Le retour à Garnier du Parc, ballet décoratif d'Angelin Preljocaj

Hannah O'Neill et Guillaume Diop dans Le Parc

By Jade Larine, 06 February 2026

Loading, please wait...

See full listing

“Le Parc est une œuvre calibrée pour son écrin, loin des pièces interchangeables à la mode”

Reviewed at Opéra national de Paris: Palais Garnier, Paris on 5 February 2026

Le Parc (Angelin Preljocaj)

Ballet de l'Opéra de Paris

Zoe Zeniodi, Conductor

Thierry Leproust, Set Designer

Hervé Pierre, Costume Designer

Jacques Chatelet, Lighting Designer

Orchestre de chambre de Paris

Hannah O'Neill, Dancer

Guillaume Diop, Dancer

Fast Forward: Hamburg Ballet’s mixed bill proves a mixed success

Vikki Jane Vile, 22nd February

All that glistens... the world premiere of Xie Xin’s The Moon in the Ocean is the highlight of a mixed bill programme spanning 90 years of choreography.

***11

Ballet Preljocaj preserves Gravity amid setback on US tour

Carla Escoda, 21st October

Angelin Preljocaj's Gravity triumphed on opening night in New York despite official cock-up.

*****

The inspired and the prosaic at Fall for Dance at New York City Center

Carla Escoda, 20th September

A perfect triple bill became a less perfect quadruple bill. Brilliant performances by dancers from Gibney, kNoname Artist, Paris Opera étoiles rarely seen in New York and – a rarity these days – live musicians.

****1

Lithuanian National Ballet: tremendous in Preljocaj's Le Parc

Jonathan Gray, 15th June

Le Parc but is masterful in evoking the sensuous world of the 18th century and it's a major achievement for the Lithuanian National Ballet.

****1

Firecrackers at the 15th Ballet Icons Gala

Margaret Willis, 26th January

An evening of sparkle and bravura at London's international ballet gala.

***11

La Fresque: a modern twist on an ancient fairy tale

Graham Watts, 1st October

In La Fresque, Preljocaj’s modern twist arises from creating this work in 2016, at a time when the Pokémon Go craze was at its height.

***11

More reviews...

Jade Larine

Jade graduated in political sciences then studied Russian civilisation. Conservatoire-trained in classical music in her early years, she also took ballet classes and still stands at the barre in Paris. A devout balletomane, she writes for French ballet medias and carries out researches on Russian ballet and politics. Her interests range from 19th-century Russian ballet to sovietic choregraphy, as well as neoclassical narrative ballets. She particularly enjoys watching ballets at the Bolshoi.