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Part and Meunier


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I've just put up Mindy Aloff's review of Part and Gomes's "Swan Lake" on DanceView Times, with three Rosalie O'Connor photos.

Deep Waters: A Dangerous and Thrilling Swan Lake

However, it’s what Part does with the technique she possesses that makes her absolutely unparalleled in this company: her dancing is a torrent of artistic choices—physical, dramatic, and musical—and they can be so unpredictable that an observer who has seen hundreds of performances of dozens of Swan Lakes is on the edge of the seat, wondering how the ballet is going to turn out. The last ballerina I saw at the Met who performs in a similar fashion is the Kirov’s Uliana Lopatkina, a dancer with a very different physique and imagination yet who also projects the effect of spontaneous choice as she goes, as if she were encountering every situation for the first time and has to negotiate every moment as though she were trying to cross a busy intersection at which there were no traffic signals. Part is a natural adagio dancer, and there were moments in Act II when she slowed herself down so much that she risked losing the audience’s concentration. Even so, her Odette-Odile is ballet dancing of a dangerous, adventuresome, thrilling, and, ultimately, highly communicative order, as Part’s standing ovation and roars of audience approval confirmed. During her bows, most of which were taken on stage with the entire cast, Part looked both radiant and embarrassed, as if she had just confessed some great secret. Yet the only thing she revealed by turning herself inside-out for the public is that, since joining ABT, her lights have been hidden under a bushel.
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