Don Q 6/12 etc.
Posted 12 June 2003 - 08:36 PM
Someone else probably can better describe Carreno's wonderful performance. He was so very good both in his execution of the steps, his basic noble, masculine presence, as an actor in his role and as a partner for Herrera.
I find my thoughts more organized on the subject of Herrera.
It's been more than a year since I've seen her. Did I just not remember, or had I never noticed, what a big, strong, well proportioned girl she is? Tall, with a strong back, a lovely long neck, nicely proportioned arms and hands and beautiful, long, soft feet.
I can remember thinking in the past that something was dead in her upper body. But tonight, instead of that, I very much admired how beautifully pulled up and rounded out she is in her chest, with her shoulders relaxed and down, and her neck, shoulders, arms and hips beautifully aligned. Something in her facial expressions can be faulted perhaps at times -- Oddly enough in particular I thought this during the Soubrettish passages that I used to think were her great forte. During the Dream Act, when her expression was more still, distant and neutral, she was at her most physically beautiful.
Herrera appeared to me a pure, classical dancer tonight and I did not think I would ever see myself saying that. She was as comfortable and at home in the Dream Act, where she danced with great delicacy, as in the jumps, turns and balances of Acts I and III. The Grand Pas de Deuxs during both the first and the last acts were nearly flawless on both her and on Carreno's part --- the best part of the evening.
In Act II, the noble, upright and slightly heroic manner in which Victor Barbee portrayed Don Q was very welcome. I like it when the Don is allowed to be heroic at least during the Dream -- The basic nobility of his nature is important. Barbee and Herrera were lovely dancing a deux, or a quatre with Amour and the Dryad Qyeen, against the patterns and the intermittent movements and arrangements of the corps de ballet. The polka-like waltz, starting up and stopping, which moves through that Act, is beautiful.
Joaquin de Luz is having a wonderful season. I've seen him in Bayaderka, in Fille and in this and his dancing has been constantly strong.
Posted 14 June 2003 - 08:21 PM
I have not seen Don Q for a while but this seem to be a new staging, from what sounded to me, the new orchestration during the prologue to the staging of the dream sequence.I thought the Amour of A Milewski was as good or better than my previous memory of this solo.C Corella ,unfortunately , slipped during her solo but made up during the Jete sequence. Gillian was just breathtaking in her balances.(Carbro described this better in her review)
Stella and Michele ( in a new solo?) shoned well in thier solos.D Halberg(as the toreador) is someone to watch in the future.
An enjoyable evening at the ballet.
Posted 14 June 2003 - 09:24 PM
My neighbor summed up Jose with the word "complete." A fully rounded technique, an ideal partner, a fine actor, and profoundly musical, and always giving his full conviction to the moment. What more could one want?
This was the second time this season that I saw Michele and Stella as the flower girls, but I believe they switched variations, both dancers shown to better advantage with Michelle dancing the first and Stella the second.
Special commendation to David Hallberg for his powerfully yet precisely danced, wittily acted Espada.
Thank you, Joe, for your generous compliment!;)
Posted 16 June 2003 - 03:13 PM
Dvorvenko always does this. Did Murphy and Reyes steal this idea from Dvorovenko? Did she teach it to them? My one quibble about Reyes' performance is that she could have held her balances longer in the Act III pas de deux.
One of the great things about the ballet was how much in sync Reyes and Corella were. Their styles of dancing, their levels of energy, the way they approached their roles - it all meshed. You would have thought that Reyes and Corella had been dancing Don Q together for years. (I think it was the second time they danced it together or am I wrong about that?) I rate their Don Q alongside the 1981 Don Q of Barysnikov and Kirkland and the
1999 Don Q of Bocca and Nina A.
Sandra Brown was a wonderful Mercedes, but Sacha Radesky was rather disappointing as Espada. He seemed to be just going through the motions. Stella Abrera gave an incredibly strong performance as the Queen of the Dryads, and Renata Pavam was very good as Amour. She reminded me of Anne Milewski whom I saw in the part back in 2000 and 2001.
But it Corella and Reyes who made it such a wonderful ballet. I think Corella has finally found a partner who equals him in technique, energy, and charisma. I hope they enjoy a long partnership at ABT.
Posted 20 June 2003 - 01:41 PM
We were in the 7th row, which gives a certain intimacy with the dancers provided you're not seated behind a 6 footer or some lady with helmet hair. It was a fantastic evening all around.
Carreno never disappoints. (Be still my beating heart). Loved seeing Veronica Part for the first time - lovely dancer who knows how to sell this character. Of the flower girls, I know Michele Wiles is a favorite, but couldn't take my eyes off Stella Abrera. Wish I were seeing it tonight. Kristen
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