photo Joël Saget AFP
He hoped that his appointment as the first black principal dancer of the Paris Opera would also resonate as a symbol for people from diverse backgrounds. Later, “it’s beyond my expectations”, confides Guillaume Diop who will be the godfather of the 17th edition of “All at the Opera” (from May 3 to 5).
A little over a year ago, you achieved the supreme title. Today, what does this represent?
“Being named a star is magical. It’s a great opportunity but it’s also a form of responsibility. It’s not easy to accept it, especially when you’re young, when you have the media exposure that I had at that time.
In one year, I took on a series of roles (“The Story of Manon”, “The Nutcracker”, “The Badly Guarded Girl”, among others, Editor’s note). I have a lot of super interesting projects. I feel like I have progressed a lot again this year and I feel legitimate. Even though I already was at the time of my nomination – because I had done five star roles, I had the approval of two (dance) directors and great star dancers. »
Do you think, as you hoped, that your career path, then your appointment, could have encouraged children from diverse backgrounds to get started?
“On this point, it went beyond my expectations. I receive messages almost every day from children or parents of children who say that it makes them feel good to see someone. like me (at this level, Editor’s note), that it is possible Black people, 40 years old, who say that in their time, it was complicated, and are deeply moved to see that I, today, I I was able to get there.
One of the ushers (at the Paris Opera, Editor’s note) said to a friend: +We know when it’s Guillaume who’s dancing, there’s a lot more diversity in the room+. I find it crazy, the fact that more people of color are saying they can go to the opera. It’s a gift for me. For the institution too. »
In 2020, you co-wrote a demonstration on “the racial question at the Opera” to “bring it out of the silence”…
“It’s up to the institution to take over, which it does very well. We have some very interesting discussions with Myriam Mazouzi (“diversity representative” at the Opera, Editor’s note).
A few weeks after the manifesto, we had several meetings with the costume teams and the (dedicated to) hair and makeup teams. We have all the right products” (like tights and slippers adapted to skin color, Editor’s note). »
With “All at the Opera”, these institutions open their doors. What do you think is important to publicize?
“It’s important to be aware that a show is a whole. It is possible thanks to the technicians, the stagehands, the people who work on costumes, the makeup artists, hairdressers, musicians. It’s very good that these days exist, to make opera more accessible. Me, at the age of 9-10, I remember being extremely impressed by the grand staircase (of the Palais Garnier), the red velvet, the gilding, the large fireplace and its high ceilings. »
You are preparing to play Albrecht, in “Giselle”, the role for which you were named star, on tour in Seoul…
“It’s a role that is close to my heart and intimidates me a little compared to the symbol it represents for my career. I’m a little more nervous than usual because it’s the first time I’ve done it in Paris. But I’m excited too, there is desire. »
You suffered an injury, a stress fracture to your tibia. How are you ?
“At the time of my appointment, I was in great pain. I said to myself: I just turned 23, how can I last 20 years? Now, I have a physiotherapist who I see twice a week, I hardly have any pain anymore. »
Karine Perret © Agence France-Presse
