ABT in DC

[paolo]

So, what did y'all think of Ferri and Bocca and Part tonight?

[Ari]

I once vowed I'd never see another ABT Giselle, but the lure of Part in a big role and Ferri in what might be her last Washington performance proved irresistible. In the event I was glad I saw Part, but would much rather have preserved my memories of the young Ferri.

ABT's Giselle has always looked the same, through numerous changes of sets and costumes and blocking. One set scene trundles on after another; you can almost see the rehearsal studio emptying out as another group of dancers comes in to practice their bit. Nothing hangs together, no one onstage (except Gennady Saveliev, that wonderful character dancer, as Hilarion) displays the slightest emotional investment in what they're doing. I never get the sense that any of this matters to anyone. It's just another op'nin, another show. Yawn.

Ferri can no longer do the choreography, so she substitutes steps, waves her arms a lot, and, in the second act, overemotes. (I prefer a cooler, more classical Wili.) Her persistent knuckling over also bothered me -- has she always done this? I haven't seen her often enough over the years to know. I would guess that her very high arch makes this a hazard.

Part was a fine Myrtha, and seems to have resolved whatever weight issues she once had. Unfortunately the same can't be said for Monique Meunier, who was Moyna. I thought Sascha Radetzky was very poor in the peasant pas de deux: no line, no center, bad partnering. He seems to have been pulling Erica Cornejo out of her turns, so it was hard to judge her performance.

I wish I had better things to report. Maybe tonight's Fokine program will be better.

[paolo]

While Ferri may not be what once she once was, she remains an extraordinary presence on stage. I disagree with Ari that "no one onstage (except Gennady Saveliev, that wonderful character dancer, as Hilarion) displays the slightest emotional investment in what they're doing." I think Ferri has aways "knuckled over."

Ferri was invested (although Bocca less so), and Kent and Carreno certainly were, as I think, was Part.

New sets desperately needed for ABT's Giselle.

[kfw]

Well, Ari and paolo, I'm here to tell you that ignorance is bliss. ABT's production is only the second Giselle I've ever seen in person, and I loved both the sets and the acting.

But thanks for the review, Ari, I'd been looking forward to it.

[Juliet]

I must have been at a different performance ......

Yes, Ferri is not the same technnically that she was 15 years ago, but I thought her performance very, very fine nonetheless. She and Bocca have been doing these roles for a while and they have worked out so many bits of stagecraft and involvement together that I found myself seeing new things, especially in the first act. They are shaping the movement differently and not going for the whizbang technical fireworks......I thought the interplay and tenderness between them very touching.

Yes, this is a tired and dated production --especially the first act. I keep hoping, year after year, for it to improve, but that splintery cart is still unadorned and poor Giselle's Harvest Queen wreath looks like a dusty reject from the clearance bin.

I must single out Susan Jones' performance as Berthe--she took a small part and rounded it out so it was a real character, a mother. Her mime was excellent, and her acting as well--I haven't seen anyone as good in years. Anna Liceica was lovely in her Bathilde garb and gave the proper flounce to her departure after the public betrayal by Albrecht.

Bocca was better than I expected him to be--I haven't seen him do this role for at least ten years and have gotten used to his firecracker exploits, rather than a more romantic role. I felt the interplay between him and Ferri quite interesting in the first act--especially her still going toward him at the last moment when her heart is broken.....I thought they were very much connected--

And Ferri....this was a generous, generous performance, Yes, she is expansive in her upper body, and I love her strong acting....(the feet I find beautiful, frankly.) Her second act was not filled with quicksilver footwork, shall we say, but the purity and spiritual nature was immediately evident--she was light as thistledown (and Bocca is a great partner here); she is a dramatic artist and I find this one of her best roles.

Veronica Part. I have not seen anythiing over the years that she's been at ABT to equal her performances when she was with the Kirov. I was IMMENSELY disappointed in her Myrthe last night. She couln't hold a balance, her arabesques were sketchy, upper and lower body disjointed, the power and spookiness of the role were completely, utterly absent. And this from a dancer whose training and first company have Giselle in their heritage more than any other company? I am sorry, but I kept wanting to appreciate her in this role, but evidently she was having an off night or I was on another planet.

I so much wish that Meunier could pare down--she outdanced everyone, even in the minor Moyna role (what a a jump) and would have ground Hilarion and Albrecht into the swamp as Myrthe.

Tired, faded first act. Good corps, however, in both. Boring production.....better than the San Francisco one, however that has all the first act women in brown headscarves over their Wili hair.....it is like a convention of washerwomen.

[carbro]

These reports are great. Even (or especially?) when there's disagreement, the essence comes into clearer relief.

I want to know about solo and demi roles :huepfen024: . Anyone seeing Danny Tidwell or Zhong-Jing Fang, please announce it at the very top of your commentary.

Thanks, DC folks!

[Ari]

Well, I wasn't going to mention it since I'd already trashed most of the rest of the performance, but since you asked, carbro --

Zhong-Jing Fang was one of Giselle's friends in the first act. I was very much looking forward to seeing her, based on the rapturous reports of her performances in Symphonic Variations in New York, but was very disappointed. Her long, thin arms were brittle, and her long neck strangely stiff, making her head seem unduly large and awkwardly set atop her body. Aside from that she danced well enough, but the extraordinary qualities that everyone reported seeing in the Ashton did not come out here. Perhaps in another role . . .

About Part, I didn't notice the technical weaknesses that Juliet saw. She began the second act rather low-key, but by the end had achieved a majesty that almost rivalled van Hamel's. I'm eagerly looking forward to her Swan Lake next week.

[Mike Gunther]

Who else saw the Fokine program? I enjoyed the Sat. afternoon performance. The program worked really well as a program - lots of variety and color. Julie Kent floated through Les Sylphides, and Stella Abrera delivered strong leaps in the Mazurka. (Not sure about the set though, it looked like a retread from Giselle Act II.)

Petrouchka was dramatic and poignant, with loads of emotion and character from Angel Corella. In Le Spectre de la Rose, Danny Tidwell channeled Nijinsky (:applause) and was beautifully complemented by Maria Riccetto as the Young Girl (it can't be easy to look so secure while dancing with eyes closed.) Polovtsian Dances also got a strong audience response, probably for the spectacle as much as anything.

Too bad I'll miss Swan Lake, being away next week, but I was happy overall with this week's two programs. As a fan of ABT, it's great to see them here in DC.

[Hans]

Apparently, I was at a completely different performance from everyone else as well. Although sitting in the top balcony definitely changes the view. I saw Ferri, and while I found her acting and wonderfully silky, lush movement to be very potent, her technique just isn't what it used to be--she seemed to abandon hope on a series of relevés and didn't make it up to pointe for a relevé in arabesque in Act II.

I'm not sure whether it's a conscious decision, but her minimalist petite batterie in Act II is too subtle--larger beats and a sharper retiré action would be more effective. Her shoes seemed nice and supportive in Act I, but in Act II, they seemed too soft, although she did hold some nice balances.

There was also an unattractive moment during an overhead lift in the Act II pas de deux when Ferri's skirt tumbled down over her head, exposing her entire lower half, the very great beauty of her legs notwithstanding.

I thought Part was wonderful as Myrtha--she has a lovely light, strong jump, beautiful port de bras, and long lovely legs and feet. Gillian Murphy could learn much from Part's arms and general demeanor--Part is tall without being gawky.

I found Meunier disappointing, even in such a small part. Her body does not seem at all suited to ballet IMO, and she's too heavy to be delicate and too weak technically to be powerful.

We definitely received appropriate technical fireworks during the Peasant Pas de Deux--nothing out of place, but Sascha Radetsky's long, beautiful lines and very clean technique were a joy to watch, and Erica Cornejo performed some truly heart-stopping penchés en pointe during her second variation. She did her relevé into arabesque and then slowly lowered herself into the penché, remaining en pointe the entire time. Once she'd done it, I thought she couldn't possibly do it again, but she did, and it was breathtaking.

I found Julio Bocca very poetic and moving as Albrecht, although of course I couldn't see much from the stratosphere of the Kennedy Center However, he did manage to do the "superman moment" in Act II in such a way that I found it beautiful rather than irritating.

One final word about Ferri--her mad scene still made me tear up. That moment when she runs to her mother, then to Albrecht...well, it may be cheesy, but it certainly is affecting!

And for those of you who saw my former classmate Danny in Spectre--many more details please!

[carbro]

Mike, thanks! Especially the note on Danny Tidwell's Spectre. He is a handsome and elegant dancer, and I'm glad that he's being given opportunities to show these qualities.

Thanks to you, too, Ari, although I have to say :shhh: I like the substance of Mike's report on Danny more than the substance of yours on Zhong-Jing.

And thanks to you, too, Hans, who was posting while I was.

[zerbinetta]

Alessandra Ferri was never known for her techical prowess. Her beauty lies, rather, in her musicality & poetry & the warmth of her onstage presence. She is truly a dancer who gives her heart to her audience in each performance.

Because of her technical shortcomings it took me a while to "get" her, but, once I did, she became a favorite.

Her feet are indeed beautiful but tend to be weak. But oh such beautiful feet, so articulate & expressive.

In watching the twilight of a career of a remarkable performer, it seems to me we need to focus on what is still there, or even newly there, rather than that which is missing. So often a dancer or singer whose technique may be somewhat compromised can bring expression they would have been incapable of at a younger or stronger period in their onstage lives.

At 41, Ferri is still giving us poetry.

Now, Washingtonians, any Misty Copeland appearances to remark upon?

[Tammy Spadina]

Saturday evening's Fokine program was men's night ! Maxim Beloserkovsky (in his Seinfeld- style puffy shirt) brought verve to an otherwise muted Sylphide, which was not helped by the drab set.

In Petrouchka, Ethan Stiefel movingly conveyed Petrouchka's desperation despite the cramped set and inability to use his hands due to his beige mittens. As Moor, Marcelo Gomez, too, overcame the tight quarters to create a funny and appealing flirt. In the busy busy street fair scenes, the two grooms Collins and Salstien (in their mother-of-the-bride mauve shirts) stood out with high class bouncing and stomping.

All this was just warm-up to Herman Cornejo's sailing, floating, spinning triumph in Spectre. His five -- or was it six ? -- curtain calls were more than deserved.

The dancing in Polovtsian Dances was hard to see -- from the first tier, at any rate -- because of the spooky orange lighting.

[Hans]

Zerbinetta, reading back over my post, it does come across as more negative than I intended. Ferri is one of my favorite dancers as well, and I agree with you about her poetry and the great beauty of her movement.

[fondu65]

I’d like to mention something that so far has not been commented upon, the tradition of older dancers passing on their experience and knowledge to younger ones. The Fokine Masterworks performance and afternoon rehearsal on Friday (2/4) gave those audiences an opportunity to see that tradition being practiced as the role of the Charlatan in Petrouchka was danced by Frederic Franklin and Mr. Franklin staged Polovtsian Dances. Perhaps it is that Mr. Franklin is so well known to Washington audiences that he is taken for granted. His distinguished career in ballet spans more than 60 years (he was dancing Swan Lake, Coppélia and Giselle with Danilova at Covent Garden in 1949) and his contribution to ballet in the form of continuity alone has been enormous.

I don’t usually care for mixed bills but Fokine Masterworks was a pleasure to see. My wife and I thought the dancing was beautiful and the costumes and sets lovely. But for me one of the highlights was to see Mr. Franklin perform, he was a nimble, frightening, and totally convincing Charlatan, and to have a rare opportunity to watch him coach the dancers for Polovtsian. The opportunity was one I was very glad not to have missed.

[Natalia]

I went to Saturday night's Fokine program.

First, the "goodies":

GREAT Petrouchka.: gorgeous reproduction of the Benois designs! Wonderful ensemble work. Franklin was a powerful presence. Stiefel was touching in the title role. McKerrow was the best Ballerina Doll in memory...a truly sympathetic presence, strong pointes, without the cutesiness rendered by Ayupova and most others I've seen in the role. Best of all: unlike the Kirov and many other great troupes that revive this work, ABT got the corps patterns right! Hoorah! The Coachmen were particularly magnificent and in-synch. Bravi tutti!!!!

Divine SPECTRE. Breathtakingly elegant Bakst set! Magnificently UN-campy Rose, by Herman Cornejo. What a soft-yet-high leap! WOW!!!! Xiomara Reyes danced sweetly as the girl.

Then for the 'baddies"...

Wooden, lifeless LES SYLPHIDES: Ragged corps...except for lovely, in-unison arm waving during the Mazurka. How the elegant & stylish Max Beloserkovsky found inspiration in the three Valkyrie-like solo Sylphs, I'll never know! The tasteful, original Benois backgrop & Romantic tutus were a balm. [p.s. - Is it just me or does the Kirov-Mariinsky version employ more corps-sylphs? I remember reading somewhere that Vaganova rearranged some of the 'Chopiniana' corps patterns and added 6-8 additional corps girls. The patterns last night looked odd, too...and not just because of the weakness of the ensemble.]

And the absolute travesty of the night:

POLOVETSIAN DANCES without a chorus!!! But, worse, not even resembling the Fokine choreography that I and all Russia knows & loves. What was that? Where was the foot-stomping of the bow-and-arrow men (they're supposed to do a quick left-right-left stomp after each series of leaps)? Why can't the ABT corps men align their bows at the 'tilted' angle prescribed by Fokine...done so crisply at the Kirov-Mariinsky? Who concocted the 'new' choreography for the Slave Maidens (and what was up with that non-traditional chiffon)? Worst of all -- almost comical -- was the 'boob-wiggling' (torso shaking) of the Polovetsian Girls in the section when they advance to the footlights...they're supposed to barely shake their heads and held-out hands...but, for goodness sakes, not do the Petrouchka Gypsies wiggle of the torso!!!! Oh my... I'm still aghast at this travesty. Bad - bad - bad!

Both delighted with & ashamed of my ABT,

Natalia Nabatova

Washington, DC

[Tammy Spadina]

"... Worst of all -- almost comical -- was the 'boob-wiggling' (torso shaking) of the Polovetsian Girls in the section when they advance to the footlights..."

Um, in my "street groove" aerobics class the teacher calls that move "the shimmy". I, too, wondered what it was doing up there on stage.

[Natalia]

"... Worst of all -- almost comical -- was the 'boob-wiggling' (torso shaking) of the Polovetsian Girls in the section when they advance to the footlights..."

Um, in my "street groove" aerobics class the teacher calls that move "the shimmy".  I, too, wondered what it was doing up there on stage.  

<{POST_SNAPBACK}>

Yes, Tammy -- and it's repeated a couple of times during the number. My husband -- and 'old-time Kirov regular' -- laughed his hair off whenever the 'Wiggling Herd' would advance...particularly effective because our season seats are front-row center!!! "Here they come again!" hubby would say, with mock-fear..."Yesho raz! Ya bayuz!"

[perky]

Just imagine Natalia if it was in 3D!!

[Ari]

Discount tickets for Wednesday's performance of Swan Lake (Herrera, Bocca) will be available at TICKETplace from 11 am to 6 pm. Price is $42.80. TICKETplace is located at 407 Seventh Street, NW (between D and E Streets), between the Gallery Place (Red Line) and Archives (Green/Yellow Lines) metro stations. They accept only credit and debit/ATM cards for payment.

[Natalia]

Did anyone else go to the to-be-telecast 'Swan Lake' opener last night (Murphy-Corella)? I was there.

Wonderful performance although I'll open yet another can of worms by saying that the once-in-a-lifetime grandness of the Act I Pas de Trois by Heman Cornejo/Erica Cornejo/Xiomara Reyes was the apex of the night, never to be regained, not even by the two leading dancers.

I wonder if the exultant 'bravos' and "whoo-hoos" for Cornejo/Cornejo/Reyes will be magically 'toned down' (edited) for the PBS telecast, to not 'compete' with the milder bravos for Corella & just-polite cheers for Murphy? I actually felt a bit embarrassed and sad for the two leads...they were rather outstaged by the pas de trois dancers.

Fabulous corps...and -- yes! -- we will have not only the glorious Stella Abrera & Michelle Wiles on tape as the two 'Big Swans,' but also the delectable Zhong-Jing Fang as the Hungarian Princess. Not to be forgotten: the sexy & elegant Marcelo Gomes' Von Rothbart in the ballroom act! Murphy's performance of the rarely-seen mime for Odette, in Act II, will also be a gem for any serious collector of ballet tapes/DVDs. 'Tis a broadcast to which I look forward.

I wonder if the later performances of this cast (tomorrow & Sat. nights) will also be filmed, to allow Murphy & Corella two more chances to dance their respective 'Black Swan' solos cleanly (and for Murphy to do a series of fouettes without the traveling)?

No need to re-film that once-in-a-lifetime, brilliant, energetic Pas de Trois, though. That's a 'keeper'!

Natalia Nabatova

Washington, DC

[paolo]

Yes, both Thursday and Saturday night performances are also being filmed.

[paolo]

I found Meunier disappointing, even in such a small part. Her body does not seem at all suited to ballet IMO, and she's too heavy to be delicate and too weak technically to be powerful.

I agree whole-heartedly with Hans. Have always been curious what people see in her.

[paolo]

Anyone seeing Danny Tidwell or Zhong-Jing Fang, please announce it at the very top of your commentary.

DANNY TODWELL- should have shaved his arm pits! Otherwise, he was fine, but wobbly at entrance. Very talented dancer, but Cornejo was far superior.

[koshka]

Wonderful performance although I'll open yet another can of worms by saying that the once-in-a-lifetime grandness of the Act I Pas de Trois by Heman Cornejo/Erica Cornejo/Xiomara Reyes was the apex of the night, never to be regained, not even by the two leading dancers.

So true. The pas de trois was just fabulous while the rest was good, but not fabulous IMO.

Murphy's fouettes were odd: she started off at a stunning, blazing pace--triples every third or fourth turn and spot on--but in the second half traveled forward like crazy and barely seemed to be holding on.

[Natalia]

I found Meunier disappointing, even in such a small part. Her body does not seem at all suited to ballet IMO, and she's too heavy to be delicate and too weak technically to be powerful.

I agree whole-heartedly with Hans. Have always been curious what people see in her.

<{POST_SNAPBACK}>

Paolo, I certainly agree with you about her untraditional 'ballet body.' However, I saw enough of Meunier's dancing during her glory-days at NYCB to understand why she has such a following. The lady has the Soul of Dance in her body...the energy...the 'oomph' that she gives to allegro roles. My goodness, Monique Meunier stirred every heart in the New York State Theater whenever she danced the 4th movement of 'Brahms-Schoenberg' or her portions of the Edinburgh Tattoo section of 'Union Jack'! That's when I remember why I love ballet so much. Meunier is a miracle of dance!!! Just as last night's 'Swan Lake' pas de trois dancers (incl. Herman Cornejo) totally stirred our hearts....it's that rarely-felt wish to jump out of your seat and dance the rest of the night yourself.

[sorry but I am totally in a state of Happy Adrenalin on the sheer power of the pas de trois last night!]

Alas, I'll see Meunier here just as one of two Big Swans on Saturday afternoon...and some folks will see her tonight as -- ugh -- the Queen Mother.