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Classic Spectacular - Spring 2014 MET Season


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I thought I'd start a topic on this as I just attended the Tuesday (5/20) "Classic Spectacular" performance. Apologies for writing a novel: I was seeing some of these performers for the first time.

Theme & Variations

It sounds snide to say that Semionova looked better in the adagios than the allegros, but I do mean it seriously. At that point before the ballerina's second solo variation when the female corps surround and support her in a daisy chain, Semionova used her head and epaulement with extrordinary control and fluidity. At one point, she simply looked like a woman lost in thought, looking past a rose arbor. I've never seen that particular sequence look unlabored...much less have a meaning.

She and James Whiteside (whose performance became more polished and easy as the piece progressed) looked similarly good in the pas de deux. It wasn't my favorite performance of these leading roles, but bringing something new to light in a work like this counts for something.

The corps looked very good. The four female demi-soloists, in particular, gave an intelligent, beautifully-synchronized performance: special appreciation for Zhong-Jing Fang, who captured all the grace notes. Christine Shevchenko subbed for Luciana Paris...and very seamlessly.

Duo Concertant

Add me to the Misty Copeland fan club. Several years ago, I saw Copeland give the kind of steely, perfumeless performance of a Shade in La Bayadère that made me purposely avoid her. But she and Eric Tamm (who had never commanded my attention before) just gave the best performance of Duo Concertant that I ever expect to see.

I recently saw Sterling Hyltin and Robert Fairchild (one of my favorite dancers) perform DC and felt that, while it was nice-enough second-tier Balanchine, I had seen enough: it looked lost on the Koch stage. Copeland and Tamm (whose musicality made me completely forget Fairchild) just inhabited those roles in a way that felt definitive: every musical nuance, shading, and partnering interaction was illuminated. Even from the Grand Tier, they had me riveted.

When I noticed in the cast lists that Copeland was leading the run of Coppelia and cast as Lescaut's Mistress opposite Vishneva and Gomes in Manon, I had wondered if Kevin McKenzie was slowly trying a technician out in roles requiring more stagecraft. Now I understand: she's already there.

Gaîté Parisienne

There aren't depths to plumb here, but they gave it a very fun performance. A few years ago, only Craig Salstein, Kristy Boone, and Marian Butler would have been able to fill out those demi-soloist roles with any panache. This time around, everybody looked good, and some people looked great.

Joseph Gorak nailed every debonairely rakish inflection of The Dance Master. He gave the most fun, chic performance of the night overall. (Speaking of overalls, extra marks for managing to look good in high-waisted gray tights.)

Misty Copeland (again) gave a perfectly-judged, committed, funny performance as the Flower Girl (filling in for Luciana Paris). Eric Tamm (again) visibly stood out for both his partnering and musicality, even as an anonymously-dressed (well, as anonymously-dressed as you can be in Lacroix) Billiard Player. Skylar Brandt got special applause as the Lead Can-Can Dancer and thoroughly deserved it. Patrick Ogle and Thomas Forster gave solid performances too.

Marcelo Gomes (The Baron) and Hee Seo (The Glove Seller) played the piece with a lovely, light touch, less as a star vehicle than a group effort, which was appropriate. Craig Salstein replaced Daniil Simkin as The Peruvian (presumably to forestall the need to put Simkin on oxygen after his two T&V's).

In sum:

The company as a whole is looking very good. Whenever I see ABT in a mixed bill that showcases all the ranks, I stop worrying about the health of the company.

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Just got back from the evening show and would like to give my report. I hope someone here was at the mat and gives a review.

T&V - The absolute highlight was Andrew Veyette. He really brought his A game across the plaza. His solos were spectacular and musical, and his partnering beautiful. Isabella Boylston to me is a work in progress in this. She fulfilled a lot of the technical demands. On the other hand she fell off pointe once, under rotated turns in her variation so she couldn't keep traveling the step, and did very little by way of musical phrasing/playing with the music. She had a nice big arabesque but I wish she would freeze her line at some point to give a picture, instead it keeps moving. All that said I think she is a very strong, talented dancer with a beautiful body. It would be nice if ABT nurtured and coached her (I actually don't have much hope that they will, but you never know).

Duo Concertant - Misty Copeland's body is an incredible instrument that can do anything and make any position or line. Unfortunately this piece is all about sweetness and light, perhaps most importantly spontaneity. The couple stands by the piano and listens until they are moved to dance and then dance in response to the music and at times stop again and listen. Copeland doesn't bring those qualities to the stage. She is a beautiful woman with a lovely smile and she did the steps. My problem is that everything she did had the same strong attack. Nothing seemed spontaneous and there were no shadings, it was on or off. Eric Tamm was good but I feel he is a physical mismatch with Copeland. Either she needs to be with someone bigger and more substantial looking or he needs to be with someone smaller.

Gaite Parisienne - Hee Seo looked gorgeous and seemed like she was having a blast. Misty Copeland as the flower girl was very funny. Craig Salstein replaced Simkin and was fine. I know I sound like a grump but I really don't think ABT should be doing this ballet because it doesn't challenge their dancers (I don't believe it sells ticket. There were a lot of empty seats). One of the reasons ABT isn't developing talent from within as much as they could is because the dancers don't have enough rep to grow in.

Anyway, all and all a disappointing evening. Still can't believe ABT had to import a NYCB dancer to do T&V.

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I attended the Wednesday matinee. In Theme Daniil Simkin's partnering with Sarah Lane was much more secure than when I saw him dance this with Isabella Boylston last November. Simkin's solo dancing was superb, especially his double air turn/pirouette combinations. Sarah Lane was just lovely in the ballerina role. She danced with precision and clarity. Her manner was that of the grandest ballerina.

I have never liked Duo Concertant, not when I've seen NYCB dance it and not at Wednesday's matinee. Talk about a dance that doesn't challenge the performers. Nothing much happens throughout the whole ballet. Also the music was so slow it was putting me to sleep.

I loved loved loved Gaiete Parsienne. It was so much fun. All the dancers were superb, especially Craig Salstein, Veronika Part and Jared Mattews. And the can can girls were terrific. I'll post a more detailed review in a day or two.

Let me just add that I love reading long reviews. So thank you choriamb and vipa for such detailed reviews. I certainly can't make it to all the performances I'd like to so reading about them is the next best thing. I didn't see him last night but I have seen Andrew Veyette dance Theme at the end of Tschaikovy Suite No. 3 many times and I find him to be the standard by which other male dancers in this role should be judged (at least among males dancing right now). I was disappointed to hear about Boylston's performance in Theme. I saw her dance it with Simkin last November and she was very good. I don't know for sure of course but maybe she didn't have enough rehearsal time with Veyette and nerves overtook her. After all Gillian Murphy was supposed to dance the part on Wednesday evening. Is Murphy out injured? Does anyone know? Also what about Cornejo. He was supposed to dance the lead in Theme yesterday afternoon. Is he injured as well?

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I know it's only a few hours after I wrote my mini-review but let me write my more detailed review of the May 21st matinee performance. Theme is led by Sarah Lane and Daniil Simkin. Lane's footwork is both sparkling and clear. As petite as Lane is her manner in Theme is that of the grandest ballerina. As the lead male dancer in Theme Daniil Simkin shows off wonderful leg beats and a thrilliing double air turn/pirouette combination. His partnering of Lane is much more secure than I saw him dance Theme with Isabella Boylston last November.

The second piece is Balanchine's Duo Concertant which is set to music by Igor Stravinsky. There are only two musicians, a violinist and a pianist. Both perform on stage. Nothing much happens during this work. During close to half the ballet the musicans play while the dancers, Paloma Herrera and James Whiteside, stand and watch them. Also eelStravinsky's music is very slow. I feel like I am going to fall asleep.

The afternoon ends with Massine's delightful Gaiete Parisienne. Veronika Part is sweet and lovely as the Glove Seller but she does not come across as the kind of woman men fight over. Jared Mattews' Baron is an attentive partner for Part. His acting, however, is rather bland. The standout of the work is Craig Salstein. His Peruvian is witty, sexy and a superb dancer. The can can girls are just terrific. I could see them kick up their heels all afternoon and the evening too.

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Just got back from the evening show and would like to give my report. I hope someone here was at the mat and gives a review.

T&V - The absolute highlight was Andrew Veyette. He really brought his A game across the plaza. His solos were spectacular and musical, and his partnering beautiful. Isabella Boylston to me is a work in progress in this. She fulfilled a lot of the technical demands. On the other hand she fell off pointe once, under rotated turns in her variation so she couldn't keep traveling the step, and did very little by way of musical phrasing/playing with the music. She had a nice big arabesque but I wish she would freeze her line at some point to give a picture, instead it keeps moving. All that said I think she is a very strong, talented dancer with a beautiful body. It would be nice if ABT nurtured and coached her (I actually don't have much hope that they will, but you never know).

Duo Concertant - Misty Copeland's body is an incredible instrument that can do anything and make any position or line. Unfortunately this piece is all about sweetness and light, perhaps most importantly spontaneity. The couple stands by the piano and listens until they are moved to dance and then dance in response to the music and at times stop again and listen. Copeland doesn't bring those qualities to the stage. She is a beautiful woman with a lovely smile and she did the steps. My problem is that everything she did had the same strong attack. Nothing seemed spontaneous and there were no shadings, it was on or off. Eric Tamm was good but I feel he is a physical mismatch with Copeland. Either she needs to be with someone bigger and more substantial looking or he needs to be with someone smaller.

Gaite Parisienne - Hee Seo looked gorgeous and seemed like she was having a blast. Misty Copeland as the flower girl was very funny. Craig Salstein replaced Simkin and was fine. I know I sound like a grump but I really don't think ABT should be doing this ballet because it doesn't challenge their dancers (I don't believe it sells ticket. There were a lot of empty seats). One of the reasons ABT isn't developing talent from within as much as they could is because the dancers don't have enough rep to grow in.

Anyway, all and all a disappointing evening. Still can't believe ABT had to import a NYCB dancer to do T&V.

I would tend to agree about Veyette and Boylston. She's clearly a work in process here. Strong technique, but a certain lack of bravura and polish to her dancing. A bit tepid. She frequently doesn't complete her movements, so they look foreshortened, un-musical. Again, maybe lack of rehearsal time with Veyette. He, on the other hand, was brilliant! Clearly demonstrating a difference in approach and style to Balanchine. Such amplitude to his movements, but always musically astute. His port de bras were some of the most gorgeous I've ever seen. The exuberance at the top of his jumps, his lush plie' at jumps' end, the beautiful crossing of the foot in coupe' back position, his clear, effortless directions of croisse', eface' and ecarte', the overall attention to his partner, and his over the top handsomeness all made for the high light of the "Theme" performance. This was a Master Class in how Balanchine can be danced. The men (and women) of ABT should take note. By comparison, they all looked tight, pinched, small. All either under danced so as to disappear, or tried so hard it looked forced. Possible exception here was Daniel MAntei, who brought his own wonderful sense of elegance to the stage. He should be getting more to do, IMO. I also picked out Nicole Graniero in the corps, who always brings a certain radiance to the stage. She too, is unafraid to demonstrate her willingness to 'put herself out there', without sacrificing musicality or style. While sorry not to have seen Gillian dance the lead, the reward was seeing Andrew. I, like others, have wondered at the paucity of good men capable of dancing "Theme" at ABT, and the need to "import" from across the Plaza. I was supremely glad it happened on a night I attended! Wish I could say the same for "Gaite". What a total waste of dancing talent! Silly, opulent costumes aside, couldn't a better ballet be plucked from the rep at ABT? No-one to my eye stood out (OK, Marcello looked fine in those tights and partnered in his usual fine fashion), and most everyone seemed again to be merely beating time or trying so hard it looked dumb. (the absence of character dancers like Isaac Stappas and Julio Brigado Young was keenly felt). Well, pairing these ballets together (Massine and Balanchine) clearly shows how fortunate we are that the works of Balanchine have only retained their glisten and importance, while those of Massine have faded, rightfully so. Better to see "the style" of Massine via the Trocks, who clearly do a better job of these types of ballets, and even dance them better!

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I really enjoyed Gaiete Parisienne. There are times (not all the time of course) when I like to see a light ballet with a great score. Like The Merry Widow. I do agree and should have mentioned in my previous postings about how horrible the costumes were. That fuschia jacket on the Baron (Jared Matthews at the Wednesday matinee) was really hurting my eyes. Also the Glove Seller, in my opinion, needs to be played as a femme fatale. Why else would everyone in the nightclub be fighting over her? The only thing is I'm not sure who at ABT now could play this role. The only dancer I can think of off the top of my head is Diana Vishneva. Irina Dvorovenko would be great as the Glove Seller but she retired from ABT. Maybe Julie Kent. I saw her dance The Merry Widow three times in the late 1990s/early 2000s and she was wonderful. From what I could see the part of the Glove Seller does not require any difficult dancing. Does anyone else have any ideas on this?

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Some notes here: "Gaîté Parisienne" served a purpose for the touring Ballets Russes de Monte Carlo in the forties and beyond. Very often they were performing ballet for rural audiences or in smaller cities in the U.S. where there were few sophisticated audiences for classical ballet. People went because it was Russians dancing but they didn't know about toe dancing and if they actually would like it. But these audiences did know about the can-can and also knew musical theater and operetta. So "Gaîté Parisienne" was a perfect work for a ballet newbie. Light, fun, sexy, a little ballet then a little can-can and knockabout comedy as well. It was also good for touring with maybe a less than first rank ensemble because there is only one ballerina on pointe and one danseur and the rest are character dancers. I think that many audience members recalled this ballet from their childhood when ABT first revived it over 25 years ago with the Lacroix costumes and nostalgia played a part. But those days are now receding into the past and fewer people who saw "Gaîté Parisienne" over 60 years ago are in today's audiences. So it does seem like a throwaway relic from the past. One thing it does need is a certain showmanship, European naughtiness and charm which, as Alastair Macauley wrote in his Times review, is something the current dancers of ABT have trouble capturing.

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Some notes here: "Gaîté Parisienne" served a purpose for the touring Ballets Russes de Monte Carlo in the forties and beyond. Very often they were performing ballet for rural audiences or in smaller cities in the U.S. where there were few sophisticated audiences for classical ballet. People went because it was Russians dancing but they didn't know about toe dancing and if they actually would like it. But these audiences did know about the can-can and also knew musical theater and operetta. So "Gaîté Parisienne" was a perfect work for a ballet newbie. Light, fun, sexy, a little ballet then a little can-can and knockabout comedy as well. It was also good for touring with maybe a less than first rank ensemble because there is only one ballerina on pointe and one danseur and the rest are character dancers. I think that many audience members recalled this ballet from their childhood when ABT first revived it over 20 years ago with the Lacroix costumes and nostalgia played a part. But those days are now receding into the past and fewer people who saw "Gaîté Parisienne" over 60 years ago are in today's audiences. So it does seem like a throwaway relic from the past. One thing it does need is a certain showmanship, European naughtiness and charm which, as Alastair Macauley wrote in his Times review, is something the current dancers of ABT have trouble capturing.

Very interesting FauxPas. While I didn't enjoy the ballet last night I do remember liking it more years ago when the Joffrey Ballet did it, particularly Gary Chryst.

Also I second everything mimsyb said about Andrew Veyette.

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Veyette looked wonderful. His consummate ease and command of partnering really stood out. Isabella Boylston -- there is so much to enjoy about her dancing. She has beautiful feet and legs, and a relaxed, unforced technique. But I find her unrefined, lacking in a sense of grandeur or nobility. She comes across as overly casual in her manners. I could see her developing into someone I would really love seeing, but it's not there yet.

Misty Copeland displayed a wonderful softness and expressiveness in Duo Concertant. I didn't find Eric Tamm as interesting as she was.

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It's too bad ABT didn't revive Massine's "Le Beau Danube"---a far better ballet, but without Danilova's sophistication----I wonder how it would turn out. That was the main

problem of the current "Gaite"---the glove seller and flower girl (Part and Copland) were more suited to selling their wares in a department store than a casino. I guess I am

still regurgitating those awful clownish costumes.

The highlight of this Wed Mat program, for me, was Paloma Herrera in "Duo Concertante"---I have never seen it performed better. The Company appeared to need more

rehearsal time for "Theme"---especially when the choreography needed more speed from the Corps. Sara Lane is a fine dancer with fine technique----but the role calls

for a BALLERINA.

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if the 'review' cited above is the one in today's NYTimes of the triple bill w/ GAITE P and not the one of the excerpt on opening night, that review was written by Brian Seibert, not Alastair Macaulay.

Macaulay was in Washington, DC for the Kirov the night ABT's triple bill was first shown.

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Veyette looked wonderful. His consummate ease and command of partnering really stood out. Isabella Boylston -- there is so much to enjoy about her dancing. She has beautiful feet and legs, and a relaxed, unforced technique. But I find her unrefined, lacking in a sense of grandeur or nobility. She comes across as overly casual in her manners. I could see her developing into someone I would really love seeing, but it's not there yet.

Misty Copeland displayed a wonderful softness and expressiveness in Duo Concertant. I didn't find Eric Tamm as interesting as she was.

That's a perfect description of what I see in Boylston's dancing as well. She has the steps, but it just doesn't seem like she's paying attention to where everything is -- where her hands are, the position of her head, etc. It's as if she's been rehearsing without a mirror. I hope someone is working with her on this.

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I really enjoyed Gaiete Parisienne. There are times (not all the time of course) when I like to see a light ballet with a great score. Like The Merry Widow. I do agree and should have mentioned in my previous postings about how horrible the costumes were. That fuschia jacket on the Baron (Jared Matthews at the Wednesday matinee) was really hurting my eyes. Also the Glove Seller, in my opinion, needs to be played as a femme fatale. Why else would everyone in the nightclub be fighting over her? The only thing is I'm not sure who at ABT now could play this role. The only dancer I can think of off the top of my head is Diana Vishneva. Irina Dvorovenko would be great as the Glove Seller but she retired from ABT. Maybe Julie Kent. I saw her dance The Merry Widow three times in the late 1990s/early 2000s and she was wonderful. From what I could see the part of the Glove Seller does not require any difficult dancing. Does anyone else have any ideas on this?

Well, hopefully we won't see this ballet repeated, but I think Luciana Paris could do a credible job of the Glove Seller. I know she's in the corps, but whenever she steps out into roles, she's noticed.

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I found Boylston very impressive in her technical strength last night. However, I spoke with NYSusan during the intermission and she noticed that Boylston has some bad habits - noticeably a stiffness in the upper body. Boylston also has a tendency to push into steps from the chest - kind of leaning into the steps and jutting out the head instead of imagining an invisible cord in her middle pulling her forward. This can create a certain jerkiness. NYSusan also complained of a "steppy" quality of emphasizing individual steps rather than creating a line. I found the strong attack exciting and NYSusan agreed that she improved as the performance went on. (Boylston was being coached by Susan Jaffe before she changed jobs - currently the only other ABT female coaches are Nancy Raffa, Susan Jones and Irina Kolpakova who is in her 80's now and can't take care of everybody) Andrew Veyette was a real treat - fully in command of the part and the stage. But I saw Jared Matthews standing in the soloist line behind him. Jared Matthews was cast in the "turning boy" role in the Ninth Symphony section of Ratmansky's Shostakovich trilogy. He certain would have been able to dance the multiple pirouettes in the lead role in "Theme and Variations". He would have had time to learn it in the month or so since Corey Stearns injury. These artistic management decisions may have contributed to Jared's decision to go to Houston Ballet. Ratmansky has always championed young dancers giving talented corps and soloist dancers a major role in his premieres - sometimes in the alternate cast.

I liked both Paloma and Misty in Duo Concertant - Paloma had more mystery, maturity and authority. Paloma who studied at SAB has always been a strong Balanchine stylist. Misty seemed an energetic sexy dynamo who then turned into some kind of distant vision. I thought that Eric Tamm had strong clean lines and also had wonderful Balanchine black and white leotard ballet style. James Whiteside really articulated the steps with wonderful definition, speed and energy. He keeps getting better and better - a fine acquisition for ABT and much needed right now.

Craig Salstein reminded me of Hollywood character comedian Erik Rhodes as the Italian gigolo in "The Gay Divorcee". Both Veronika and especially the demure Hee Seo lacked a certain flirtatious coquettishness as the Glove Seller. Hee Seo seemed to be a member of the ensemble while Part had more star presence. Notable work from Skyler Brandt and Christine Schevchenko as the lead can-can girl.

Stella Abrera is good at seductive roles and would be a gorgeous Glove Seller. Irina Dvorovenko was wonderful as the Operetta Star in Tudor's "Offenbach in the Underworld" which is a bald "Gaîté" knock-off. She would have been perfect for the Glove Seller as well.

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I just wanted to see that I agree totally with mimsyb's suggestion of Luciana Paris as the Glove Seller and Faux Pas' suggestion of Stella Abrera in the same part. I have never seen Le Beau Danube but from what ATM711 said it looks like it would probably have the same casting problems as Gaiete Parisienne. I assume Le Beau Danube is set to Strauss' music. What about ABT dancing Balanchine's Vienna Waltzes? Stella or Luciana or Diana would be great in The Merry Widow part. Actually I think Diana would be better in the Rosenkavalier section. I think Julie Kent would be wonderful in the Rosenkavalier section as well. Voices of Spring could be danced by Reyes and Cornejo, Lane and Simkin, I'm not sure who else. Possibly Bolyston. I think Gorak would be wonderful in Voices of Spring but I'm not sure who to cast him with. Several ABT dancers would be good in the Tales from the Vienna Woods opening section. The same is true of the Explosions Polka section. I have never understood why ABT has never danced the lighter Balanchine ballets.

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