Batsuchan

Well, I am excited that Alina Cojocaru will be back, but I agree with Waelsung--I would love to see Obraztsova and Semionova and some of the other young stars guest at ABT as well. I have to admit, I am THRILLED that they are bringing back "Lady of the Camellias"!! Yes, I know all the critics hated it, but I loved every minute of its guilty pleasure goodness!! I'm taking everyone I know to see Vishneva/Gomes in it! Speaking of which, I am also excited to finally be able to see Vishneva/Gomes do "Giselle" together. Though I am very surprised that Osipova is not doing "Giselle." And not "Don Quixote" either (as of yet). I wonder if that was her request, or ABT's decision? Like some of the other posters, I am disappointed that Stella is not getting a "Giselle." And what about Angel?! After seeing him in "Fall for Dance" last week, I remembered just how much I've missed him! I sincerely hope we'll see more of him than that single performance he's scheduled for (and the gala). I'm shocked that Vishneva hasn't been cast for a "Swan Lake." I have my fingers crossed that the TBD will end up being Vishneva/Hallberg, since their performance this past season was absolutely stunning! Well, I guess the calendar isn't set in stone; it will be interesting to see what changes are made...

I don't think this has been posted anywhere else, but please remove this thread if it has! It looks like "Black Swan" is not the only ballet-related film to be premiering at the Venice Film Festival! Rustam Khamdamov's short film "Diamonds," which features Diana Vishneva, will be debuting this week: http://www.labiennale.org/en/cinema/festival/lineup/off-sel/orizzonti/brilianty.html?back=true Vishneva has posted several pictures of herself in costume on her Facebook page here: http://www.facebook.com/pages/Diana-Vishneva/416638053237

Thanks to everyone for all the reports on “Super Saturday” so far! They’ve been fascinating to read! I have somewhat delayed posting about Saturday night’s performance because to post would be to admit that the season is over, and acknowledge that I have to wait 10 months for it to start again. Like Barbara, I’m already suffering from ABT-withdrawal! I can’t comment on the Osipova/Hallberg performance, but for me, the Vishneva/Gomes performance was by far the best of the four I’ve seen this season, and even better than their outing last year. Seeing Vishneva last allowed me to marvel anew at her ability to command your attention, how she employs small details to make her character appear real and three-dimensional, and how she makes you feel what she is feeling physically. At the end of Act I, my friend commented, “She’s so transparent. You can tell exactly what she [Juliet] is feeling.” As with “Lady of the Camellias,” I felt that the others had given great performances, but when I saw Vishneva, it was like the difference between seeing a pretty postcard and being there yourself. And of course, as others have mentioned already, there is the sheer beauty of her dancing--luxurious, silky, luminescent. ** In Act I Scene 2, Vishneva was adorably playful and affectionate with her Nurse. When Paris arrived, you could see her feeling both flattered by the attention and a bit flustered. She looked to her Nurse for approval and encouragement when trying those first few steps with him. At the end of the scene, when her Nurse places her hands on her chest, Vishneva let them linger there for a moment, then moved them up towards her neck, as if taken aback—it made this moment not only about comprehension, but tinged with fear/anxiety as well—“Oh dear, I’m growing up! What does THAT mean?!” At the Capulet ball, I actually saw Juliet enter at the top of the stairs for the first time all week. I’m not sure if this had to do with where I was sitting (further back, but in the center), but I suspect this has to do with Vishneva’s ability to draw your eye and animate her character. Even if the audience is supposed to be focusing on the dancing guests below, she shows us Juliet excitedly taking in the scene, talking to her Nurse, noticing Benvolio and Mercutio at the top of the stairs. My eyes couldn’t help but be drawn to her. And when she danced with Paris: well, I was wrong about Reyes being the most musical Juliet I’ve seen—Vishneva matched her ability to carry the movement through each phrase, and she embellished it with her beautiful, graceful arms. Of course Romeo was smitten! Yes, as others have commented, Gomes did look a tad tired in the first few scenes, but when Juliet appeared, he was revitalized. Last year, I remember being somewhat disappointed by Vishneva & Gomes portrayal of the moment where Romeo and Juliet meet face-to-face. I didn’t feel the chemistry, and as a result, much of Act I was a bit of a letdown for me last year. This year, however, the moment totally worked for me. After seeing Romeo, Vishneva’s Juliet was dazed and confused; she didn’t know what had hit her. Aside from one very funny moment when Vishneva’s Juliet was bent at the waist, forcefully pushing her Nurse out of the room, she was positively lovesick, constantly on the verge of swooning. When Romeo was discovered by Tybalt, again I saw something that I had missed all week! Previously I had read Juliet’s reaction as her simply being upset that her Romeo is being accosted so violently by Tybalt, but last night, Vishneva showed me that it’s the moment where she finds out that Romeo is a Montague; she showed me Juliet’s (momentary) despair. The balcony pas de deux was simply breathtaking. It may have been the single most beautiful pas de deux I’ve seen all season. After the long, passionate kiss, Vishneva just stood there as if dumbstruck, and the audience exploded into applause. A second later, she recovered herself and staggered backwards before rushing up the stairs, but the vigorous clapping had already drowned out the music. (That was the first time I’ve seen people applaud BEFORE the pas de deux ended!) ** Just a few comments on Act II: At the end of the Mandolin dance, when Mercutio leapfrogs the mandolin players, Gomes substituted for the last mandolin player, crouching down at the end of the line. I, nor Salstein, it seemed, was expecting this, and they seemed to have a good laugh about it. The swordfighting in Act II was very impassioned, especially between Gomes and Radetsky. It really felt violent. And Radetsky did not die gracefully—you felt every bit of his struggle and you heard him fall hard. ** In the beginning of Act III, Gomes really took his time getting out of the bed. He rearranged Juliet’s arms, he lay back down to kiss her, and he only made it to the window just before Juliet wakes up. The image that I keep recalling from the bedroom pas de deux is when Romeo and Juliet were stretched in opposite directions—he in a deep lunge and she in an arabesque—then Vishneva arched her back and fell forward so languorously before Gomes caught her and lifted her up. It was like the inverse of those slow and heartbreakingly beautiful backbends in the White Swan pas de deux. It was like seeing the air let out of a balloon and then filling it up again. And yes, as soon as Romeo left her, Vishneva’s Juliet was deflated. To me, it felt like she was already dead. This was especially striking in her dancing with Paris—she didn’t resist (dead people can’t resist), but it was like all the air and light had been taken out of her; her body was moving, but she was not moving it. I thought this was brilliant—her dancing contrasted marvelously with her dancing with Paris Act I and at the same time it foreshadowed the upcoming pas de deux with Romeo where she is truly lifeless. Another moment I recall clearly is when Juliet rushes toward the door (through which her family exited) and then toward the window. With other ballerinas, I had read this as merely a sign of Juliet being overwhelmed and flustered, but in Vishneva’s portrayal, I understood that it was a sign of Juliet’s dilmena—she has to choose between her family and Romeo, and she loves both dearly. It was the first time all week that I felt Juliet seemed torn. And then the moment where Juliet stands against the bed, considering what to do. Honestly, I was skeptical that anyone could convey Juliet’s thinking simply with the eyes, without moving—until I saw Vishneva do it last night. Through my binoculars, I watched carefully as Vishneva initially kept her eyes unfocused and slightly downcast. Then you could see her eyes focus, she seemed to see something straight out in the audience, and then you saw the rush of joy when she had her epiphany! Aha, I thought. So THAT’S what that moment is supposed to feel like! The final scene of the ballet was heartbreaking in all the right ways. I will say that Kent looked a tad more convincingly lifeless—I never saw her move/jump—but perhaps after three R&J’s, Gomes needed a little help from Vishneva. But as I mentioned above, Vishneva really makes you feel something physically, and I couldn’t help but cringe slightly when she let her limbs thud against the floor. When she discovered Romeo, she initially was overjoyed to see him, and she only realizes mid-kiss that something is not quite right. Her “scream” started before the musical cue and expanded into an arms-outstretched cry to the heavens. As others have mentioned, her stabbing was particularly violent. When she raised the dagger high above her head and plunged it into her breast, you felt the impact. So forceful was her blow that she immediately fell forward onto the bed. Yes, I thought Vishneva played this moment especially well. I had always found it contrived for Juliet to kind of stagger around for awhile, possibly fall down, then pick herself up and decide to climb back onto the bed. Why not just crawl over to where Romeo and lie down next to him? With Vishneva’s portrayal, however, the last few moments played out completely rationally. She stabbed herself and immediately fell onto the far side of the bed. Then, the easiest option (the only option) was to inch across the bed—and you felt every inch—to Romeo’s side. Once there, she grabbed hold of one of Romeo’s hands. She brought her other hand to her lips, and then slowly placed her fingers onto Romeo’s lips. And then, on the last possible note, she expired. ** Bravo, bravo, bravo! One for each of the curtain calls they received. Thank you Diana and Marcelo for a marvelous end to a marvelous season!! I enjoyed myself thoroughly, as did my friends who’d never seen it. But I will admit, that a small part of me wishes we could have done away with Romeo & Juliet altogether and had Vishneva & Gomes give us one last devastating performance of their superlative “Lady of the Camellias”!

Aha! You've just made me have an epiphany! I kept wondering to myself why all those townswomen are sweeping the ground in the beginning of Act I, but now I understand! It must be so that Romeo can sit on the ground and not soil his lovely costume!

So far I’ve seen 3 R&J performances (Kent/Gomes, Reyes/Cornejo and Herrera/Gomes) and I’m heading back tonight to catch Vishneva/Gomes. I am somewhat amused that when I bought these tickets, they were for four entirely different casts, but now I will be seeing the same Romeo 3 times! However, like Kyeong, I was struck by how differently Gomes played Romeo on Monday and Thursday. It almost made me wonder if he had read our discussion contrasting his somewhat rakish Romeo to Hallberg’s more innocent, reserved Romeo. At any rate, he was a sweeter, nobler Romeo than he was on Monday, but I am very curious to see how he plays Romeo to Vishneva’s Juliet, who will undoubtedly be overflowing with passion! Kent has a natural sweetness which suits the role of Juliet, and she was adorably affectionate with her Nurse in Act I. She played Juliet on the skittish side, rapidly darting away from Paris to hide behind her Nurse with a huge grin. I had a hard time buying her chemistry with Gomes until the Act I balcony scene, which was gorgeous—definitely the most beautiful and effortless of the three I’ve seen so far. I noticed that Kent/Gomes did the two repeated lifts at the end differently from all the couples I’ve seen. With all the others, Juliet leapt and made a half-turn in the air and then Romeo caught her and spun around a few times. But Kent jumped up, with Gomes lifting her up above his head, much like the earlier lift where Juliet’s torso is parallel to the ground and her arm raised to the sky. It made me wonder if there a more correct way to do this lift (what’s the original choreography?) or if it is completely up to the couple’s discretion. While Kent played Juliet on the juvenile side, Herrera’s Juliet was definitely an adolescent. When she was playing with the doll in Act I Scene 2, I got the distinct impression that her Juliet was playing to amuse her Nurse, rather than the other way around. And when Paris arrived (Alexandre Hammoudi), her Juliet reacted by being bashful, self-consciously shielding herself behind her Nurse—which I thought was totally appropriate and accurate for an adolescent, and very endearing. However, when this shy Juliet met her dashing Romeo, wow! She just came right out of her shell and beamed at him. And he beamed right back. They only had eyes for each other. Even though the lifts in the Balcony pas de deux did look more labored as Kyeong mentioned, and lacked some of the fluidity, it was great. (But with that music, and with that choreography, how can it not be?!) As for Reyes, I’ve already mentioned how much I enjoyed her in Act I. I saw Dvorovenko and Vishneva as Juliet last year, and Kent and Herrera so far this year, but I can’t remember any of them bringing the music to life in her Act I dances as much as Reyes did. After seeing Thursday’s performance, however, I wondered if I should give some credit to Gennadi Savaliev for his excellent partnering as Paris. Alexandre Hammoudi is a handsome, dashing Paris, but some of his partnering with Herrera seemed a little awkward. I can’t elaborate much more on Reyes’ characterization of Juliet except to say that it was just right. She was innocent and young without seeming excessively girlish. Everything seemed natural. And Cornejo matched her perfectly. Although their partnering was not quite as effortless as Kent/Gomes, it never looked awkward, and even if their Balcony pas de deux may not have been the most passionate I’ve seen, it was still extremely satisfying. At the end of the pas de deux, Reyes scampered up the stairs so quickly that I feared for her safety, and when she stopped mid-step, my heart skipped a beat as I remembered Vishneva’s near-slip last year. But all was fine. Reyes simply wanted to give Romeo one last look of longing before ascending to the top of the stairs. ** In my experience, my enjoyment of Act II heavily depends on Mercutio and Benvolio. For me, the Monday night performance was slow until the Balcony scene, sagged a bit in Act II, and then fully took off in Act III. Monday’s trio of Gomes/Cornejo/Lopez was perhaps the most technically solid—in fact, I marveled at how in synch they were in their dance before the Capulet ball—but it lacked some of the humor and joy of the other casts. On Wednesday, even though Simkin’s steps were a bit off, he elevated the scene for me with his gleeful hijinks. He was a highly entertaining Benvolio. On Thursday, Salstein was Mercutio, and I absolutely love him in that role. He may not be as technically astounding as Cornejo, but his comical timing is simply fantastic. In a way, his death was the most tragic—the king of jokes has finally encountered a situation he can’t laugh off. I can’t wait to see Salstein and Simkin together tonight—I think that will be a total riot! On Monday, the sword fighting was impeccable. I couldn’t help it, but I found myself watching to see if they would mess up—and they never did! On Thursday there was a bit of an accident when Romeo (Gomes) and Tybalt (Stappas) were dueling. Somehow Stappas lost his sword at the very beginning, forcing Gomes to pretend to miss him, but almost immediately, someone handed him another sword. It was all done so smoothly that I bet anyone who hadn’t seen the ballet before would never have known it was a mistake! That was quite impressive to me. On Wednesday, I enjoyed Radetsky’s portrayal of Tybalt. Savaliev (Monday) and Stappas (Thursday) were kind of straightforwardly mean and menacing, but Radetsky’s Tybalt reveled in his own baseness; he enjoyed being a bully, and that made his Tybalt more interesting to me. ** As I said above, Monday night’s performance fully took flight for me in Act III. Gomes/Kent delivered another beautiful, moving pas de deux in the bedroom, and then I was completely drawn in Kent’s expression of Juliet’s dilemma. But I was very surprised by what she did in that pivotal moment where Juliet is standing against the bed, thinking about what to do. She moved her head up and down slowly, which I’ve never seen anyone else do. (I thought Juliet was supposed to stay stock-still…?) The pas de deux with Juliet’s limp body was heartbreaking—the first time Gomes lifted Kent’s body and it hung limp instead of extending beautifully, I felt tears spring to my eyes. And at the very end, Kent did something that I’ve never seen other Juliets do—perched on the crypt bed, she reached down and lifted Gomes face to hers for one last kiss before collapsing back. I really liked that. And when all was done, the audience greeted Kent/Gomes with rapturous applause. On Thursday, Act III is where things sort of fell apart for me. Herrera was very forceful in her rejection of Paris; her Juliet didn’t seem like she had no control over the situation, she seemed like an independent woman. And for me, that made the story seem less tragic, it made their suicides seem like less of an inevitable outcome. At the end of the scene in the crypt, she struck her death pose several beats before the end of the music, and I think that slightly lowered the emotional impact as well. All in all, a good but not great performance for me. On Wednesday, like I said before, everything was just right. A moving end to a magical evening! Can’t wait to see what they bring tonight!!

Well, I hope to elaborate more later, but I just wanted to say that Reyes and Cornejo were wonderful in tonight's performance! Actually, the whole cast elevated it to a level that it didn't quite reach for me on Monday, and I couldn't help but grin with delight during Act I. I've always admired Reyes for her quicksilver steps, impeccable musical timing, and charming, if quirky, personality, and this season I enjoyed her as Prudence in "Lady of the Camellias" and especially in "The Dream." But I was even more impressed by how she danced as Juliet in Act I. At the party, when she is dancing with Paris, it seemed like carried the movement seamlessly through each musical phrase, like it was one long breath. For me, she really BECAME the music, and made me hear the score/see the steps anew. Cornejo was a slightly more earnest, boyish, soft-spoken Romeo than Gomes, and he and Reyes made quite a sweet couple! I have to go but I'll just say that I really enjoyed Simkin as Benvolio. There were a few times where he got out of sync with Romeo and Mercutio, but he just has this star quality and I couldn't help but focus on him. And lastly, I loved Stella as Lady Capulet. I thought she was very convincing after Tybalt's death.

THREE Romeos with three different ballerinas!! Good luck, Marcelo!!

I just got back from tonight's Kent/Gomes performance. Isn't Marcelo marvelous?! I'm glad to see that his injury wasn't too serious (or at least I hope so!), because he was in fine, flashing form tonight! Perhaps he doesn't have Hallberg's gorgeous lines, and I can never quite believe that his Prince Siegfried doesn't get any girls in Act I, but his Act III was showstopping! He brought one of his pirouettes sequences to a perfect standstill, and his series of pirouettes at the end of the Black Swan coda were fantastic! But most of all, what a great and gracious partner he is! Julie Kent looked totally comfortable in his capable arms, and they executed one looong supported pirouette that made me gasp--I didn't think that was possible, but I did! Yes, I think Marcelo gave Julie everything everything she needed to pull off a beautiful and moving performance! With her inborn dignity and her lovely long limbs, Kent seems to be a natural Odette. She and Marcelo delivered a beautiful White swan pas de deux (thank you Ormsby Wilkins for keeping it slow!). I would have enjoyed more, had it not been for some poor unfortunate soul who stood up in the middle and proceeded to collapse (?) in the aisle to my right! (I think the house doctor was called in...I hope the patron is fine now!) In Act III, Kent was fun and flirty, but never for a second did I believe that she was an evil seductress. She just looks too sweet. ;) In the middle of the Black Swan pas de deux, when she is down on the floor and Siegfried pulls her up into arabesque and then lets go of her hands--she held her balance for what seemed like an eternity--I was seriously impressed! Later, she didn't get anywhere close to 32 fouettes and traveled halfway across the stage, but it didn't matter, Siegfried was smitten all the same. At the end of the ballet, Kent and Gomes received a standing ovation and a very hearty cheers. The man sitting behind me was excitedly telling his companion that "I've seen many 'Swan Lakes,' but this is the best I've ever seen." And I couldn't help but think to myself, "that's because you didn't see Vishneva and Hallberg on Tuesday!" * Overall, I enjoyed tonight's performance very much, but unlike on Tuesday, when Act IV hit an emotional high note for me, I didn't feel so satisfied tonight--despite Marcelo's spectacular leap to his death. I'm still puzzling over why that is. I'll probably post again later when I figure it out--and give well-deserved credit to the other wonderful dancers I enjoyed (I love Stella!)!

I wholeheartedly agree! Act IV has felt a little too short or muddled for me in the past, but last night it hit all the right emotional notes for me. I felt the catharsis! Even today I felt some post-performance euphoria, and I was quite tickled to find this on David Hallberg's twitter: "I have been hit by a truck. The truck had a name on it. I believe the license plate said 'Swan Lake'." http://twitter.com/davidhallberg My thoughts exactly! Indeed! Here's for hoping they can keep up the momentum through R&J! As for NYTimes review--I also thought it was shocking that they chose not to review the Part/Stearns performance!

Thank you Diana and David for a SPECTACULAR performance tonight!! Wow!! Gorgeous, just gorgeous!! I admit, I was a little apprehensive about how this Vishneva/Hallberg partnership would work out, since Diana & Marcelo were so amazing in "Swan Lake" last year (and absolutely heartwrenching in "Lady of the Camellias" this year). Last year, I remember being afraid even to breathe during Diana & Marcelo's White Swan pas de deux, lest I disturb the magic unfolding before my eyes. I distinctly recall Diana's glorious backbends, where it felt like she was falling slowly for minutes before Marcelo gently caught her. This year, under Barker's baton instead of Wilkins', the tempo was markedly faster throughout the first half, and I was not as spellbound as I was last year, though the White Swan pas de deux was very beautiful indeed, and received a rapturous applause. Diana was not a demure, gentle Odette in Act II, and I felt like the very brisk tempo made her impassioned arm-fluttering and resistance to Siegfried, look almost cartoonish. A true wild bird. But she managed to make Odette's second variation (?)--the series of passe/releve and entrechats--into a bit of a showstopper for me, hitting each position sharply and tossing off those entrechats like they were the easiest thing in the world. Overall, however, I did enjoy the first half, perhaps more than last year, thanks to the supremely beautiful dancing of David Hallberg (yes, I can see why Macauley loves him) as well as the very enjoyable pas de trois. I thought Maria Riccetto, Blaine Hoven, and especially Stella Abrera did a fantastic job. Stella is quickly becoming one of my favorite dancers! I also thought the corps looked very, very good in the swan scene. ** And if Act II was a tad of a letdown for me compared to last year, Act III was absolutely spellbinding. Wow! I think Diana had all of us under her spell from the moment she appeared on stage. She's no cold vamp, she's the thrilling life of the party! And then the technical marvels--she held one balance with her leg developped near her ear for so long I gasped. And the fouettes--Diana just has to go over the top, doesn't she? She used the first 16 counts to do a thrilling mix of multiple revolutions, fouettes with her leg left extended (wow), arms over the head, etc, and then 16 counts of singles. They might have been a little sloppy, but I appreciate that she takes risks like that! The supported pirouettes were just as amazing--David spun her like a top! Yes, to me it felt like Diana and David found each other in Act III, and in Act IV they delivered a heartwrenchingly pas de deux before the apotheosis. Beautiful dancers making beautiful lines together. Ahh, and with Tchaikovsky's glorious score washing over me, I felt totally satisfied. Bravo, bravo, bravo!!!

Ah, but if they tour with it, it probably won't be with Vishneva, and I think that would be a real shame! I found this on Marcelo Gomes' twitter from yesterday morning (if I'm not allowed to post this, please delete!): "cant wait to dance armand in lady of the camellias tonight with the very inspiring diana vishneva.last chance to see the ballet at the met" http://twitter.com/marcelogomes47 Indeed, judging from the very warm embraces during the bows, it seemed that Vishneva & Gomes very much enjoyed dancing together last night! When I saw them in the 5/26 matinee, I didn't think they had held anything back--but last night I felt like they really pushed every movement to the limit (and then some). Especially Vishneva--she really made the role her own, in my opinion. *** As for the question about the diary/book--it was clear to me that Armand was reading Marguerite's diary at the end. From what I could see, it was dark blue/green and rather slim, whereas the book that Armand was reading at the end of Act I was red and thick. I assumed that it was a reference to the gilded copy of MANON LESCAUT that Armand gives to Marguerite in the original story, but there's no actual reference in the synopsis. Once I found out that ABT was doing "Lady of the Camellias" last year, I read Provost's MANON LESCAUT, and Dumas, fils' Camille and saw the Greta Garbo movie, so I was very familiar with the story. Even so, before I watched the ballet the first time, I felt rather confused reading the synopsis! But the ballet played out much more straightforwardly than I had feared. The costumes and the garish white makeup definitely marked Manon/Des Grieux as being otherworldly doubles to the main leads. *** Ahh, I have been listening to Chopin all day, trying to recapture the wonderful sensation of last night's ballet. Somehow I feel like the rest of the season won't be quite as satisfying... I agree with abatt--I wish this had been taped too! I would gladly buy a DVD!! ETA I just looked at Diana Vishneva's Facebook page, and she mentioned that ABT will be doing "Lady of the Camellias" again next year! http://www.facebook.com/pages/Diana-Vishneva/416638053237 If this turns out to be true, then HOORAY!

Well, my hands have just about recovered from clapping them numb. Vishneva and Gomes were phenomenal again. Thank you for spilling your souls out on the stage for all of us to see. Bravo, bravo, BRAVO!!!!!

Well, if last night's premiere boasted an all-star cast, then today's matinee was the Diana & Marcelo show. And with their passion-matched-for-passion performance, they elevated "Lady of the Camellias" to a whole new level for me. Here I will try to describe some of the differences I noticed (and I apologize in advance for the lack of organization): I agree with sealings about Part and Murphy--I liked Veronika's dancing better, but I really enjoyed Gillian's expression, and I did feel that she and Julie had a real connection. I agree with some of the other posters that last night's Act I seemed a little lacking, and last night I would have agreed that it might have been better to merge Act I and II. But today--perhaps it was because I was seeing the ballet for the second time, and knew what to expect--but I found Act I to be more dramatically satisfying, and I think it is because of the different ways Julie Kent and Diana Vishneva approached the character of Marguerite. Julie's Margeurite was sweeter, with a touch of childlike innocence. It was only natural that she should fall in love with Armand--it was Roberto Bolle, after all. Diana's Margeurite was a worldly courtesan: glamorous, vivacious, a believable man-eater. But when confronted with Armand's ardent love in the Act I pas de deux, I could see the cracks in her facade of untouchability. She wants to treat him as just another meaningless dalliance, but then she begins to wonder, could these feelings be real? Am I really capable of love? And then I thought I also saw fear, fear about what could happen if she dropped her defenses and let herself love him.... The development of this character arc made Act I feel more fulfilling for me. Also--today I saw Armand give Margeurite a book. I'm not sure if that happened last night and I just missed it, but I thought it was a nice touch since Armand gives Margeurite a copy of Manon Lescaut in the original story. In Act II, I enjoyed Xiomara Reyes & Jared Matthews' dance in the countryside more than Simone Messmer and Sascha Ratesky today--they seemed to have more pizazz--but it certainly was nice to see Sascha dancing again! But honestly, I was paying quite a bit of attention to Diana & Marcelo. Even though they were in the background while the others danced, they were very animated: chatting away, reading to each other, drinking from each other's cups--very much the merry couple. They threw themselves into the Act II pas de deux. I enjoyed Julie and Roberto very much yesterday, but Marcelo and Diana were just overflowing with emotion. Not just in this pas de deux, but in the whole ballet--I really felt like they were giving the steps everything they had. FauxPas mentioned that the steps for Margeurite were not as demanding as those for Manon, but today Diana made sure to make the most of them! And there were definitely casualties from all that passion! Marcelo tore his tights over the knee right before the end of Act II, and probably no amount of hair gel could have held his hair in place after all that rolling on the floor! In Act III, Julie Kent had that heartwrenching vulnerability and sadness after the confrontation with Armand's father, but Diana simply looked broken. From the very beginning, that first act pas de deux, she knew what she was giving up and what it could cost her. I was especially impressed by Diana's ability to make her body look like it is moving of its own volition. Her heart and spirit rebel, but her body moves as if pulled by an inexorable force. I felt that strongly when she was doing those little steps (bourres?) in circle, and when she was being pulled away by Manon and Des Grieux. The biggest difference I saw in this act was the difference between Roberto and Marcelo's portrayal of Armand. On Tuesday night, I was a little dismayed that Roberto seemed perfectly happy to be dancing with Olympia, as if he had completely forgotten about Margeurite. Shouldn't he show just a little bit that he's doing this just to make Margeurite jealous? But Marcelo played the bitter, vengeful ex-lover wonderfully. (And Maria Riccetto was a smug accomplice.) And that made Margeurite's fate all the more heartwrenching. Yes, if Julie & Roberto broke my heart, then Diana and Marcelo just about ripped it out of my chest and smashed it into a thousand pieces. Ah, but what a wonderful way to spend an afternoon! BRAVO, BRAVO, BRAVO!!!!

Well, I just got back from tonight's performance, and all I can do is gush... BRAVO, BRAVO!! I felt privileged to be able to witness such a triumphant premiere! During the first act, I admit I had my doubts--the ballet was definitely unlike anything I've seen before, the synopsis was rather bewildering, and there seemed to be a few partnering issues that hadn't quite been smoothed out. But by the end, I thought it was perfectly cast, and the intertwined Manon/Des Grieux storyline unfolded quite naturally. Of course, I'm not sure the whole thing would have worked so well without Chopin's expressive and beautiful music, which provided depth and filled those motionless moments with unspoken emotion. What a great vehicle to make use of ABT's roster of stars! I thought Xiomara Reyes was a wonderfully sassy soubrette as Prudence, and Jared Matthews was an equally roguish Gaston Rieux. I heartily enjoyed their little dance-off in the country. Hee Seo was a gorgeous Olympia, Julio Bragado-Young was a charmingly hapless Count N., and Roman Zhurbin a stern but affectionate Father. How beautiful Gillian Murphy and David Hallberg were as Manon and Des Grieux! I think I've never enjoyed them more. And then our leads. Julie Kent just about broke my heart by the end. She was so overcome with emotion that she was crying during the bows. And as for Roberto Bolle--as the lady sitting next to me remarked, "Well, I would fall in love with him too!" Bravo, bravo, I say again! I am intensely curious to see how the other casts will handle this. I'm very much looking forward to seeing it again!

I'm not sure if this is the right place to post this (please move it if it is not!), but I happened to find this lovely article by ink artist Michael Arthur filled with sketches of ABT dancers at the Met: http://happydays.blogs.nytimes.com/2009/07...drawn-that-way/ His blog also has one other picture that is not included in the original article: http://inklines.blogspot.com/

I attended last night's performance (the last of the Met season, sob!) with Bolle and Dvorovenko, and it almost shocks me to say this, but it was fabulous! Maybe it was the fact that this was my second viewing and knew what to expect, or that I was closer to the stage (row O vs row BB), or that I wasn't jet-lagged, but even though I immensely enjoyed Vishneva and Gomes on Monday night, on the whole, I thought this performance was better. First of all, I'm in love with Roberto Bolle! This was my first time seeing him live, and I simply cannot imagine a more perfect Romeo! He was a god in this role; he owned the stage. As for Irina - well, much of her dancing made me feel anew just how good Vishneva is in comparison, but she had fabulous chemistry with Bolle. From the moment when their eyes locked in the ballroom scene, I believed in their love story. And bravo to Craig Salstein as Mercutio! He may not have all of Herman's technical chops, but what personality!! I absolutely loved him in this role and was riveted during his death scene. Yes, I think this is what made the big difference for me versus Monday night - the supporting cast was great and thoroughly held my attention in the scenes I found somewhat dull on Monday. I actually ENJOYED the harlots last night (thank you Misty Copeland, Stella Abrera and Melanie Hamrick). At the end of the show, the audience gave the leads a thunderous standing ovation. Irina gave one of her bouquets to Roberto, and then she gave a rose to the conductor, Ormsby Wilkins, who was great!! He then proceeded to throw the rose into the orchestra pit in dramatic fashion - I just loved it! After Monday night, I was worried about my ability to sit through another performance, but if the cast from the leads to the supporting roles is a great as it was last night, I think I could watch it every night! So sad that the ABT Met season is now over...I can't wait until next year!

So true! So sad to see Alex leave! It's nice to see classical ballet represented on the show, but all through Melissa and Ade's take on 'Romeo & Juliet' last week, I could only think, "if only they could get ABT dancers to show them how it's REALLY done"! It seems like many of the girls on the show this season have had extensive ballet training. For example, although Kayla claims contemporary/jazz as her style, she's definitely done a lot of ballet: http://www.youtube.com/watch?v=oQMJQHXm_ko Ok, and now I've veered well off-topic (sorry!)...so I'll say that Diana and Marcelo have first class tickets on my hot tamale train!!

Me three!! Is there ANY chance that we'll get to see any ABT dancers perform on the show as guests?? If so, I might just die!!! (Oh dear, that sounded awfully like Mary Murphy; my apologies.)

I was also at last night's Vishneva/Gomes "Romeo & Juliet." I agree with many of the posts here that some of the harlot scenes and the sword-fighting got a little dull, and I wasn't feeling entirely captivated by the ballet until Act III. I am a big Diana-Marcelo fan, and by the end, I enjoyed them immensely. But it took a while to get there. I saw their Balcony pas de deux at the Opening Night gala and was absolutely enthralled (in fact, that performance impressed me so much that I changed my ticket to fly back to NYC early just so I could see their R&J). Last night, however, I was a little disappointed. Perhaps I was remembering Diana/Marcelo's luxuriously slow White Swan pas de deux, but I found myself wishing that they used a slower tempo - I felt like I didn't get to savor the moments as much as I would have liked. I know that other posters find Vishneva to be a bit histrionic, but I found her and Marcelo to be utterly convincing in Act III, and I felt quite satisfied by the end. Judging by the final bows/curtain calls, it seemed like Diana and Marcelo enjoyed dancing together as well. The lady sitting next to me pointed out Marcelo's teacher Silvana (from Brazil) in the audience, and later informed me that Marcelo's mother was also there; she had just flown in to see the performance. Hopefully they enjoyed it! As for the others - I heartily enjoyed Herman as Mercutio: fabulous, simply fabulous. I was also quite moved by Veronika's Lady Capulet. Overall, this was my first season to see Diana Vishneva, and I was wholeheartedly impressed. I also adore the Diana-Marcelo partnership and can't wait to see them next season! canbelto - Where is the stage door located? I might try to see the dancers the next time I go! angelica - Your description of Irina's Juliet makes me very excited to see her on Saturday! But I'm going to have to try my best not to nod off during more of the harlot scenes...

I just got home from Wednesday's evening performance with Diana Vishneva and Marcelo Gomes and all I can say is WOW! Daniil Simkin was fabulous as usual, and the four cygnettes were spot on, but the rest of the cast looked a tad ragged, in my opinion. But who cares when you've got Vishneva and Gomes dancing their hearts out?! The theater was absolutely packed; the standing room was full; there were many children, but during the White Swan pas de deux, there was absolute silence in the audience. I didn't hear a single cough or sneeze (at least not in the Orchestra section). And the crowd rewarded them richly with applause, calling them out for a second round of bows. Vishneva was so convincing in her characterizations that my friend, who'd never seen "Swan Lake" before, thought that Odette and Odile were played by different ballerinas! (Granted, we were way in the back of the Orchestra section.) She was stunning tonight! Well, I might write more later, but I just wanted to say that I am a big, big fan of the Diana-Marcelo partnership, and I absolutely cannot wait to see their "Romeo & Juliet"!!

Aww, that's great! Congratulations to them!! Now they have a boy and girl!

Well, I just got back from Wednesday night's performance, and I guess my expectations for Osipova were sky-high after reading those gushing reviews of her 'Giselle,' because I came away slightly underwhelmed. Those huge jetes that Ilya mentioned were unbelievable, indeed. And the audience was certainly adoring. But I guess I kept waiting to be completely blown away, and it didn't quite get there for me. (Though I may be the only one.) I wish I had seen her 'Giselle'!! Well, here's for hoping that she'll be back next year! I did enjoy Herman quite a bit though! Tonight's performance was exciting for me for other reasons - right outside of the doors to the Orchestra section, I spotted Diana Vishneva standing there chatting with some people! I didn't see her when I went inside and took my seat, but then, in the intermission before "La Sylphide," I saw her slip in through the side door and take a seat in the front row of the Orchestra section on the left side. During the second intermission, I spotted Kevin McKenzie and Alexei Ratmansky together, and I also saw Caroline Kennedy outside the ladies room. (This is why I make it a point to go to the ladies room during performances - you never know who you'll see there!) It looked like a packed house tonight!

Thank you 4mrdncr for your very detailed notes and impressions! I agree that Diana's arabesque en dehors turns were simply amazing! I've seen a video of her doing those turns in her performance with Marcelo Gomes and the Mariinsky in March, but it seemed like on Tuesday she was even faster and more (seemingly) out of control!

I saw Tuesday night's performance with Vishneva, and all I can say is, this is why I watch ballet. I had been looking forward to this performance for months; it would be my first time seeing Vishneva in a full-length ballet, and I went in with extremely high expectations. Thankfully, Diana was Diana, simply divine, and she completely surpassed even my sky-high expectations! Wow! The crowd was certainly appreciative, and I'm not surprised to hear the theater was packed. In fact, outside of the theater when I was waiting for my friends, two people came up to me and if I had extra tickets! During the curtain call, at least 4 bouquets were thrown at Angel (but none for Diana?!), and during the second one, Angel and Diana came all the way out to the left side of the stage, to the right side, and back to the center to take their bows. As for the others - this was my fourth ballet of the season, and I count myself lucky that I've seen Daniil Simkin in everyone. He's simply amazing. I enjoyed Stella Abrera very much, but agree that Wiles was not my cup of tea. I agree with Ceeszi - I love Diana; in fact, since I was so impressed last night, I just changed my vacation plans so that I can be back in NYC in time to see her and Marcelo Gomes in 'Romeo & Juliet.' If it's anywhere as good as their pas de deux was in the opening night gala, I think it should be fabulous!

I attended Thursday night's performance with two friends who are even newer to ballet than me, and we all had a fabulous time! It was worrisome to hear that Ethan Stiefel is injured, but I have to admit that I was excited to be able to see Angel play the slave again. Angel and Daniil! What a treat! I agree with Danseur85 that Daniil did look petite (but he had a big personality and stunning tricks!), and I was also struck by how small Lopez looked when standing next to David. But then again, it did make it easy to believe that the rest of the pirate crew would be intimidated by Conrad. Gillian was solid and very clean and pulled off some amazing fouttes as abatt mentioned, and I enjoyed Maria as Gulnare. Aside from the small mishap in the weave, did anyone else notice one of the women in yellow in the jardin animé scene step out/fall out on one of the turns and put a hand down? It was very quick and the dancer recovered rapidly--I gasped but my friend didn't notice. All in all, 'Le Corsaire' may not be one of my favorites, but I agree with FauxPas that it is fine summer entertainment!