(Photo: Nigel Parry/CPI) |
Millepied with ease, some argue his greatest talent isn’t as a choreographer, but as a blue-eyed charmer able to raise money, court donors and attract audiences. But credit should also be given to Mr. Millepied’s own assiduous cultivation of donors. William H. Wright II, chairman of the New Combinations Fund at the New York City Ballet, a group of 75 donors who dole out $2 million annually for new works, counts Mr. Millepied as a personal friend. Ira Statfeld, the home furnishings guru and a major dance supporter who met Mr. Millepied at a dinner in East Hampton in 2003, said he would 'consider Benjamin a member of our family.' To be fair, charming patrons is an integral part of ballet, a genre that grew out of court cultures of 16th-century France and Italy. By the 19th century, the backstage of the Paris Opera was a 'privileged venue for sexual assignation' between dancers and season ticket holders, wrote Judith Lynne Hanna, a dance historian, in her book, Dance, Sex and Gender." [Source]
For more information about the Metropolitan Opera/Juilliard School of Music's production of The Bartered Bride, click here.