City Center week 2

[nysusan]

Ethan Stiefel & Maria Riccetto were scheduled for Spectre de la Rose last night. Unfortunately, according to the dreaded white slip inserted into the program Stiefel is injured & was unable to perform. I hope he is ok.

Cornejo & Reyes did Spectre again and Hallberg replaced Cornejo in Pretty Good Year. He has such a long, beautiful, clean line, and dances so effortlessly in any style. It's just wonderful watching him. They've been giving him a lot of roles this season & so far I think he's been up to every challenge.

Hererra & Corella did Corsaire again, and the crowd went wild as usual. He especially really seems to enjoy pulling out all the stops and going for broke in this show stopper. Instead of Wiles & Hallberg in Grand Pas Classique we got Wiles & Saveliev in the Swan Lake Act II pas de deux. I haven't seen Wiles in SL yet, but I was very impressed with this preview. She displayed much more subtlety, nuance and fluency in her upper body than I would have expected. I guess that's one more SL I'll have to add to my Met season plans!

Gillian Murphy & Marcelo Gomes led the cast in a rousing Theme & Variations. Gomes was his usual self - perfect. After my dissapointment with Murphy's style in Les Sylphides I have to say that from the moment the curtain rose on T&V it was apparent that she was born to dance this role. She was so assured, so fleet, so muscial, one never thought for a second about how difficult or how fast the choreography was. The music just seemed to pour out of her, she was totally in sync with the music ,the choreography, the texture of this ballet & she drew the audience right into the performance with her. I have rarely seen such a complete performance from Murphy, she is truly wonderful when all the pieces come together.

[liebs]

I saw the same program last night and found it very uneven, A Very Good Year is a very bad ballet. I could not understand the relation of the dance to the music, what is McIntyre hearing in Dvorak? I just see steps strung together with some Tharpisms attached. Well danced I guess but who cares.

Spectre was lovely and convincingly danced by Cornejo and Reyes.

I'm sure it is difficult to work up much emotion in an isolated, last minute White Swan ppd but I found Wiles just plain boring. She has all the physical and technical gifts to make a good Odette. But no dance imagination, no soul.

Le Corsaire was full of fabulous tricks by Corella and woke the audience up but I thougtt Herrara was sluggish in her solos. These two are not a convincing couple, to me their body types do not ook well together.

T&V was much better than when I saw it at the Met last spring with the female corps much improved. I would still like them to close their fifths in sou sou - that tight fifth is the essence of Balanchine. Last night, Murphy gave a very strong performance and it was the first time, I saw her as a balleriina taking command of her kingdom. Gomes was fine but needs to work on the double tour, pirouette combination. The piece held together pretty well but there were moments when I felt that the dancers were not really on the music. The quick foot work in the finale was messy, although the tempo was not particularly fast by NYCB standards. I was left with the feeling that the quick, precise use of the feet was not important to ABT or that the dancers did not have enough opportunity to cultivate this kind of movement, which is certainly not needed in much of the ABT rep.

[Michael]

Theme and Variations was also very sluggish on Thursday night with the Herrera/Corella cast. The whole thing lacked the energy and the sparkle you associate with this Ballet. The tempo in the pas de deux was particularly slow and I think in general that the pas needs to be conducted rather fast for Theme to flow properly. That Pas is not an adagio. Or at least it’s very non troppo.

About half way through Chris Wheeldon’s “VIII” I had the disconcerting sense that I was actually not viewing Wheeldon’s work at all, but instead a Ballet by Boris Eifman. I’d say Sir Kenneth MacMillan meets Red Giselle. The lurid lighting, melodramatic action, Marcello Gomes pacing the stage with an unrelenting angry scowl portraying Henry the VIII, interrupted by occasional flings of violent peripatetic motion, Carmen Corella -- as Katherine of Aragon – contorted in unrelieved psychic pain, the Rose in the background turning Blood Red for the symbolic denouement foreshadowing Anne Boleyn’s execution, the complicated choreography with the female dancer twisted and stepping all over her several partners and supported at times by their feet . . . all of it was quite worthy of the Brighton Beach “Master” himself.

But perhaps that’s not such an insult to Wheeldon after all. Much as I hate to say it, I’ve got a suspicion that Eifman, once one strips a certain émigré crudeness away form his work, is a fair representation of Expressionism on the dance/dramatic stage. And MacMillan -- Wheeldon’s first patron in the Ballet world, to whom he owes such a debt for the commencement of his career -- also drew very largely, I think in retrospect, upon the Continental, and more precisely, German, neo-expressionist movement during the 60’s which produced painters such as Beuys and Richter. Continental Expressionism being what passed for dramatic “Modernism” during the 60s in London when Ashton began to seem “old fashioned” to Carnaby Street. So that Wheeldon, absorbing Eifman, and also conscious of his fealty to MacMillan, is in many ways reconnecting twicefold to the Expressionist Tradition. His recent work begins to look more and more like MacMillan, Eifman and Martins and less and less like Balanchine.

Wheeldon’s gift, however, is at its core, as it must be for a choreographer, still the ability to make an incredible dance in which a dancer lights up the stage and last night it was Xiomara Reyes who filled the bill as Anne Boleyn. “VIII” would have been completely unrelenting and one dimensional except for Reyes, whose performance was astonishingly good in choreography which, when she danced it, seemed astonishingly appropriate and brilliant. And the role was not even made on her! But oh how she moved, with such fluidity, tremendous range of motion, instant speed and attack and expressiveness. If she is going to dance it, this role is worth the price of admission and worth sitting through the rest of "VIII." And that is saying something.

About Killlian’s “Petite Morte” and “Sechs Tanze,” I shall let someone else write, except to say that Stella Abrera was quite extraordinary in the first piece. Or I hope someone else will write. And also to say that to me it seemed that, while this might not exactly be Ballet, it was nonetheless unexpectedly musical and draws upon Surrealism in its way -- another vital and, at least on the New York dance stage, somewhat neglected European artistic tradition. Sad to say that the Killian was, unexpectedly, the best thing on the bill last evening.

[flipsy]

ABT's program for Saturday afternoon, October 30, had just about everything a ballet lover could want: Balanchine's Theme and Variations, followed by three classic pas de deux, and Kylian's Sinfonietta. It showed the depth and breadth of the company's repertory, and demonstrated once again that they have the greatest collection of spinners and leapers on this side of the ocean.

Over the top in both categories has to be Angel Corella, who exploded into the air and whirled like a tornado in the pas de deux from Le Corsaire. His partner was Gillian Murphy, perfect in her turns, and wearing a slightly bemused expression at the incredible antics of her slave boy.

Just as lovely in a different way were Xiomara Reyes and Herman Cornejo in Fokine's Spectre de la Rose. Cornejo managed to be sweet and magical yet powerful and manly, the image of a young girl's dream. I read Michael's comments from last week, but I don't understand why a spectre shouldn't be a demi-character. I liked it.

Theme and Variations was neat and elegant, and Michele Wiles and David Hallberg both showed aristocratic technique and bearing. But I would say both of them lacked the expressiveness and abandon in the upper body that puts the icing on Balanchine's cake.

Paloma Herrerra and Marcelo Gomes did the Black Swan pas de deux. I think this is difficult to present out of context. While the leaps and turns were there, I never got the feeling that there was a seduction going on. It felt a little heavy and forced.

For me, the ultimate treat on the program was seeing Monique Meunier in Sinfonietta, the first time I've seen her since she left NY City Ballet two years ago. I believe she exerts more force into the floor and into the air than any other female dancer in the world, and watching her float upward from a sauté in arabesque makes everyone else look merely human. I devoutly hope that ABT will find a way to treat Monique as what she is -- Unique.

I don't know what Sinfonietta is supposed to be, but to me it looks at like a European version of Dances at a Gathering -- with more angst and energy than the American original. Maxim Beloserkovsky was also great in it, ripping around the stage with his feet elegantly pointed and his long hair flying wild.

Edited October 31, 2004 by flipsy

[Michael]

You're right. There is no reason the Spectre shouldn't be demi character. I was too harsh. After watching a good deal of other things these past two weeks, I think Spectre is one of the best things they're doing.

And I love Cornejo. He's right there, so fully committed on stage, gives himself totally, whatever he does. He never phones in his performances.

[dancelyssa]

I went with some friends last night, we saw Sinfonnieta, Henry VIII and a new work by Trey McIntire that's name slips my mind.

The Henry VIII was especially well danced by Xiomara Reyes as Anne Boleyn, and everyone loved Misty Copeland as the masked girl, lightly taunting the three masked men.

Sinfonietta was also very dood, with SAscha Radetsky and Julie Kent standing out.

[Farrell Fan]

I'm not surprised the title of the Trey McIntyre ballet -- "Pretty Good Year-- slipped dancelyssa's mind, as it seemingly has nothing to to with the music, Dvorak's Piano Trio No. 1, or with the energetic choreography, which conveyed nothing to me. Wheeldon's "VIII" provoked whoops and hollers from the audience, but I thought "Sinfonietta" came off much the best, although it looks better on the bigger Met stage.

[nysusan]

I am so upset that I missed Meunier in Sinfonietta, she wasn't in the cast I saw earlier in the season. I was looking for an email address on ABT's website - to inquire as to which of the upcoming Sinfonietta's she's cast in. Couldn't find one. Does anyone know how I could find out?

[bobbi]

Just a quick note on Saturday's matinee. The highlight for me was the beautiful execution of the T&V by both Michelle Wiles and David Hallberg. Both were clean in the details of the choreography, danced with the requisite elegance and authority that's required, and exude musicality. What a pairing these two make!!

And, yes, the other highlight was spotting Monique in the Sinfonietta. Amid the two zillion grande jetes which seem to make up the extent of this ballet, it was so nice to see Monique do them so effortlessly.

It was nice to see Spectre again, and Herman did very nicely, in the demi-character mode. I guess I just prefer a more classically danced (even if it's not the way it's supposed to be) rose.

[PAmom]

I'm not surprised the title of the Trey McIntyre ballet -- "Pretty Good Year-- slipped dancelyssa's mind, as it seemingly has nothing to to with the music, Dvorak's Piano Trio No. 1, or with the energetic choreography, which conveyed nothing to me.

The working title was something like, "Don't Worry Long Ranger, It's Been a Pretty Good Year." Even with that information, I found it to be the weakest piece of the Saturday evening performance. I did enjoy it and Hallberg is a lovely dancer but this role is not one he shines in. There is one section where the steps are so quick that, because of being a longer limbed dancer, he cannot complete them with the intended clear definition. He and Cornejo are such different dancers and the lead role in Pretty Good Year is better suited for Cornejo or the third cast lead, Scott. It was exciting to see DeLong in this piece. He looked poised and strong.

VIII was the second piece that night and I am always happy to see a performance that includes Xiomara Reyes. Her "Anne" and Carmen Corrella's "Katherine" were both strongly danced and were exceptional for me. "The Masks" came together well with Copeland being vaulted around (ala "The Matrix") by Salstien (replacing Collins), Scott, and Tidwell. My husband noted that Copeland's mask was accidentally up on her forehead the second time they came out. Gomes was a solid Henry.

Sinfonietta was the strongest piece that night. Carlos Lopez replaced Angel Corella and, except for DeLong (replacing Pastor) looking tired at the very end, the company looked unified.

I also attended Sunday matinee and had not realized it was an Angelina Ballerina™ day. Most of the young audience members came in Hallowe'en costumes and, for the most, were quiet and enjoyed the show.

Gillian Murphy is becoming one of my all time favorites. She is a gala dancer and was terrific in T&V. I usually get caught up looking forward to and enjoying the male variation. Murphy had me so distracted that I forgot about it until the music started for Gomes. The corp was homogeneous and made a glittering parade for the finale.

I am compelled to mention the world premiere of "The Ballerina." Beloserkovsky, Part and Angelina Ballerina™ performed with David LaMarche and piano also on the stage. I wish I could call it a piece of fluff like the curtain calls with Susan Jaffe and Angelina Ballerina™. The kids liked those but "The Ballerina" was decidedly bizarre.

Spectre was an outstanding moment of the weekend for me. Cornejo was less "Puck-like" than I had imagined he might be in this role. When he landed a long arching saute and lifted up in arabesque he looked like he was 6'6" not 5'6"! Although we were supposed to have seen Stiefel in this role (speedy recovery and well wishes to Ethan), it will be a long time before I will want to see anyone else. I do not want the image of Cornejo's "Rose" to leave my mind.

Sinfonietta was again the audience favorite. Different from the night before, Angle Corella performed as did Monique Meunier (replacing Herrera). Corella's entrance produced immediate cheers and he hammed it up a bit before falling into the groove of the piece. He really is much better when he gets down to business and stops being the crowd pleaser. Delong again replaced Pastor and Salstien took the place of Cornejo. I asked a couple who are not regular ballet goers why Sinfonietta was their favorite. They both agreed that the with the horns and Leos Janácek's music that it made the piece stand out. "... it came together so nicely. It was like seeing the dancers set on a real country side."

[Natalia]

I went to the two weekend matinees.

Agree with most of what was noted above. Wiles & Hallberg were amazing in Saturday's T&V...as were Murphy & Gomes yesterday (Sunday). In fact, I can't imagine a more perfect ballet for Murphy, with her sharp technique & icily majestic persona. The ensemble was precise and uniform, which I never expect from ABT. Nice surprise! Anna Liceica, as one of the four demi-soloists, and corps member Zhong-Jing Fang, were particularly beautiful.

Other highlights, in those two performances, included Corella's Ali (Corsaire pdd), Herrera's Odile (Black Swan pdd), Cornejo in 'Spectre,' and -- especially -- the spectacular Wiles & Hallberg in yesterday's Grand Pas Classique. I fully anticipated the magnificence of Michelle Wiles -- THE pirouette queen of the troupe! -- but David Hallberg almost stole Wiles's thunder with his technique and picture-perfect princely looks. In fact, the most positive memory that I brought back to DC, from this weekend, was the knowledge that the all-to-rare 'classic tall-and-noble prince' will continue to reside at ABT, beyond Carreno and Stiefel, in the form of David Hallberg.

Then there was 'Angelina Ballerina'...Kevin McKenzie's piece d'occasion pas-de-deux-a-trois. The costumed kids in the audience loved this trifle, basically an 'Other Dances' sort of pas de deux for Veronika Part & Maxim Belotserkovsky, during which the tutu'ed mouse tries to join in the action. Surely ABT can dig up better material for the beautiful Ms Part? Ditto Monique Meunier, who danced in both performances of Kylian's 'Sinfonietta' -- such a glorious talent, yet looking so out of place here, among the willowy Kents and Abreras.

I felt priviledged to have seen Part AND Meunier in the same programme yesterday. Maybe next time I'll be even luckier -- see them both in ballets that appropriately showcase their unique talents.

[Thalictum]

What can one say? Meunier and Part are magnificent. They dance with total committment, complete expressiveness of the entire body.

I noticed Liceica and Fang in Theme as well. Theme is looking better than it has in a long time.