Aubade
Choreographic concerto for piano and 18 instruments
Francis Poulenc
Original choreography by Bronislava Nijinska
New creation - Pandora Beaumont
Original choreography by Bronislava Nijinska
New creation - Pandora Beaumont
The piece
Project supported by the Association des amis de Francis Poulenc https://poulenc.fr/association/
The intention is to revive ‘Aubade’, a concerto/ballet composed by Francis Poulenc in 1929.
Inspired loosely by the myth of Diana and echoing the composer’s own existential trials, this profound, melancholic work is nowadays unfortunately somewhat forgotten. The orchestral version is still occasionally performed, but the original choreographed version has now disappeared.
The piano and the dancer are the two «heroes» of the piece.
The ballet was originally created privately for Marie-Laure and Charles de Noailles, and premiered in their Parisian townhouse at the ‘Bal de Matières’. The choreography was conceived by the great choreographer Bronislava Nijinska, who had already collaborated with Poulenc on ‘Les Biches’.
This was followed by two other choreographies, this time presented to the public, created first by Georges Balanchine in 1930 at the Théâtre des Champs Elysées and then by Serge Lifar in 1946.
These two other versions, although produced by renowned and talented artists, were not in keeping with Poulenc’s vision of his work. Indeed, the composer wanted the ballet to be danced exclusively by women. The new staging betrayed this wish by changing the argument and introducing the male character of Acteon.
There are six dancers. One soloist, and five coryphées.
Inspired loosely by the myth of Diana and echoing the composer’s own existential trials, this profound, melancholic work is nowadays unfortunately somewhat forgotten. The orchestral version is still occasionally performed, but the original choreographed version has now disappeared.
The piano and the dancer are the two «heroes» of the piece.
The ballet was originally created privately for Marie-Laure and Charles de Noailles, and premiered in their Parisian townhouse at the ‘Bal de Matières’. The choreography was conceived by the great choreographer Bronislava Nijinska, who had already collaborated with Poulenc on ‘Les Biches’.
This was followed by two other choreographies, this time presented to the public, created first by Georges Balanchine in 1930 at the Théâtre des Champs Elysées and then by Serge Lifar in 1946.
These two other versions, although produced by renowned and talented artists, were not in keeping with Poulenc’s vision of his work. Indeed, the composer wanted the ballet to be danced exclusively by women. The new staging betrayed this wish by changing the argument and introducing the male character of Acteon.
There are six dancers. One soloist, and five coryphées.
Choreography
Although it’s not a question of recreating the work identically, given the scarcity of archival material available, the wish of the choreographer is to be faithful to the spirit that Poulenc and Nijinska chose to breathe into the piece.
The Diane of Aubade is a special character, more woman than goddess. For the composer, she represents his double at the time the piece was written, personifying thwarted love and a certain state of solitude, while retaining a resolute character. She wants to break out of the shackles imposed on her.
A theme often used in ballets and operas, particularly in the Baroque era, this myth has inspired numerous choreographic adaptations, including Sylvia ou la Nymphe de Diane, set to music by Delibes, which has given rise to a variety of interpretations.
Origin
The beginnings of this project were born in early 2017. Having previously already been deeply moved by Poulenc’s music, the choreographer made the discovery of ‘Aubade’, this forgotten gem, and it was a revelation. The idea then germinated to revive this ballet and present it to the public.
Poulenc’s music is «luminous and profound», as Darius Milhaud put it, rich in diverse influences and at the same time unique. It deserves to be performed more often, and to be rediscovered by a new generation of audiences, particularly through its alliance with dance.
«I’m not a calculator or a technician. I like human music, humor, laughter, prayer… I oscillate between gravity and fantasy. (…) I don’t care about fashion (…) I do what I like, what suits me, what pleases me».
These words by the composer, collected in 1961, sum up his art and originality.
Poulenc’s music is «luminous and profound», as Darius Milhaud put it, rich in diverse influences and at the same time unique. It deserves to be performed more often, and to be rediscovered by a new generation of audiences, particularly through its alliance with dance.
«I’m not a calculator or a technician. I like human music, humor, laughter, prayer… I oscillate between gravity and fantasy. (…) I don’t care about fashion (…) I do what I like, what suits me, what pleases me».
These words by the composer, collected in 1961, sum up his art and originality.
Dates
2025/2026 season
Neoclassical in style, a blend of academic and modern language, the choreography offered for « Aubade » is an original creation. A few stage directions remain in Poulenc’s correspondence, his biography and that of Nijinska, all of which serve as a source of inspiration to create a work that respects the original idea while infusing it with a contemporary touch.
Aubade
Choreographic concerto for piano and 18 instruments
Francis Poulenc
Original choreography by Bronislava Nijinska
New creation - Pandora Beaumont
Original choreography by Bronislava Nijinska
New creation - Pandora Beaumont
The piece
Project supported by the Association des amis de Francis Poulenc https://poulenc.fr/association/
The intention is to revive ‘Aubade’, a concerto/ballet composed by Francis Poulenc in 1929.
Inspired loosely by the myth of Diana and echoing the composer’s own existential trials, this profound, melancholic work is nowadays unfortunately somewhat forgotten. The orchestral version is still occasionally performed, but the original choreographed version has now disappeared.
The piano and the dancer are the two «heroes» of the piece.
The ballet was originally created privately for Marie-Laure and Charles de Noailles, and premiered in their Parisian townhouse at the ‘Bal de Matières’. The choreography was conceived by the great choreographer Bronislava Nijinska, who had already collaborated with Poulenc on ‘Les Biches’.
This was followed by two other choreographies, this time presented to the public, created first by Georges Balanchine in 1930 at the Théâtre des Champs Elysées and then by Serge Lifar in 1946.
These two other versions, although produced by renowned and talented artists, were not in keeping with Poulenc’s vision of his work. Indeed, the composer wanted the ballet to be danced exclusively by women. The new staging betrayed this wish by changing the argument and introducing the male character of Acteon.
There are six dancers. One soloist, and five coryphées.
Inspired loosely by the myth of Diana and echoing the composer’s own existential trials, this profound, melancholic work is nowadays unfortunately somewhat forgotten. The orchestral version is still occasionally performed, but the original choreographed version has now disappeared.
The piano and the dancer are the two «heroes» of the piece.
The ballet was originally created privately for Marie-Laure and Charles de Noailles, and premiered in their Parisian townhouse at the ‘Bal de Matières’. The choreography was conceived by the great choreographer Bronislava Nijinska, who had already collaborated with Poulenc on ‘Les Biches’.
This was followed by two other choreographies, this time presented to the public, created first by Georges Balanchine in 1930 at the Théâtre des Champs Elysées and then by Serge Lifar in 1946.
These two other versions, although produced by renowned and talented artists, were not in keeping with Poulenc’s vision of his work. Indeed, the composer wanted the ballet to be danced exclusively by women. The new staging betrayed this wish by changing the argument and introducing the male character of Acteon.
There are six dancers. One soloist, and five coryphées.
Choreography
Although it’s not a question of recreating the work identically, given the scarcity of archival material available, the wish of the choreographer is to be faithful to the spirit that Poulenc and Nijinska chose to breathe into the piece.
The Diane of Aubade is a special character, more woman than goddess. For the composer, she represents his double at the time the piece was written, personifying thwarted love and a certain state of solitude, while retaining a resolute character. She wants to break out of the shackles imposed on her.
A theme often used in ballets and operas, particularly in the Baroque era, this myth has inspired numerous choreographic adaptations, including Sylvia ou la Nymphe de Diane, set to music by Delibes, which has given rise to a variety of interpretations.
Origin
The beginnings of this project were born in early 2017. Having previously already been deeply moved by Poulenc’s music, the choreographer made the discovery of ‘Aubade’, this forgotten gem, and it was a revelation. The idea then germinated to revive this ballet and present it to the public.
Poulenc’s music is «luminous and profound», as Darius Milhaud put it, rich in diverse influences and at the same time unique. It deserves to be performed more often, and to be rediscovered by a new generation of audiences, particularly through its alliance with dance.
«I’m not a calculator or a technician. I like human music, humor, laughter, prayer… I oscillate between gravity and fantasy. (…) I don’t care about fashion (…) I do what I like, what suits me, what pleases me».
These words by the composer, collected in 1961, sum up his art and originality.
Poulenc’s music is «luminous and profound», as Darius Milhaud put it, rich in diverse influences and at the same time unique. It deserves to be performed more often, and to be rediscovered by a new generation of audiences, particularly through its alliance with dance.
«I’m not a calculator or a technician. I like human music, humor, laughter, prayer… I oscillate between gravity and fantasy. (…) I don’t care about fashion (…) I do what I like, what suits me, what pleases me».
These words by the composer, collected in 1961, sum up his art and originality.
Dates
2025/2026 season
Neoclassical in style, a blend of academic and modern language, the choreography offered for « Aubade » is an original creation. A few stage directions remain in Poulenc’s correspondence, his biography and that of Nijinska, all of which serve as a source of inspiration to create a work that respects the original idea while infusing it with a contemporary touch.
