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
Dates
2025/2026 season
Project supported by the Association des amis de Francis Poulenc https://poulenc.fr/association/
The Aubade project aims to breathe new life into this ballet concerto composed by Francis Poulenc in 1929. Loosely inspired by the myth of Diana and echoing the composer’s personal struggles, this profound and melancholic work is, unfortunately, little known today and the original choreographed version has since been lost. The ballet was initially created in a private setting for Marie-Laure and Charles de Noailles, and the premiere took place in their Parisian mansion during the “Bal des Matières.” The choreography was conceived by the great choreographer Bronislava Nijinska, who had previously collaborated with Poulenc on Les Biches.
Choreographic creation
Origin
The seeds of this project were sown in early 2017. Already deeply moved by Poulenc’s music, discovering Aubade was a revelation for me. The idea then took root to recreate this ballet and introduce it to a wider audience. Poulenc’s music, “luminous and profound”, as Darius Milhaud put it, rich in diverse influences yet uniquely his own, resonates deeply with my artistic world. Aubade is a true forgotten gem that will shine all the brighter as it takes shape in a contemporary ballet. “I am not a calculating person, a technician. I love human music, humor, laughter, or prayer… I oscillate between seriousness and fantasy. (…) I don’t care about trends (…) I do what speaks to me, what suits me, what pleases me.” These words of the composer, recorded in 1961, sum up his entire art and his nonconformism and inspire me particularly.
In a neoclassical style that blends academic and modern elements, the choreography I propose for Aubade is an original creation. The few stage directions remaining serve as a source of inspiration to create an “homage” work while infusing it with a contemporary touch. The choreography follows (with a few exceptions) Poulenc and Nijinska’s original plan for how they envisioned illustrating the score through dance. The six dancers will perform on pointe, as in the original piece. The dance movement unfolds the musical phrases, in which the pianist and the dancer—the two protagonists of the piece—mirror one another.
Theme
The Diana of Aubade is unique, more woman than goddess. For the composer, she represents, in a sense, his alter ego at the time he wrote the piece ; she embodies thwarted love and a certain sense of loneliness, while retaining a resolute character. She longs to break free from the constraints imposed upon her. An ancient theme frequently depicted in the fine arts as well as in ballets and operas, particularly during the Renaissance and Baroque periods, this myth has also inspired numerous choreographic adaptations, given rise to interpretations ranging from classical to contemporary. This new creation will be a way to celebrate these diverse sources by using neoclassical choreographic language and the modernity of movement inspired by Nijinska.
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
Dates
2025/2026 season
Project supported by the Association des amis de Francis Poulenc https://poulenc.fr/association/
The Aubade project aims to breathe new life into this ballet concerto composed by Francis Poulenc in 1929. Loosely inspired by the myth of Diana and echoing the composer’s personal struggles, this profound and melancholic work is, unfortunately, little known today and the original choreographed version has since been lost. The ballet was initially created in a private setting for Marie-Laure and Charles de Noailles, and the premiere took place in their Parisian mansion during the “Bal des Matières.” The choreography was conceived by the great choreographer Bronislava Nijinska, who had previously collaborated with Poulenc on Les Biches.
Choreographic creation
Origin
The seeds of this project were sown in early 2017. Already deeply moved by Poulenc’s music, discovering Aubade was a revelation for me. The idea then took root to recreate this ballet and introduce it to a wider audience. Poulenc’s music, “luminous and profound,” as Darius Milhaud put it, rich in diverse influences yet uniquely his own, resonates deeply with my artistic world. Aubade is a true forgotten gem that will shine all the brighter as it takes shape in a contemporary ballet. “I am not a calculating person, a technician. I love human music, humor, laughter, or prayer… I oscillate between seriousness and fantasy. (…) I don’t care about trends (…) I do what speaks to me, what suits me, what pleases me.” These words of the composer, recorded in 1961, sum up his entire art and his nonconformism and inspire me particularly.
In a neoclassical style that blends academic and modern elements, the choreography I propose for Aubade is an original creation. The few stage directions remaining serve as a source of inspiration to create an “homage” work while infusing it with a contemporary touch. The choreography follows (with a few exceptions) Poulenc and Nijinska’s original plan for how they envisioned illustrating the score through dance. The six dancers will perform on pointe, as in the original piece. The dance movement unfolds the musical phrases, in which the pianist and the dancer—the two protagonists of the piece—mirror one another.
Theme
The Diana of Aubade is unique, more woman than goddess. For the composer, she represents, in a sense, his alter ego at the time he wrote the piece ; she embodies thwarted love and a certain sense of loneliness, while retaining a resolute character. She longs to break free from the constraints imposed upon her. An ancient theme frequently depicted in the fine arts as well as in ballets and operas, particularly during the Renaissance and Baroque periods, this myth has also inspired numerous choreographic adaptations, given rise to interpretations ranging from classical to contemporary. This new creation will be a way to celebrate these diverse sources by using neoclassical choreographic language and the modernity of movement inspired by Nijinska.
Piano: Jean-Paul Gasparian
Conductor: Marc Korovitch
Choreography: Pandora Beaumont
Dancers:
Diane:
- Alexia Barré
Diane's friends:
- Marine Carré
- Laurie Chomel
- Giorgia Marchi
- Maya Kawatake-Pinon
- Circé Persoud
Conductor: Marc Korovitch
Choreography: Pandora Beaumont
Dancers:
Diane:
- Alexia Barré
Diane's friends:
- Marine Carré
- Laurie Chomel
- Giorgia Marchi
- Maya Kawatake-Pinon
- Circé Persoud
Alexia Barré was born in Paris in 2000. She trained in classical dance, attending the Paris Regional Conservatory, then the Paris Opera Ballet School, and finally the Conservatoire National Supérieur de Musique et de Danse de Paris, where she graduated in June 2019 with honors and obtained a master’s degree in dance in June 2021
She then joined the Compagnie Illicite Bayonne for a year before deciding to return to Paris and begin a career as a freelance dancer. There she worked with companies such as La Marche Bleue and Cie Mes Lesne. Abroad, she worked with Cie Elamor in Madrid and the Ballet d’Jerri on the Island of Jersey. In 2023, she joined the adventure of Les Souliers Rouges, a musical that blends classical and contemporary dance
Alexia is versatile and participates in numerous projects combining dance, modeling, and cinema. She has taken part in major events such as the “Chiroptera” performance in front of the Opéra Garnier, orchestrated by the trio Damien Jalet, JR, and Thomas Bangalter, as well as the opening ceremony of the Olympic Games in Paris, choreographed by Maud Lepladec, and more recently, the opening ceremony of the Top 14 Final, choreographed by Benjamin Millepied
She then joined the Compagnie Illicite Bayonne for a year before deciding to return to Paris and begin a career as a freelance dancer. There she worked with companies such as La Marche Bleue and Cie Mes Lesne. Abroad, she worked with Cie Elamor in Madrid and the Ballet d’Jerri on the Island of Jersey. In 2023, she joined the adventure of Les Souliers Rouges, a musical that blends classical and contemporary dance
Alexia is versatile and participates in numerous projects combining dance, modeling, and cinema. She has taken part in major events such as the “Chiroptera” performance in front of the Opéra Garnier, orchestrated by the trio Damien Jalet, JR, and Thomas Bangalter, as well as the opening ceremony of the Olympic Games in Paris, choreographed by Maud Lepladec, and more recently, the opening ceremony of the Top 14 Final, choreographed by Benjamin Millepied
Circé Persoud, is a French-British choreographic dancer from Annecy, she began dancing at the Annecy Conservatory before joining the École Nationale de Danse de Marseille in 2017, then the CNSMD in Lyon, where she completed a four-year multidisciplinary training program, including a year at the Junior Ballet. In 2022, she obtained her DNSPD in classical dance and a bachelor’s degree in Performing Arts at the Université Lumière Lyon 2
She continued her training in Seville with Johan Inger as part of Take Off Dance, performing IMPASSE, among other works, before joining the EgriBiancoDanza company in Turin. The following year, she danced with Valencia Dancing Forward in Spain in works by Marcos Morau, Jacob Gomez, Asun Noales, and Riccardo De Nigris. As a freelance artist, she performed in Austria in DER ATEM 17/19 by Lili Yung In Lee, presented at ARS Electronica and the Tanzhafen Festival in Linz
Since 2025, she has been collaborating with the Lou Creative Project company and participating in the co-creation of a piece and choreographic movies in collaboration with musicians from the CNSMDP and a film production team
She continued her training in Seville with Johan Inger as part of Take Off Dance, performing IMPASSE, among other works, before joining the EgriBiancoDanza company in Turin. The following year, she danced with Valencia Dancing Forward in Spain in works by Marcos Morau, Jacob Gomez, Asun Noales, and Riccardo De Nigris. As a freelance artist, she performed in Austria in DER ATEM 17/19 by Lili Yung In Lee, presented at ARS Electronica and the Tanzhafen Festival in Linz
Since 2025, she has been collaborating with the Lou Creative Project company and participating in the co-creation of a piece and choreographic movies in collaboration with musicians from the CNSMDP and a film production team
A Franco-Japanese choreographer, Maya Kawatake Pinon trained in classical dance in Tokyo and then in contemporary dance in Paris. She holds a master’s degree in philosophy of art from the Sorbonne and is also a teacher and researcher in historical movement practices
She has developed a multifaceted choreographic language, enriched by collaborations with international choreographers, directors, and visual artists, including Franck Chartier (Peeping Tom), Alexei Ratmansky, Boris Charmatz, Marie-Geneviève Massé, Anna Chirescu, Yannis Kokkos, Cyril Teste, Christine Mathieu She has danced in various productions at the Théâtre du Châtelet, the Paris Opera, La Monnaie in Brussels, the Marseille Opera, the Théâtre du Capitole, the Opéra Comique, the Chorégies d’Orange, the Comédie de Clermont-Ferrand, the Théâtre de Pau, and the Royal Opera of Versailles
Since 2021, she has regularly assisted choreographer Natalie Van Parys on opera productions in France (Le Bourgeois Gentilhomme, Jérôme Deschamps), Italy (Ravenna Festival), and Japan, notably for Le Rossignol / Iolanta – Stravinsky + Tchaikovsky directed by Yannis Kokkos at the New National Theatre Tokyo. She founded her company FRICTIONS, a platform for creation and research, within which she created CONTRETEMPS (2023) and AYA+TOLI (2025)
She has developed a multifaceted choreographic language, enriched by collaborations with international choreographers, directors, and visual artists, including Franck Chartier (Peeping Tom), Alexei Ratmansky, Boris Charmatz, Marie-Geneviève Massé, Anna Chirescu, Yannis Kokkos, Cyril Teste, Christine Mathieu She has danced in various productions at the Théâtre du Châtelet, the Paris Opera, La Monnaie in Brussels, the Marseille Opera, the Théâtre du Capitole, the Opéra Comique, the Chorégies d’Orange, the Comédie de Clermont-Ferrand, the Théâtre de Pau, and the Royal Opera of Versailles
Since 2021, she has regularly assisted choreographer Natalie Van Parys on opera productions in France (Le Bourgeois Gentilhomme, Jérôme Deschamps), Italy (Ravenna Festival), and Japan, notably for Le Rossignol / Iolanta – Stravinsky + Tchaikovsky directed by Yannis Kokkos at the New National Theatre Tokyo. She founded her company FRICTIONS, a platform for creation and research, within which she created CONTRETEMPS (2023) and AYA+TOLI (2025)
Originally from Les Lilas, Marine Carré began dancing at the age of 4 and started her professional training in 2014 at the Stanlowa Ballet School. In 2017, she joined Victor Ullate’s school. There, she worked with him and Eduardo Lao and danced in the ballets Peter Pan and Don Quixote in Madrid and on tour in Spain. At the same time, she danced for the Compania de Danza del Siglo XXI in Giselle. She studied at JAC Ballet, where she trained in the Vaganova technique
She danced as a corps de ballet member in Don Quixote and as a soloist in Satanella, Grand pas Classique, and Sleeping Beauty. She took part in the creations by José Antonio Checa and Eva Martinez. Marine also participated in Dance Open America, where she won third place and the prize for best classical technique
In 2022, she returned to France and danced solo roles in the Candlelight shows based on The Nutcracker, touring France and Switzerland. That same year, she also worked with the Paris Opera as a dancer in the opera The Marriage of Figaro at the Opéra Garnier
She also toured with the Etoile Ballet Gala company, dancing as a corps de ballet member and demi-soloist in The Nutcracker and Swan Lake.In 2025, she worked on the new project, Ballet of Lights. Marine danced Aurora in Sleeping Beauty and Wendy in Peter Pan.
She danced as a corps de ballet member in Don Quixote and as a soloist in Satanella, Grand pas Classique, and Sleeping Beauty. She took part in the creations by José Antonio Checa and Eva Martinez. Marine also participated in Dance Open America, where she won third place and the prize for best classical technique
In 2022, she returned to France and danced solo roles in the Candlelight shows based on The Nutcracker, touring France and Switzerland. That same year, she also worked with the Paris Opera as a dancer in the opera The Marriage of Figaro at the Opéra Garnier
She also toured with the Etoile Ballet Gala company, dancing as a corps de ballet member and demi-soloist in The Nutcracker and Swan Lake.In 2025, she worked on the new project, Ballet of Lights. Marine danced Aurora in Sleeping Beauty and Wendy in Peter Pan.
Giorgia Marchi is a young dancer from Italy. She trained and graduated from the Dance School of the Teatro dell’Opera di Roma in July 2020 under the direction of Laura COMI
Her professional experience began in September 2021 and continued until June 2022 as an apprentice dancer with the Ballet Preljocaj Junior, directed by Angelin Preljocaj in AixenProvence, France. She then danced in the OnDance program directed by Roberto Bolle
Between November 2022 and January 2023, she worked as a solo dancer with the Rome City Ballet Company, directed by Luciano Cannito, as well as during the period from September 2024 to January 2025. Among other works, she danced in The Nutcracker, Swan Lake, and Cinderella
Between May 2023 and May 2024, she worked as a member of the Corps de Ballet at the Sofia Opera and Ballet Theater (Bulgaria) under the artistic direction of Marta PETKOVA. She danced in ballets such as Giselle, A Midsummer Night’s Dream, and Don Quixote, as well as in the operas The Magic Flute and Aida
Her professional experience began in September 2021 and continued until June 2022 as an apprentice dancer with the Ballet Preljocaj Junior, directed by Angelin Preljocaj in AixenProvence, France. She then danced in the OnDance program directed by Roberto Bolle
Between November 2022 and January 2023, she worked as a solo dancer with the Rome City Ballet Company, directed by Luciano Cannito, as well as during the period from September 2024 to January 2025. Among other works, she danced in The Nutcracker, Swan Lake, and Cinderella
Between May 2023 and May 2024, she worked as a member of the Corps de Ballet at the Sofia Opera and Ballet Theater (Bulgaria) under the artistic direction of Marta PETKOVA. She danced in ballets such as Giselle, A Midsummer Night’s Dream, and Don Quixote, as well as in the operas The Magic Flute and Aida
Laurie CHOMEL, 27, trained in dance at the Conservatoire Régional de Toulouse and then at the École Supérieure de Danse de Marseille for five years before joining the professional program at the Escuela Bhakti Victor Ullate in Madrid
She then worked with several companies in Europe, including the DJDD in The Hague, Netherlands, and was hired by the Croatian National Ballet in Split, where she had the opportunity to perform soloist roles on stage on several occasions
Throughout her years with these companies, she had the chance to work with many choreographers such as Igor Kirov, Kristian Lever, Nils Christe, Annegien Sneep, Ed Wubbe, Wubkje Kundersma, Hervé Koubi, Julien Lestel, and others
Laurie is now based in Paris, France, since 2021, and works as a freelance artist. She is a soloist in the ballets Sleeping Beauty (Ballet of Lights) as well as The Nutcracker and Swan Lake by EL Production
She has also danced at Schubertiades concerts with Maria Jao Pires in France and Portugal. She regularly participates in dance shoots for commercials, music videos, and films
She then worked with several companies in Europe, including the DJDD in The Hague, Netherlands, and was hired by the Croatian National Ballet in Split, where she had the opportunity to perform soloist roles on stage on several occasions
Throughout her years with these companies, she had the chance to work with many choreographers such as Igor Kirov, Kristian Lever, Nils Christe, Annegien Sneep, Ed Wubbe, Wubkje Kundersma, Hervé Koubi, Julien Lestel, and others
Laurie is now based in Paris, France, since 2021, and works as a freelance artist. She is a soloist in the ballets Sleeping Beauty (Ballet of Lights) as well as The Nutcracker and Swan Lake by EL Production
She has also danced at Schubertiades concerts with Maria Jao Pires in France and Portugal. She regularly participates in dance shoots for commercials, music videos, and films
Alexia Barré (Diane)
Artistic team
Circé Persoud
Maya Kawatake-Pinon
Marine Carré
Giorgia Marchi
Laurie Chomel
