Opening Night Gala: Met Season

[carbro]

Anyone go?

[Tomatonose]

Yes! I just got back from it. Here's a review while it's still fresh in my mind:

Le Spectre de la Rose: Herman Cornejo, Xiomara Reyes

I don't remember much of Xiomara since it's a minor role, but Herman definitely impressed me. This was the first time I've seen him dance in a lead role. I was surprised by how small he is, but since Xiomara is even smaller, it didn't look weird. Herman has quick and nimble feet, but the best part was his double turns en air.

For the sequences of two double jumps, he actually did the first double jump in one direction, and then switched directions for the next one--all without the slightest stumble! His Spectre was mischievous rather than mysterious, charming rather than haunting, and it worked really well.

Swan Lake Act II PDD: Julie Kent, Vladimir Malakhov

It's hard to believe, but Julie Kent was actually better than when I saw her a few years ago before she had the baby! That time I saw her paired with Angel, but I think that Vladimir is a much better partner for her because their styles are more compatible. The two of them were the epitome of classic elegance and maturity. Julie's long neck and arms truly made her a swan, and she and Vladimir have great chemistry. Everything was so secure and sincere. Absolutely beautiful.

Polovtsian Dances

I found this number very refreshing. It's more folk dance than ballet, and it was performed really nicely. The orchestra was absolutely fantastic, as were the costumes.

Savion Glover dance

Savion Glover was AMAZING!!! I have mixed feelings about the piece though. I understand that the idea was to mesh two different eras and styles. (He danced to a Smetana opera while wearing a regular untucked dark button down shirt and black pants. The stage was bare except for a square in the center on which he did all the dancing.) I admire the desire to take risks and try innovative things, but I just didn't feel like it worked this time. Rather than creating synergy, the two styles clashed in an uncomfortable and awkward way. Still, Savion is the best!!

Carmen PDD: Alessandra Ferri, Julio Bocca

Even in a profession where all the women have beautiful legs, Alessandra's manage to stand out. Her legs are probably the most beautiful in ballet--long, gorgeously extended, with a great curve in the foot adding to the line. Most of Alessandra's dances are in long skirts (R&J, Giselle), so you don't see that as much. It's so unfair--How can a 40 something year old with kids look so great in a leotard?

Anyway, about the performance: She and Julio have great chemistry. They dance with maturity and confidence that can only come with many years of experience dancing together. I really can't see any other couple doing this piece so well.

Don Quixote Suite

This was a smorgasbord of DQ sections, arranged in a really odd order and featuring many Kitris and many Basilios.

1. Act III Classical Ladies

Don't have much to say about this. Pretty much what you would expect.

2. Adagio from Act III PDD: Diana Vishneva and Jose Manuel Carreno

Diana Vishneva is heavenly! Long arms and legs, great extension, complete fluidity in every single move. That said, I don't think this is the best ballet to show off her abilities because she's not a firecracker. I was reminded by a great line from Julie Kent about why she has trouble with Kitri: (paraphrase) "I have no Latin in me; I'm just too white!" I thought the same thing about Diana. I think the lack of "Latin fire" was made more evident by being partnered by Jose Manuel, who does have that Latin fire and was superb as always. That said, she still managed to impress me a lot; I can't begin to imagine how great she'll be in Swan Lake!

3. Basilio and the Flower Girls from Act I: Maxim Beloserkovsky, Erica Cornejo, Maria Ricetto

Don't remember much about this. It was really really short. It's hard seeing Maxim without Irina--I miss her so much and hope she's ready to dance again in the fall!

4. Kitri Variation from Act I: Gillian Murphy

Gillian Murphy, along with Sofiane Sylve, are probably the two most technically proficient ballerinas in NYC today. Gillian lit the place up. Her footwork was blazing fast, and her jumps were so springy. She is definitely a firecracker! This is a great role for her because it showcases her excellent technical ability without requiring the qualities I feel she lacks--namely, maturity in interpretation and total-body fluidity. The piece was very short, but it made a huge impression. Can't wait to see her in the full version!

5. Mercedes and the Toreadors from Act I: Carmen Corella

I was disappointed to learn that Veronika Part, who was listed on the program, was not able to dance tonight. Carmen did a great job though. This role requires a lot of confidence and a certain attitude, and Carmen definitely had that.

6. Espada Variation from Act II: Marcelo Gomes

This was listed on the program, but it never happened, and Marcelo never danced tonight.

7. Kitri Variation from Act II: Paloma Herrera

Paloma was fine tonight, but something seemed to be missing. I've seen her do DQ with an enormous amount of fire. Tonight she quite frankly looked bored and lacked that infectious energy. She didn't do anything wrong, but it just wasn't as exciting as her past DQ's.

8. Basilio Variation from Act III: Carlos Acosta

This is the first time I've seen Carlos Acosta dance, and I wish the piece had been longer, because I didn't get to see enough to form a strong impression of his dancing style. I do remember that it was very well executed and had nice jumps.

9. Kitri Variation from Act III: Xiomara Reyes

Xiomara's dancing was very good; it was crisp, clean, and secure. Likewise her interpretation: she was cute, playful, bubbly, and charming. The thing that bothered me was that Xiomara looks SO young. From my seat, it looked like a 12 year old was trying to be flirtatious and act grown-up, and that made me a bit uneasy.

10. Coda: Michele Wiles, Angel Corella et al

Michele did a double or triple pretty much every other fouette. I admire and respect Michele for trying so hard and giving 150% in the performance, but it looked like she might have tried too hard this time. She lost her footing at one point, and her fouette's traveled around the stage in a big serpentine pattern. At one point I was afraid she would fall into the pit. Her form (particularly her shoulders) also suffered as a result of her being so fast and trying to do so many. I would have been more satisfied if she had done 32 solid singles, as we know she can do, rather than throw in so many doubles and triples. But you're not going to get better if you don't try, so I still give her props.

Angel was amazing as always. He sort of danced like he could do it in his sleep, but he was fantastic nonetheless. Angel is wonderful.

Edit: I just remember a weird moment in the last DQ piece. Jose Manuel came out as Basilio and danced a short while, but then Angel came in and replaced him. It was just weird--as if Angel wasn't ready to go out when the music started playing, so Jose Manuel covered for him for 10 seconds.

Edited May 24, 2005 by Tomatonose

[fandeballet]

NOTE: the number before each entry is its place in the order of the Gala.

(4)For my money, Savion Glover was the best. He tapped to music by Smetana. Unbelievable!!!!!!!!

(1)Herman Cornejo and Xiomara Reyes performed in Le Spectre De La Rose. It was a well-danced performance. Herman was very clean and had the right "weight" for the role.

(3)The Polivetsian dance has some wonderful costumes. Genadie Salavev was in the lead with Misty Copeland. Another clean and nice performance.

(5) Carmen Suite with Bocca and Ferri. Another clean and well danced performance. And there was definitely some heat given off by this amazing couple!!!!!!

(6) Don Quixote was a mishmash of different adagios and variations. Marcelo Gomes and Veronica Part did not dance The Matador and Mercedes. Sascha Redevsky and Carmen Corella performed well.

Correno and Vishneva the 1st part of the Act3 PDD. Carlos Acosta and Jose Correno did the the 1st two male codas. Angel did the "male fuoette turns". Acosta was not leaping as high as he was capable of doing. Correno was his usual elegant self. Corrella danced some additional variations. He resembled a whirling dirvisch.

Reyes had a wondefully long balance in Kitri's 1st variation. Michele Wiles had a little trouble staying on point for a split second. But, she recovered, and had nice fast tempo with the fouette turns. Maxim danced with theFlower Girls from act1. He brought out Gillian Murphy in her Act 1 variation with the jete leap with her back foot extending to almost hit the back of her foot.

If I forgot something or someone, please Forgive me!!!!

It was a cleanly danced performance. But the sparks were in short supply.

[ami1436]

Wow, the list of Kitris and Basilios, while drool-inducing, also seems to be a bit confusing!!!!

[richard53dog]

Wow, the list of Kitris and Basilios, while drool-inducing, also seems to be a bit confusing!!!!

<{POST_SNAPBACK}>

Well, you sort of did need the program to keep track, particularly all the late substitutions.

I was following ok until the coda when Carreno came out. Huh? This is supposed to be Corella. What's up? But then after Wiles' sort of out of control fouettes, Corella did come out. Was he not ready? But he seemed very assured.

The Polovtsian Dances. Lots of spirit and energy, but how could they do this without a chorus? They had a female soloist for the start but that was it. I think this was commented on when they did this earlier in the year (in DC?) Maybe they need a virtual chorus!!!

Still I was glad I went.

Richard

[Giselle05]

Did you notice, in the Grand Pas from Don Q Suite with Carreno and Vishneva, as she was turning in his arms, something happened, and she sort of started to fall in his arms and he almost couldnt catch her, so they made it into this long back bend..it was funny. At the end, when all the female principals were doing grande jetes in a line, Vishneva almost landed on Reyes' feet, who looked stunned and tripped a little bit. I agree, Herrera didn't have the spark she usually has in this ballet, perhaps she was saving for tonight?

Bocca and Ferri were absolutely incredible. I am literally at a loss for words. They are so in sync, so perfect together, and they truly seemed to be dancing for each other and not the public. Yes, there was some heat!!! Heat doesn't even sum it up :blush: They were nose to nose almost the entire time. The partnering was so easy, clean, and powerful- Alessandra looked like she was just floating through the air..and her legs are so gorgeous!!! At their curtain call, they shared an adorable kiss as he presented her with flowers

La Spectre de la Rose failed to move me. Cornejo has nice jumps, nice line, but something just isn't there for me. I don't think that he and Reyes have very good chemistry- at least it wasnt evident last night. I feel like the piece should be much more mysterious and romantic than they made it.

I loved Kent and Malakhov, as I always do. She embodies the White Swan for me, she is so lyrical and beautiful. They look so great together on stage.

I thought Abrerra was very pretty in Polovtsian Dances. It didn't showcase her that well but she looks like a very beautiful dancer- I've never seen her in anything else but Sinfonietta.

Hmm...I think that's it for now. Overall I thought it was a very successful evening...and so glamorous!

[accob]

Why Giselle05, you really summoned it up well! I agree with everything you said. :-)

Especially happy about my favorites :-) They truly are an amazing couple. They had so much class.

Did anyone else feel like something was really missing...something like...perhaps, Nina?

[carbro]

Did you notice, in the Grand Pas from Don Q Suite with Carreno and Vishneva, as she was turning in his arms, something happened, and she sort of started to fall in his arms and he almost couldnt catch her, so they made it into this long back bend..it was funny.

<{POST_SNAPBACK}>

I think the glitch with Vishneyva and Carreno was just a missed signal -- she thought she'd finished the supported pirouette, while he anticipated another rotation. The DonQ Suite was fun, partly in spite of, partly because of the chaos of it all. Individual performances were of varying quality, few at "gala level." But the sight of three Basils holding three Kitris in overhead arabesque while the orchestra held the note will not likely be seen more than once in my lifetime.

La Spectre de la Rose failed to move me. Cornejo has nice jumps, nice line, but something just isn't there for me.

Really? I just loved Herman's Spectre. He transcended his human form and became the scent of the rose -- an intangible, nebulous, sensed thing, even in partnered passages, when he seemed to be the girl's trance. It was such a high artistic achievement that technique almost seems beside the point, but I will repeat that he did clean double assembles in both directions. I would really urge people to see him in this. Did I think Reyes met him at his emotional level? Unfortunately, no.

Loved Savion for the number's originality and his amazing, thrilling dancing.

Did anyone else feel like something was really missing...something like...perhaps, Nina?

<{POST_SNAPBACK}>

Nina's absence from the New York season had been announced. I was deeply, deeply disappointed that three of my faves (Gomes, Part and Erica Cornejo) did not make their scheduled appearances and that Meunier wasn't even scheduled.

[Greg]

I agree, Herrera didn't have the spark she usually has in this ballet, perhaps she was saving for tonight?

<{POST_SNAPBACK}>

I agree with your evaluation of Paloma at the Gala but she more than made up for it Tuesday night in the full length DQ with Angel Corella. I never saw her so quick, energetic and fiesty. Also, I never saw a ballerina balance for as long as she did. When she came out stage door everyone said she must have set a record. The crowd was wild for it.

I have no idea why Paloma was so bland at the Gala.

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