Introducing the two-comet-design, Slim Model
For parties, the mythical palace welcomes in its Patio a festive space in the colours of Christmas where mingle among the fir trees, luxury and tradition, gourmet and crafts, shopping and entertainment until January 5th, 2020, from 10am to 7pm with night-time on Fridays and Saturdays until 9pm.
Fun and friendly workshops lasting 2 hours will be offered to visitors. They will address various themes such as cooking (preparation of sweet or savoury specialties), floral art, illustration, perfume or the making of Christmas decorations. And a personal creation per participant is key for each animation!
In the evening, every Saturday, artistic performances will amaze the senses of the visitors.
From 6pm an electro jazz vibe will echo in the Patio, followed by the show Aile Emoi by the Compagnie Rêverie Danse Verticale, at 6pm, 7pm and 8pm.
Visitors will also be tempted by the gourmet greenhouse and its Christmas delights, to enjoy on the spot or take away.
And at nightfall, the greenhouse will become an ephemeral restaurant where visitors can dine under the stars and in the heart of the Hôtel de Paris.
The entire programme is available here.
Read the full article by La Gazette De Monaco here
Winter holidays are the time for people to get rid of their everyday issues and try to relax. Monaco is famous for its Christmas markets, indoor parties, outdoor celebrations, parades, concerts, and activities for children. This country is the leader in entertaining activities, due to its numerous casinos and beautiful seashore.
On Christmas Eve, Monaco becomes the centre of special performances and gala dinners. Most hotels and restaurants offer special packages and organize colourful parties.
New Year’s Eve is equally impressive with its parties all over Monte-Carlo. It might be hard to choose where to celebrate. One of the best places to meet the new year at the stroke of midnight is the shining Casino Square.
Read the full article from Rove here
In continuity with the environmental policy conducted by Prince Albert II, Principality residents have been invited to discover the astonishing silhouette of Villa Troglodyte for a few months. This rock-cut building offers a real reflection on the use of space and energy.
With no less than five levels covering 500 m², the Villa Troglodyte was designed by architect Jean-Pierre Lott and built by the J. B Pastor & Fils Monegasque Company. At the current location where the impressive house stands, there was only rock. After 20 months of work, the surprising building attracts all eyes passing along Hector Otto Avenue. From the entrance, a footbridge overflies a sumptuous swimming pool to give access to the hall. Then an elevator serves the floors between the floors and the glass ceilings. The project has always been to build a dwelling that is close to nature, and able to blend into the surrounding rock. An ecological and energy-saving optic clearly stands out in its operation.
Betting big on renewable energies
A consistent part of energy expenditure, heating is an essential point in the environmental approach of this extraordinary villa. Geothermal heat pumps combine with photovoltaic panels and cork insulation all help to limit consumption. Like solar energy, renewable solutions are multiplying with rainwater collectors, a greywater recycling system and automation of light sources. With a budget of 3 million euros, Villa Troglodyte offers a new vision of the habitat of tomorrow.
Read the full article by Monaco Tribune here
In 2009, Les Ballets de Monte-Carlo celebrated the centenary of Les Ballets Russes in Monaco, taking as our watchword to pay tribute to them in the most «astounding» manner possible in order to remain faithful to Diaghilev’s famous injunction to Cocteau. For more than a year, Les Ballets de Monte-Carlo surprised the public by offering a series of new events of ubiquitous originality. The company is now re-engaging with this festive spirit by performing four ballets which echo the legendary figure of Nijinsky.
Daphnis and Chloe, J-Ch. Maillot
In this ballet built on fragility and impossible caresses, Jean-Christophe Maillot seeks strategically to distance the original text by Longus and Ravel’s arguments in order to concentrate essentially on ways in which the body behaves and the affective and emotional attitude of said body patterns. Through two beings that tremble at the lightest touch, the choreographer relates the progress of an initiation into love that remains thwarted through to its accomplishment.
This Daphnis and Chloe places its trust in the universal and confirms Maillot’s desire to draw on life itself to find gestures that bring us together. Conniving with reality in this way immediately establishes a connection with the audience. It casts the spectator back in an instant to the first time they experienced desire; it reactivates the alchemical emotions that gushed from that burning, confusing apprenticeship.
A further original aspect of importance is collaboration with Ernest Pignon-Ernest. Throughout the ballet, the hand of the visual artist accompanies the two young lovers, gripped by the furies of carnal de- sire, as they progress along a path riddled with pitfalls. Ernest Pignon-Ernest has worked with Jean-Christophe Maillot on many occasions. But here, for the first time, he contributes not only as stage de- signer, but also as an artist, giving form in his drawings to the curve of a shoulder, the turn of a neck or the flight of a hand. In this ballet, the choreographer and the visual artist do not restrict themselves exclusively to serving the story and the performance; they both embrace their autonomy in a piece that is fragile and hard and that endeavours to come to life gracefully before our eyes.
Choreography: Jean-Christophe Maillot
Scenography and drawings: Ernest Pignon-Ernest
Costumes: Jérôme Kaplan
Music: Maurice Ravel, Daphnis & Chloé, Suites N°1 et 2 ©REDFIELD BV / NORDICE BV, administration: Editions DURAND S.A.
Lighting: Dominique Drillot
Video: Ernest Pignon-Ernest and Matthieu Stefani
Duration: 31 min
Premiere held on April 1st, 2010 at the Grimaldi Forum in Monaco
Le Spectre de la Rose, Marco Goecke
A new “Spirit”
From its first performance in Monte-Carlo in 1911, Mikhail Fokine’s ‘Le Spectre de la Rose’ made a name for itself, eventually becoming a legend which still endures today. The ballet was inspired by Théophile Gautier’s verse — ‘I am the spirit of a rose you wore at the ball yesterday’ («Je suis le spectre d’une rose que tu portais hier au bal ») — and is set to Carl Maria von Weber’s music, “Invitation to the Dance”. It is the story of a young girl who has just come back from a ball. Falling asleep with a rose in her hands, she dreams of the spirit of the rose, who appears by jumping through her window, dances with her and disappears before she wakes up…
…In 2009, Marco Goecke was commissioned to create his own version of Le Spectre de la Rose. Unlike Maurice Béjart, who created a parody based on the original ballet in 1979, Goecke’s approach is deeply serious. He has added six supporting spirits to the principal couple and a second piece of music by Carl Maria von Weber, “The Master of the Spirits” to the original one. By doing this, the new Spectre is not only longer but Goecke has given the principal dancer the chance to embody a Spirit who differs from the original version in many ways, particularly in the music for the solo and Marco Goecke’s distinctive choreographic language. Although the solo includes various jumps, they are neither high nor wide. Goecke’s interpretation is anything but a eulogy of romanticism. His choreography often emphasises power and intensity, so avoiding any impression of naturalism. His vision is not clouded by extravagant stage design, such as the young girl’s bedroom in Fokine’s version. Even if his costumes are inspired by Gautier’s spirit and red is the principal colour, Goecke’s modern choreography draws on the poem while embracing new interpretations at the same time.
In spite of great differences of style, his choreography is as inventive as the original. Using different methods, Goecke has found a unique way of developing the port de bras, finding new combinations for the arms and creating rapidly changing movements. Like Fokine in his time, Goecke has also changed the relationship between the masculine and feminine roles to find a new balance. Even though the Spirit is still the principal character in Goecke’s ballet, the feminine role shows great independence and is powerfully interpreted.
Aimai-je un rêve ? Jeroen Verbruggen
Jeroen Verbruggen purposefully gave his piece a different title from the countless other tributes to Afternoon of a Faun. The choreographer chose one of the first lines from Mallarmé’s famous poem, Aimai-je un rêve ? in order to highlight the introspective aspect of this ballet alongside the bestiality it is generally associated with.
This version of ‘Faun’ strays from the lines of thought present in the original, although the core theme remains that of eroticism. Where the Ballets Russes’ iconic ballet dealt with the unapologetic lust inherent to this hybrid creature, Jeroen Verbruggen examines questions and doubts related to sexual identity. What is our sexual identity? What does our body truly desire, and what unknown experiences does it yearn for? This fresh take on the concept of a single gender led the choreographer to remove the nymphs, a feature of the original that provided too obvious an answer. In working on this production, Jeroen Verbruggen created roles that could be played by girls and boys interchangeably. Aimai-je un rêve ? is an intimate duet in which a faun and a person meet.
The ballet retains similarities with the original Faun, notably in the costumes designed in collaboration with stylist Charlie Le Mindu. White silicone markings are stuck to the mythological creature’s skin in a nod to Léon Bakst’s costume. These sheer markings are barely visible against the faun’s skin, rendering the creature’s identity ambiguous and uncertain. Like a waking dream, nothing in this ballet is truly tangible, with the set design creating an atmosphere of foggy reality, a misty platform for the choreographer’s questioning: “Who is this faun, and what does it want with me…”.
Choregraphy: Jeroen Verbruggen
Music: Claude Debussy
Costumes: Charlie Le Mindu
Lighting: Fabiana Piccioli
Duration: 12 min
With the participation of the Monte-Carlo Philharmonic Orchestra, conducted by Kazuki Yamada
Creation for Les Ballets de Monte-Carlo
Premiere on December 8th 2018, Salle Garnier Opéra de Monte-Carlo
Petrushka, Johan Inger
Petrushka is a doll, a toy in the hands of a magician that makes it dance and jump, in front of everyone’s amazed gaze, in a great popular and bizarre event. Petrushka is a soulless body that dances along his Master’s voice. Stravinsky and Benois placed their story in St. Petersburg in 1830, during its carnival, in the middle of a great folk fair.
Stravinsky et Benois wanted to present the soul of that ‘wimp’, who fights in the midst of the mass for the impossible love of the Ballerina, against the oppression of his ‘master’, against the Moor and against the pressure of the public that he hopes to entertain and make laugh.
Johan Inger takes us to the current and always controversial World of Fashion, where dolls become Mannequins, the Magician becomes an international fashion and mass guru, the protagonists and consumers of an incredible circus of vanities.
Johan Inger with the intention of bringing this story to his aesthetic and narrative world, review this classic in a present and contemporary way providing the necessary dose of criticism and reflection on the world of consumerism, where praise of the youth discards previous generations without further consideration nor emotions.
In my version of this ballet, Petrushka is a window mannequin brought to life with identity and a purpose by a fashion designer. Once used and stripped from his temporary function, he is thrown away into a pile of other used mannequins and battles to understand his destiny, until he meets the Ballerina. He madly falls in love with her but the ballerina herself is in love with the Moor, who will not accept any competition for the Ballerina. The idea that Petrushka’s life purpose would only lead to a broken heart is the controversial point of this story that I am questioning: a tragedy that occurred since centuries and keeps arising when least expected.
Choreography: Johan Inger
Assistant: Christophe Dozzi
Music: Igor Stravinsky
Dramaturgy: Gregor Acuña Pohl
Scenography: Curt Allen Wilmer with estudiodeDos
Costumes: Salvador Mateu Andujar
Lighting: Fabiana Piccioli
Duration: 36 min
With the participation of the Monte-Carlo Philharmonic Orchestra, conducted by Kazuki Yamada
Creation for Les Ballets de Monte-Carlo
Premiere held on December 8th 2018, Salle Garnier Opéra de Monte-Carlo
For more information check Les Ballets de Monte Carlo here
In line with the great monographs of twentieth century artists presented at the Grimaldi Forum Monaco (SuperWarhol in 2003, Monaco Celebrates Picasso in 2013 and, more recently, Francis Bacon, Monaco and French Culture in 2016), the summer 2019 exhibition will be dedicated to “Dali, a History of Painting” curated by Montse Aguer, Director of the Dali Museums.
This retrospective is conducted in collaboration with the Fundacio Gala-Salvador Dalí. In this year, the 30th anniversary of the artist’s death (1904-1989), the Dali exhibition a history of painting, offers the public an exceptional journey through Dali’s artistic production and allows it to discover the different stages of the artist’s creation.
It not only offers a retrospective view of Dali’s work, but also reveals how the painter has become enshrined in the history of twentieth century painting.
The public will thus be able to discover the different steps of his creation and to recognize the imprint of the different painters who influenced him, and to whom he paid homage.
The selection includes, to date, approximately one hundred works, including paintings, drawings and photographs, mostly from the Gala-Salvador Dalí Foundation in Figueres and the Museo Nacional Centro de Arte Reina Sofía in Madrid.
Dates: 6 July–8 September 2019
Opening hours: Open every day from 10 am to 8 pm
Late night opening: Thursdays until 10 pm
Accessibility: Exhibition accessible to disabled persons and persons with reduced mobility
For more information read the full article from Grimaldi Forum here
July 5, 2019
It’s no exaggeration to say that extending land territory in Monaco has always been an uphill battle. The Principality has historically faced the unenviable task of adapting its planning around the narrowness of its 2 km2 territory sandwiched between the Alpes-Maritimes and the Mediterranean.
Indeed, since the 1950s, 20% of the Principality’s surface area has been reclaimed from the sea to meet the rising demands of demographic growth and a constantly evolving economy while also ticking the box on sustainable development, a factor which HSH Prince Albert is passionately in support of.
The challenge to create new land mass continues with the ongoing offshore eco-district extension on the Anse du Portier site. Such development calls for ever more cutting edge technology to deliver the new district to exacting standards, yet it wouldn’t be possible without human endeavour in the shape of highly trained Class II-A divers carrying out a myriad of crucial underwater works and observations.
A feat of architecture
The stakes are high; this mammoth architectural and technical feat is duty-bound to encompass Monaco’s commitment to reducing greenhouse gas emissions – Monaco has pledged to become carbon neutral by 2050 – while at the same time minimizing any negative impact on the surrounding natural and marine environments.
SAM L’Anse du Portier and Bouygues Travaux Publics MC jointly rose to this challenge, installing around 50 divers on rotation since the beginning of 2018 to assist on different missions providing assistance to underwater equipment and technical controls for engineers and technicians on the surface. The first divers actually started work in 2015, compiling early environmental impact studies, and many will continue long after construction is completed as part of ongoing ecological monitoring missions.
Marine biologists and scientific divers have also been given an unprecedented role in establishing protocols for the protection and relocation of flora and fauna and species including noble pen shell clams, Posidonia flowering plants and Lithophyllum algae from the construction site. The entire area is covered by two anti-turbidity screens, separating the work site from the adjoining marine protected area, with the hope of guaranteeing the delicate ecological balance of the new district.
These expert divers have three main areas of responsibility: supporting underwater equipment and surface operators, civil engineering and ensuring the smooth running of the works and the highest quality of the final construction through regular checks.
The human touch
One of their most crucial, and perhaps risky, undertakings is to observe and guide the installation of 27-metre high caissons – watertight chambers which are open at the bottom, with water kept out by air pressure to allow sub-aquatic work to be carried out. They must assess whether the caissons, which weigh an incredible 10,000 tonnes, are correctly in place (there is a 10 cm margin allowed) before they are permanently ballasted into position. The divers also ensure that accurate data from 20 metres below sea level is available to technicians. While GPS and topographic monitoring clearly play an important role here, it is the divers’ detailed observations following a tour of the base of the concrete mass which are pivotal.
‘We considered for a while computerizing the entire levelling process but we quickly realised that even under these particular conditions, human intervention is necessary,’ explains Antoine Renaud, of Eiffage Génie Civil Maritime in Monaco. ‘Divers are essential for ensuring the proper functioning of the device.’
In essence, they guide the chute discharging aggregate on the backfill and inform surface operators about the quality of distribution. They also intervene on any ‘jamming’ (clogging of materials in the conduit), ensuring the proper execution of the mission and that the desired result is achieved. The radio link between the divers and the operations manager on the surface allows the leveller operators to follow the progress and make necessary adjustments in real time from the pilot barge.
Once each caisson is immersed, the plates on which the cables connecting it to the tug boat are fixed must be removed underwater. It is also necessary to dismantle the steel elements that were supporting it and reconstitute the surface of the caisson by applying a specific protective coating of Epicol T that guarantees it is watertight. Yet again, the skill sets of the divers are decisive.
As is typical for many land-sea extension developments, several existing networks for rainwater, pumping and discharge of seawater needed diverting and new ones were created with the diving teams installing outfalls – large diameter pipes – of different sizes. The displacement of the Larvotto outfall used for rainwater management has led to the installation of new three-metre diameter pipes 300 metres long at depths ranging between -32 to -6 metres. This type of installation requires divers to create a perfectly level foundation before they can install and interlock different sections of the pipes using a radio link between the crane operator on the surface and the diver, who is sometimes 30 metres below the water’s surface.
In addition, divers continually observe the site to record how the project is going, adhering to verification practices which guarantee that the execution of operations complies with performance objectives, good building practice is respected, the environment is preserved and equally importantly, everyone is safe. Not surprisingly, this detailed and minutely observed surveillance involves long hours of underwater inspections and accuracy checks.
A dive can last up to three hours, with five teams taking turns for 18 hours at a time under strictly controlled conditions. In addition to diving equipment, each diver carries lighting, radio equipment and a camera. All dives are rigorously regulated; a specific permit is required and valid for only one activity for a maximum of one week if the mission remains the same, takes place in the same area and uses the same staff. Since 2018, more than 500 diving permits have been issued. Safety is of paramount importance and during all dives, an exclusion zone around the underwater work areas is mapped out and enforced.
The divers’ responsibility extends to verifying all underwater equipment used and the devices installed. This includes checking the hulls of barges, ships and smaller boats used on site, inspecting anti-turbidity screens and their fastenings and impermeability as well as maintaining tools and machines to save time and avoid having to remove or replace heavy machinery with lifting equipment more often than absolutely necessary.
‘Make no mistake about it,’ adds Antoine Renaud, ‘unscrewing a cross-head screw is a simple task at home but doing the same underwater with gloves on and cumbersome equipment at a depth of 20 metres in order to dismantle the protective casing of a leveller is a whole different business.’
It tells you everything you need to know about these incredibly skilled individuals when you consider that their collective role between January 2018 and the end of February 2019 saw them spend an astonishing 2,841 hours and 57 minutes underwater during a total of 2,203 missions.
Seemingly reserved for the upper echelons of society, Monaco has forever been a stomping ground for glitz and glamour. A picturesque microstate of opal, coral and periwinkle blue-coloured buildings, from the historic opera house – designed by Charles Garnier – the same architect behind Paris’s Palais Garnier, to the concentration of designer shops and the meticulously manicured gardens, there’s no shortage to see or do. Take in the summer air from the retractable roof of a fire-engine-red Ferrari or simply stare across the shimmering Mediterranean sea. And for the quintessential Monte-Carlo experience, decamp along the fabled Casino Square. The intricate Belle Époque building impresses both inside and out.
Decadence is sewn into the lining of every experience in Monaco. Founded in 1864, Hôtel de Paris Monte-Carlo is truly just as its founder François Blanc imagined, a “hotel that surpasses everything”. In 2014, the iconic property closed in order to undergo an intensive four-year transformation, and today, the grande dame has returned. This palace hotel abuts the Casino and Opera House, as well as boasting the best position in Monaco to watch the F1 Grand Prix blister past. It’s somewhere you would have found Winston Churchill, Frank Sinatra and Roger Moore among its regulars and now, you would be well-placed to walk past the likes of Lady Gaga, Naomi Campbell or Julia Roberts.
The gorgeous and gilded interiors now house 207 rooms, 96 of which are suites. The design cues are classic with hints of modernity and with every contemporary technology you can imagine. Every room has a terrace, a brilliant addition considering Monaco’s bright and temperate year-round climate. The generous rooms feature white marble floors, Louis XVI-style furnishings and Murano glass chandeliers and lamps. It is worth noting that the Winston Churchill suite includes furniture that once belonged to the statesman himself.
Two of the most impressive suites in Europe if not the world sit in this hotel – the Princess Grace and the Prince Rainier III suites. Each multi-floored suite measures in at close to 11,000 square feet and features a gargantuan terrace with an impressive outdoor pool and hot tub. Here the interiors and the exteriors compete, as the rooftop views are sublime. Inside the floor-to-ceiling windows let in reams of natural light and this palatial two bedroom suite with dressing rooms, two bathrooms complete with sauna and steam room, multiple lounges, a dining room and an office is unlike any other. The Princess Grace suite was designed with the support of the Monaco royal family, and it includes artwork and family photos, as well as her favourite literary and poetic works, all donated directly from the royal household’s private collection.
For those seeking an alternative form of respite, the Themes Marins (connected to the hotel by a tunnel) is 75,000-square feet of heaven. The expansive facilities include a heated saltwater pool and a hammam and an extensive programme for preventative health care and wellness.
Le Grill is located on the eighth floor and offers a serious punch of Mediterranean views. The roof peels back providing a 360-degree panoramic view of the azure sea, fulfilling a wish of Maria Callas’s to dine overlooking three countries at once. And do not leave without trying one of the fluffy soufflés.
A new addition to the hotel is Ômer, the ground-floor garden restaurant. The intuitive design from Pierre-Yves Rochon is reminiscent of a boat, made up of three distinct alcoves, as well as the spectacular casino-facing garden and terrace created by France’s preeminent landscape artist Jean Mus. Helmed by Alain Ducasse, inside you’ll find a contemporary twists on credible Mediterranean cuisine. Dishes are designed to be shared and combine the essential flavours of Greece, Lebanon and Turkey, as well as Morocco, Spain, Nice and Malta. Breakfast, however, is distinctly French, with baskets of teeming pastries and flaky delights.
Of course, Alain Ducasse has long had a place at the Hôtel de Paris Monte-Carlo – thanks to his world-renowned three-Michelin-starred restaurant. From its hulking 30ft-high ceilings to its gold-gilded walls and Baccarat chandeliers, Le Louis XV is an impressive spot at every level. Also home to the world’s largest wine cellar, this icon of a dining establishment attracts everyone from Bond stars to lithe French ingenues.
Not more than a 20 minute drive from the esteemed Hôtel de Paris Monte-Carlo, you will find the property’s delightful sister hotel. The Monte-Carlo Beach Hotel has been a paean to society scene since the 1920s. Set amidst the whimsical Cap Martin coastline and sheltered under a blanket of green pines, this dolce vita property is the epitome of French glamour and charm.
Moments from the Monaco tennis club, there is no where better to book when the annual The Rolex Monte Carlo Masters rolls around. part of the ATP World Tour Masters, this elite competition brings the world’s best male professional players to Monaco. Over the years, this clay-court competition has been won by such talented players as Gustavo Kuerten, Cedric Pioline, Andrei Chesnokov, Juan Carlos Ferrero, Guillermo Coria, Ivan Lendl, Novak Djokovic and the unrivalled Rafael Nadal, who won the tournament 8 times in a row from 2005 to 2012.
Open from March to October, the Monte-Carlo Beach blends French chic with Californian style. First opened in the 1920s, it was the legendary architect Roger Seassal who designed this now historic marmalade-coloured hotel.
And it was the chimerical Parisian designer India Mahdavi whose recent overhaul of the design has brought the hotel into its next phase. Frescoes inspired by Matisse and Cocteau decorate the walls of the 40 individually designed rooms and suites. An upmarket beach property, you’ll find soft white furnishings and Breton stripes punctuating the room and restaurant designs. The superior rooms have a terrace with steps down to La Vigie promenade – giving a sense of space and scope. And if you have time head outside and dangle your feet over hotel’s private jetty or do a lap across the Olympic-sized outdoor pool.
The Riviera’s finest sea vistas are gulped in from Le Deck restaurant, an idyllic outdoor spot serving salads and grilled fish or for a more laissez-faire experience pull up a table at La Pizzeria, for a crispy organic focaccia and a piquant pizza.
The true culinary wow factor happens at Elsa, the world’s first 100 percent organic Michelin-starred restaurant. Expect old-school charm – waiters in white dinner jackets – and a menu of unending delights. Expect a rainbow of colours and flavours on your plate and a focus on local, seasonal produce almost goes without saying. Breakfast is outstanding, a beautiful buffet of succulent meats and cheeses alongside an extensive hot menu made-to-order.
Health and wellness is a big part of the conversation here, most of which takes place in the spa – a separate terracotta-coloured building – 80 metres squared dedicated to all things wellbeing. Inside you will find three massage cabins, a hammam, and a host of treatments and programmes designed by La Prairie and eco-certified Ymalia treatments.
A place to show off, splurge and be seen, of course Monaco is all of these things, but it also proves an exciting getaway destination with heaps to do – from the tennis to the F1 racing to the Longines Global Champions equestrian tour – all while ending the day off at an extraordinary hotel truly fit for a king.