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2014 Met Season


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#346 miliosr

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Posted 30 May 2014 - 01:45 PM

Stearns received some of his best reviews ever as the diabolical Moor's Friend (Iago) in The Moor's Pavane.  Maybe the type of villain is key for him -- the suave and sexy purple Rothbart is very different from the cold, calculating Moor's Friend.



#347 cobweb

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Posted 31 May 2014 - 12:45 PM

Any reports on the Copeland- Cornejo Coppelia?

#348 RUKen

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Posted 01 June 2014 - 01:55 PM

Since nobody more articulate than I has responded to Cobweb, I will report that I attended the Copeland/Cornejo performance on Friday and thought that it was a triumph for Misty.  There was one glitch in the Act 3 pas de deux (I'm not sure what was intended, but it was clear to me that a particular element was aborted); other than that, Misty danced and performed the role very well, and she had a large group of supporters in the audience.  Herman Cornejo was his usual brilliant self.  The corps was okay, but my spouse noted that they did not convey the Eastern European character of the mazurka particularly well, and one dancer seemed to be doing a different dance at the start before she got back in synch with the others.  Overall, it was a very enjoyable performance.

 

Edited to add:  I just found out that Yuriko Kajiya, who danced the Prayer solo as a late replacement on Friday (and also Saturday afternoon), had only begun learning the role two days earlier.  Under those circumstances, she was fabulous.

 

RUKen



#349 abatt

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Posted 01 June 2014 - 05:04 PM

Yuriko also performed prayer at the Saturday matinee. She was engrossing.  In contrast, Luciana Paris on Sat evening didn't seem to have a clue.  I was happy that Sarah Lane performed so well at the Sat matinee,.  The only apparent issue was at the end of her fouette sequence in the final act she came off pointe.  Lack of concentration, perhaps.  Simkin did an excellent job partnering her and of course pulled out all the stops in his solos.  As good as the afternoon performance was, the evening performance was even better.  Murphy has sparkling technique and her acting was much more natural than Sarah's.  (Lane's acting looked studied in comparison.)  Jared Matthews was very impressive, and his solos were beautfiully danced.  It's a shame he and Yuriko are leaving. 



#350 vipa

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Posted 01 June 2014 - 05:33 PM

Yuriko also performed prayer at the Saturday matinee. She was engrossing.  In contrast, Luciana Paris on Sat evening didn't seem to have a clue.  I was happy that Sarah Lane performed so well at the Sat matinee,.  The only apparent issue was at the end of her fouette sequence in the final act she came off pointe.  Lack of concentration, perhaps.  Simkin did an excellent job partnering her and of course pulled out all the stops in his solos.  As good as the afternoon performance was, the evening performance was even better.  Murphy has sparkling technique and her acting was much more natural than Sarah's.  (Lane's acting looked studied in comparison.)  Jared Matthews was very impressive, and his solos were beautfiully danced.  It's a shame he and Yuriko are leaving. A

Abatt thank you.  I wish I could have been there.  I have to say that Yuriko learning prayer just a couple of days earlier and doing it well doesn't impress me.  It's not a multi layered dramatic role, it's a variation that many students learn in variation class.  That said I'm please the Yuriko did it well.  Houston Ballet is lucky.  I'm also glad that Lane did well.  Here's my beef about Lane.  When she entered the corps of ABT and did Theme & Variations, I saw so much potential.  How she is supposed to develop being given a Sleeping Beauty once every 5 years and a Coppelia one time only is beyond me.  Again it points to the problem with ABT.  Yuriko is smart to get out.  She'll be able to develop more artistically and perform better roles.  Boylston is having a lot of stuff thrown at her but is having technical difficulties (my observation).  Again no development of talent.  OK I'd better climb down off my soap box



#351 abatt

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Posted 02 June 2014 - 05:01 AM

The main difference I became aware of in observing Lane's performance in contrast to Murphy's is that Murphy owns the stage when she is on.  She dominates the action.  Lane has little stage presence and tends to fade and blend into the corps members on stage.  I think this is due to the fact that Lane has so few lead roles, and therefore has not learned to develop stage charisma, projection and presence.  There almost seems to be a lack of confidence in her presentation of herself sometimes.   



#352 mimsyb

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Posted 02 June 2014 - 06:07 AM

The main difference I became aware of in observing Lane's performance in contrast to Murphy's is that Murphy owns the stage when she is on.  She dominates the action.  Lane has little stage presence and tends to fade and blend into the corps members on stage.  I think this is due to the fact that Lane has so few lead roles, and therefore has not learned to develop stage charisma and presence.  There almost seems to be a lack of confidence in her presentation of herself sometimes.   

I am going to go out on a very slender limb here and note that when Lane was in the corps she stood out as something special.  She always brought a wonderful veritas to the entire corps.  (others who have that quality are Luciana Paris and the wonderful Renata Pavam, now retired.  Just to name a couple They are the "glue" of a great corps de ballet ).  Lane also did well in the few small solos she was given.  But on being promoted, she seemed to fade or disappear, mostly artistically.  She has improved technically in many respects, yet still never "takes command of the work".  I know she has her ardent advocates and it is true that dancing more lead roles may perhaps cause her to develop further.  Still, I can't help but feel she is a strong corps dancer at best (with capabilities of stepping out now and again). At least as a strong corps dancer one gets to dance all the time.  It may be simply the way ABT sort of puts a damper on those who go up to the soloist rank. They seem not to be nurtured.  Look at the many who failed to move on and so leave. Erica Cornejo, Carlos Molina,  Riccetto, Messmer, Carlos Lopez,  Kristi Boone, now Yuriko and Jared , I'd even put DeLuz in that category. I won't even go to the subject of Stella!  There is simply no room at the top any more. I worry for Lane and to some extent Misty. The years of dancing at one's peak are so fleeting.  These dancers should have been given more to do earlier on and see if anything was there to warrant going further with them.  Instead, they are still doing the same roles in many cases that they did as corps dancers.  The only one ABT seems to be pushing on is Isabella.  She doesn't always do great work, but at the very least she is learning from her mistakes and is gaining confidence in every performance. I'm wondering if ABT is not always the best place to be if one wants to move forward.        



#353 abatt

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Posted 02 June 2014 - 06:15 AM

A few have broken through the ranks through years of toil from corps to principal- Murphy, Gomes, Stearns, Seo, Herrera, Kent,  Hallberg, Wiles, H. Cornejo - to principal.  It is nearly impossible, though.  The promotion standards at NYCB are much more relaxed and liberal across the plaza.  There are principals at NYCB who, in my opinion, would never have been promoted to principal at ABT.



#354 vipa

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Posted 02 June 2014 - 06:55 AM

A few have broken through the ranks through years of toil from corps to principal- Murphy, Gomes, Stearns, Seo, Herrera, Kent,  Hallberg, Wiles, H. Cornejo - to principal.  It is nearly impossible, though.  The promotion standards at NYCB are much more relaxed and liberal across the plaza.  There are principals at NYCB who, in my opinion, would never have been promoted to principal at ABT.

 

Abatt I think that's true but the rep needs are totally different.  NYCB has many types of principal roles.  In ABT principals have do leads in full length story ballets.  Not that every full length ballet is the same, but the range of ballets done regularly by each company makes the needs of each company quite different.



#355 ord7916

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Posted 03 June 2014 - 08:12 PM

Question - If I want to change my tickets to a different performance, but same seating area, and the prices have since gone up, will I have to pay additional?   I switched La Bayadere from a Tuesday to a Saturday matinee and had to pay $15 extra, but Saturday matinees are more expensive from the outset.  I switched Don Q from a Friday to a Weds and while the orchestra seats were then up to $123 from $113, they didn't charge additional.  I wasn't sure if that was policy, or I just got lucky.    



#356 mussel

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Posted 03 June 2014 - 09:08 PM

It depends. If your ticket is part of a subscription, you only pay the difference pre-dynamic pricing. For non-subscription ticket you pay whatever the current price difference is, at least that what I was told. I have one regular subscription and I bought all my other tickets as Make 3 or More subscription. So far I haven't been charged extra for any my exchanges.

#357 Amour

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Posted 03 June 2014 - 11:18 PM

Unlike at NYCB,though, if you decide to add a program now that dynamic pricing is in effect you (even as a subscriber) will be charged the higher price. At NYCB if you are a subscriber you actually get a 10% discount on any future programs you add. Also, I'm convinced ABT does not give their best orchestra seats (center rows J - S) to subscribers but saves them for later when dynamic pricing is in effect. Frankly, I think ABT treats their subscribers rather badly.

#358 Amour

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Posted 03 June 2014 - 11:20 PM

BTW, did anyone see the Kent/Bolle Manon? I saw Diana/Marcelo tonight and they were tremendous! Diana is not quite as good as Ferri, but then again, who is?

#359 abatt

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Posted 04 June 2014 - 08:36 AM

There is more casting up on the ABT website now regarding the Dream and The Tempest.  Happily, Herman has been relieved of his silly role in the Tempest, and will return to one of his greatest roles, as Puck, in the Dream.  Simkin and Salstein each get one Puck.  Herman gets two Pucks as part of the Murphy/Hallberg cast.



#360 Dale

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Posted 16 June 2014 - 06:17 AM

Casting for weeks 7 & 8:

AMERICAN BALLET THEATRE

Metropolitan Opera House - Spring, 2014

 

 

SEVENTH WEEK

 

Mon. Eve., June 23, 7:30 P.M.       SWAN LAKE – Murphy, Gomes, Matthews

                                                  

Tues. Eve., June 24, 7:30 P.M.       SWAN LAKE – Herrera, Whiteside, Hammoudi

                                                     

Wed. Mat., June 25, 2 P.M.             SWAN LAKE – Part, Stearns, Radetsky

                                                     

Wed. Eve., June 25, 7:30 P.M.        SWAN LAKE – Semionova, Hallberg, Hammoudi

 

Thurs. Eve., June 26, 7:30 P.M.            SWAN LAKE – Boylston, Simkin, Whiteside

                                                  

Fri. Eve., June 27, 7:30 P.M.          SWAN LAKE – Cojocaru, Cornejo, Radetsky

                                                     

Sat. Mat., June 28, 2 P.M.               SWAN LAKE – Semionova, Hallberg, Stearns

                                                     

Sat. Eve., June 28, 8 P.M.               SWAN LAKE – Seo, Bolle, Whiteside

 

                                                     

EIGHTH WEEK

 

Mon. Eve., June 30, 7:30 P.M.       THE DREAM – Murphy, Hallberg, Cornejo

                                                      THE TEMPEST – Gomes, Simkin, Whiteside, Lane, Gorak

 

Tues. Eve., July 1, 7:30 P.M.          THE DREAM – Kent, Gomes, Simkin

                                                      THE TEMPEST – Stearns, Shayer, Hoven*, Kajiya, Matthews

                                                  

Wed. Mat., July 2, 2 P.M.               THE DREAM – Murphy, Hallberg, Cornejo

                                                      THE TEMPEST – Gomes, Simkin, Whiteside, Lane, Gorak

 

Wed. Eve., July 2, 7:30 P.M.           THE DREAM – Reyes, Whiteside, Salstein

                                                      THE TEMPEST – Stearns, Shayer, Hoven, Kajiya, Matthews

 

Thurs. Eve., July 3, 7:30 P.M.        COPPÉLIA – Reyes, Radetsky*                            

                                                           

Fri. Eve., July 4, 7:30 P.M.             NO PERFORMANCE

 

Sat. Mat., July 5, 2 P.M.                 COPPÉLIA – Kajiya*, Gorak*

                                                     

Sat. Eve., July 5, 8 P.M.                  COPPÉLIA – Herrera, Matthews




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