All-Star Tchaikovsky Extravaganza

[carbro]

This program debuts tonight. Reviews and comments, please.

[Thalictum]

I must apologize for saying weeks ago that Veronika Part would never actually go ahead and dance the Ballet Imperials for which she was scheduled. She certainly did make her debut in it last night, and was much more adept than I would have thought possible. She is a very serious dancer; she has been taking class at the School of American Ballet, I guess as part of her preparation -- but she is careful to do a long warm up before class!!

[Dale]

I must apologize for saying weeks ago that Veronika Part would never actually go ahead and dance the Ballet Imperials for which she was scheduled.  She certainly did make her debut in it last night, and was much more adept than I would have thought possible.  She is a very serious dancer; she has been taking class at the School of American Ballet, I guess as part of her preparation -- but she is careful to do a long warm up before class!!

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Thalictum, that's very interesting news. I find her so compelling in Balanchine, maybe because she has given herself over so completely to the enterprise. And while she couldn't match the cut diamond-edge sharpness of Murphy or Miranda Weese, she offered a more pearly interpretation. I was pleased to see the wide fifth in preparation for her turns and a little risk taking. I'd like to think Balanchine would be proud.

[Colleen Boresta]

I went to the Saturday matinee. The highlight of "Ballet Imperial" was seeing Monique Meunier finally get to sink her teeth into a real ballerina role. (I know she danced the part a few times last year, but I didn't see her.) Meunier danced as wonderfully as I remember from her NYC Ballet days. She was just perfect. As for the rest of the ballet, it wasn't all that memorable - it even seemed to be a bit slow in spots. Gennadi Saveliev didn't get to do much, but when he danced he was very good (as always). Paloma Herrera danced well, but her steps seemed to be merely academic. Her performance to me lacked both sparkle and grandeur. I've seen ABT dance "Ballet Imperial" about four times, and every time Paloma Herrera is dancing the ballerina role. She's wonderful in other ballets - especially

"Don Q", but I just don't think this is a good part for her.

Both the pas de deux Act II of "Swan Lake" and "The Nutcracker" pas de deux seemed out of context by themselves. Both pas de deux work much better as part of the entire "Swan Lake" and "Nutcracker". However, both were very well danced. Julie Kent and Vladimir Malakhov's performances have both been described very well by posters writing about the Gala.

Xiomara Reyes danced very well in "The Nutcracker" pas de deux, but to me it was memorable for Cornejo's solo performances. His dancing was as awe inspiring as ever, especially his multiple air turns done with one hand held over his head. But I think Cornejo needs to work on his partnering skills a bit. During the last hold, the way Cornejo's hand was positioned on Reyes' leg looked somewhat ackward. The curtain came down very quickly at that point, so it was hard to see if anything was really off kilter. Still, everyone sitting around me was talking about that last hold, wondering what it was we had just seen.

For me, the highlight of the afternoon was "Theme and Variations". I have seen this ballet many many times (since I have subscriptions to both ABT and NYCB), but this was one of the best performances of "Theme" I have ever seen - maybe the best period. Michele Wiles stood out for her musicality as well as the crispness and clarity of her steps. Gomes was an elegant partner who showed an incredible bravura technique in his solos. When I first started seeing Gomes in principal roles, I thought he was good - but not all that special. Then I didn't see him perform for about two years. I was lucky enough to see dance in four ballets during ABT"s fall 2004 City Center season, and I was really really impressed by Gomes' dancing. I am looking forward to seening Wiles and Gomes dance the leading roles in "Raymonda" on June 11th.

I remember someone posting last year that the ABT dancers seemed bored with "Theme". On Saturday, they danced it with energy and joy. It was a ballet filled with life. Even the sets looked better - brighter, cleaner somehow. ABT's

"Themes and Variations" filled me with joy all the rest of the weekend.

[carbro]

Sat. Mat.

I basically agree with everything you said, Colleen. The only exception would be Michele Wiles in Theme. What initially drew my eye to Michele was an extra spark of vitality that she always displayed in her corps days. She seems, in the past year or so, to have become a very careful dancer, at the expense of her individuality. While her Theme was regal and very musical, I missed the Michele-ness in it. And Marcelo -- despite his cheating on the double air turns -- I have always loved him, and do so still.

I think the moment you describe in the Nutcracker pas was that Herman lost his balance as he lowered Xiomara into the final fish dive. His partnering is definitely his weakness -- his only weakness, it appears -- but on Saturday it was greatly improved over last year. His variation was just amazing in scale, cleanliness, and musicality. What a dancer! And I even enjoyed Xiomara's performance here, happily bare of her tendency towards coyness or cutesiness.

For those who may have raised an eyebrow when they saw the program billed as: "Tchaikovsky pas de Deux: Kent, Malakhov," as Colleen indicates, the Tchai pas was replaced by White Swan pas. I thought Julie and Vladimir were much better than on Opening Night -- more relaxed, perhaps. Saturday was fuller, more deeply felt.

In Ballet Imperial, the lead women have been compared on this board as a Queen and a Princess. I would say that's about what we got, but reversed. Partnered by David Hallberg and Danny Tidwell (lucky lady!), Monique had an unforced command of the stage almost made Paloma the secondary dancer in the First and Third Movements. Gennadi has lovely ballon and is a good, secure partner. I wish I liked him more. The "whiplash" girls were Marion Butler and the always gracious Maria Riccetto.

[Thalictum]

Monique's dancing is so moving -- what a profound grasp she exhibits of the expressive possibilities of Balanchine.

I agree with you, Carbro, Reyes' dancing was more dignified than usual.

[bingham]

Monique's dancing is so moving -- what a profound grasp she exhibits of the expressive possibilities of Balanchine.

I agree with you, Carbro, Reyes' dancing was more dignified than usual.

<{POST_SNAPBACK}>

Any reviews on V Part's Ballet Imperial debut? Apparently she did very well and i'm sorry to be among the early doubters on her doing this role.

Joe

[Ceeszi]

I attended the Monday evening performance and I was in awe the whole night.

Monday night began with Ballet Imperial and I loved Diana Vishneva. This is the second time that I have seen her dance live. The first time was at the Stars of the 21st Century back in February. I liked the ballet, but I kept waiting for Vishneva to come back on stage. Everything about her dancing was magical, especially her solo numbers.

I am no expert, but I felt that Vladimir Malakohov's partnering of Vishneva was a little shaky - I noticed a few hand wobbles. He danced fine by himself, but he seemd nervous when dancing with Vishneva. The secondary lead was danced by Anna Liceica, who seemed to be enjoying herself - she brought a lot of joy to the role. But the ballet belonged to Vishneva - she truly has a command of the stage and the audience.

I also liked the background - the Peter and Paul Fortress of St. Petersburg and the blue and white colors of the Winter Palace.

Then, came Swan Lake Act II pas de deux with Amada McKerrow and Maxim Beloserkovsky. This was beautiful - my only complaint was that it was too short. I read in the calendar for the ABT that McKerrow is going to retire after this season and I am happy that I got a chance to see her dance. This was a very emotional and passionate dance. It is hard to see this out of context - I wish that they would perform the full length Swan Lake.

Then came the big bang - Swan Lake Act III pas de deux with Paloma Herrera and Jose Carreno. WOW!!! Both dancers were spectacular, solo and together. It felt like I was back at the Stars of the 21st Century - a complete showstopper. This got a huge round of applause from the audience - it also left me a little drained. Again - I would love to see a full-length Swan Lake with the two leads now.

Theme and Variations was good, but a let down after the spectacular dancing of Herrera and Carreno. The lead parts were danced by Gillian Murphy and Gennadi Saveliev. It was a very nice ballet, but it ended the evening on a very quiet note. The dancing was superb, especially by the two leads. I am now very much looking forward to Murphy's Swan Lake, which I think is coming on PBS this month. Another complaint was that Theme and Variations and Ballet Imperial look alike - I know that they are different, but they appeared to be the same.

And an audience complaint - Murphy and Saveliev were taking their curtain calls and the audience was already lined up to leave the Met - how rude!

[nysusan]

I managed to sneak in the Monday & Tuesday night ABT performances between my vacation and business trips ...

Swan Lake pdd - On Monday night McKerrow was meltingly lovely with beautiful line in the Act 2 pdd. She & Max complemented each other perfectly. After her display of lyricism, Herrera & Carreno came out & pulled out all the stops in the 3rd act pdd. The audience went wild and gave them both huge ovations throughout. Although I still have reservations about Hererra's musicality & lack of fluidity in the upper body I think her talents serve her well in this piece. Those perfect feet & gorgeous legs were shown to full advantage, and here the lack of fluidity in her back & torso just brought out the unyielding hard edged brilliance in her Odile. She was great, and her balances were stunning. Carreno was wonderful, as always.

On Tuesday Julie Kent made a wonderful swan queen. This may seem like an obvious statement, but I've seen her in the full length SL a couple of times and she's not usually one of my favorites. This time she brought a beautiful serenity and fluidity to the role, and what really surprised me was what I can only describe as a lack of visible preparation. Her turns, her jumps seemed totally effortless and spontaneous, really as if she was reacting to the moment. She was a supremely sad and poignant Odette. Malakhov had little to do here, but he was a wonderful, elegant prince. The Nutcracker pdd was a perfect choice for Reyes & Cornejo. It gave him an opportunity to show what a beautiful, clean classical technique he has - but somehow he looked really tiny dancing with Reyes. Maybe it's just the immense size of the Met stage, or maybe he really needs an even smaller partner. All went well till the final lift, when it looked like he made a last second save.

Ballet Imperial - My apologies in advance to the Balanchine purists, but this is one ballet that I feel benefits greatly from a more dramatic reading. I was bored after the first 10 minutes of Tchai Piano Concerto #2 at NYCB last season, yet enthralled with Nina & Marcelo Gomes in BI at the Met last year. Having seen Vishneva a couple of times previously I found her plastique a natural fit for Balanchine, with those long limbs and the effortless 180 degree extentions. I thought that her background of Kirov clasicism combined with that gumby body would be perfect here. Technically I guess she was, but she left me cold. On the plus side, she really articulated all the angles & syncopation of the steps beautifully. She brought out things I had never particularly noticed before - the hops on point and movement with bent knees were so clear and crystalline & her phrasing really worked with the movement to bring out the neoclassicism of the steps and differentiate it from pure Petipa. However I really missed the heady romanticism inherent in both the music and the choreography. Even though she was a very grand and queenly ballerina, she didn't make me feel the mystery and pathos of the dance and so I felt that her performance was lacking. She was not helped by her partner, Malakhov looked very uncomfortable with his role. I liked Liceica - she brought a lovely delicacy to the second ballerina role but, for me, it just didn't mesh dramatically with Vishneva's interpretation to form a cohesive whole.

I preferred the Tuesday night cast of Part, Gomes & Wiles. Although Part didn't articulate the steps anywhere near as clearly as Vishneva did, she acquitted herself well technically and the majesty and deep sense of loss she brought to the role kept me wrapped up in the drama unfolding on the stage. I also loved Wiles. She made that killer 2nd ballerina role look like a walk in the park. Her dancing was effortless and she brought such brightness, such an innocent joy to the role that it was a perfect contrast to Part's melancholic Queen. As far as I'm concerned, Gomes owns the male role in BI. Watching him with Nina last year was a revelation for me, he was so poetic. On Tuesday he was even better that I remembered. In addition to his perfect dramatic tone, his dancing was just as smooth as silk. What wonderful ballon in his jumps, what cushiony, soft landings. He can do no wrong in my eyes.

T&V was a pleasure on Monday night. It was great to watch Murphy in this again. Having seen 3 casts at NYCB recently, and 4 casts at ABT last season I can confidently say that she is my current favorite! She has just the right combination of steely technique & lyricism for me. I'm not crazy about Saveliev, but his dancing was solid and he was a dependable partner. I thought the corps and the 4 female demi soloists were particularly sharp, especially the unannounced Stella Abrerra. It's unusual to see her in such a small role these days, and I could not take my eyes off her whenever the soloists were on stage. On Tuesday T&V seemed a little dull. The tempo seemed a little slower, and Herrera's style of dancing was too academic for me here. I usually love Corella, but he seemed to be pushing too hard. I guess Askegard really got me used to the elegant, effortless approach and Corella's boyish exhuberance seemed out of place.

After missing the gala and a whole week of Don Qs, it was great to finally have my start to the ABT season. Any complaints I had were minor - just preferring one approach above another. The company looked wonderful & I can't wait for my next performance.

[carolm]

I attended the Monday evening performance and I was in awe the whole night.

Monday night began with Ballet Imperial and I loved Diana Vishneva.  This is the second time that I have seen her dance live.  The first time was at the Stars of the 21st Century back in February.  I liked the ballet, but I kept waiting for Vishneva to come back on stage.  Everything about her dancing was magical, especially her solo numbers.

I am no expert, but I felt that Vladimir Malakohov's partnering of Vishneva was a little shaky - I noticed a few hand wobbles.  He danced fine by himself, but he seemd nervous when dancing with Vishneva.  The secondary lead was danced by Anna Liceica, who seemed to be enjoying herself - she brought a lot of joy to the role.  But the ballet belonged to Vishneva - she truly has a command of the stage and the audience.

[snip]

Theme and Variations was good, but a let down after the spectacular dancing of Herrera and Carreno.  The lead parts were danced by Gillian Murphy and Gennadi Saveliev. 

<{POST_SNAPBACK}>

We too were at the Monday performance. Your comments about Ballet Imperial and Theme & Variations are exactly my comments. <s>

I also agree with you that the Act II Swan Lake was much too short and as it was out of context it made very little sense. Act III, OTOH, was wonderful.

I guess it can stand alone because one does not have to know why they are going all out to impress--one just admires.

I had never been to the Opera House before and was astounded at how large it is. We had seats in the last row of the orchestra and yet could see the stage quite well.

Carol

[richard53dog]

I went last night to the Tchaikovsky program and had some similar reactions to both Ceeszi and Carolm.

First the program was a bit different.

Like Ceeszi, I loved Vishneva, I fell for her back in February in the Stars of the 21st Century thing. She was a bit steely, but man, Ballet Imperial is such a killer, particularly for the first ballerina. I was mesmerized by Vishneva's execution of the ballerina's first sequence. Yikes!

Also I agree Malakhov seemed "off" or "uncomfortable" or something like that.

The Swan Lake Act II left me a little disappointed. I didn't get much chemistry between Max and McKerrow. Also last week in the opening night, it was done with the Swans and that helps, really the pas de deux adagio doesn't cover much of the stage and the Met stage is enormous. So it looked like a little bit was happening in the center of the stage and the rest was empty.

The Onegin pas de deux made much better use of the size of the stage, Ferri and Bocca ran and danced through this overheated number.

I was sort of disappointed with T&V. Gomes was fine although he again cheated a bit on his double air turns ( did Carbro comment on this?) . But he was very elegant

and a good partner. I like Marcelo a lot too.

Wiles seemed to be rather reserved and careful, she was fine and polished but lacked excitement.

The end result was that T&V was an anticlimax for me.

I think Ballet Imperial would have worked better as the final number. I think that's how ABT programmed it in Spring 2004.

And carolm, yes the Met is huge, both the stage and the auditorium. It's really way too big for even many of the operas that are put on. And it seats almost 4000.

Ceeszi, the audience in NYC can seem rude in their dash out at the end. New Yorkers are always running somewhere! I'm from New Jersey, we run just a bit less but not much.

Richard

[snip! removing quote of entire post immediately above]

[nysusan]

The Onegin pas de deux made much better use of the size of the stage,  Ferri and Bocca ran and danced through this overheated number.

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Richard, can you expand on your impressions of Ferri & Bocca in the Onegin pdd? I was so upset at having to miss those performances (I'm writing this from a hotel room in Orlando), but consoled myself that I'd get to see Ferri twice in Les Sylphides. You can imagine how I felt when I saw that she cancelled those appearances...

I was sort of disappointed with T&V. Gomes was fine although he again cheated a bit on his double air turns ( did Carbro comment on this?) . But he was very elegant

and a good partner. I like Marcelo a lot too.

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Yes, I think it was Carbro who mentioned the cheating on the double air turns. I'm sure you're both right, I just have a blind spot were he's concerned!

Susan

[bingham]

[snip: edited quote]

I was so upset at having to miss those performances (I'm writing this from a hotel room in Orlando), but consoled myself that I'd get to see Ferri twice in Les Sylphides.  You can imagine how I felt when I saw that she cancelled those appearances...

A. Ferri is still listed to dance Les Sylphides on the evening of June 22.

Joe

[Giselle05]

QUOTE(richard53dog @ Jun 2 2005, 12:33 PM)

The Onegin pas de deux made much better use of the size of the stage,  Ferri and Bocca ran and danced through this overheated number.

Richard, can you expand on your impressions of Ferri & Bocca in the Onegin pdd? I was so upset at having to miss those performances (I'm writing this from a hotel room in Orlando), but consoled myself that I'd get to see Ferri twice in Les Sylphides. You can imagine how I felt when I saw that she cancelled those appearances...

I, too, went last night. To me, no words can express the way they dance together in pas de deuxs like these. I also went last Friday (when they danced this for the first time) and I thought that yesterday especially, (probably because they gained more confidence) they poured all their hearts into the piece. I sat at the front of the orchestra- I could hear them both breathing heavily with exasperation, they were just completely living the role. There was a beautiful part when Ferri would walk slowly, with Bocca clinging onto her arm and crawling behind her, then stop and fall back into his arms, then switch so her face was on top of his, and they'd embrace. They conveyed the drama so perfectly, how Onegin is in love with Tatiana, and she has not lost her feelings for him, but yet she can't do anything about it- it is too late. When Ferri ripped up the letter, she thrust it into Bocca's hands, her arm trembling. Ferri managed to have that stone cold look of defiance yet at the same time looked like she was about to burst into tears. There was some extremely difficult partnering- she'd jump and Bocca would catch her under her arms in the nooks of his elbows. Everything went very smoothly. Bocca, with his greyed hair and mustache, was extremely gentle yet ardent and desperate with passion. They got two curtain calls

I was impressed with Michele Wiles in Theme and Variations- I'm not a big fan and was very displeased when I saw her on Friday in Ballet Imperial, just because I thought her demeanor wasn't suited for the ballet. However yesterday, it seemed right, and she pulled off all the technical elements with ease and seemed to truly be having a good time. I enjoyed it much better than Friday's cast, with Paloma in the lead. Paloma was paired with Angel, who was trying so hard to catch Paloma's eye and add some cute coyness (or simply just make eye contact) and Paloma just would not have it, simply ignoring him throughout the entire thing.

I loved Diana Vishneva in Ballet Imperial. She has such a regal, commanding, queenly presence, and though she could have lightened up a bit in the beginning of the ballet (perhaps she was nervous) I found her perfectly suited to the role. I thought her and Malakhov were perfect together- the way they danced it really distinguished it from Theme and Variations, which didn't happen on Friday night (Murphy, Beloserkovsky, Wiles). Malakhov stumbled a bit on his solo parts, but it was probably because he's been off the stage for a while, and he still looked a little uncomfortable to be back on.

McKerrow and Beloserkovsky (White Swan PDD) don't go together well IMHO. Her small nuances are not cohesive with his- they seem to see the roles differently and to me, it showed. I loved Friday night's cast of Julie Kent and Jose Manuel Carreno. Julie she looked much more confident than on gala night, and her performance was very deeply felt, and just beautiful. I loved watching her with Jose Manuel Carreno.

nysusan, don't forget you've also got Giselle with Ferri...if you can go I hope that June 22 Les Sylphides performance indeed comes through..

[nysusan]

Giselle05 - thank you so much for sharing your thoughts on last night's performance. Your description of Ferri & Bocca in Onegin gave allowed me a moment of vicarious pleasure.

It's also interesting to read so many differing opinions of the same programs, it's such a clear illustration of the wide range of opinions in any given audience. Pity the poor AD who has to try to please us all!

nysusan, don't forget you've also got Giselle with Ferri...if you can go I hope that June 22 Les Sylphides performance indeed comes through..

A Ferri is still listed to dance Les Sylphides on the evening of June 22

Joe 

Giselle, Joe - I picked up a printed brochure at the Met a few nights ago that gave updated casting info as of 5/31. Unfortunately Ferri has been replaced for the 6/22 evening perfomance of Les Sylphides. It's now listed as Riccetto, Saveliev, Copeland & Boone. I think it's great that so many dancers are getting opportunities this season, and I'm looking forward to seeing them but IMO - ABT is not exactly overrun with world class romantic ballerinas at the moment. I had really been looking forward to seeing Nina in Les Sylphides. After she withdrew my only consolation was that we would get to see Ferri. So this is a real disapointment for me. To make matters worse, I have to be in California the entire week that they are doing Giselle. I have tickets for Ferri's Friday 7/ 15 performance, so I'll have my fingers crossed hoping my early morning flight home on Friday doesn't encounter any delays

Susan

[Giselle05]

Oh no!!! Ferri isn't doing even one?? I suspected this earlier- on the calendar she was listed, but if you clicked on "buy tickets" her name wasn't listed on the met opera website....oh no. :'-(

Well, there's Giselle...

I agree, no Nina, no Alessandra...Oye.

[kfw]

I love reading all the different reactions to this program, which I had the great pleasure of seeing Saturday, Monday and Tuesday evenings. It was especially wonderful and instructive to watch these great works over and over again, and by so many different dancers.

I’d only seen Ballet Imperial as Tchaikovsky Piano Concerto No.2, and as expected I much prefer it this way with its “imperial” sets and costumes. Now I especially prefer an appropriately Russian beauty in the lead role! If Part had more “perfume” in the performances I saw, and a sort of dreaminess that suits the mood of the ballet, Vishneva had passion to spare to go along with her thrilling technique. Part has more mystery; she makes you come to her. Vishneva has a more forward and athletic presence, but both danced with visible ardor, and because the ballet alternates brilliant with more overtly soulful passages, to my eye the two women were equally effective and moving.

Part danced with perhaps more confidence and daring Tuesday night, but nonetheless with more authority in her debut in the ballet on Saturday. I also thought she tired a bit towards the end Tuesday, and she and Gomes weren’t always in synch. For example, the lift offstage in the final movement that Vishneva’s arched back had made so moving Monday, and that Part and Gomes had also made memorable Saturday, barely happened Tuesday. But those are quibbles, and to see the two very different approaches the ballerinas took enhanced the pleasure of each.

All three soloists dancing the second part were delightful, but Wiles just tore up the stage Tuesday with her brilliant attack and her obvious joy in what she was doing. For quality of performance, she was Part’s equal.

Is it out of the question that ABT, with its emphasis on history and theatricality, would try this ballet with some version of the mime restored? I’m curious about Marie-Jeanne too. Clearly she was a technician; I wonder if she used her eyes and face with the same effectiveness as these two. I wonder what sort of onstage personality she had.

The Swan Lake pps de deux were very satisfying as well, despite the lack of sets and swans and royals. As Odette, the character in McKerrow’s no longer young face is so very lovely, as lovely as her dancing. Tuesday night I thought Kent danced well too, but I’d expected a lot after seeing her Giselle in Washington, and I didn’t feel as much from her emotionally until, surprisingly, she reached out and stroked Malakhov’s face during their final bow. (On the other hand, the pluck-a-rose-from-the-bouquet, kiss-it-and-present-it-to-your-partner routine became annoying when it started looking like standard ABT procedure).

In the Act III pas, Wiles thrilled with both technique and a triumphant and menacing edge to her seduction. She cracked me up. Poor high-flying Carlos Acosta. The company billed Monday night as the 10th anniversary as principals for Malakhov, Herrera and Carreno, and Herrera and Carreno received a huge hand before they’d even danced. He’s always been a favorite of mine – like James Fayette across the plaza, he just radiates nobility. I liked her better than before, but there’s something detached about her dancing that leaves me cold even in a showcase like this.

I’d been looking forward to same fleet footed leaps and batterie (?) from Cornejo and Reyes that they’d had a chance to display in the peasant pas de deux in Giselle, and halfway through their Nutcracker adagio Tuesday I found myself thinking that if they wanted to actually break into the peasant pas, or if he wanted to pretend he was a rose and jump out of an imaginary window, it would be fine with me. They didn’t, but they did make me happy in the variations. As for the preceding slow stuff, I thought they danced it touchingly but without much grandeur. I’m surprised to read that in fact Reyes had toned down her cutesiness. In any case, given that they’re not only relatively short but relatively young, for the time being I wonder if they aren’t better suited to demi-caractere roles.

Theme and Variations I knew mainly from the Balanchine Celebration video of the 3rd movement. I love Kistler in that, but watching Murphy power her way through it forthrightly instead of skimming and floating and was pure joy as well. Herrera again left me unmoved, but the ballet never did.

[fandeballet]

Some observations: 1- Tomas Solymosi is no major find. Tall he is. Beyond that, he is a mediocre dancer.......at best. I hope , as my friends said, that he was nervous. I am not too hopeful though. After seeing Acosta and Carreno dancing in the Black Swan Act 3, and both were great by the way, Tomas pales in comparison! Did anyone else see him Wed. matinee???????

2- Amanda McKerrow could be your answer for the Romantic Ballets. She did very nice and subtle performances in the White Swan Act 2 PDD. To me though, her strength have always been with the Giselles and Sylphides.

3- I grew to love Nina, and miss her. But having Vishneva around sure is helping me cope!!!!!!!!

4- I missed seeing the Tchaikovsky PDD. :mellow:

5- I don't think the White Swan PDD should be part of a Repetory PDD Night(Like the Spectacular).

[nysusan]

                              2- Amanda McKerrow could be your answer for the Romantic Ballets.  She did  very nice and subtle performances in the White Swan Act 2 PDD.  To me though,  her strength have always been with the Giselles and Sylphides.

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Great point, and I agree completely. Unfortunately she isn't cast for even one performance of Les Sylphides and I'm going to miss her farewell performance of Giselle

                             

I love reading all the different reactions to this program, which I had the great pleasure of seeing Saturday, Monday and Tuesday evenings. It was especially wonderful and instructive to watch these great works over and over again, and by so many different dancers.

<{POST_SNAPBACK}>

Absolutely. And you described the differences between Part & Vishneva so beautifully, I wish I could catch and remember the technical details so well but I find it really takes away from my enjoyment of the performance when I try to concentrate on analyzing it and remembering the details. And my ballet vocabulary is limited, to say the least!

[PAmom]

Some observations:  1- Tomas Solymosi is no major find.  Tall he is.  Beyond that,  he is a mediocre dancer.......at best.   I hope , as my friends said, that he was nervous.  I am not too hopeful though.  After seeing Acosta and Carreno dancing in the Black Swan Act 3,  and both were great by the way, Tomas pales in comparison! Did anyone else see him Wed. matinee??????? 

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I don't mind when a variation is nudged or tweaked to show the strengths or talents of a soloist but Mr. Solymosi's Black Swan variation did neither. The odd mix of steps did not come across as nerves nor overconfidance, it was just plain sloppy.