Over the weekend, a Monegasque team of firefighters took part in the Trail Trophée de Biot, which saw them race along forest trails with a disabled team member as they sought to win a prize for the Monaco Liver Disorder Association.
When a person is sick or disabled, they can miss out on things that the rest of us take for granted. Simple acts can become monumental tasks and often they don’t get to experience things the way they should or could.
This is where the Trail Pour Tous comes in. The association takes those who cannot go out on their own on nature trails in the comfort of a joëlette, a wheelchair-type construction that is specially made for trails and features sturdy wheels and handles to make pushing and pulling the chair on uneven terrain easier.
“It all started with the motorcycle accident of a friend, in Èze, who became a paraplegic,” explains Jérôme Fouffé, the president and founder of the Trail Pour Tous. “It was when I learned that he regularly looked at the photos of trail [events] organised in the region that we wanted to find a way to take him to them with a small group on a joëlette. That was in 2009, then we founded our association in 2014 to buy other joëlettes and help families in the Alpes-Maritimes and the Var.”
This year’s winning team were a group of firefighters from Cagnes-sur-Mer, who were followed by a Nice police team and firefighters from Menton. The Monegasque firefighters racing for the Monaco Liver Disorder Association came in sixth.
In a new exhibition, the Palace Archives and the Audiovisual Institute present 100 images of Prince Rainier III “at home” in the Palace and his other places of residence alongside other rare objects and documents.
Prince Rainier III was truly at home in the Palace of Monaco. He was the first ruler to be born there since Honoré IV in 1758, and he endeavored throughout his reign to restore and defend the identity of his country.
In this exhibition, as part of his centenary celebrations, his life and reign are presented from three perspectives.
Firstly, that of the Sovereign in the exercise of his functions, doing “paperwork” in the Palace surrounded by his employees.
It is in the Palace where he also received distinguished guests, that the major acts of political life took place and that the tradition of artistic patronage of the Princes of Monaco continues. It is here, also, where the public image of the Prince was patiently built through the media.
The second part of the exhibition explores the life of a man whose different homes correspond to the different ages of his life: the Palace of Monaco where he was born and grew up until his studies and the tumult of war, the Villa Iberia in Saint-Jean-Cap-Ferrat where the bachelor Prince stayed until his marriage to Grace Kelly, the Rocagel house he built for his family, and finally the Castle of Marchais, a historic residence of the Grimaldis since 1854.
“The personal passions of the Prince make it possible to understand his personality and his commitments. When he takes off the sovereign’s uniform or the clothes of the father of the family, Rainier puts on his work shirt to retire to his workshop, where he models wrought iron sculptures,” say the exhibition curators.
In the final stage of the exhibition, the “great hours” of the Prince at the Palace are evoked, from his years of apprenticeship at the end of the World War II to the paroxysms of the Franco-Monegasque crisis and the proclamation of a new constitution, through to the momentous gatherings with the Monegasque population.
The exhibition, titled Le Prince Chez Lui, Prince Rainier III en images: 1923 – 2005, was curated by Thomas Fouilleron and Vincent Vatrican. It will be on show in the Grands Appartements of the Prince’s Palace from 31stMay to 20th August 2023.
Do you have an event in Monaco or the French Riviera that you would like us to include in our What’s On section and events calendar? Please email editor@monacolife.net.
Veloce Racing won their second race of the Extreme E season at the Hydro X Prix in Scotland to return to the top of the standings.
Veloce drivers Kevin Hansen and Molly Taylor led from start to finish at the team’s home X Prix, fending off attacks from NEOM McLaren, who earned just their second-ever Extreme E podium.
In the mud of Dumfriesshire, Rosberg X Racing became unstuck, and following a difficult weekend, which included a collision in Q2, the team was forced to retire in Sunday’s race, which has allowed their competitors to steal a march.
Nico Rosberg’s team are now third in the Championship standings, just one point above Lewis Hamilton’s X44 Vida Carbon Racing, and 28 points of leaders Veloce Racing (80 points). Acciona | Sainz XE Team are second with 69 points.
“We had a tough weekend, much tougher than Saudi Arabia,” said race-winner Hansen. “It was a huge effort from the team to pull through in such difficult conditions.”
Lewis Hamilton’s team victorious on Saturday
Like all of the race weekends, the Hydro X Prix in Scotland was a double-header, and Saturday’s race was won by Hamilton’s team: X44 Vida Carbon Racing. It was Fraser McConnell’s first-ever victory in the discipline, and X44’s first of the season, having won the second season of the Extreme E series.
Photo of Fraser McConnell and Cristina Gutiérrez from the Extreme E press centre
Despite crossing the line second, X44 were promoted to the top step of the podium after the Andretti team were handed a penalty.
“It’s amazing to get my first win for X44. It’s been something that I’ve been working towards not just for myself, but for the whole team,” said McConnell, who took the victory alongside race partner Cristina Gutiérrez.
The grid next heads to Sardinia, Italy, for another double-header in early July.
Monaco Life, in partnership with the Princess Grace Foundation-USA, is proud to present a monthly series highlighting the lives and artistic work of the Princess Grace Foundation-USA’s illustrious Award winners.
In this month’s exclusive interview, Princess Grace Foundation-USA’s Chief Program Officer Diana Kemppainen sits down with Princess Grace Award winner Cassandra Trenary (Dance 2015).
Cassandra is a principal dancer with the world-renowned American Ballet Theatre (ABT), where she recently debuted in the leading role of Tita in Christopher Wheeldon’s new full-length ballet, Like Water for Chocolate. In addition to her leading roles at ABT, Cassandra has made a name for herself working in the contemporary world performing Molissa Fenley’s solo State of Darkness at the Joyce Theater, with Twyla Tharp’s company at her New York City Center season, and recently with Tony- Award winner Sonya Tayeh.
In conversation, Cassandra speaks about her love of ballet, finding the human moments in iconic classical ballet works, and working through the pressure of being a principal dancer.
Let’s start at the beginning. What inspired you to become a dancer?
I grew up in a Lawrenceville in Georgia and I was super active. My mom put me into everything to get me to calm down. Dance was one of those things; I started with ballet and tap combo when I was three. My first intensive in Alabama was when it clicked that I wanted to do this professionally. I fell in love and was surrounded by other young people who felt the same way. Up until then, I felt a little strange to love it so much and want to be the best I could be. The stars aligned, and I was offered a scholarship to ABT’s (American Ballet Theatre) intensive. I was 12 years old; I felt the community and got to see the legendary videos of the dancers. I fell in love.
On coming to train at the Jacqueline Kennedy Onassis School (JKO, and the professional training school that is a part of American Ballet Theatre):
When I joined, I wasn’t at the top level, and I was one of the older dancers in the level I was in. It was a humbling experience. I went from being a strong talent in Georgia to entering a world where everyone was so talented. It lit a fire under me to really work hard.
On getting her first contract with American Ballet Theatre (ABT):
I was offered an apprenticeship with ABT 2 and a few months later I was offered a spot in the company to fill in for another dancer. I was very lucky to have some brilliant choreographers notice me early on and give me opportunities. The path presented itself in an organic way and I had a lot of cheerleaders.
Cassandra Trenary, photo credit: Art Davison
On her promotions to soloist (2015) and principal (2020):
Both promotions were a shock. In 2015 when I was promoted to soloist, I had been injured a lot in my first seasons with the company. I thought my path in the company would shrink a bit and I had to be OK with that. However as soon as I was healthy, the artistic team pushed me, and I ended up doing my first variation and following that did a lot of soloist roles.
Getting promoted to principal was the most shocking of all because it was in 2020 and we didn’t even know if there was a company to come back to. I was leaning into ways to be an artist that didn’t have to do with ABT and that felt really beautiful. I was dancing with Sonya Tayeh and in conversations with Molissa Fenley.
You have this idea of what it’s going to be like when you get promoted – you’re all in this one studio at the end of the Met season with your peers when the announcements are made. But when I got the phone call, I was in Kaatsbaan choreographing and producing a film. I was in the middle of nowhere with dancers and close friends I would never have met outside of the pandemic. We were cooking a meal together when I got the call. I was so thrilled because I didn’t know what the future held.
On the pressure:
When I truly get to a place where I’m in my groove as an artist and comfortable, that’s when I’m able to let go and technically develop. We did come back, and I felt much more equipped to be in this position with ABT after all of my experiences. As an actress and dancer, I’m much more comfortable discovering as I go. I feel like I’m starting over in this position [as Principal].
This season you debuted the leading role in Tony-Award winner Christopher Wheeldon’s new full-length ballet, Like Water for Chocolate. Tell us what it’s like to originate a role.
The Royal Ballet developed the material, so I had a lot of beautiful references. Being the first in North America and the United States and working with Christopher Wheeldon, I got to apply my own personal experience. Although Chris is very precise in this choreography and you have to be technically correct, he wanted it to feel fresh and I got to apply my own experience. The ballet is more like a play; the gestures are more human and it’s a ballet largely having to do with Tita [Cassandra’s character] suppressing desire and passion, things I can relate to. It was one of my favorite experiences; to open a new ballet in the title role at ABT is a once-in-a-career moment.
This season you’ll perform in iconic classical ballets – Giselle and Romeo and Juliet, and many iconic ballerinas have performed those roles both at ABT and throughout the dance world. What’s your process when you’re stepping into these roles?
I haven’t had the opportunity to perform the roles too much and every time I do, it feels like a major honor, and I approach with the feeling of gratitude.
It doesn’t always work out the way I would like. I recently did Giselle [as part of ABT’s National Tour], and I had spent so much time with “Like Water for Chocolate” I felt physically behind. For the first time in a long time, I felt an immense amount of pressure. But I had people to call upon and I focused on the story and being present. Even with these iconic ballets, there’s a lot of space to be human and freedom in interpretation. When I’m not feeling my strongest technically, I can lean on that and do my character development. When I’m staying true to bringing my experience to those women it will come through. If I worry too much about technically, you psyche yourself out and think about that one thing.
I think back to when ABT was known for their superstars and I think gosh are we those people now? I think we’re very different; we’re very different artists, dancers, and humans. But the weight of those folks is in the space, and as an artist and technician, I want to do all those ballets to the best of my ability. But what will carry this artform into the future is if we do dance them differently. At the end of the day, I find that if I focus on the character, the dancing gets a little easier.
Cassandra Trenary, photo credit: Art Davison
What is a role you have yet to do, that you really want and why?
Swan Lake comes to mind, and there are so many ballets I’d love to do – Onegin, Manon. We haven’t done Lady of the Camellias in many years. Those are just the classics; there are many choreographers and existing work I would love to take on: Crystal Pite, Jiří Kylián, Mats Ek. This summer I’ll get to do Le Jeune Hommes et la Mort with Alban Lendorf in Denmark.
Your work as an artist extends outside of your ‘home company’ ABT, you’ve performed Molissa Fenley’s solo ‘State of Darkness’ at the Joyce Theater, with Twyla Tharp’s company at City Center and in work by Sonya Tayeh. What drives you to find these projects?
I’m so privileged, they’ve always come to me. It started early on in my career. One of my first projects was Daniil Simkin’s Intensio. I was hired as everybody’s understudy, and the project went on for so long; when I started, I was in the corps de ballet and was a soloist when it ended. I’ve always put myself out there as someone who is open to it. I’m not afraid of looking silly, I approach any new way of moving as a student. I love it and feel like it informs my classical work as well. The more I expand as a dancer, the more I learn about my body, being presence and music. It’s really important to me and my process. In every off-season, I have a new job lined up. It’s good old-fashioned working hard and having people excited about the work I’m doing.
The choreographers she wants to work with:
Pina Bausch. She’s a very important person and I would love to dance in her work. I’d love to work more with Twyla [Tharp], Sonya [Tayeh], and Jenn Freeman. But there are so many… I want to work with kind, authentic people; women and folks that haven’t had a voice in a big way and have a lot to say.
On new leadership at American Ballet Theatre (former Principal Dancer Susan Jaffe recently took over from long-time Artistic Director Kevin McKenzie):
I’ve spent some really beautiful time in the studio with Susan, and she just announced the Fall season rep which I’m very excited about. I’m hopeful, it feels like a fresh start – exciting, scary and all the things that go with massive change.
Hitchcock once said Grace Kelly was like a snow-covered volcano; what classical ballet would you cast her in?
Like Water for Chocolate. Dramatically it’s so demanding. You’re trying to not show how you feel on the outside but inside you have all this passion. The saying itself, “Like Water for Chocolate,” comes from Laura Esquivel, the writer of the book, and she said it was like, “…you’re about to boil over; I’m right on the edge.”
Where do you see yourself in five years?
I want to continue expanding. In a dream scenario, I’m dancing more of these iconic works I mentioned. It would be cool to act more and be involved in theater and film. I’d love to spend time abroad as guest artist. I hope that I push myself to create more – I kinda want to do it all.
Any final words for the Monaco community?
I hope to visit. There’s such a rich arts community there. I know a few dancers in Ballet de Monte Carlo; they love it and it’s such a fierce company. I’d love to check it out sometime.
The Prince Albert II Foundation-backed initiative BeMed says it has a plan to get hotels off the single-use plastic bandwagon and onto a responsible environmental path.
Plastic pollution is one of the most serious environmental problems facing the planet, but it is especially affecting the oceans. 80% of all debris found in the seas is plastic and an estimated eight million tonnes of plastic waste finds its way into the oceans each year.
As the world’s focus shifts to the environment, organisations like BeMed are working towards solutions.
Following a successful pilot project at the InterContinental Marseille-Hotel Dieu in Marseille, where a model was created to lessen and eventually eliminate all single-use plastics from the establishment, BeMed has published the concept.
Environmental and financial savings
Over a three-month period, the InterContinental Marseille-Hotel Dieu reduced its use of single-use plastic by more than 165 kg, while also limiting the transfer of environmental impacts to a minimum. In addition to the environmental benefits, the hotel saved nearly €5,000 in that period, which paid for the investments required to purchase reusable alternatives.
The six-step approach puts forward easily implemented changes and offers advice and feedback on alternatives to single-use plastic that are already available. It also identifies what plastics to prioritise removing, reducing and replacing.
Hotels are a major consumer of single-use plastics and the EU has set a 2040 deadline for the sector to come up with alternatives to the harmful material. Though that is a long way off, modern clientele is becoming more ecologically-minded, meaning that establishments need to keep up with trends, and methods such as the one formulated by BeMed could come into common practice much sooner.
BeMed was created in 2015 through cooperation with the Prince Albert II of Monaco Foundation, the Tara Ocean Foundation, Surfrider Foundation Europe, the Mava Foundation and the IUCN.
Sign up to the webinar
A webinar on the method will be held on 16th May from 3.30pm to 4.30pm. To sign up, please click here.
Alongside the webinar, access to the interactive platform that presents the method and its methodology in PDF can be found here.
Due to government-imposed water restrictions, brought in on the eve of AS Monaco’s game against Lille, the Louis II pitch wasn’t watered on Sunday, much to the frustration of players and managers alike.
“I don’t know why the pitch wasn’t watered,” bemoaned Lille manager Paulo Fonseca post-match. The Portuguese manager can certainly be forgiven for his ignorance of the latest edict from the Monaco government, which as of last Saturday, prevents the watering of green spaces between 8am and 8pm.
“The playing conditions weren’t good.”
On a slow, unwatered pitch, there was little spectacle in the match between Monaco and Lille, which ended as a scoreless draw. Both teams are known for their free-flowing attacking fluidity, but that wasn’t on show in front of Prince Albert II, Niko Hulkenberg and Ricardo Carvalho, who were all in attendance. The dry pitch ironically dampened the match, as did a tactical shift by Monaco manager Philippe Clement to shore up his defence. With the five-point gap to Lille maintained, this was a result that will suit Les Monégasques much more than Les Dogues.
However, that didn’t prevent Clement from also complaining about the playing conditions.
“I was as surprised as the opposition coach to find out that the pitch hadn’t been watered. We couldn’t water it, unfortunately. There is a big water supply problem in the region at the moment,” said the Belgian coach.
Just one game to go at the Louis II
“The playing conditions weren’t good,” added Fonseca, who will perhaps see the scoreless draw as a missed opportunity to cut the gap. “All season, we’ve played on great pitches. It’s impossible to play quickly on a pitch like that. The LFP should look at its own rules again if they want a spectacle. In such conditions, it is easier for the defending team,” he added.
“The pitch conditions didn’t help us,” said former Manchester United player Angel Gomes in the post-match mixed zone. “It’s very hot and humid here, and the grass is long so we had to adapt to that,” he added.
Minister of State Pierre Dartout has warned that the government will elevate the drought level if the situation worsens. Further measures could provide further disruption, with just one Ligue 1 match to go at the Stade Louis II this season, which will be against Toulouse on 3rd June.
