Appointed as Director of the Ballet School in 2004, Elisabeth Platel succeeded to Claude Bessy and built a team with extensive experience within the company and loyal to their masters.
Elisabeth Platel started dancing at the conservatoire of St Germain-en-Laye then followed Christiane Vaussard’s class at the National Conservatoire of Paris. Her National Conservatoire first Prize in 1975 granted her the admission to the Ballet School of the Opéra national de Paris.
Hired in the Corps de Ballet in 1976, and then promoted to “Première danseuse” in 1979, she was finally nominated “Danseuse Etoile” at the end of her first Giselle on December 23, 1981. Until 1999, her farewell in the Sylphide, she is the soloist of all great classical choreographers including George Balanchine, John Neumeier and especially Rudolf Nureyev for whom she created numerous productions. She has been awarded the Prix Benois de la danse for her lifelong achievements and in particular for her role as ambassador of the French school throughout the world. Whilst continuing to perform as a guest Etoile, the need to pass on her art and take a more global outlook rapidly became vital.
As a guest teacher both in France and abroad, Elisabeth Platel also revived ballets and coordinated State Diploma studies for the Paris Opera's Corps de Ballet.
In September 2004, she became director of the Ballet School.
Admitted to the Ballet School of the Opéra national de Paris in 1973, she is 18 when she entered the Corps de Ballet. Promoted to “Coryphée” in 1984, to “Sujet” in 1985, to “Première danseuse” in 1989, she is finally nominated “Danseuse Etoile” in 1993. Favorite soloist for Jerome Robbins’ ballets (In the Night, En Sol, Dances at a Gathering, The Concert and The Four Seasons), she danced in works by George Balanchine, Serge Lifar, Harald Lander, Maurice Béjart, Roland Petit, Jiri Kylián… from the Paris Opera repertoire and also participated in creations by Twyla Tharp, Odile Duboc, William Forsythe, Angelin Preljocaj, Jean-Claude Gallotta, Mats Ek, José Montalvo… She has been decorated “Chevalier” of the National Order of Merit.
Carole Arbo has been teaching at the Opera Ballet School since 2001.
Fabienne Cerutti entered the Ballet School of the Opéra national de Paris in 1971. Hired in the Corps de Ballet in 1977, she was promoted to “Sujet” in 1982. During her years at the Opera, she was taught by Serge Peretti, Christiane Vaussard, Rita Thalia, Jacqueline Moreau… Her repertoire ranges from classical to more contemporary works. Thus she performed the main roles in Nutcracker, the Sleeping Beauty, Swan Lake, La fille mal gardée and danced in Precipice by Alvin Ailey, Voluntaries by Glen Tetley, Tanz Schul by Jiří Kylián, Midsummer Night's Dream by John Neumeier… She also danced as Terpsichore along with Rudolf Nureyev in Apollon Musagete by Balanchine.
Fabienne Cerutti has been teaching at the Opera Ballet School since 1998.
Admitted to the Ballet School of the Opéra national de Paris in 1973, she was 17 when she entered the Corps de Ballet. She was promoted to “Sujet” in 1981, then to “Première danseuse” in 1989. From Lifar to Balanchine, she was also given solo parts by Kenneth MacMillan, Pierre Lacotte, Roland Petit and Jerome Robbins. Nominated « Danseuse Etoile » in 1993, she danced works from the classical repertoire: Giselle (according to Coralli and Perrot), Swan Lake, Romeo and Juliet, La Bayadère, Raymonda, the Sleeping Beauty (Rudolf Noureev)… She also created ballets by Carolyn Carlson, Karole Armitage, Nils Christe, Dominique Bagouet, William Forsythe, Daniel Larrieu, Patrice Bart (Coppélia – 1996) and Jiří Kylián (Doux Mensonges – 1999). She has been decorated “Chevalier” of the National Order of Merit.
Fanny Gaïda has been teaching at the Opera Ballet School since 2002.
Admitted in the Ballet School of the Opéra national de Paris in 1981, Géraldine Wiart is hired is the Corps de Ballet at the age of 16. Promoted to “Coryphée”in 1988, she performs her first soloist roles. Promoted to “Sujet” in 1993, she takes part in classical ballets of the repertoire of Rudolf Nureyev, Vladimir Bourmeister, George Balanchine, Pierre Lacotte, Roland Petit, Serge Lifar, HaraldLander, Michel Fokine, Vaslav Nijinski, Bronislava Ninjiska, Kenneth MacMillan. She is often chosen for contemporary choreography when they are entering the repertoire or created: Jerome Robbins, William Forsythe, Antony Tudor, Martha Graham, John Neumeier, Paul Taylor, Trisha Brown, Carolyn Carlson, Twyla Tharp, Blanca Li, Mats Ek, Jiri Kylian, Pina Baush…. These three have passed on to her loyalty and artistic approach that affected her whole career. She takes part in creations by RudolfNoureev (Cinderella), Pierre Lacotte (Paquita), Mats Ek (Appartement), Angelin Preljocaj (Le Parc), Nicolas Le Riche (Caligula), Twyla Tharp (Rules of the games), Patrice Bart (Coppélia, La petite danseuse de Degas), Blanca Li (Shéhérazade).
Géraldine Wiart has been in charge of the 6-month training program of the Ballet School of the Opéra national de Paris since 2009.
Muriel Hallé was admitted to the Ballet School of the Opéra national de Paris in 1975 and continued her training at the National Conservatoire of Paris. Admitted to the Corps de Ballet in 1982, she is promoted to “Coryphée” in 1986, then to “Sujet” in 1988. Muriel Hallé participated – until 2006 – in many productions of the repertoire, creations and tours of the Opera Ballet in France and abroad. Thus she was entrusted with soloist roles in ballets by Nureyev (The Sleeping Beauty, Swan Lake, Don Quixote, La Bayadère, Cinderella, Raymonda, Romeo and Juliet), Balanchine (The Four Temperaments) and Lifar (Suite en blanc) and was also given parts in ballets by Jerome Robbins (The Concert), Maurice Béjart (Le Concours) and Pierre Lacotte (Paquita). She also danced roles for “Etoile” during the 1997 season at the English National Ballet. Muriel Hallé is choreologist, graduated from the Benesh dance notation master class at the CNSMDP and is teaching dance notation at the Ballet School of the Opéra national de Paris.
After having been the teacher of the 6 months training program for two years, Muriel Hallé has been teaching at the Ballet School of the Opéra national de Paris since 2008.
Admitted in the Paris Opera Corps de Ballet in 1979 after winning the National Conservatoire first Prize, she was promoted to “Coryphée” in 1983, then to “Sujet” in 1987. She took part in all major productions of the repertoire and was given soloist roles in ballets by Nureyev, Serge Lifar, Jerome Robbins… and danced parts for “Etoile” including in The Nutcracker (in both Nureyev and Neumeier’s versions). She created ballets by Maguy Marin, David Parsons, Merce Cunningham, Jiří Kylián, Paul Taylor, Daniel Larrieu, Jean-Claude Gallotta. In September 2004, she was the sole performer in Véronique Doisneau, the creation by Jérôme Bel. After the Palais Garnier, this piece of work will be subsequently performed in many countries.
Véronique Doisneau has been teaching at the Opera Ballet School since 2006.
Admitted to the Ballet School of the Opéra national de Paris in 1973, Wilfried Romoli was hired in the Corps de Ballet at the age of 16. “Sujet” in 1983, he was promoted to “Premier danseur” in 1989 and was given numerous soloist roles. As one of Nureyev’s favorite performers, he was entrusted with soloist parts in many of Nureyev’s ballets: Swan Lake, Raymonda, Romeo and Juliet, The Sleeping Beauty, Don Quixote and also ‘Solor’ in his last production, La Bayadère. His curiosity, his energy as well as his liking for novelty engendered an early interest in contemporary dance. Several meetings with great choreographers deeply stroke his career. Thus, John Neumeier, Roland Petit, Jerome Robbins, Maguy Marin, Mats Ek, Pina Bausch, Jiří Kylián, to name a few, regularly chose him. In 2005 he was named “Danseur Etoile” at the end of the performance of Ich bin… by Susanne Linke. He was appointed “Commandeur de l’Ordre des Arts et des Lettres”.
Wilfried Romoli has been teaching at the Ballet School of the Opéra national de Paris since 2008.
Entered the Ballet School of the Opéra national de Paris in 1984, Yann Saïz is hired in the Corps de Ballet in 1992. Promotted to “Coryphée” in 1994, then “Sujet” in 1996, he danced the great roles of the academic repertoire such as “Frantz” in Coppélia or “Hilarion” in Giselle (by Patrice Bart), “Espada” or the “Gipsy” in Don Quixote and “Rothbart” in Swan Lake (by Rudolf Nureev). He is also chosen by John Neumeier for the soloists roles of his ballets. Roland Petit gave him the main role in his ballet Passacaille. Yann Saïz took part in several galas in France and abroad and received the AROP Award in 1999.
Yann Saïz has been teaching at the Opera Ballet School since 2016.
Eric Camillo started dancing in Marika Besobrasova’s class in Monte-Carlo before entering the Ballet School of the Opéra national de Paris in 1981. Admitted to the Corps de Ballet in 1985, he was promoted to “Coryphée” in 1986, then to “Sujet” in 1987. More particularly he performed as ‘Colin’ in La Fille mal gardée (Joseph Lazzini) and also many roles in Rudolf Nureyev’s productions. He participated in numerous galas with the “Nureyev and Friends” group. In 1990 he won the 1st Prize at the International Dance Competition in Paris and the AROP award in 1991.
Teacher at the Paris Opera Ballet from January 2002 to July 2007, Eric Camillo has been teaching at the Opera Ballet School since 2004.
Admitted to the Ballet School in 1981, Christophe Duquenne was hired in the Corps de Ballet at the age of 16. “Coryphée” in 1989, “Sujet” in 1992, he was promoted to “Premier danseur” in 2006 and dansed great roles of the repertoire: Siegfried in Swan Lake, Jean de Brienne in Raymonda, Drosselmeyer/le Prince Casse-Noisette, Désiré in Sleeping Beauty and Roméo in Romeo and Juliet by Nureyev. He took part in neo classical pieces by Balanchine, Robbins, Neumeier, Béjart or Petit and modern ones by Forsythe, Kylian, Duato, Bagouet and Gallotta. He won the “Ohya” in Osaka with Ghislaine Fallou and the AROP price in 2003.
Christophe Duquenne has been teaching at the Ballet School of the Opéra national de Paris since 2014.
Pupil of Master Brieux, Christiane Vaussard and Yvette Chauviré, Marie-Josée Redont entered the Ballet School of the Opéra national de Paris in 1961.
In 1969, she was 16 when she joined the Corps de Ballet. She danced the role of ‘the Spaniard’ in the Bourmeister’s version of Swan Lake and the pas-de-deux of the Blue Bird in the Sleeping Beauty by Rosella Hightower. She also took part in the creations of Adagietto (Oscar Aráiz), Black and Blue (Luis Falco), Quelques pas graves de Baptiste (Francine Lancelot). She interpreted the Mistress in the Rite of Spring by Paul Taylor. Alongside her career as a dancer, she worked as a repetiteur along with Francine Lancelot for the world creation of Quelques pas graves de Baptiste and for l’Ecole de Danse de Sarah, les Yeux grands ouverts by Gigi Caciuleanu (1988). She collaborated with Dr. Olivier Troisier on the writing of Education vertébrale – verrouillage, déverrouillage :pédagogie et techniques, published by Masson Editions (2002).
Marie-Josée Redont has been teaching at the Opera Ballet School since 1987.
Trained by Raymond Franchetti, Lilian Arlen and Nina Vyroubova, Marc du Bouaÿs entered the Ballet School of the Opéra national de Paris in 1960. Admitted to the Corps de Ballet in 1968, he was promoted to “Sujet” the same year. From 1981 to 1982, he performed at the English National Ballet, from 1982 to 1985 at the Pittsburg Ballet under the direction of Patricia Wilde, and from 1984 to 1985 at the Northern Ballet of Manchester. From 1988, he taught classical ballet in Nice and abroad (Italy, Monaco, Australia…) before joining the Rosella Hightower Ballet School in Cannes from 1994 to 1996.
Marc du Bouaÿs has been teaching at the Ballet School of the Opéra national de Paris since 1997.
Trained in the art of mime by Ella Jaroszewicz (defector of “the Pantomime Ballet of Wroclaw”, Poland National Theater founded and directed by the dancer Henryk Tomaszewski), she performed in all the creations of her company “The Magenia Theater” and took part in the tours in Sweden, Norway, Germany, Poland, Austria, Spain… from 1974 to 1994.
Yasmine Piletta has been teaching at the Ballet School of the Opéra national de Paris since 1977.
Early trained to French and Polish traditional dance, Marie Blaise completed her dance training with contemporary dance and classical ballet, but also with baroque dance and French and Italian renaissance dance. From 1979, she performed in France and abroad with the Michelle and Michel Blaise Folk French dance Company. For this company, she co-created several shows for children (De la cour au jardin, Bêtes à poils bêtes à plumes et entrechats, Coups de bâton et cheval-jupon…). In 1992, she joined the Company of Master Guillaume and Sophie Rousseau, whose work was focused on the relationship between music and dance in the Renaissance repertoire. From 1996, she also participated in shows of the Company l’Eventail (Marie-Geneviève Massé’s Company for baroque dance) as performer and assistant of the choreographer.
Marie Blaise has been teaching at the Ballet School of the Opéra national de Paris since 2000.
Born in New-York, Larrio Ekson was decided on studying theater at the age of 16 and against his father’s will. Noticed by Lucille BEARDS, he got a scholarship to study at the School of Fine Arts de Carnegie Hall, which led him to the School of Harkness Ballet. In 1970, he arrived in Paris and discovered the dance studios of the Villa Wagram and the Salle Pleyel where he took Nina Vyroubova’s classes. Legendary partner of Carolyn Carlson, the most famous choreographers like Maurice Béjart and Jiri Kylian asked for him. Alongside his carrier as a dancer, Larrio Ekson has earned an international name as a renowned pedagogue: in 1992, Roland Petit gave him the responsibility of the contemporary dance department at the National Ballet School of Marseille, he is invited as teacher at the Rudra-Béjart School, he also is a teacher at the Paris Opera Ballet, the National Conservatoire of Paris, Lyon and La Rochelle, as well as at the National Choreographic centers of Nancy and Roubaix.
Larrio Ekson has been teaching master-classes at the Ballet School of the Opéra national de Paris since 2008.
Choreographer, dancer and teacher, Bruce Taylor comes from New York where he was trained at the Alvin American Dance School and at the Martha Graham School of Contemporary Dance. After performing with the companies of Agnès de Mille, Bella Levinski, Walter Nicks and Elisa Monté, he came to live in France in the 1980s. He worked with Peter Goss and Redha before creating his own company in 1996: ChoréOnyx. He also created works for other companies and has been teaching ‘modern jazz’ all over Europe, especially at the English National Ballet, the Royal Ballet School, as well as at the Bartholin International Dance Seminars in Copenhagen.
Bruce Taylor has been teaching at the Ballet School of the Opéra national de Paris since 1993.
Trained at the Ballet School of Bucharest from 1966 to 1975, Roxana Barbacaru got a baccalaureate in dance studies in 1975. Soloist of the Bucharest National Opera from 1975 to 1984, she joined the Ballet School of the Opéra national de Paris in 1984 where she followed a professional training to become a dance teacher. In 1994, she founded her own character dance company – Roxana Barbacaru Company – and staged several shows for it (Rencontres dansées, Voyage autour de la danse, Danse de l’Europe orientale). At the same time, she created and performed in La divine Analogie and La voix qui se voit.
Character dance teacher at the Paris CNSMDP and CNR, Roxana Barbacaru has been teaching at the Ballet School of the Opéra national de Paris since 1996.
Jessica Baumann-Choppe was first trained to classical ballet and studied dance with renowned masters such as Gilbert Mayer, Jean Golovine and then Roxana Barbacaru with whom she discovered character dance. She worked and improved her knowledge with her for over 20 years and was her assistant for many years at the Ballet School of the Opéra national de Paris. Their complicity and involvement for character dance led Jessica Baumann-Choppe to enhance her work especially with Irina Grejbina in Paris and Yuri Vassilkov in St. Petersburg and to continue to deepen her experiences through personal research on traditional dances. Eager to pass on her knowledge to a wider public, she founded the Dance Academy in Meaux where she enjoys transmitting this rich and fulfilling discipline.
Jessica Baumann-Choppe has been teaching at the Ballet School Janine Stanlowa and at the Ballet School of the Opéra national de Paris since 2011.
Physiotherapist since 1993 and head of the physiotherapy department at the National Institute for Sport and Physical Education since 2001, François-Xavier Ferey is also coordinator of the Performance Support Unit (rehabilitation, physical training and recovering), coach and member of the judges in the physiotherapy field. He was also a member of the medical team at the Olympic Games (Sydney 2000, Beijing 2008 and London 2012) and of the paramedical management team (gymnastics, rehabilitation, stretching) of French Teams (aerobatics, riding, rowing…). Meanwhile, he was in charge of gymnastics classes and of the back school at the C.H.R. in Pontoise from 1993 to 2001.
François-Xavier Ferey has been teaching at the Ballet School of the Opéra national de Paris since 1996.
American citizen and known in France as specialist in children’s voices, Scott Alan Prouty completed his studies at the Eastman School of Music in New York. Artistic Director of the Children Choir Sotto Voce, he often directs children operas at the Bastille Opera and the Théâtre du Châtelet. He also leads advanced classes for Choir Direction and Musical Pedagogy in France and is often asked to coach soloist children for movies, CDs, TV programs and shows at the Paris Opera, Théâtre du Châtelet and Palais des Sports.
Scott Alan Prouty has been teaching at the Ballet School of the Opéra national de Paris since 1988.
Professor specialized in Modern Literature, Doctor in Aesthetics, Dance historian, Sylvie Jacq Mioche worked on the Dictionnaire de la danse (Dictionary of Dance), the Dictionnaire de la Musique Française au XIXème siècle (Dictionary of the French Music during the 19th century) and on the Encyclopédie des femmes créatrices (Encyclopedia on creative women). In 2007, she published La danse vue par Maurice Béjart et Colette Masson (Ballet revisited by Maurice Béjart and Colette Masson). She regularly participates in drafting the programs of the Paris Opera.
Sylvie Jacq Mioche has been teaching at the Ballet School of the Opéra national de Paris since 2005.
Trained at the Balanchine School and by Maggie Black in New York, Emmanuelle Lyon has danced with the Boston Ballet, the Bat-Dor dance company in Israel, with Heinz Spoerli in Switzerland and Peter Goss in Paris. As a ballet teacher and a specialist in Functional Analysis of the Body in Danced Movement, she teaches regularly at the National Center for Dance in Pantin and for the dancers of the Paris Opera Ballet for the teachers's course leading to the « Certificatd'Aptitude » and the State Diploma. She also teaches at the university Paris 8, for the acrobats at the National School for Circus Artists in Rosny-sous-bois, at the National Center for Dance in Angers.
Emmanuelle Lyon has been teaching at the Ballet School of the Opéra national de Paris since 2003.
Admitted in the Comédie Française in 2005, he performed especially under the direction of Marc Bozonnet, Anne Delbée, Andrzej Seweryn, Lukas Hemleb, Claude Mathieu, Eric Génovèse, Robert Wilson, Véronique Vella, Denis Podalydès, Pierre Pradinas, Loïc Corbery, Marc Paquien, Muriel Mayette, Jean-Pierre Vincent, Anne-Laure Liégeois, Lilo Baur… Outside the Comédie Française, he works with Daniel Mesguich, Nita Klein, Bruno Bouché, and Patrice Chéreau and appeared in movies with Catherine Corsini, Patrice Chéreauou Guillaume Nicloux. Director, he staged La Critique de l’Ecole des femmes by Molière, La Didoneby Cavalli, l’Epreuveby Marivaux. He signed the dramaturgy of La Source choreographed by Jean-Guillaume Bart for the Paris Opera Ballet. Since 2010, he has been co-directing the “Compagnie des Petits Champs”.
Clément Hervieu-Léger has been teaching at the Ballet School of the Opéra national de Paris since 2009.
Trained at the National Conservatory in, Daniel San Pedro performed in L’Épreuve by Marivaux, staged by Clément Hervieu-Léger with whom he co-directs the “Compagnie des Petits Champs”.He participated in several theatrical performances under the direction of Ladislas Chollat, Fabrice Melquiot, Jean-Luc Revol, Marcel Maréchal, Gildas Bourdet, Jean-Luc Palies, Franck Berthier, Philippe Calvario, Gregory Baquet, Gaël Rabas, Laurent Serrano…For Les Sables Mouvants, he was nominated for the Prix Michel Simon and was awarded the Best Actor Award at the Festival Jeune Comédien de Bézier. From 2002 to 2005, he was associate artist at the Centre National de Créationin Chateauvallon (Direction Christian Tamet). He also staged A la recherche du lys (monologue taken by Garcia Lorca which he adapted and performed), Ziryab, Le Romancero Gitan, Dans les rues de la ville, Contes et recettes.
Daniel San Pedro has been teaching at the Ballet School of the Opéra national de Paris since 2010.
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