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People have been reviewing and discussing the ballets in the performance threads. I'm really behind myself.

Maybe people are taking a breath after the weeks of full-lengths. I hope people are going to see this mixed bill and will report back.

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I loved the performance tonight. Of course, I was looking forward to Herman Cornejo dancing Puck, and he did not disappoint. He was amazing. You'd never know it's been 12 years since he premiered the role of Puck at ABT. I thought the entire cast was great. Gillian Murphy was Titania, Cory Stearns - Oberon, Herman Cornejo was Puck, Blaine Hoven was Bottom, Adrienne Schulte was Helena, Stella Abrera was Hermia, Grant DeLong was Demetrius, Jared Matthews was Lysander. The lead fairies were Nicole Graniero, Misty Copeland, Luciana Paris, and Yuriko Kajiya. It was nice to see Adrienne in a role.

I thought Cory and Gillian were a good match, and I think this part suits Cory very well.

I also liked the Tempest. The music is growing on me. The choreography looks good on everyone. Marcelo Gomes was Prospero, Sarah Lane was Miranda, Daniil Simkin was Ariel, James Whiteside was Caliban, Roman Zhurbin was Alonso, Joseph Gorak was Ferdinand. Everyone was wonderful, and I thought James Whiteside was especially good. Ratmansky seems to suit him.

I'll try to post more later, but need to try to get some sleep.

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I'm surprised no one's starting a new topic, or did I somehow miss it?

"The Dream" seemed to go off without any major glitches. The company looks good in this work, although it's annoying that the fairies' pointe shoes make such a lot of racket as they scurry around the stage. What should be light, airy, and bewitching comes off as a herd of cattle! Why can't the ladies of ABT do something about their noisy shoes? Gillian was petulant at first, then amazed at her love for the donkey and then finally all girlish wonder at her love for Oberon. Cory looked solid, if a bit impassive at times. It's simply his way. I don't mind. Herman was, well, Herman. His Puck is surely the definitive one now going. He defies gravity and seems to not want to come down off his jumps. So happy to see him back dancing after his short hiatus. (still sorry to have missed his and Alina's "SL" last week, but Boston Ballet put a smile back on my face!) And a nice shout out to Blaine Hoven as Bottom. His pointe shoes were actually fairly quiet!

As for the "Tempest", the lighting seems a bit brighter this time around at the Met, so now you can actually see what's going on in this ballet. Oh, sorry. Not much. Better to have left it in the dark. Those sea creatures in those jazzy bathing caps really take the cake! But at least Simkin didn't look quite as white faced as last year. This ballet totally eludes me. That's all I can muster at this late hour.

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Just got home from seeing The Dream and The Tempest. The Dream was really superb but Herman (Puck) completely stole the show. His jumps were so high and buoyant it seemed he would never come down. He did endless pirouettes and went whizzing across the stage. I saw Herman as Puck the night ABT premiered The Dream (Ferri was Titania, Stiefel was Oberon) and he has really just gotten so much more virtuosic. The audience erupted in applause virtually every time he came on stage.He truly stole the show.

Gillian was quite lovely as Titania. She pulled off some quadruple pirouettes and pencil turns at the beginning that were a marvel to behold. And this from a ballerina who,1 week ago, sprained her foot mid performance and had to leave the stage. She was also quite lovely in the more dramatic moments (such a flexible back). She is rather different (maybe not as dramatic) from Ferri but probably more assured technically (at this late stage in Ferri's career). She also obviously is very focused and has a strong work ethic. I'm very impressed.

Cory Stearns was not impressive as Oberon. He has all the physical gifts: tall, handsome, long legs, relative good technique. However, his dancing and acting both don't have enough confidence or authority. Oberon is also supposed to be a virtuosic role and Cory just was not able to pull that off. Also because of this lack of confidence the love/reconciliation PDD was a bit shaky at times. Part of the problem may be that he has been subbing for David Hallberg (who injured his foot) and just didn't have time to get comfortable in the role. However I read somewhat similar criticism of him on this board so the short notice may not be the real reason for his lack of confidence/stage presence. Since ABT's original Oberon (Stiefel) is in town, maybe he should have a talk with him,

I would be remiss to not give a huge shout out to Jared and Stella as the wonderful first couple, Lysander and Hermia. They were touching and funny in all the right places. This had to be a disappointing day for Stella (no promotion) but she gave a standout performance that may have been designed to show Kevin what he is missing.

The Tempest is another thing altogether. It has a rather convoluted storyline that t will not attempt to explain. Suffice it to say that the performances from all - Marcelo as the deposed Duke, Sarah Lane as he daughter Miranda and Joey Gorak (who got promoted to soloist today) who plays Ferdinand who falls in love with Miranda, were all excellent Ditto for the slaves Ariel ( danced with great virtuosity by Daniil) and Caliban (James Whitside) and Roman Zhurbin (also promoted today) as Alonso King of Naples. Despite the great performances the ballet still didn't work for me any better than last fall. Since Ratmansky was in the audience tonight, I assume he is still tinkering with it:( something about it just feels too cute (costumes with the funny headpieces)!and yet not dramatic enough. I think I need a few more times seeing it to see if I understand it any better.

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Cobweb *loves* Herman Cornejo!

Cory Stearns will never be my favorite dancer, but I thought he was fine, and the pas de deux with Murphy sizzled with sexual chemistry. Jared Matthews was vivid and funny. All in all, I found this the most satisfying performance I've attended this season. (The Dream, that is... never mind about The Tempest.)

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I thought Cornejo and Murphy were both pretty wonderful. Murphy looks completely recovered from her injury. Her footwork was sparkling and great technique. Herman always excels in this role. Stearns was okay, but I've seen others do the role better. In fairness, a lot has been dumped on him in a short time.

I'll be seeing the Dream again this week, but will not stay for the Tempest. While it held my interest last night, there just isn't enough there to justify paying another visit. My favorite parts wer the Lane/Gorak pdd and Simkin's solos. Most of the Tempest plods along and feels endless, especially since the music is largely unsuitable to choreograpy.

Agree that the ladies pointe shoes in the Dream sound like a herd of cattle.

As an aside, I was watching a Charlie Rose program last week in which he interviewed a Shakespeare scholar. (Forgot the guest's name.) He mentioned that "Caliban" from the Tempest is a re-arrangement of the letters of the word cannibal.. I thought it was an interesting observation.

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I was at the performance last night, and really enjoyed myself. The Dream is always such a treat, and like everyone else, I thought Herman was superb. He tossed off several 10 turn pirouettes like they were nothing, and his jumps remain incredibly high and clear. The whole cast was very light and charming.

I thought Tempest was significantly better than in the fall; everyone seems to have settled into the music and choreography, and the dancing and drama was much clearer. I do think it's a valid complaint if people have a hard time following the plot just watching the choreography, but I know The Tempest fairly well and was able to follow along (and give kudos to Ratmansky for the plot distillation that he did; it's not an easy one!)

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I don't have much to add about The Dream... I thought the whole cast looked great. Obviously Herman as Puck stole the show - partly that is the nature of the role, and partly it is because Herman is one of the most spectacular dancers ever, anywhere.

I thought Cory looked great (despite a few wobbles in the pdd) and thought his characterization of Oberon was good - thoughtful, humorous, cunning and arrogant.

I think I read somewhere that Gillian said this is one of her favorite roles - I could tell. She really seemed to be enjoying every minute of it and looked really gorgeous.

I don't mind the sound of the fairies' feet in this piece. I always sort of think of it as a substitute for buzzing fairy wings... it amplifies how quickly they are moving and for me, that somehow makes it seem more magical.

The Tempest... a mess or a "meditation" on the themes of the play? That is the question. I think it's somewhere in between honestly. I've now seen it three times and I think I've enjoyed it more with each viewing because I am less focused on the "plot" and am able to just take in the choreography and the portrayal of each character. It's almost like this piece is a "coming attraction" for the feature length version of The Tempest.

I actually think that, while the plot is definitely muddy and choppy, the characters are fairly vivid. The individual pieces of choreography are quite good - especially with this lead cast, since I think it's fair to say, much of the choreography was created with these exact dancers in mind. Viewing it again was worth it just to see Sarah Lane in this role - perfection. Same for Marcelo - he's able to look strong and dangerous and graceful and profound all at the same time.

Many of the moments with the waves/sea creatures I actually think are very cool and well-done, but often there are way too many of them on stage and too much going on (Ratmansky-style). The production looked less cramped at the Met than it did at Koch, but that was still a problem for me. I think it is an issue in several of Ratmansky's works (like the battle scene in Nutcracker, etc.), even though I like all of his works on the whole very much. I don't love the costumes but I don't hate them... some of them I like.

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I'm not sure that a lesser dancer could steal the show in the role of puck. Cornejo really outdid himself. Comparing his performance to that on the dvd, his turns were faster last night, especially the chainé turns. I agree that Murphy was really delightful.

I think they should have performed the Tempest first and the Dream second. I'd much rather end the evening with the Dream. I wish they'd shorten their intermissions. I think the intermission length has more to do with selling concessions than changing sets.

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I'm not sure that a lesser dancer could steal the show in the role of puck. Cornejo really outdid himself. Comparing his performance to that on the dvd, his turns were faster last night, especially the chainé turns. I agree that Murphy was really delightful.

I think they should have performed the Tempest first and the Dream second. I'd much rather end the evening with the Dream. I wish they'd shorten their intermissions. I think the intermission length has more to do with selling concessions than changing sets.

Except performing "The Dream" first allows us (if we wish) to leave early! It's something I've always hated about the Peter Martins ballets at NYCB. He always places them in the middle of two superior works, so one either has to endure his ballet to get to the last one on the bill, or spend the time in the lobby and drink! So, go see "The Dream", leave before the lengthy intermission and go home with beautiful thoughts!

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I'm not sure that a lesser dancer could steal the show in the role of puck. Cornejo really outdid himself. Comparing his performance to that on the dvd, his turns were faster last night, especially the chainé turns. I agree that Murphy was really delightful.

I think they should have performed the Tempest first and the Dream second. I'd much rather end the evening with the Dream. I wish they'd shorten their intermissions. I think the intermission length has more to do with selling concessions than changing sets.

Except performing "The Dream" first allows us (if we wish) to leave early! It's something I've always hated about the Peter Martins ballets at NYCB. He always places them in the middle of two superior works, so one either has to endure his ballet to get to the last one on the bill, or spend the time in the lobby and drink! So, go see "The Dream", leave before the lengthy intermission and go home with beautiful thoughts!

That's what I did two nights in a row :)

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Obviously Herman as Puck stole the show - partly that is the nature of the role, and partly it is because Herman is one of the most spectacular dancers ever, anywhere.

I want to say that I watched The Dream DVD tonight (Tuesday) and Puck is NOT supposed to overshadow Oberon as Herman did to Cory last night. When Stiefel was Oberon, he was commanding and virtuosic and Herman was considerable toned down compared to him (and last night's performance). (I also saw them live, the night ABT premiered The Dream in 2002) I just think Cory (maybe even David) is not up to doing what the role of Oberon needs in terms of both acting and dancing.

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I attended last night's performance. Compared to Monday, ticket sales were poor, at least up in the balcony area. I adore Gomes, and he certainly has the authority, the partnering skill and stage presence for Oberon. However, this role requires a lot of quick changes in direction which, in my opinion, Stearns executed better and faster. There was no comparison between Murphy's performance and Kent's. Murphy is great in Ashton roles, and is at the peak of her technical powers. Kent's performance was mostly fine, but the difference in quality between Monday and Tuesday evening was quite apparent. I loved Simkin as Puck. It suits him perfectly, and he has the spins, jumps and high elevation for the role. I didn't stay for Tempest.

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I'm not sure that a lesser dancer could steal the show in the role of puck. Cornejo really outdid himself. Comparing his performance to that on the dvd, his turns were faster last night, especially the chainé turns. I agree that Murphy was really delightful.

I think they should have performed the Tempest first and the Dream second. I'd much rather end the evening with the Dream. I wish they'd shorten their intermissions. I think the intermission length has more to do with selling concessions than changing sets.

Except performing "The Dream" first allows us (if we wish) to leave early! It's something I've always hated about the Peter Martins ballets at NYCB. He always places them in the middle of two superior works, so one either has to endure his ballet to get to the last one on the bill, or spend the time in the lobby and drink! So, go see "The Dream", leave before the lengthy intermission and go home with beautiful thoughts!

That's what I did two nights in a row smile.png

Me too. The Tempest isn't terrible terrible, but I didn't think it was worth a second look. Lovely just to spend an hour with The Dream and head home. And, yes, over at NYCB I've been known to time the middle piece, go out for coffee or a drink, and return.

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I saw this afternoon's performance. I thought The Dream had a spectacular performance from Herman Cornejo. However Gillian looked a little more tentative than she usually does, and Cory Stearns is so frustrating. He has such a beautiful line and is a decent partner. However, he just doesn't project anything across the footlights. He doesn't have a stage face at all, and it's like seeing a completely blank slate onstage. Blaine Hoven was pretty funny as Bottom. I think Ashton's choreography is a little empty compared to Balanchine's. I always miss the flurry of SAB kids Balanchine so expertly used in his MSND, as well as the Titania/Bottom pas de deux.

This was my first time seeing The Tempest. I think the piece works if you think of it like a mood piece, and not a straight adaptation of the play. I agree the music isn't really suited for dancing. More like a tone poem. However I did think that Ratmansky choreographs to the strengths of the company. For instance the lack of uniform training is less obvious when they dance a piece like The Tempest. He used Marcelo's amazing partnering skills to creative effects -- like him partnering Ariel and other men. I can't imagine a role more suited for Danil Simkin than Ariel. Ratmansky really capitalized on his androgynous, feline physique and dancing style. And the roles of Miranda and Ferdinand are the types that the primas at ABT won't dance, but they are great opportunities for the underutilized soloist/corps. I did think the storyline with Prospero's kinsmen was hard to follow and the piece does seem a little empty but Ratmansky does win brownie points for carefully considering the ABT dancers' individual strengths.

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I went to the Dream last night. This was a terrific role debut for Whiteside. His rapid footwork was very clear, and he managed the difficult choreography well. I also liked his characterization, and he partnered Reyes skillfully. I liked Xiomara's performance too. However, there was no chemistry between Whiteside and Reyes. In addition, this role requires a sensual ballerina, which Reyes is not. I hate to say negative things about Salstein, but his performance lacked the bravura technique needed for the role. Skipped the Tempest again. Many, many empty seats at the Met.

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I was at the July 2nd matinee.

‘The Dream’ is a jewel of a ballet with choreography by Frederick Ashton which exactly matches the music of Felix Mendelssohn. Ashton’s ‘The Dream’ is a condensed version of Shakespeare’s ‘A Midsummer’s Night Dream’. ‘The Dream’, however, is set in the Victorian Age.

All the dancers in ‘The Dream’ are wonderful, but as usual a few standout. I have seen ABT’s 'The Dream' four times previously, but this is my first time seeing Herman Cornejo dance Puck live. As good as the other Pucks were, especially Daniil Simkin, no one fits the role like Cornejo. He soars into the air and hangs there suspended for what seems like an eternity. His multiple air turns are beyond exciting. Cornejo also exactly captures the humor in the character of Puck.

Cornejo’s chemistry with Cory Stearns’ Oberon is delightful to see. For me, the main partnership in ‘The Dream’ is not between Oberon and Titania but Oberon and Puck. As Oberon, Stearns reminds me of a young Anthony Dowell, the creator of the role. His extraordinary line and gorgeous placement make Stearns’ Oberon both noble and magical. Gillian Murphy’s Titania stands out for her sparkling footwork. The role of the Fairy Queen shows off Murphy’s magnificent lyricism. Blaine Hoven’s is a very funny Bottom with marvelous pointe work.

Seeing ABT perform ‘The Dream’ is such a special treat. I hope they continue to dance it for years.

Alexei Ratmanksy’s ‘The Tempest’, however is a ballet I hope never to see again. Wednesday’s matinee is my second viewing of the piece and it still makes little sense. Ratmansky’s ‘The Tempest’ is a waste of a lot of dance talent. Marcelo Gomes, Daniil Simkin, James Whiteside, Sarah Land and Joseph Gorak all dance very well, but I see no point to any of their steps and movements. The music, by Jean Sibelius, is atonal. My only thought throughout the whole ballet is the hope that it will end soon. Obviously not every great work of literature can be made into a ballet.

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I was at the July 2nd matinee.

‘The Dream’ is a jewel of a ballet with choreography by Frederick Ashton which exactly matches the music of Felix Mendelssohn. Ashton’s ‘The Dream’ is a condensed version of Shakespeare’s ‘A Midsummer’s Night Dream’. ‘The Dream’, however, is set in the Victorian Age.

All the dancers in ‘The Dream’ are wonderful, but as usual a few standout. I have seen ABT’s 'The Dream' four times previously, but this is my first time seeing Herman Cornejo dance Puck live. As good as the other Pucks were, especially Daniil Simkin, no one fits the role like Cornejo. He soars into the air and hangs there suspended for what seems like an eternity. His multiple air turns are beyond exciting. Cornejo also exactly captures the humor in the character of Puck.

Cornejo’s chemistry with Cory Stearns’ Oberon is delightful to see. For me, the main partnership in ‘The Dream’ is not between Oberon and Titania but Oberon and Puck. As Oberon, Stearns reminds me of a young Anthony Dowell, the creator of the role. His extraordinary line and gorgeous placement make Stearns’ Oberon both noble and magical. Gillian Murphy’s Titania stands out for her sparkling footwork. The role of the Fairy Queen shows off Murphy’s magnificent lyricism. Blaine Hoven’s is a very funny Bottom with marvelous pointe work.

Seeing ABT perform ‘The Dream’ is such a special treat. I hope they continue to dance it for years.

Alexei Ratmanksy’s ‘The Tempest’, however is a ballet I hope never to see again. Wednesday’s matinee is my second viewing of the piece and it still makes little sense. Ratmansky’s ‘The Tempest’ is a waste of a lot of dance talent. Marcelo Gomes, Daniil Simkin, James Whiteside, Sarah Land and Joseph Gorak all dance very well, but I see no point to any of their steps and movements. The music, by Jean Sibelius, is atonal. My only thought throughout the whole ballet is the hope that it will end soon. Obviously not every great work of literature can be made into a ballet.

Yes, I agree. The only thing I saw about the Tempest were the huge "boatloads" of money it obviously cost. What a waste!

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Don't know whether you saw the opening night of the Tempest at the Koch when it premiered during the Fall of 2013. If you did, you will recall that Julia Koch got to throw an elaborate gala party on the Promenade of the Koch Theater that had a Tempest theme - complete with sound effect, smoke effects, lighting effects and giant paper mache designs of a tornado. From that perspective it wasn't a waste for Julia and David Koch because they got to throw an exciting and elaborately designed party for their pals, and ABT gained from the tables sold at the gala. Better he should put his money into valiant but failed ballet projects than use it for his political pursuits. However, the Koch funds seems rather limitless for both types of pursuits.

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I've been reading with some amusement the scathing comments about "The Tempest." I saw it twice last fall across the plaza in its premiere week, with both casts, and decided then and there that I was done with that ballet. What a waste of so many talented dancers, as others have noted. Was this co-produced with another company, so at least the (apparently) extravagant cost could be shared? Perhaps they could recycle that boat for another ballet. At least we know that Ratmansky (as with Balanchine and other notables) is not perfect. They all make mistakes. It's just too bad so much money apparently went down the drain.

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I've been reading with some amusement the scathing comments about "The Tempest." I saw it twice last fall across the plaza in its premiere week, with both casts, and decided then and there that I was done with that ballet. What a waste of so many talented dancers, as others have noted. Was this co-produced with another company, so at least the (apparently) extravagant cost could be shared? Perhaps they could recycle that boat for another ballet. At least we know that Ratmansky (as with Balanchine and other notables) is not perfect. They all make mistakes. It's just too bad so much money apparently went down the drain.

It seems that except for his trilogy last season, none of Alexei's short`ABT`` ballets has been succcessful enough to last for more than a season.His ballets made in other companies seems to have a longer run.

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