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Paris Opera Ballet’s Cri de cœur — a three-hour collage of nervous breakdowns

·3 min read

A “cry from the heart” — to borrow the title of Alan Lucien Øyen’s Cri de cœur — filled the Palais Garnier this week, and it didn’t come from the stage. As the curtain fell on the first half of Øyen’s never-ending world premiere, someone yelled, loud enough for the entire audience to hear: “Let’s all thank Aurélie Dupont for this crappy production.” Dupont resigned as artistic director of the Paris Opera Ballet at the end of last season and Cri de cœur is a late entry to the list of baffling commissions that defined her six-year tenure.