ABT Fan

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Everything posted by ABT Fan

  1. Who is to say they'll be without Vishneva, Ferri or Bolle? Vishneva could return as a guest artist, just like Ferri keeps doing. Right now, we haven't heard that Bolle won't be returning, so we can assume he still will. If they all don't, then I agree they'll have a casting issue. But, I wouldn't be surprised if Copeland is given a Tatiana.
  2. Is it time to start a 2018 Met Season Prediction thread? We could continue the discussion there.
  3. I would LOVE to see an additional week of mixed rep, but I believe that doesn't sell well. However, given the apparent low attendance for say Golden Cockerel and some of the Onegin performances, what would be the difference?
  4. I think if Vishneva wasn't leaving and Ferri wasn't returning (again), they wouldn't have scheduled Onegin. Instead it would have been another full-length dance-intensive ballet, not a "fluff" drama. And, the female soloists would have collapsed in exhaustion (or injury) from having to sub even more principal parts than they already did. It's certainly been exciting and inspiring to see so many debuts and last minute substitutions, but this year I was actually glad when this week came around because I think it gives a lot of dancers a much needed break (and injured dancers more time to heal) before charging through the last two weeks of the season.
  5. This reminds me of the film The Turning Point when the aging ballerina Emma (Anne Bancroft) says regarding her upcoming performance in Anna Karenina: (I'm paraphrasing here) I'll be wearing a long dress covered head-to-toe emoting my a$$ off while the younger dancers will actually be dancing [in other ballets].... ...or something like that!
  6. A test of not only how fast, but how accurate their aim was. Though a lot of guns in those days (especially rifles), compared to today's, did not have a high accuracy rate. Using fists was definitely lower-class - you had to get your hands dirty! Same with swords to a lesser degree. By using guns you could maintain distance while praying that your opponent (and his gun) had a worse aim than you.
  7. ABT has released a 4 minute video "Being Odette/Odile" featuring Copeland, Boylston and Teuscher. I appreciate that they included Teuscher to feature the dancer newest to the role. But, odd that they left Murphy and Seo out of it (but, maybe not; Copeland, obviously, and Boylston have more of a following in the non-dance world so that's perhaps who they're targeting with this video). Onto awaiting any casting updates for the run!
  8. What?!?! I never would have expected this. Very sorry to hear.
  9. If they were doing Spartacus or La Bayadere (or even SL), I'd probably cough up the money.
  10. Regarding Semionova, I saw her O/O 3 years ago with Gomes (who replaced an injured Hallberg). While I too love long arms/legs for SL, I found her positively boring. Her technique was solid and I don't recall any missteps or fouetté issues, but her character development was nonexistent. The only thing that saved that performance for me was Gomes. Speaking of long arms/legs, I see a potential SL star coupling in Catherine Hurlin (who I hope is promoted this year) with Calvin Royal (who better be promoted this year). Not only do their physiques match beautifully, but I've seen them partner in small roles and I can see great chemistry.
  11. Cool to see a different perspective on those leaps.
  12. Any reports from last nights Seo/Stearns/Gomes? We've discussed the fouetté issue to death, but maybe Mckenzie needs to gather all of the current O/O's in a room (except perhaps Murphy because she doesn't struggle, but maybe for solidarity reasons....) and say that from now on everyone only does singles and without arm flourishes until they can complete them cleanly. I think part of the issue may be that the standards now require bigger and better tricks from both men and women (dancers, AD's and the public are all guilty of encouraging this). So dancers face immense pressure to try. Of course, there are many folks who disagree, including a lot of us on this board, but let's face it, as many of us have already written about ad nauseum, who gets the loudest applause and "bravos/bravas"? Not the dancer who just completed a heartrendering mime sequence or a delicate petite allegro, but the one who did air-splitting grand jetes and 540's and a dizzying array of turns. I love all of that too especially when said "tricks" are part of the story or character, they're important. But, purity of technique is more important. To single out Simkin for a moment, when he performs all of those gasp-inducing steps, he (nearly always) does them cleanly and lands perfectly, and he's improved his artistry so much to boot. That's what makes them exciting. If he fell on his fanny after every 540 he might get some gasps but for the wrong reason. I think maybe these ladies are hoping (this time) to get through the darn fouettes with doubles in tow (especially if they've done them in rehearsal) because singles are generally considered too simple nowadays. And, who knows what they're being coached to do. But, I agree that singles are beautiful and exciting but like anything else they have to be done cleanly. I think the audience, critics, etc would be very receptive to a blistering set of cleanly executed singles. Certainly more so than what we've been seeing.
  13. That part made me howl!
  14. *GASP* Four rehearsals?! I now have even more respect for what Lane accomplished last night. Thanks for posting that! And, yes, that's an awesome photo.
  15. I share your frustration, to the "nth" degree! And, I think many others do too.
  16. I completely agree with this. Also, I rarely see Lane miss a step or a piece or choreography so poorly, so I think she was also shocked herself at what happened. Yes, a dancer must not show disappointment when things go wrong, and she needs to learn how to keep a poker face. But, as I've already said, given the circumstances of last night I'm cutting her slack. And, I'd do that for anyone else in that situation, not just Lane. As much as I want to see nearly perfect performances every night since it's ABT and it's at the Met, these people are still human. It's the recurring problems at nearly every performance by some dancers that I'm not ok with I won't accept!
  17. What a night! For me, this was a triumph for Lane. Positively gorgeous Odette, clear and emotional mime, the most beautiful port de bras and swan-like movements. She even did the head-twitch to the side during her entrance with her over the head port de bras that I love, but not a lot of dancers do that anymore or do it well. And, I must mention again her multiple arabesques that were held in perfect balance (no wobbling) for a really long time! Really lovely characterization - you saw her pain and anguish. Before Act III I was really nervous given all of the fouetté disaster talk we've had this week, and I wasn't sure how she'd pull off the evil seductress. Well, she marched out with Lendorf (who was terrific as Purple Rothbart) ready to conquer! Wonderful attack, mischievous smiles, throwing her head back with conviction. The part where Odile (in her final "I've got you now" moment) briefly turns herself into Odette before turning her back to reclaim herself, was so clear - a real character swicheroo. Usually, I don't see much difference in the acting, just a lot of arm flapping. She did fall off pointe after something, but I can't remember what the step was. I thought she was terrific in the coda except those bloody fouettes, but her recovery with an impossibly held arabesque was impressive. I know some folks will say "no excuse" regarding the fouettes, but given her short preparation time and the fact that she was dancing sick, I'll give her a pass. Plus, the rest of her performance was so amazing! Near the end of the coda she was way off balance during a supported pirouette, but that was Simkin's error. And, she didn't get much height with her plunge off the cliff. (Why doesn't Odette get a running start like Siegfried?) Lane's chemistry with Simkin was terrific; not as good as it was in Giselle, but again, they had little rehearsal time. Simkin still looks like a little kid to me, God love him, but that's not his fault. He continues to improve on everything, it's not just tricks with him anymore. He puts real emotion and character development into whatever he does. Now HIS leap off of the cliff....ginormous height with a deeply arched back! Wow! The peasant pas was Trenary, Brandt and Gorak. A real "dream team". But Gorak had a new weird big fake smile throughout. Besides that he danced and partnered beautifully. But, I think he's thinking too much about the steps (and whether or not they look nice) so he needs to let go. I want to see him take it to the next level. His two ladies were beautiful. Nothing to critique really. I can only imagine the performance Lane could turn in with proper rehearsal time. Without it she was still incredible.
  18. Lane fell out of her fouettés and early but she finished with another amazingly held for an eternity arabesque. Other than that her Odile was incredible, completely in character. No sweet girl there. Complete contrast between her Odette and Odile. More later.
  19. Intermission. GORGEOUS LANE!! I'm so proud! A few bobbles, just very minor. A little tension in hand held pirouettes with Simkin. But, sooo lovely! Her Act I, she held for eternity her first arabesque in front of Simkin. Never seen anyone else do that. Oh my!
  20. Perfect casting! T minus 1 minute!!!!!!
  21. Maybe he can guest in Peck's next showing of The Times are Racing.
  22. Hamrick has an interview out in marie claire magazine about motherhood and her career: http://www.marieclaire.com/culture/a27234/melanie-hamrick-mick-jagger-baby/
  23. Speaking of Murphy...I saw this on her Instagram the other day. Of course, ballerinas should practice-practice-practice something they routinely have trouble with, and I think many of them do, as much as possible. But, one of the great things about the Met season is also one of the worst things for the dancers - preparing numerous ballets at the same time, coupled with limited rehearsal time. Fouettes are something you can practice alone without a partner, but as California noted, it's not just the fouettes but doing fouettes after a solo, after a pas, after doing Odette. You can crank out 50 fouettes alone in a studio all by yourself, but put those into a ballet and it's a different thing entirely. That said, yes, of course, there's a technique/stamina issue with several O/O's at the moment which is unacceptable. I know a lot of dancers cross train routinely now, but is working out on an elliptical going to improve your fouettes? And, as some others have noted, ABT should consider not casting every (or nearly) principal in every major role. Not every principal is going to be stupendous in everything. However, I also recognize that money is a factor and to accommodate such casting they'd probably have to hire more principals which I doubt would be an option. I just don't know that by the time you're in your 30's you're going to be able to crack the fouette nut if you haven't already. Perhaps some can. But, at least with the dancers we're talking about, it isn't happening.
  24. My goodness, you're right! Though tomorrow night's with Seo/Stearns/Gomes is very well sold as well. I cannot remember who wrote the comment above re: Lane's preparation time for tonight. Despite my excitement regarding this chance she's been given, I have had some of the same fears. I really hope she had at least a few weeks to rehearse (that ABT was proactive as much as possible) and that it wasn't a Friday afternoon aka Le Corsaire situation "get the understudy in here now to prepare for next week!". Even a few weeks is not enough for SL, but I hope Lane hasn't had to cram O/O in 6 days. Yes, she has the benefit of having performed this before with Corella, but that was years ago. I'm very optimistic though especially given her Giselle debut. I've had a hard time imagining her as an evil seductress, but she blew me away with her mad scene so she clearly has incredible acting ability. I hope her newfound confidence and maturity will carry her through, up and over, the lack of preparation time she's faced. Separately, Part is still scheduled to dance on Saturday so I guess we'll see if that stands.