ABT at Kennedy Center, January 9-14

[Kanawha]

I am still bleary eyed after going last night, getting home late, and rising at 5:30 this morning for work. Oh, why didn't I take today off? But here are my takes on last night.

For me it was the best mixed program ABT has brought here for awhile as far as ballet choices. It was a very blalnced blend. (Sounds like coffe doesn' t it...hmmmm I must need another cup.) I'll leave the technique observations to the more knowledgeable on this board but I thought the corp in the 'Shades' did a beautiful job. Jose Manuel Carreno looked stronger than Paloma Herrera last night but they partnered together nicely and Paloma's lightning turns didn't miss a beat. The shades soloists were Copeland, Abrerra, and Part. I liked all three but I am still trying to warm up to Part. Is it her height? I'm not sure.

How have I missed "Dark Elegies" in the many years I have been seeing ABT? It has replaced "Leaves are Fading" as my favorite Tudor ballet. Julie Kent's solo especially moved me to tears. Does anyone remember if it has been done here in the last 20 years or so? If so, shame on me for missing it.

Lastly, "Rodeo" with it's bright, energetic score - is there a better actress at ABT than Xiomara Reyes? She was a very believable Juliet and I don't think Agnes DeMille herself could have been a better cowgirl. Who would have thought a Cuban trained dancer could have captured so well the American essence of this work. And kudos to Sasha Radetsky for his cowboy boot tap dance. All in all, a very satisfying evening for me that sent me home happy.

It's been ten years I think since I saw "Othello" and I don't remember much of it so I am looking forward to it. But I wish I was going to see the mixed program again tonight!

[Natalia]

Kanawha, I agree with almost everything that you wrote about the evening. Carreno was superb. Herrera sizzled in the coda but had an 'off night' during most other sections, especially those turns while holding the scarf.

The three shades were fine, although Stella Abrera (Shade #2) was SPECTACULAR; that's as perfect a rendering of the cabriole solo as I've ever seen, including my many viewings at the Mariinsky Theater. She actually managed to make this a 'floaty' solo, whereas most interpreters go the stacatto ('chop-chop') route. Brava, Stella!

Sorry to disagree with you about Shade #3, Veronika Part, who I find very warm with her stately, lush manner. Although she bobbled a bit in her developes (1st and middle sections of the solo), she has a presence and grandeur which made me think: "Isn't SHE the Nikiya that Solor is seeking?" It's impossible not to notice Part and admire her beauty!

Misty Copeland was a last-minute replacement for the indisposed Renata Pavam, as Shade #1.

The corps ladies were fantastic, especially considering that this is their first performance of this ballet in three or four years; I could see the Russian nuances and phrasing in the middle section of their entrance scene, as they stood in rows facing the audience. ABT Shades never used to phrase and 'breathe' like that; they used to be lickety-split right in time to the music, a bit like soldiers. They now seem to take a more poetic approach. Is their corps coach a Russian? Great job!

I believe that 'Dark Elegies' was part of a 'Tribute to Tudor' mixed bill in the mid-1980s that also included 'Dim Lustre.' [Now THERE'S a Tudor ballet that I'd love to see revived!]

Reyes is a magnificent comedienne-ballerina! She really sparkled, as did the rest of the 'Rodeo' ensemble.

Can it be ten years since 'Othello' premiered? Time flies.

[Kanawha]

Natalia, I know Susan Jones does most of the corp coaching but I believe that Irina Kolpakova may have had a hand in it, too, to add that Russian touch. Bravo to the corps.

[carbro]

Thank you, Kanawha and Natalia. I was so pleased to read your reviews.

ABT has danced Dark Elegies (in mostly well-shaded performances) during its last two City Center seasons. It is a magnificent work.

I have wondered if its presentation of Dark Elegies together (as both seasons have offered) with The Green Table are ABT's way of commenting on the US's current role in the world.

[Natalia]

...

I have wondered if its presentation of Dark Elegies together (as both seasons have offered) with The Green Table are ABT's way of commenting on the US's current role in the world.

Not just ABT, carbro. Everybody seems to be presenting these sorts of ballets on their DC tours. The Royal Ballet dusted-off MacMillan's "Gloria" last summer. Paul Taylor brought his new anti-war work, "Black Vultures," in December; the leading character -- the manipulating businessman in the dark suit -- is supposed to be President Bush himself, as Taylor explained in a post-performance chat with the audience! [Personally, it's the Vice President who came to my mind...but if the choreographer himself says that it is Bush, so be it!]

Let's not forget that the Joffrey Ballet, too, is currently performing 'Green Table.'

[Natalia]

I went to last night's (Wednesday) performance, too. The performances were, overall, perhaps a notch or two below the quality of the opening night but still quite wonderful. It's just a crying shame that the DC public doesn't turn out for such mixed bills; there were many empty seats on Tuesday but, last night, the 2nd tier was probably one-third filled. Absolute shame. But those who went to the show were richly rewarded with glorious ballets & top-quality dancing.

In "Rodeo," Marian Butler offered a very different, somewhat softer approach to the Cowgirl. For example, Butler appeared more feminine than Reyes in the opening scenes with the cowboys, so there was no doubt that she'd be a 'smash' when she changed into her frilly dress for the last scene. Craig Salstein's 'tapping' in the final scene was out-of-this-world fantastic, maybe even better than Radetsky on opening night! [To me, it was apparent that the 'tap dance' differed on the two nights. Salstein's dance went on for a longer time...perhaps twice the time of Radetsky's! Did the choreographer, DeMille, allow for improvisation in this part?]

"Dark Elegies" was just as moving this time around...although, I hate to say, it moved some people to snoring. Yes, a fellow sitting behind me snored lightly throughout the second half of the work. Applause was minimal. What the heck?

"Bayadere Shades" was magnificent, if not perfect. It was a delight for me to see the lovely Irina Dvorovenko as Nikiya. Unlike Herrera on Tuesday, Dvorovenko was spot-on in her balances & pirouettes during the 'scarf solo' BUT I was alarmed to see quite a few bobbles during the second pas de deux (the section during which the shades form a semicircle behind the pair, while reposing on the stage). Carreno seemed to be struggling during the big 'swan lift'; he appeared relieved when he could lower his Nikiya to the ground. Odd - Carreno is one of the biggest and strongest male principals at ABT and Dvorovenko, while tallish, is reed thin. Perhaps this is the first time that she was being partnered by Carreno? Quick - send Max to the rescue!

The solo shades were all fantastic. Sarah Lane a bright, sparkling 1st Shade. Maria Riccetto an elegant 3rd shade; what gorgeous hands this dancer has! But top honours, yet again, go to the 2nd shade - Yuriko Kajiya was soft and precise in her cabriole variation, almost as good as was the divine Abrera the previous night. I'd love to see Kajiya in more & more soloist-level roles; she was a delectable stand-out as one of the demi-soloists in 'Symphonie Concertant' at City Center last fall. Where has ABT been hiding this wonderful dancer?

[paolo]

It was Marian Butler last night as the cowgirl. Her sister, Martha Butler, was with the company about five years, retired a few years ago and did a wonderful cowgirl herself.

[Natalia]

I wonder if the relatively-low public for the ABT mixed bill is due to the fact that it was a mixed bill (& not a classic full-length work) or, perhaps, due to the glut of top-rate troupes coming to DC in a short amount of time? Perhaps the occasional ballet-goer with not-so-deep pockets is saving his/her dollars for the Kirov next week and the Bolshoi next month?

It will be interesting to see how 'Othello' does at the box office during the weekend. Yes, it's a full-evening work but it's a modern ballet (not one of the classics). Likewise, it would be interesting to see how the Bolshoi's new "Cinderella" does compared to good ol' "DonQ" which is virtually guaranteed to sell-out the house (if it hasn't done so already)....I heard that the Osipova performance is close to selling out.

Triple bills normally do not fill a huge opera house BUT last night's showing was low for a major ballet company, even by normal standards.

[Helene]

It will be interesting to see how 'Othello' does at the box office during the weekend. Yes, it's a full-evening work but it's a modern ballet (not one of the classics). Likewise, it would be interesting to see how the Bolshoi's new "Cinderella" does compared to good ol' "DonQ" which is virtually guaranteed to sell-out the house (if it hasn't done so already)....I heard that the Osipova performance is close to selling out.

Given the number of people who attended Balanchine's Don Quixote and wondered where the pretty music went, I suspect that many people won't distinguish between the new Cinderella and what they might be assuming it is. (Until they walk away scratching their heads, that is.)

[aurora]

Lastly, "Rodeo" with it's bright, energetic score - is there a better actress at ABT than Xiomara Reyes? She was a very believable Juliet and I don't think Agnes DeMille herself could have been a better cowgirl. Who would have thought a Cuban trained dancer could have captured so well the American essence of this work.

my answer is Yes! many of them, including Veronika Part, at least on the strength of her Swan Lake, and Gillian Murphy when not in the "classic" roles--but in works like Cindarella, and as the gf in Manon

Is this a common perception of Xiomara Reyes? I see someone seconded it below.

I've avoided seeing Reyes the last few years because I felt just the opposite--She seemed to me to be unrelentingly perky and have a grin perpetually pasted on. She is a dancer I have not managed to warm up to at all.

I can see her in "cute" roles, and can believe she was well-suited to the cowgirl, but she never seemed to have much emotional depth to me. Then again, as I said, I've generally avoided seeing her in major roles because of this, so my opinion is admittedly based on limited experience

I'll try to give her another chance this spring at the MET. I'd be interested in hearing more opinions on this however.

[koshka]

I think the sparse attendance for the mixed bill (and, I'm expecting, for Othello) is in no small part due to the fact that the Kirov will be here in just one week doing R&J. Budgets for money _and_ time are limited, and the Kirov retains its "exotic" aura to many. R&J is, of course, better known to boot.

About Tuesday: loved Shades. It was beautifully done, and it was lovely to see it 2.5 times (1.5 times at the open rehearsal and once in performance. The corps was spectacular, as were the soloists.

Dark Elegies doesn't do it for me, but then I guess my tastes in ballet are shallow: I come to see beauty and artistry, not brooding and/or political statements (a la Green Table, which had its merits artistically but was not otherwise that compelling to me). I suppose one could have a long philosophical argument about what Art is supposed to be and do, but...those are my tastes. Give me an abstract Balanchine piece any day.

I enjoyed Rodeo, but it seems like we've seen it several times recently at the Kennedy Center, and a part of me just kept thinking <whine> but I want to see Western Symphony for once</whine>.

Now, a couple of questions:

About the tap solo in Rodeo: is it expected that a top male dancer can pick up tap, or is it a requirement for the role, or can something else be done instead, or???

About the Bolshoi's Cinderella: Is this the same production we saw a couple of years ago (which, IIRC, was a relatively new staging) or something altogether different?

[Natalia]

I....About the Bolshoi's Cinderella: Is this the same production we saw a couple of years ago (which, IIRC, was a relatively new staging) or something altogether different?

Koshka, you're probably thinking about the Kirov's "Cinderella," seen at the KennCen in early 2005. The Kirov version, premiered in 2002, is by Alexei Ratmansky, who now happens to be the AD of the Bolshoi Ballet. The Bolshoi's version -- which premiered a couple of years ago in Moscow, early-on in Ratmansky's directorship -- is by Yuri Posokhov. Having seen both versions, my hunch is that the KennCen audience may prefer the Bolshoi version, because of its production elements, which would even delight children, e.g., a dancing tea set. Some would say 'Disney-esque'? The Kirov's is a more spartan staging -- Cinderella meets Pierrot Lunaire -- and a bit more sophisticated in feel than is the Bolshoi's, although that's really up to the viewer to decide. I found the Kirov's more mature but others see the Bolshoi's use of the character "Prokofiev" as a fairy godmother, helping his Cinderella (based on Prokofiev's wife), as a mature adult subject. We'll have lots to discuss on this board in February, I'm sure.

[Natalia]

The corps ladies were fantastic, especially considering that this is their first performance of this ballet in three or four years; I could see the Russian nuances and phrasing in the middle section of their entrance scene, as they stood in rows facing the audience. ABT Shades never used to phrase and 'breathe' like that; they used to be lickety-split right in time to the music, a bit like soldiers. They now seem to take a more poetic approach. Is their corps coach a Russian? Great job!

I'm quoting myself because, lo and behold, today's Washington Post review by Sarah Kaufman reveals the 'secret': Natalia Makarova was brought in to coach the corps of shades this past autumn! Last night, on second viewing, the 'Russian breathing' quality of the interpretation was even more apparent. For example, before raising arms, those arms would first 'take a breath,' so to speak -- arms would slightly come in, as if a breath is being taken, then expand out. That's what the Kirov ladies do.

Perhaps this is how the ABT corps performed Shades when Makarova originally staged the production ca 1980? I never saw it then but, by the 1990s, when I saw it, the ladies were performing Shades in a straight, uniform quality, as if counting in time -- precision above poetry. The poetry is now back.

[bart]

The Bolshoi's version -- which premiered a couple of years ago in Moscow, early-on in Ratmansky's directorship -- is by Yuri Posokhov. Having seen both versions, my hunch is that the KennCen audience may prefer the Bolshoi version, because of its production elements, which would even delight children, e.g., a dancing tea set. Some would say 'Disney-esque'?

As is former Bolshoi star Vladimir Vasiliev's version for State Theater of Voronezh, currently being toured in the US, with its 7 Dwarves (actually 12 "gnomes.") Is there a Russian -- or specifically "Bolshoi" -- tradition of this child-friendly fairytale approach prior to Posokhov?

[Natalia]

Is there a Russian -- or specifically "Bolshoi" -- tradition of this child-friendly fairytale approach prior to Posokhov?

The productions vary. The 1940s Konstantin Sergeyev version -- performed until the early 90s, when Vinogradov's lush version took over -- featured 24 tiny gnomes representing the hours in the day, so when the clock struck 12, the gnomes pranced in.

The Vasiliev version is also performed by the Kremlin Ballet. It's a very plush (fancy costumes & props) production, if I recall correctly. I saw it in the mid-90s, with Ekaterina Maximova as Cinderella. She defies Father Time!

[bart]

Thanks, Natalia, for that explanation. Parenthetically, I apologize for getting offtopic on this ABT-in-Washington thread.

[carbro]

Lastly, "Rodeo" with it's bright, energetic score - is there a better actress at ABT than Xiomara Reyes?

my answer is Yes! many of them, including Veronika Part, at least on the strength of her Swan Lake, and Gillian Murphy when not in the "classic" roles--but in works like Cindarella, and as the gf in Manon

Is this a common perception of Xiomara Reyes? I see someone seconded it below.

I've avoided seeing Reyes the last few years because I felt just the opposite--She seemed to me to be unrelentingly perky and have a grin perpetually pasted on. She is a dancer I have not managed to warm up to at all.

I had made a point of avoiding Xiomara, too, because I thought she was probably the most annoying creature in all of ballet. But you know what? A friend pointed out to me that I started leaving her performances (all on mixed bills) with comments like, "Not so bad," then, "Pretty good," then "Wow! That was something!" She seems to have been made aware that a large segment of the ABT audience has a low tolerance for super-sweetness. She has pretty much shed all the qualities that I disliked. Of course, there isn't much she can do about her large head, but even that becomes less noticeable when she turns in a good performance. I may never be her greatest champion,. but I have come to respect her -- as I do any dancer who shows such a huge capacity for growth. More often than not, I enjoy her work pretty well. As an actress, I think she has it all over Murphy, who to me seems very cerebral and detached from her characters.

And while I adore Veronika Part, I have absolutely no desire to see her as the girl in Rodeo. If she wants to do a cowboy ballet, I think she'd be delicious in the LeClerq (black hat) role in Western Symphony.

[aurora]

]I had made a point of avoiding Xiomara, too, because I thought she was probably the most annoying creature in all of ballet. But you know what? A friend pointed out to me that I started leaving her performances (all on mixed bills) with comments like, "Not so bad," then, "Pretty good," then "Wow! That was something!" She seems to have been made aware that a large segment of the ABT audience has a low tolerance for super-sweetness. She has pretty much shed all the qualities that I disliked. Of course, there isn't much she can do about her large head, but even that becomes less noticeable when she turns in a good performance. I may never be her greatest champion,. but I have come to respect her -- as I do any dancer who shows such a huge capacity for growth.

Ok--you've sold me--especially since it sounds like we had the same initial reaction to her. And it seems our tastes are somewhat similar generally.

Hopefully I'll get a chance to see her this spring. Sounds like she deserves another chance!

As an actress, I think she has it all over Murphy, who to me seems very cerebral and detached from her characters.

I respectfully disagree on that one. Well, not as compared to Xiomara as I don't have recent experience of her. I think Murphy has acting problems in the classical roles, but when given more comedic roles (cinderella in the new production, the gf/whore in manon, things of that sort) she's really stellar.

It's odd as she is technically strong, and can dance well in the classics, but she seems to have trouble relaxing in them. She comes alive when she gets to ham it up.

And while I adore Veronika Part, I have absolutely no desire to see her as the girl in Rodeo. If she wants to do a cowboy ballet, I think she'd be delicious in the LeClerq (black hat) role in Western Symphony.

hahaha! I did *not* mean to suggest Part as the girl in Rodeo! I was just saying there are other good actresses in ABT. While I disagreed somewhat with aspects of the recent discussion of types and appropriateness, there are just some things that do not seem like a good idea!

[FauxPas]

Actually, Aurora and Carbro, I would recommend seeing Xiomara in the Kudelka "Cinderella". I saw both the Julie Kent/Marcelo Gomes and the Xiomara/Coté cast. Julie Kent as Cinderella was already a finished, mature woman who would easily rise above her woes. Xiomara was a frightened, abused child you wanted to protect. Her transformation in the ballroom was an inspirational moment. Julie was simply entering her natural domain.

Joel Lobenthal's review in the Sun puts it very well:

http://www.nysun.com/article/34077

Xiomara is also enchanting as Lise in "La Fille Mal Gardée" and as Swanilda in "Coppelia" - natural soubrette roles.

However, ABT has cast her in things like "Raymonda" where she has strong technique but her body type isn't such to impart the grandeur the role needs. Her legs and arms aren't long enough. Her Giselle was small-scale this past Spring partnering Julio Bocca's last ever Albrecht. After seeing Diana Vishneva in the role the same season, Xiomara didn't impress me though she had lightning fast high entrechats in the second act.

As Juliet, which I haven't seen her in, she evidently brings a childlike sense of wonder and pathos. I think Aurora could work for since it is a role that can be adapted more easily to a small, soubrettish emploi than to a grand ballerina type like Part.

I was also fond of Xiomara's klutzy ballerina in Christian Spuck's "Le Grand Pas de Deux" who had black-rimmed glasses and a handbag onstage that she couldn't be parted from. Xiomara was a remarkable comedienne there. Her Cowgirl in "Rodeo" exploits her ability with pathos and her comedic side equally.

However, Xiomara is also a very strong technician who can bang out fouettes and pirouettes with the best of them. Some of the "cute" factor is something Xiomara can't help due to her type. But she definitely is a major talent in the right role. ABT has found a few of them for her and "Rodeo" is one of the best.

[paolo]

OK, it's the middle of ABT week in DC and here are my humble oberversations:

WOW, a glowing Sarah Kaufman ABT review. She is often far more critical of ABT than other companies. Maybe she is coming around.

KINGDOM OF THE SHADES

I don't know what problem that letter-writer to Dance magazine this month has with the ABT corps. Since Swan Lake, they are the best they have ever been, and are now, me thinks, on par with the Kirov, Royal and Paris Opera. First night just a little rough around the edges, but Carreno superb. Maybe not as high as before. But, there is no better actor at ABT. Second night corps almost flawless but for unfortunate very first step and the one shade who kept lowering her arms just a tad behind the others. Solo shades all fine but I agree that Abrea and Kajiya stood out. Not sure what all the fuss over Sarah Lane is, she seems fine and pleasant and young.

DARK ELEGIES

Yes, it's an important ballet and very well done, but I just don't need to see this again this decade. All finely done, especially Wiles and Kent. In answer to Kanawa's question- Washington Ballet did it in DC in 2002 or so, with the wonderful Amanda McKerrow and John Gardner.

RODEO

I agree with all the positive comments made about Xiomara. But, not best actress at ABT, at least not until June when Ferri retires from the company. Just for a moment ,she made me forget Kathy Moore in this role. Excellent actess and comedian. Radetsky very good as the tap danicing cowboy but Salstein even better on the second night. He controlled his tendency to be too hammy- using just the right amount of flair to be endearing and not annoying. A far cry from his rocky Neopolitan in Swan Lake. Marian Butler on night two was fine, although, I agree, too feminine to start with. The real treasure of the second night, other than Salstein, was Kelley Boyd as the daughter. She looked beautiful, danced wonderfully and acted expertly. There was not a move, a facial expression, a touch that was not perfect. You totally believed you were watching the rich daughter. Unlike Jennifer Alexander the first night, who brought a haughtiness to the role, Boyd was charming and sweet. I cannot imagine this role better performed.

OTHELLO

I had never seen this before. Color me impressed. Very interesting ballet. The strength of Marcelo and the fragility of Julie made for a wonderful combination. Radetsky at his best ever as Iago, and then there was Herman Cornejo, always a treasure.

As for attendance, it seemed way up for Othello. Although, just this morining they still had those special price seats of 20.07 for 100 seats in the orchestra for all weekend performances. Wed. night I bought one of these tickets, Row K, in the center, on the aisle. I, for one, am worn out by the Green Table, the Taylor Bush piece and Dark Elegies. Maybe others are too. Maybe better publicity would help. Need to attract a younger crowd.

And now for Gillian and Hallberg and Max tonight. Who is Rasta Thomas? (Sat. mat).

[Haglund's]

WOW, a glowing Sarah Kaufman ABT review. She is often far more critical of ABT than other companies. Maybe she is coming around.

KINGDOM OF THE SHADES

I don't know what problem that letter-writer to Dance magazine this month has with the ABT corps. Since Swan Lake, they are the best they have ever been, and are now, me thinks, on par with the Kirov, Royal and Paris Opera.

. . .

OTHELLO

I had never seen this before. Color me impressed. Very interesting ballet. The strength of Marcelo and the fragility of Julie made for a wonderful combination. Radetsky at his best ever as Iago, and then there was Herman Cornejo, always a treasure.

What a surprise that Kaufman review was! I was really expecting her customary (and inappropriate) slamming of the company.

With regard to ABT's shades - they are unique in one regard, and that is the range of physical differences in the dancers. That they can pull off "Kingdom" with such unity and cohesiveness is remarkable.

Paolo - regarding Othello - How was Abrera's Emilia, in particular, her exchanges with Iago?

[paolo]

Paolo - regarding Othello - How was Abrera's Emilia, in particular, her exchanges with Iago?

Stella was focused, dramatic, passionate, gorgeous, and her scenes worked wonderfully.

[ZB1]

(As I am fairly new to Ballet Alert/Ballet Talk, I feel a need to preface this post by stating that I have attempted to see most ballets that ABT has performed in Washington, DC, over the past five years and that I also make a trip to NYC during the City Center season every fall.)

I attended the Tuesday (opening night) mixed repertory and Thursday “Othello” performances. Although I much preferred the former, I was deeply impressed by the latter. I’ll take the mixed repertory ballets one at a time and save “Othello” for my next post.

A note on the empty seats: I sat in the first tier on Tuesday and, from my vantage point, orchestra was quite full. The box tier, however, was strangely empty (those are the most expensive seats, so I suppose those who buy them must be willing to pay the money – although I thought that the Kennedy Center would be able to fill in the gaps by distributing box seats to its own employees). The sides of the first tier were also almost empty (I can’t comment on the second tier).

I am just speculating here, but I think part of the problem is that the Kennedy Center greatly reduced the number of $10 student tickets it sells for each performance and decided against selling last-minute (after 6 PM) tickets to students at half price. I have friends who wanted to go on Tuesday or Wednesday nights and even made the trip out to the Kennedy Center only to be told that they could not buy the 50% off tickets even if seats were still available (the $10 tickets sold out the day they went on sale in early January, which – in my experience with buying these tickets – has never happened). I wonder why the Kennedy Center decided not to sell half-price tickets on Tues. and Wed. nights even after it became apparent that many of the seats were unsold even 30 minutes before curtain??? This makes absolutely no sense to me (and I have a bit of a background in arts administration). I myself am willing to pay quite a bit to see ballet, but other friends who are graduate students and have an interest in (rather than a love for) the art cao their ballet spending at around $25 per performance.

But moving on to the actual performance (Tuesday night – mixed repertory). Overall, I thought the quality of the dancing was incredibly high, and the entire evening (and open rehearsal, which I also attended) was a pleasure from start to finish. I agree with most (if not all) of Sarah Kaufman’s review – and since, in my opinion, she is usually unnecessarily harsh in her critiques of the company, ABT must really have done something right!

“LA BAYADERE ACT II”

I saw ABT perform the full-length ballet at the Kennedy Center three years and vividly remember thinking that the corps looked like an absolute mess. The entrance of the shades was especially cringe-worthy. But now, I was mesmerized by what I saw – I could not believe that it was the same company that I saw in 2004! Makarova must be quite the miracle worker, as I have never seen a finer performance of “La Bayadere” – neither in the US nor in Russia. The dancers moved together so beautifully that I found myself barely breathing during the entire ballet.

Out of the three soloists, I also found Stella Abrera to be the most compelling. She has long been one of my absolute favorite dancers at ABT, and she has made very role she has danced her own. (As a side note, I’ll just say that I dearly wish to see her leading a full-length classical ballet – or am I completely off the mark in thinking that she could be perfect in “Giselle” or even “Swan Lake”?)

I must admit that I am one of those who cannot see what it is that people love about Veronika Part (although I have never seen her dance the lead in a full-length ballet, so my impressions are from the smaller roles in which I have seen her). In this ballet, she seemed incredible cold and detached to me – somehow, she gave me the impression that she would rather be anywhere else than on stage.

Paloma Herrera and Jose Manuel Carreno were both very good; the latter still has the most controlled and technically perfect pirouettes I have ever seen. And he still knows how to wow an audience with ease. (Why am I writing still? He cannot be that old!)

“DARK ELEGIES”

A fine ballet, and truly moving performances (especially from Julie Kent). I have never seen “Dark Elegies” before, so I was glad that I was finally exposed to the ballet. Nonetheless, after the open rehearsal and the performance, I must say that I respect the work more than I like or enjoy it. Maybe that’s because it is too heavy to take in twice in one day?

“RODEO”

Another new ballet for me (somehow I missed it in NYC in both 2006 and 2005) – and what a delight it was! Xiomara Reyes and Sascha Radetsky were absolutely perfect in the leads – they really brought the comedy and warmth of the ballet to the surface. Radetsky’s tap number almost made me jump out of my seat – I could not believe that it was that good! The corps couples really excelled in this one as well; every one seemed to enjoy his/herself so much. I could certainly see why!

Up next: Thursday’s “Othello,” with Gomes, Kent, Radetsky, Abrera, and Cornejo

[Hans]

Paolo, Rasta Thomas is a graduate of the Kirov Academy who guested with the Kirov Ballet for a while, but now as far as I know he mostly does free-lance work.

[beck_hen]

You all are whetting my appetite for the Met season! And it would only be carping to say I find Hallberg and Gomes better actors than Carreno, or the former soloist Erica Cornejo the best Cowgirl—an embarrassment of riches at ABT now. I'm glad people are noticing Abrera and Kajiya because they are my favorites as well. How will they be cast in Sleeping Beauty... I think Kajiya would be lovely as Princess Florine.