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Romeo & Juliet - Spring 2012


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#31 bingham

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Posted 21 June 2012 - 04:09 AM

Any reports on the Seo-Hammoudi R&J?

#32 abatt

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Posted 21 June 2012 - 05:15 AM

Alina was a pleasure as Juliet. It was a lovely performance. It was not overplayed - just right. I've come to the conclusion that I'm not a big fan of Kobborg. I know he's no youngster, but his performance early in the ballet when he dances w. his friends before entering the ball was very poorly done. He seemed to warm up and improve as the ballet went on. Sometimes he looked like he was marking the steps instead of performing full out. I fail to understand why ABT keeps inviting him, unless Alina requires it as part of a package deal. Also, does anyone else here feel that he wears way too much makeup?

#33 abatt

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Posted 21 June 2012 - 05:26 AM

Yes, that laughter! Posted Image It was coming from the older couple, sitting next to us in the orchestra. Actually, the whole ballet amused them very much, because they laughed at each movement. Pas de bourre couru seemed especially hilarious..

During the bedroom scene, when they started laughing, people in rows in front of them were turning heads to see what is wrong with them.


I was sitting up in the balcony and I heard laughter at the above mentioned points. It was more than two people. There were enough people laughing that it could be heard throughout the house on Monday. Weird.

#34 aurora

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Posted 21 June 2012 - 05:32 AM

Alina was a pleasure as Juliet. It was a lovely performance. It was not overplayed - just right. I've come to the conclusion that I'm not a big fan of Kobborg. I know he's no youngster, but his performance early in the ballet when he dances w. his friends before entering the ball was very poorly done. He seemed to warm up and improve as the ballet went on. Much of the time he looked like he was marking the steps instead of performing full out. I fail to understand why ABT keeps inviting him, unless Alina requires it as part of a package deal.


That was exactly my thought. That it looked like he was marking. Especially after watching David etch out those steps so beautifully just a few nights earlier. I also thought he improved. He did dance fairly well in the ballroom scene, and even better in the balcony scene.
You just don't get the architecture of the steps though.
I did enjoy his characterization, however. I just wish he hadn't required the early part of the ballet to warm up. Or maybe it was reserving his energy. Whatever it was, it was a bit of a disappointment.

#35 mimsyb

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Posted 21 June 2012 - 05:42 AM

Agree with Batsuchan about last night with Cojocaru/ Kobburg. I must have sat in my seat crying after the last call for several minutes, before the ushers came to ask me to leave. I have no words for her Juliet, other than to say I'm pretty sure we saw greatness last night. And if Kobburg isn't the huge bravado dancer that others are, still he was the ONLY person Juliet could love and fight to be with. Their deaths at the end bespoke Shakespeare's words,"eyes, look your last; arms, take your last embrace; and lips, O you the doors of breath, seal with a righteous kiss a dateless bargain to engrossing death".

#36 aurora

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Posted 21 June 2012 - 05:47 AM


Alina was a pleasure as Juliet. It was a lovely performance. It was not overplayed - just right. I've come to the conclusion that I'm not a big fan of Kobborg. I know he's no youngster, but his performance early in the ballet when he dances w. his friends before entering the ball was very poorly done. He seemed to warm up and improve as the ballet went on. Much of the time he looked like he was marking the steps instead of performing full out. I fail to understand why ABT keeps inviting him, unless Alina requires it as part of a package deal.


I did enjoy his characterization, however. I just wish he hadn't required the early part of the ballet to warm up. Or maybe it was reserving his energy. Whatever it was, it was a bit of a disappointment.


Responding to myself here! I'm still caffeinating....

I just wanted to clarify that I thought his slow start was somewhat of a disappointment, not that the night/performance was. They (unsurprisingly as they are of course a couple) had a really lovely and touching rapport. And it was on the whole very very well danced.

I also wanted to say that while salstein is of course not Cornejo as Mercutio, he made the role his own and did a very nice job with the difficult mandolin dance. For me to enjoy someone else dancing that as much as I did, so soon after seeing Cornejo in the role says a lot about the quality of performance. Kudos to Salstein!

#37 Raylene

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Posted 21 June 2012 - 11:40 AM

I cried, too, last night. A lot! Alina Cojocaru was so exquisite. I was totally overcome by the sheer beauty of her artistry. The way she shapes a phrase and envelopes herself inside the music. Although she fully articulates every position, it always appears totally fluid like liquid silver. And her dancing (and acting) was so full of contrasts. Delicate yet powerful. Passionate yet nuanced. Last night’s performance will resonate forever in my heart. What a privilege to catch a glimpse of heaven on earth as embodied by this great, great ballerina.

#38 vipa

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Posted 21 June 2012 - 12:01 PM

[size="2"]I was there for Cojocaru/Kobborg too. I agree with what has been said about Cojocaru's Juliet. This was a great performance. I disagree with some of what's been said about Kobberg. I think both had characterizations that were amazingly real and true, in their own actions and their every interaction with each other and the other characters.[/size]

[size="2"]Their connection was beautiful and so right though-out, from their first look to the final scene. Every moment gave insight into their feelings and everything seemed specific not generic. [/size]

[size="2"]As far as Kobborg's own dancing, I never found him lacking techniquely, although he did not dance in a bravado manner, I thought it fine dancing. His whole approach looked more relaxed than some other dancers, particularly in the beginning, which I saw as a reflection of his character. I have to admit that I have always found the choreography for Romeo rather awkward no matter who I see do it, but I liked Kobberg's easy manner. Through-out I thought his dancing stayed in character and never had the feeling of -- OK lets stop to do some steps now -- that sometimes comes across. I also noted his sword fighting had a lot of aggression and seemed realer than the others. Maybe being Royal Ballet he just has more experience with it. My husband, who has done a lot of theatrical sword fighting, said it had something to do with the extension of his arm.[/size]

[size="2"]I can't speak to his use of make up. I didn't note it one way or the other from Dress Circle.[/size]

[size="2"]Last year when I saw C & K do Sleeping Beauty I felt privileged to see them together - the rapport, musicality, nuances and beauty of the partnering. I feel that even more so now.[/size]

[size="2"]Salstein was excellent as Mercutio. [/size]

#39 abatt

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Posted 21 June 2012 - 01:38 PM

There is a gorgeous slide show from NY Times of photos from three of the R&Js of this run (Vishneva/Gomes, Cojo/Kobborg, Osip/Hallb) here:

http://www.nytimes.c....html?ref=dance


Oddly, I could not find an article/review accompanying the slide show. Enjoy the photos.

#40 MakarovaFan

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Posted 21 June 2012 - 01:48 PM


Yes, that laughter! Posted Image It was coming from the older couple, sitting next to us in the orchestra. Actually, the whole ballet amused them very much, because they laughed at each movement. Pas de bourre couru seemed especially hilarious..

During the bedroom scene, when they started laughing, people in rows in front of them were turning heads to see what is wrong with them.


I was sitting up in the balcony and I heard laughter at the above mentioned points. It was more than two people. There were enough people laughing that it could be heard throughout the house on Monday. Weird.


Yes abatt. I was near the front orchestra and heard laughter from at least 10 people all around me during the bedroom scene duet with Paris and Osipova's pas de bouree couru. It was strange and inexplicable. Posted Image

#41 Goldfish17

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Posted 21 June 2012 - 02:36 PM

Also, in the opening of the balcony scene she was totally out of light, hidden a bit upstage. If that was a "choice" it's misguided. Someone needs to tell her her marks for lighting. Odd that she couldn't "feel the moon" on her face.



New York Times published pictures from J&R, here is the one of opening of the balcony scene.
Natialia Osipova is "feeling the moon" on her face.
She is in the light, clearly visible. (And this is exactly how I remember seeing it.)

http://www.nytimes.c...2_ABT_SS-5.html

#42 Raylene

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Posted 21 June 2012 - 02:52 PM

here's the text/review that accompanies the photos:
http://www.nytimes.c...&pagewanted=all

#43 Ilya

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Posted 21 June 2012 - 07:13 PM


Also, in the opening of the balcony scene she was totally out of light, hidden a bit upstage. If that was a "choice" it's misguided. Someone needs to tell her her marks for lighting. Odd that she couldn't "feel the moon" on her face.



New York Times published pictures from J&R, here is the one of opening of the balcony scene.
Natialia Osipova is "feeling the moon" on her face.
She is in the light, clearly visible. (And this is exactly how I remember seeing it.)

http://www.nytimes.c...2_ABT_SS-5.html


Thank you for pointing this out. That's exactly how I remember it as well. But after reading some of the messages on this thread I was beginning to wonder if I was imagining things. It's nice to have a piece of physical evidence to confirm that I can still trust my senses.

#44 annamicro

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Posted 21 June 2012 - 10:23 PM



Also, in the opening of the balcony scene she was totally out of light, hidden a bit upstage. If that was a "choice" it's misguided. Someone needs to tell her her marks for lighting. Odd that she couldn't "feel the moon" on her face.



New York Times published pictures from J&R, here is the one of opening of the balcony scene.
Natialia Osipova is "feeling the moon" on her face.
She is in the light, clearly visible. (And this is exactly how I remember seeing it.)

http://www.nytimes.c...2_ABT_SS-5.html


Thank you for pointing this out. That's exactly how I remember it as well. But after reading some of the messages on this thread I was beginning to wonder if I was imagining things. It's nice to have a piece of physical evidence to confirm that I can still trust my senses.


But I'm afraid that, to my taste, picture 4 confirms some other critics, and my fear. Maybe just a bad editor choice, though. I cannot imagine, how she will be with Vasilev in Tokyo: they are dancig R&J next year with La Scala. She is often very over the top when dancing with him (I LOVE it in some ballet, much less in others). Anyway she is always one of the very few dancers worthing a trip: I'm looking forward her Swan Lake, Manon and Esmeralda in Milan next season (being grateful also for a trip of just 15 min by bike).

MacCauly reviews are always illuminating, for what he says about his casts (FIVE!!! some were truly unmissable for baletomans, anyway congratulations for the dedication of the professional critic!) and for what he skips (a review by itself).

#45 Ilya

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Posted 22 June 2012 - 03:53 AM

There is a distinction between matters of taste (describing one's opinion of the performance) and matters of fact (giving a play-by-play of some parts of the performance). There can be many different opinions, but surely there is only one set of facts. It has been simply pointed out above that one of the NY Times pictures refutes a factually incorrect statement made on this thread about Monday's performance.

Of course the NY Times photos cannot possibly refute anyone's opinion of the quality of the performance: those who didn't like it will probably dislike the photos as well. I for one liked all the pictures (of all the three casts, including the ones that I, unfortunately, didn't get to watch), including picture 4.


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