A Grand Farewell: Mathieu Ganio Bows Out After Electrifying Performance
The stage lights dimmed, the final notes faded, and the curtain fell. But the echoes of Mathieu Ganio’s artistry reverberated through the Palais Garnier long after his last pirouette. On Saturday, March 1st, the celebrated étoile of the Paris Opera Ballet, Mathieu Ganio, bid adieu to the audience with a mesmerizing performance of John Cranko’s Onegin. It was a send-off fitting for a dancer who has illuminated the French ballet scene for over two decades, a moment steeped in both joyous celebration and poignant reflection.
The atmosphere was electric, charged with a palpable sense of admiration and gratitude. As the final bows were taken, a cascade of shimmering confetti rained down, mirroring the brilliance Ganio had consistently brought to the stage throughout his illustrious career. The outpouring of affection was overwhelming. Ganio embraced his fellow dancers, a testament to the camaraderie and shared artistic journey that defines the world of ballet. Ludmila Pagliero, Dorothée Gilbert, and Clairemarie Osta, all esteemed figures in the ballet world, were among those who came to celebrate his farewell, their presence a symbol of the respect and affection he commanded within the company.
The audience, moved by the dancer’s final performance, erupted in a standing ovation that lasted for more than thirty minutes. Ganio, ever the picture of grace and composure, radiated a quiet joy, savoring the unique and emotionally charged moment. There was no sense of melancholy, no clinging to the past. As he had expressed on the Ballet de l’Opéra national de Paris’s Instagram account, he desired a celebration, a happy farewell. "I don’t want it to be something tearful but something happy," he stated. "I want to leave a beautiful image… It is necessary to move on to the next thing and it’s going to be cool." And indeed, the moment was not only magnificent but remarkably joyful, leaving a lasting impression of a dancer at peace with his decision and excited for the future.
Beyond the celebratory atmosphere, the performance itself served as a powerful reminder of Ganio’s exceptional talent. His portrayal of Onegin, the complex and wounded protagonist of Cranko’s ballet, was nothing short of sublime. He breathed life into the character with a nuanced and deeply felt interpretation, showcasing his ability to embody the emotional core of a role without resorting to excessive theatrics. It was, as described, "the ballet of his dreams to leave," and his performance underscored the artistic depth he brought to every character he inhabited. The void left by his departure is already keenly felt, a testament to his unique ability to allow roles, especially those with strong theatrical impact, to permeate and even pierce him, without ever forcing the expression.
Mathieu Ganio’s journey with the Paris Opera Ballet spanned twenty-one remarkable years. He was crowned étoile in 2004 at the young age of 20, a recognition of his extraordinary talent and dedication. His career became a living history of dance, encompassing a vast and varied repertoire that showcased his versatility and technical prowess. He chose to retire at the age of 41, a year before the official retirement age for dancers, leaving at the peak of his abilities and on his own terms.
Ganio’s exceptional virtuosity and clarity of interpretation served the artistic vision of a wide range of choreographers. He excelled in the classic masterpieces, particularly those choreographed by Rudolf Nureyev, such as Swan Lake and The Sleeping Beauty. His interpretations of these iconic roles were marked by both technical brilliance and a profound understanding of the narrative and emotional depth of the stories. However, his talents extended far beyond the classical realm. He also garnered acclaim for his performances in more delicate and challenging works, such as Maurice Béjart’s L’oiseau de feu (The Firebird), Le Rendez-vous, a nocturnal journey towards fatal love, and Le Jeune Homme et la mort (The Young Man and Death), by Roland Petit. His connection with Petit was particularly significant, as Ganio had begun dancing as a child alongside his parents, Dominique Khalfouni and Denis Ganio, who were then dancers with the Ballet national de Marseille.
Mathieu Ganio was not afraid to venture into the realm of contemporary dance, collaborating with renowned choreographers such as William Forsythe, Angelin Preljocaj, and Wayne McGregor. In 2018, he immersed himself in the lesser-known work of Ivan Perez for The Male Dancer. Three years later, he accepted the supporting role of Tybalt in Nureyev’s Romeo and Juliet. In a 2021 interview, he revealed his desire to continually push his boundaries and explore new choreographic languages: "I don’t want to cling to a repertoire but open myself to a new spectrum of choreographic languages. I accepted this season to dance for the first time Tybalt instead of Romeo and for me, it is neither divisive nor vexing as a star to do so. I want to continue to push my limits." This willingness to embrace new challenges and step outside his comfort zone was a defining characteristic of his artistic approach.
Ganio’s longevity in the demanding world of ballet was a testament to his discipline and dedication. He faced adversity early in his career, suffering a double hernia at the age of 24, which required him to be particularly vigilant about his physical health. "I would have approached my profession with more lightness if I had been less injured," he said. "You must always be careful not to regress technically and keep your level without doing too much…" This wisdom and self-awareness allowed him to navigate the challenges of his career and maintain his exceptional level of performance.
While Ganio remains discreet about his future plans, he has hinted at pursuing further training and remains open to various artistic projects both in France and abroad. His departure marks the end of an era for the Paris Opera Ballet, but it also opens a new chapter in his artistic journey. The legacy he leaves behind is one of excellence, versatility, and unwavering dedication to the art of dance. His performances will continue to inspire and captivate audiences for years to come, solidifying his place as one of the most celebrated dancers of his generation. His grand farewell was not just an end, but a beginning, a launching point for a new phase in a life dedicated to art.
