36 replies to this topic

[ksk04]

Tonight was apparently Carlos Lopez's final performance with the company. At the curtain call, many of the dancers brought him before the curtain and tearfully applauded him. Lopez was also in tears, and Gomes gave him a big hug. Anyone know if he is joining another company?

Wow, did not see that coming, though am not surprised. I did a google search and pulled up this blog entry on his website: http://www.carloslop...29_Changes.html which seems to allude to his departure.

[Batsuchan]

Well, I got my wish!

I don't have enough superlatives in my vocabulary to describe the stupendous performance I just saw. They need to invent a medical term that means "smashed to smithereens by Diana Vishneva and Marcelo Gomes"!

As with their "Giselle," as good as their initial performance was, the second performance was on a whole new level. I remarked earlier that they must have been tired for the Saturday performance, and today--I don't know if it was because they were running on a full tank of gas, or because they knew it was their last performance of the season together--but they gave absolutely everything they had to give.

And you could tell that they knew it! They couldn't stop caressing each other after the spellbinding and heart-wrenching Act III pas de deux when they're lying together on the floor, as if they were telling each other, "that was extraordinary!" And at the end, when the curtain went up, they stood there huddled together, clinging together, fully aware of the miracle they had presented to us.

The group of eight I was sitting with absolutely loved it. One admitted she teared up, another felt exhausted (in a good way) from the emotional experience.

During the first curtain call, the whole group of named characters came out at the same time and applauded Carlos Lopez--I guess it's his final performance? That was sad, but sweet and touching.

Bravo, bravo, bravo again to Vishneva and Gomes! If ABT doesn't bring back "Lady of the Camellias" next year, which I highly suspect they won't, can we please, please see them in "Manon" or "Onegin"??? Please??

Oh, and finally, I found this review of the Sat. matinee on ConcertoNet, which I usually read for concert and classical music reviews.
http://www.concerton...?ID_review=7531

I heartily agree!

ETA abatt beat me to it! I agree with everything abatt said!

[Amour]

Vishneva and Gomes were on fire tonight. I thought it was an incredible, brilliant performance. Engrossing and thrilling. This is the most significant partnership at ABT since Ferri-Bocca.

I cannot believe it but I believe you are right about this partnership. Lady of the Camelias is not my favorite ballet by a long shot. The choreography is pretty dull and consists mainly of lifts. However, Vishneve and Gomes were so totally outstanding tonight! At the end of the performance the entire house gave them a standing ovation. I was in the rear orchestra and EVERYONE was standing.

As for the dancing, the lifts by Gomes of Vishneva were executed flawlessly. As in their Giselle, Vishneva seems weightless when Gomes lifts her. I agree, as Batsuchan noted in a post on Giselle, that Vishneva may have lost a bit in the way of flexilbility during the last few years (legs less high, back not as flexible). At 35 she is no longer the whiz kid that I saw with the Mariinsky 10 years ago. However, any loss in flexibility she has more than made up in her increase in dramatic intensity. Her flirtatiousness, illness and love for Gomes were readible even from the rear of the orchestra. I have high hopes that, like Alessandra Ferri, she will continue dancing through her forties and that we will continue to see her dramatic interpretations deepenen with age without much loss of technique. I have not seen Vishneva's partners with the Mariinsky in a while (not until July) but this one with Gomes seems to be getting better and better. While Hallberg may be guesting with the Mariinsky in London this July, I have high hopes that Gomes will similarly guest with them sometime in the future.

As for other dancers, I have never been a particular fan of Veronika Part. However, seeing her this season as both Myrtha in Giselle and, tonight, as Manon, I am changing my mind. I have never seen Part dance so convincingly; her technique was steely strong and her interpretation dramatically arresting. No falling off point (as she did in Sleeping Beauty a few years back). A joy!

Simone Messmer was a lively Prudence, quite strong in her footwork and light and carefree in her interpretation. I found Maria Ricetto rather dull as Olympia and it was hard to believe she would pose much competition to Vishneva as a courtesan. Finally, I noticed Sarah Lane onstage during Act 2 even though she wasn't listed in the playbill. That means she was probably thrown onstage at the last minute. She did an excellent job and I can only hope that she will get more roles commesurate with her abilities soon. At least, tonight, she had the good fortune to dance with her husband Luis.

All in all, a tremendous night!

[mimsyb]

Vishneva and Gomes were on fire tonight. I thought it was an incredible, brilliant performance. Engrossing and thrilling. This is the most significant partnership at ABT since Ferri-Bocca. Tonight was apparently Carlos Lopez's final performance with the company. At the curtain call, many of the dancers brought him before the curtain and tearfully applauded him. Lopez was also in tears, and Gomes gave him a big hug. Anyone know if he is joining another company?

I don't expect to see this ballet back at ABT for a long time. There were many, many empty seats at every performance, and the critics savaged the choreography in the reviews. The performances of Gomes and Vishneva will remain in my memory for a long time.

Empty seats at ABT
Across the Plaza one can see
"Jewels" so bright and danced with glory
Pas de Deux that need no story?

Mearns and Peck and Wendy Whelan
De Luz and Angle Who's complainin'?
Clapping hands could not get much louder
Especially when we watch Miss Bouder!

But at the Met
Across the way
We get this pap from Neumeier
Not for me this "Lady C"
It's best to stick with Mr. B!

To each his own I always say
And better fare is on the way
For on the morrow come the night
We'll get to cross the Stream most Bright!

[abatt]

Empty seats at ABT
Across the Plaza one can see
"Jewels" so bright and danced with glory
Pas de Deux that need no story?

I saw Jewels twice over the weekend across the Plaza, and there were substantial numbers of empty seats there, too. Bad economy? Out of control ticket prices? People enjoying the great outdoors? Not sure of the explanation for this phenomenon, but if NYCB can't heavily sell Jewels - one of their most popular offerings - they need to do some serious analysis of the reasons.

[mimsyb]

Empty seats at ABT
Across the Plaza one can see
"Jewels" so bright and danced with glory
Pas de Deux that need no story?

I saw Jewels twice over the weekend across the Plaza, and there were substantial numbers of empty seats there, too. Bad economy? Out of control ticket prices? People enjoying the great outdoors? Not sure of the explanation for this phenomenon, but if NYCB can't heavily sell Jewels - one of their most popular offerings - they need to do some serious analysis of the reasons.

Last night the house was very much sold! Except for down the side boxes. I got my seat at the Atrium (a great deal!), which to my knowledge ABT does not participate in. Too bad. But you're right. Both companies have escalating prices and will need to address this issue in order to fill the house more.

[Amour]

Vishneva and Gomes were on fire tonight. I thought it was an incredible, brilliant performance. Engrossing and thrilling. This is the most significant partnership at ABT since Ferri-Bocca. Tonight was apparently Carlos Lopez's final performance with the company. At the curtain call, many of the dancers brought him before the curtain and tearfully applauded him. Lopez was also in tears, and Gomes gave him a big hug. Anyone know if he is joining another company?

I don't expect to see this ballet back at ABT for a long time. There were many, many empty seats at every performance, and the critics savaged the choreography in the reviews. The performances of Gomes and Vishneva will remain in my memory for a long time.

Empty seats at ABT
Across the Plaza one can see
"Jewels" so bright and danced with glory
Pas de Deux that need no story?

Mearns and Peck and Wendy Whelan
De Luz and Angle Who's complainin'?
Clapping hands could not get much louder
Especially when we watch Miss Bouder!

But at the Met
Across the way
We get this pap from Neumeier
Not for me this "Lady C"
It's best to stick with Mr. B!

I like NYCB. However, on a good night with a great cast there is no question in my mind that ABT beats out NYCB no matter what they are dancing. Is there any dancer at NYCB who can equal Vishneva, Osipova or Cojacaru? I think not! Similarly, there are no men at NYCB (since Hubbe left) who can equal Gomes, Hallberg or Cornejo. Not to mention we are seeing the superstars Kobborg and Vasiliev this season at ABT.

Balanchine ballets require a certain technique - some think it a style. The classics performed at ABT's spring season, though we have seen them often, demand an enormous degree of strength and a pure classical line. I'd like to see a NYCB ballet dancer pull off a great Giselle. Ashley Bouder was complaining on Twitter when she had to dance Don Q in Russia because there were so many props (guitar, fans, castenets, etc.). After seeing Osipova last year as Kitri, I would say props are the least of that role's difficulties!

Also, there are very few full length ballets at NYCB. Most are about 20 minutes and each usually has a different principal. It's no mean feat to be a principal in a full length ballet and do it 2 times in a week, which regularly happens at ABT.

So, with the wonderful Vishneva and Gomes dancing Camellias last night (in an outstanding performance) I'd rather put up with the "pap" from Neumeier rather than see the well worn "Jewels" (not always danced well) across the plaza.

[Colleen Boresta]

I've wondered myself why ABT doesn't participate in the Atrium discounts tickets. Does anyone know? If it up to ABT or the Metropolitan Opera Theatre? Since ABT only rents the Met, maybe they don't have a choice about whether or not to participate in the atrium discount program.

[FauxPas]

I've wondered myself why ABT doesn't participate in the Atrium discounts tickets. Does anyone know? If it up to ABT or the Metropolitan Opera Theatre? Since ABT only rents the Met, maybe they don't have a choice about whether or not to participate in the atrium discount program.

ABT discounts have popped up from time to time on Goldstar and a few times on TDF group sales in the past. However, the first weeks of the ABT season are usually the slowest. Once the NYCB leaves town for Saratoga in mid-June and the full swing of European tourists hit town - watch out! By the end of the season everything is selling well. I actually felt that on Tuesday night, ABT had a decent 75% or more capacity. Also, I believe that ABT doesn't need to sell every seat at the Metropolitan Opera House to cover its costs and make a profit. The opera can sell every seat and still post a loss, not so the ballet.

[abatt]

I think ABT also sells well later in the season because the kids are out of school by mid to late June.

[lovemydancers]

I think ABT also sells well later in the season because the kids are out of school by mid to late June.

...and the summer intensive students start arriving.

[mimsyb]

I've wondered myself why ABT doesn't participate in the Atrium discounts tickets. Does anyone know? If it up to ABT or the Metropolitan Opera Theatre? Since ABT only rents the Met, maybe they don't have a choice about whether or not to participate in the atrium discount program.

According to the man at the Atrium window, it is ABT's decision, not the Met's. But he may not know the full story. He said they have requested several times for ABT's participation, to be turned down. Who knows? Likewise ABT's (not BAM's) decision during the monster blizzard last Winter not to reschedule any Nutcracker tickets, despite many people's inability to get to Brooklyn due to the storm. Ah well.

[mimsyb]

Vishneva and Gomes were on fire tonight. I thought it was an incredible, brilliant performance. Engrossing and thrilling. This is the most significant partnership at ABT since Ferri-Bocca. Tonight was apparently Carlos Lopez's final performance with the company. At the curtain call, many of the dancers brought him before the curtain and tearfully applauded him. Lopez was also in tears, and Gomes gave him a big hug. Anyone know if he is joining another company?

I don't expect to see this ballet back at ABT for a long time. There were many, many empty seats at every performance, and the critics savaged the choreography in the reviews. The performances of Gomes and Vishneva will remain in my memory for a long time.

Empty seats at ABT
Across the Plaza one can see
"Jewels" so bright and danced with glory
Pas de Deux that need no story?

Mearns and Peck and Wendy Whelan
De Luz and Angle Who's complainin'?
Clapping hands could not get much louder
Especially when we watch Miss Bouder!

But at the Met
Across the way
We get this pap from Neumeier
Not for me this "Lady C"
It's best to stick with Mr. B!

I like NYCB. However, on a good night with a great cast there is no question in my mind that ABT beats out NYCB no matter what they are dancing. Is there any dancer at NYCB who can equal Vishneva, Osipova or Cojacaru? I think not! Similarly, there are no men at NYCB (since Hubbe left) who can equal Gomes, Hallberg or Cornejo. Not to mention we are seeing the superstars Kobborg and Vasiliev this season at ABT.

Balanchine ballets require a certain technique - some think it a style. The classics performed at ABT's spring season, though we have seen them often, demand an enormous degree of strength and a pure classical line. I'd like to see a NYCB ballet dancer pull off a great Giselle. Ashley Bouder was complaining on Twitter when she had to dance Don Q in Russia because there were so many props (guitar, fans, castenets, etc.). After seeing Osipova last year as Kitri, I would say props are the least of that role's difficulties!

Also, there are very few full length ballets at NYCB. Most are about 20 minutes and each usually has a different principal. It's no mean feat to be a principal in a full length ballet and do it 2 times in a week, which regularly happens at ABT.

So, with the wonderful Vishneva and Gomes dancing Camellias last night (in an outstanding performance) I'd rather put up with the "pap" from Neumeier rather than see the well worn "Jewels" (not always danced well) across the plaza.

Well, they are just such different companies! They are not "star based" in any way. One is as likely at times to see a corps dancer doing a solo as to see Mearns. Originally, there were no differences with the dancers. Everyone was listed alphabetically. And ask anyone who has danced "Concerto Barocco" or "Square Dance" as to how difficult is is to maintain THAT for twenty minutes! Many a great male dancer came knocking on Mr. B's door only to return to being a prince somewhere else. And I haven't as yet read any full reviews about Karla Korbes' interpretation of Giselle at PNB, but she was a real product of NYCB. As was the great Peter Boal. And Damian.

It only shows, yet again, that there is surely room for everything in the ballet world. How very lucky we are in NYC, to see a Gomes or Hallberg, or Cojacaru. But also to revel in the amazing choreography of Balanchine.

[abatt]

I think Mearns' Swan Lake is better than almost every one I've ever seen at ABT (excepting Nina, Veronika and certain Diana V. performances). Bouder is one of the most accomplished technical dancers anywhere. The NYCB men are not, however, in the same league as the women there, in my opinion. It's really not fair to compare ABT and NYCB. ABT goes out and hires the big stars from around the world. NYCB's talent is, for the most part, grown from within, and NYCB is a true company of dancers. ABT is a hodge podge of hired guns at the principal level.

I think ABT doesn't want to get involved in the Atrium discount program because once you start offering discounts, people will wait and see if a discount becomes available instead of purchasing their tickets in advance. On most nights, the Family Circle at the MET is largely empty, even though the regular price of those seats is dirt cheap.

As for the No Exchanges Even In A Blizzard policy at ABT, that was just bad customer relations. I'm not returning for future ABT Nutcrackers because I found that policy offensive and unreasonable. There was no little or no public transportation available that Sunday evening, and it was dangerous to be on the roads. ABT had no consideration for the safety and well being of its customers.

[mimsyb]

I think Mearns' Swan Lake is better than almost every one I've ever seen at ABT (excepting Nina, Veronika and certain Diana V. performances). Bouder is one of the most accomplished technical dancers anywhere. The NYCB men are not, however, in the same league as the women there, in my opinion. It's really not fair to compare ABT and NYCB. ABT goes out and hires the big stars from around the world. NYCB's talent is, for the most part, grown from within, and NYCB is a true company of dancers. ABT is a hodge podge of hired guns at the principal level.

I think ABT doesn't want to get involved in the Atrium discount program because once you start offering discounts, people will wait and see if a discount becomes available instead of purchasing their tickets in advance. On most nights, the Family Circle at the MET is largely empty, even though the regular price of those seats is dirt cheap.

As for the No Exchanges Even In A Blizzard policy at ABT, that was just bad customer relations. I'm not returning for future ABT Nutcrackers because I found that policy offensive and unreasonable. There was no little or no public transportation available that Sunday evening, and it was dangerous to be on the roads. ABT had no consideration for the safety and well being of its customers.

Agreed. Well put, Abatt, on all accounts.