ord7916

Manon

76 posts in this topic

I wonder if perhaps they have raised the ticket price so dramatically to make up for the lost revenue from the poorly-sold weeks...?

If so, that's a brilliant strategy!

Share this post


Link to post

I have a quick question. Does anyone know if ABT offered discount tickets at the atrium when they were at the David Koch Theatre last November. If they didn't, then maybe it's ABT policy as well as the Met's.

Share this post


Link to post

I'm going to the matinee today. If anyone else is and wants to meet up at intermission, send me a message.

Share this post


Link to post

Went to the matinee...will post more tomorrow but it was amazing.

After seeing La Bayadere, I said the shades was going to be the highlight of the met season for me. I was so very wrong. Vishneva and Gomes were on a whole different level. I balled my eyes out I was so moved. I'm sure the folks sitting next to me thought I was crazy.

Share this post


Link to post

Went to the matinee...will post more tomorrow but it was amazing.

After seeing La Bayadere, I said the shades was going to be the highlight of the met season for me. I was so very wrong. Vishneva and Gomes were on a whole different level. I balled my eyes out I was so moved. I'm sure the folks sitting next to me thought I was crazy.

You're not the only one! Both of my friends were also in tears! smile.png

I personally find that go-for-broke, no-holds-barred passion that Vishneva/Gomes displayed absolutely exhilarating. They left everything out on the stage, and at the end, when the curtain went up, Vishneva just leaned against Gomes like she really was dying! Incredible!

It occurs to me that Vishneva and Gomes have killed me on 4 of the past 5 June 7ths. It's a special day for them! There was "Lady of the Camellias" on 6/7/10 and 6/7/11, "Onegin" on 6/7/12, and then today!

During the first curtain call, the curtain opened and the entire cast was on stage to congratulate Vishneva on her 10th anniversary. First Gomes gave her flowers, then Irina Kolpakova (whom Diana lifted off the ground when she hugged her!), then Kevin McKenzie, then a little boy who I think is Vishneva's nephew. Gomes kept sending her to the front of the stage to bow again, and the second time she jogged backwards to rejoin him, she almost fell over the flowers in the center of the stage! It was such an endearing moment!

There was one more curtain call after this, but then people just wouldn't stop clapping. One man kept yelling "Bravo" over and over and they were forced to come out one more time. Gomes picked up Vishneva and put her on his shoulder--she wasn't expecting that and it was so cute!

What a day! Thank you, so, so much, Vishneva & Gomes! It has been such an utter privilege to see the two of you not just dance, but LIVE, the story of "Manon" onstage!

To many more years of Vishneva & Gomes!!

Share this post


Link to post

I saw them the other night (and they were great) but it sounds like this matinee was quite an event.

Share this post


Link to post

Looks like LaKarsavina has posted several videos of this afternoon's festivities.

Here's the 10th anniversary celebration I described:

And here's the cute moment in the final curtain call:

You can see the other videos here:

https://www.youtube.com/user/LaKarsavina

Share this post


Link to post

Looking at those curtain call videos and photos, I feel it is very strange that ballerinas in the role of Manon take off their short wings and appear in long hair. Why do they do this? I think it is beautiful that the ballerina is lost in their roles and still feeling their passion of the performance during curtain call.

Share this post


Link to post

was also at the matinee. Vishneva and Gomes became the characters for me. Their performances were so alive and real. I'll post in more detail in a day or two. I also want to say I was able to meet some ballet alerters before the ballet. It was great seeing

Abatt again and meeting Canbelto.

Share this post


Link to post

Looking at those curtain call videos and photos, I feel it is very strange that ballerinas in the role of Manon take off their short wings and appear in long hair. Why do they do this? I think it is beautiful that the ballerina is lost in their roles and still feeling their passion of the performance during curtain call.

Vishneva did appear for her initial bows (before the ones in front of the curtain in the first video above) with her wig. She was absolutely "lost in her role and still feeling the passion of the performance" when the curtain initially opened on her and Gomes -- so much so that she did not even look to acknowledge the applause, but rather just stood there holding onto Marcelo.

Share this post


Link to post

I was also at the matinee. Vishneva and Gomes became tahe characters for me. Their performances were so alive and real. I'll post in more detail in a day or two. I also want to say I was able to meet some ballet alerters before the ballet. It was great seeing

Abatt again and meeting Canbelto.

Great to see you too Colleen and all the other ballet alert friends.

The Sat. matinee was even more electrifying than the Gomes/Vishneva performance earlier in the week because it was a special anniversary celebraton, and also because their second performance is generally even better than their first. It was the first time all season that the house was well sold.

Share this post


Link to post

I was also at the matinee. Vishneva and Gomes became tahe characters for me. Their performances were so alive and real. I'll post in more detail in a day or two. I also want to say I was able to meet some ballet alerters before the ballet. It was great seeing

Abatt again and meeting Canbelto.

Great to see you too Colleen and all the other ballet alert friends.

The Sat. matinee was even more electrifying than the Gomes/Vishneva performance earlier in the week because it was a special anniversary celebraton, and also because their second performance is generally even better than their first. It was the first time all season that the house was well sold.

No words! This was one for the ages. Bravo to all! What also thrilled me was the fact that ABT could field so many wonderful casts for this ballet. All were uniquely different and special. I don't understand why this ballet doesn't sell better. It has it all, what ABT does so well. And especially when one sees Vishneva/Gomes. Perhaps that it was competing with "Mid-Summer's Night Dream" across the Plaza? Anyway, glad I was able to see these two very special artists strut their stuff!

Share this post


Link to post

Let me just add my praise of the Sat matinee with Vishneva/Gomes. Stunning. I have the DVDs with Acosta/Rojo and Dowell/Penney, so I had a sense of what to expect in the theater, but I can't wait to see it again some day - if not ABT, perhaps another major company. (I see that Osipova/Acosta are doing two performances this fall with Royal, but I won't be able to get there. With luck, they'll show one of those in the movie theater and release it some day on DVD.)

I saw the Kent/Bolle (Thursday) and Reyes/Jackson (Friday) before Saturday and I'm glad I did - they would have been more disappointing with the contrast. Reyes did a very credible job, but Jackson seemed wooden to me. I kept waiting -- in vain -- to see a spark between them. In the last act, when he should be overwhelmed with the developments, he just seemed to overdo everything - too extended, too strong. I noticed Gillian Murphy in the orchestra Friday, perhaps to lend support to Reyes?

It was fun meeting some Ballet Alerters at the intermission.

Share this post


Link to post

Looking at those curtain call videos and photos, I feel it is very strange that ballerinas in the role of Manon take off their short wings and appear in long hair. Why do they do this? I think it is beautiful that the ballerina is lost in their roles and still feeling their passion of the performance during curtain call.

I'm sure Vishneva only did this because she didn't want to have her hair in the wig for her 10th anniversary celebration part. On Tuesday she kept her wig on during all of the curtain calls, as you can see here:

Share this post


Link to post

I so agree with all the posts here about the Saturday matinee - I cannot find the words to express how thrilling it was to be in this audience, thanks for doing it for me! As I mentioned to Abatt, I'm always so jealous when I read the reports here from those that attend multiple casts because it seems I often miss the performance that is "the one for the ages". So how happy I was that this duo was doing the Sat matinee, my regular subscription day. (PS - I did exchange my subscription in order to see the Visneva/Gomes Giselle!) Also very happy to see Ballet Alert posters again and meet a few for the first time!

Share this post


Link to post

I can only put myself through one Manon every six or seven years, and so I'm glad I saw the best possible version. I really think Vishneva and Gomes are the very best in this ballet -- they make this ballet worth seeing through their own magic. Marcelo is such a great partner, I noticed how at all times he held Diana in such a way that she could show off her legs and feet. Diana really was so convincing as the selfish courtesan. It was a wonderful afternoon.

Share this post


Link to post

This was my first time seeing Manon and I couldn't have had a better cast to introduce me this ballet (though I would have preferred to see Abrera as Lescaut's Mistress).

As a lot of people have already said, Vishneva and Gomes were superb and I still can't stop thinking about their go-for-broke dancing. This was one of those few performances that I'll never forget. I was struck how Vishneva uses her arms and hands like no other ballerina I've seen; they're a total extension from what her legs, torso, neck and head are doing if that makes sense. Some dancers' arms/hands look like separate entities or accessories (Copeland does this). Vishneva's entire body is in sync with what she's thinking and feeling. I can see why Vishneva only dances with Gomes at ABT; their partnership is so rare and special and I don't think any other male dancer (not that I've seen) can rival his partnering skills. In the beginning of Act 1 when Des Grieux dances alone upstage for Manon and it ends with multiple pirouettes descending down onto one knee, I held my breath it was so beautiful. Gomes has such control.

Cornejo was in terrific form as Lescaut - gorgeous high jumps and wonderfully funny touches during his drunk pas with Copeland. Copeland did a fine job but I think Abrera would have been more convincing as the Mistress.

I must comment on some of the other dancers who danced in supporting roles. I thought Barbee was wonderful at Monsieur G.M.; he really is a great actor and was so natural and convincing. Zhurbin as the Jailer was spot on; he takes such command of the stage in whatever role he's in it's hard to watch anyone else. Eric Tamm as one of the Clients stood out; he added some great touches to his character that were both funny and clever. And, Catherine Hurlin, who is still an apprentice, was very noticeable as one of the Harlots. Granted she's tall (and was recently on the cover of Dancemagazine so she's recognizable to me), but she easily stood out even though she spent a good deal of time way upstage behind everyone else. Her dancing was lovely and she seemed very much at ease on stage and with the role. I think she'll be one to watch.

A performance I'll never forget.

Share this post


Link to post

As I didn't see the 2007 performances, I'm intrigued to read that this year's perfs use a "new" production and costumes. I see in the program they were borrowed from Houston. Can anyone tell me whose production was used in 2007? As for this year's, the sets were serviceable, nothing special, but the costumes were really quite beautiful. (And yes, I was at the Saturday matinee, and everything everyone has said is true: performance of a lifetime.)

Share this post


Link to post

Also, is ABT using the new orchestration of the score, by Martin Yates? I heard it for the first time in Copenhagen this season and thought it made a huge difference - for the better - to the ballet.

Share this post


Link to post

Also, is ABT using the new orchestration of the score, by Martin Yates? I heard it for the first time in Copenhagen this season and thought it made a huge difference - for the better - to the ballet.

Yes, ABT is using M Yates's new orchestration.

Share this post


Link to post

Went to Vishneva/Gomes' out-of-this-world Saturday matinee performance. Both over-the-top with passion and we lapped it up. I have nothing to add to the glorious reports above. This was one for the books.

Share this post


Link to post

As I didn't see the 2007 performances, I'm intrigued to read that this year's perfs use a "new" production and costumes. I see in the program they were borrowed from Houston. Can anyone tell me whose production was used in 2007? As for this year's, the sets were serviceable, nothing special, but the costumes were really quite beautiful. (And yes, I was at the Saturday matinee, and everything everyone has said is true: performance of a lifetime.)

The sets and costumes of the 2007 production were designed but N Georgiadis.

Share this post


Link to post

I can't stop thinking about the Saturday performance. It still brings tears to my eyes, haha!

My favorite moment, that keeps replaying in my head, is in act 3, when Gomes picked up Vishneva into a backbend into his arms. Her body was so completely limp (yet still made the most beautiful lines) and they started the pdd.

Just one of many moments that took my breath away.

On another note, don't know if this has been mentioned, but Misty Copeland autographed copies of her book that they are selling in the met opera shop. Thought that was pretty cool, considering they didn't increase the price.

Share this post


Link to post

On another note, don't know if this has been mentioned, but Misty Copeland autographed copies of her book that they are selling in the met opera shop. Thought that was pretty cool, considering they didn't increase the price.

Interesting! Before the show, the two girls standing behind me in line for the ladies' room mentioned that they chose the matinee because Misty was dancing in it, so I guess her popularity is selling tickets! Of course I informed them that they were super lucky that they'd get to see Vishneva & Gomes, to which the lady in front of me said something like, "I worship Diana Vishneva!" Can't say I disagree! :)

Given the dismal ticket sales for most of the shows, I wonder if they will bring back "Manon" next year. In recent years ABT has been running these passion play ballets ("Lady of the Camellias," "Onegin") for two seasons back-to-back, presumably because they want to take advantage of having taught the corps a new ballet (that's my guess). (Since "Manon" hasn't been run for 7 years, I'm guessing it was a new ballet for much of the corps.) However, ABT will probably do R&J next year, and I'm guessing they won't want to do two MacMillan ballets the same season--unless a certain senior ballerina who still does well in these roles decides to retire... Any thoughts?

Share this post


Link to post

I have mixed feeling about Misty Copeland. If she brings in a new audience great, at the same time one hopes that the people she brings in get hooked and return even if she isn't dancing. I don't know if that is the case. Personally, I never go to the ballet for "passion play ballets" not my thing which is why I go to see ABT so infrequently.

Share this post


Link to post