City Ballet - then directed by E. Villella - where he danced most of the ballets by Balanchine. While continuing his dancing career, he began to stage ballets for the Miami City Ballet: Swan Lake, Coppélia, Giselle and Paquita. In 2001, he was invited by M.C Pietragalla to stage his version of Giselle at the Ballet National de Marseille. In 2002, he was appointed Artistic Advisor for the MBC School in Miami where he taught and organized summer courses with the greatest dance school directors. In 2003, Charles Jude asked him to join the Ballet National de Bordeaux as Ballet Master. He collaborates on the creations of Charles Jude: Don Quixote, Roméo et Juliette, which he staged alone in Astana, Kazakstan, and also Coppélia, which he staged alone in Toulouse for the Ballet du Capitole directed by K. Belarbi. Eric Quilleré regularly gives classes and is invited, among other places, to Tel Aviv in Israel (Israel Ballet) and to Florence in Italy (Ballet de Florence). At the suggestion of Marc Minkowski, he was appointed Dance Director of the Bordeaux National Opera by Laurence Dessertine (December 15, 2017). For the following seasons, it proposes partnerships with the Opéra National de Paris and the choreographer Angelin Preljocaj.

Bournonville / Løvenskiold

Ballet in two acts, created by Philippe Taglioni on March 12, 1832 at the Royal Academy of Music and Dance in Paris, recreated by August Bournonville in 1836 at the Royal Danish Theater in Copenhagen.

Choreographer: August Bournonville
version from 1836 reassembled by Dinna Bjørn
Music: Herman Løvenskiold
Sets and costumes: Ramon Ivars
Duration: approximately 1h30
Number of dancers: 45 dancers


On the day of his wedding to Effie, James, a young Scot, sees the appearance of an unreal creature who now haunts his dreams and who shows her love for him. When the latter seizes the wedding ring and disappears into the forest, James meets an old woman to whom he pays little attention. But this one is a witch who soon weaves a magical veil. Searching for his beloved, James obtains from the old woman the veil which would allow him to hold back the one who is escaping him. The Sylphid soon adorns herself with the bewitched fabric, loses her wings and dies. Desperate, James sees the Sylphid being carried away by her companions while Effie marries her friend Gurn.

On March 12, 1832, the creation of La Sylphide at the Paris Opera opened the era of romantic ballet with a bang, becoming the first white ballet in the history of dance.

“From the time of La Sylphide, Les Filets de Vulcains, Flore et Zéphyre were no longer possible; the Opera was delivered over to the gnomes, the merfolk, the salamanders, the elves, the nixes, the wilis, the peris and all those strange and mysterious people who lend themselves so wonderfully to the fantasies of the ballet master,” writes Théophile Gautier.

José Martínez / Ludwig Minkus

Ballet in a prologue and three acts
Libretto by Marius Petipa based on the novel by Miguel de Cervantes


Choreography: José Martínez
Music: Ludwig Minkus
Set design: Raúl García Guerrero
Costumes: Carmen Granell
Lights: Nicolás Fischtel
Duration: 30 minutes

The work

A masterpiece of literature written in 1605 by Cervantes, Don Quixote inspired the classical ballet choreographed by Marius Petipa in 1869. The argument taken from the second volume of the novel draws its source from the “Noces de Gamache” mixing with love story between Quitería and the barber Basilio (who tries to escape the marriage arranged by Quitería's father who wants to unite his daughter with the rich Gamache) to the odyssey of the "knight with the sad face" accompanied by his faithful Sancho Panza.



The forced marriage of Quitería and Gamache must take place. Among the many guests are Don Quixote, Sancho Panza, Mercedes and Espada. A mysterious character, wrapped in a cape, enters at the start of the ceremony. This newcomer is Basilio! He takes out his barber's razor and pretends to kill himself. Quitería wants to grant at least the last wish of the young man “on the verge of death”: to marry her. Don Quixote intercedes on their behalf. A priest blesses the union and Basilio confesses his ruse. Don Quixote intervenes to help Quitería and her father reconcile and to request the celebration of the marriage of Quitería and Basilio. At the end of the festivities, the knight-errant and his faithful squire bid farewell. They will continue elsewhere and always on their journey in pursuit of their dreams.