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Colleen Boresta

Senior Member
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    365
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About Colleen Boresta

  • Rank
    Bronze Circle
  • Birthday 04/22/1954

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid ballet goer
  • City**
    Staten Island, New York

Recent Profile Visitors

775 profile views
  1. I attended the June 7th matinee of “Le Corsiaire’, a ballet about swashbuckling pirates and beautiful slave girls. Gillian Murphy was supposed to dance the lead role of the slave, Medora, but due to an injury she was replaced by soloist Christine Shevchenko. Shevchenko was absolutely brilliant in the role. She showed off her incredibly fast chaine turns and in the slave pas de de trois her fouettes were very fast singles with several doubles thrown in. Her Conrad was the Danish dancer, Alban Lendorf. He stood out for his high soaring leaps with soft landings and very nice multiple turns
  2. It's been great reading everyone's reviews of the May 27th Giselles. I always felt that Gillian Murphy would not make for a believable young peasant girl with a weak heart. When I saw both Cynthia Gregory and Nina Aniashivelli in Giselle I felt the same way. What about Isabella Boylston? If anyone sees her performance in Giselle, please post about it.
  3. I attended the May 27th matinee. I wasn’t sure about what kind of performance soloist Sarah Lane would give, but she turned out to be one of the best Giselles I have ever seen. Lane is a very young and in innocent peasant girl who is totally in love with Albrecht (whom she think is a peasant named Loys). She fully inhabits the role – her simplicity, her devotion to her mother, even her delicate constitution – all are perfect. Everything about Lane’s characterization of Giselle is genuine. Her mad scene is heartbreakingly artless. Lane’s acting is so heartfelt, I feel myself tearing up.
  4. I saw Lendorf dance the role of the Prince in Sleeping Beauty when he was a guest artist at ABT a few years ago. I thought his performance was very good. I never saw him dance Basilio but it is a much different role than Albrecht or the Princes in Sleeping Beauty or Swan Lake. I will be seeing today's matinee performance of Giselle. I'm not sure about Sarah Lane in the title role. When I saw her dance Aurora in Sleeping Beauty in 2015, I thought the scale of her dancing was rather small in scale. . But I will keep my mind open and see what happens today. I am especially looking forward
  5. As I have already stated, I think Isabella and Daniil have wonderful chemistry in Don Q. I treated my sister in law (for her birthday) to the May 20th matinee of Don Q. She has not gone to the ballet in quite a few years, but she was particularly impressed with Daniil. And I don't think he's just doing tricks. His dancing is appropriate to the role. Basilio is a very showoffy role. I will be seeing Daniil in Giselle at the May 27th matinee, and I highly doubt that he'll be doing revoltades as Albrecht. (I'll definitely post and let you know however.) I do agree that Gillian Murphy's Ki
  6. I saw the Saturday matinee of Don Q, ABT principal dancer, Isabella Boylson, is a high-spirited Kitri. She stands out for her soaring leaps and lightning fast turns. Bolyston is a very musical dancer. In the fan solo during the Act III grand pas, she plays delightfully with the tempo of the music. Her fouettes at the end of the grand pas are very fast singles done in time with music and with little traveling. My only complaint about her performance is that she does not hold her balances very long during the grand pas. Also they are a bit wobbly. I don't understand when I saw her perfor
  7. I'm really looking forward to seeing Maria K in Symphony in C. I've never Teresa Reichlein in The 4 Ts, but I'm sure she'll be fabulous. I've seen Ramasar dance Phlegmatic (is that how you spell it?) and he's wonderful in the role. I'm really tired of seeing La Cour in the part. I don't know about anyone else, but I find Ask la Cour to be very colorless.
  8. As I've already said I've seen the MacMillan R & J many many times. I've also seen the Cranko version, Peter Martin's version for NYCB and whatever the Pacific Northewest Ballet danced at City Center a few years ago. I can't remember who the choreographer was, but I do remember that I really disliked it. The Pastor version I've already commented on. I don't think I've seen any other Romeo and Juliets.
  9. I attended the April 2nd matinee of The Joffrey Ballet’s ‘Romeo and Juliet’. I used to love seeing the Joffrey perform in the 1980s and early 1990s. Then they moved to Chicago and New York has not seen this company for a very long time. The last time I saw the Joffrey was in 1994. This ‘Romeo and Juliet’ is set to the usual Prokokiev score, but the choreography is by Krzysztopf Pastor. Pastor’s version of ‘Romeo and Juliet’ is really not a ballet. It is more like a modern dance piece. Juliet never dances on pointe. Unlike most ‘Romeo and Juliets’ this work does not take pl
  10. Sorry Amour and Aurora for mixing up who said what. Canbelto, I now know what you meant. I shouldn't post on Ballet Talk before having my coffee. I was at the November 22nd matinee and also experienced people talking in Russian throughout Acts I and II. They were behind me so I don't know if they were on their i-phones. During the second intermission an usher made a general announcement not to talk during the ballet but she was looking at those people behind me. Fortunately they were quiet during Act III. Through a lucky coincidence I sat next to Faux Pas during th matinee performance.
  11. I'm confused, Canbelto. You said Lebedev threw in a variation from T & V. (I know exactly which one you mean and it is a killer.) But T & V has music by Tschaikovsky and Don Q. has music by Minkus. Was the Tsachaikovsky music played? If so, didn't it sound a bit jarring to those familiar with Don Q? Amour mentioned that Julio Bocca used to dance the T & V solo in Don Q. I saw him dance Don Q several times and don't member him doing that variation. If he did, whose music did he use - Tscahikovsky? Minkus? I watched the Bocca Don Q video on Ballet Talk and it looked like
  12. I was at the Novembr 16th matinee and thought Vasiliev was absolutely sensational. The part of Phillipe is a perfect role for him. I sat in Row J (orchestra section) and didn't notice any huffing or puffing and all his landings were just fine. He was very light on his feet. And his technique was just as good as the last time I saw him - which was in ABT's Le Corsaire (as Conrad) in June of 2013. When I saw Giselle on November 12th (the matinee) I noticed a few heavy landings - particularly Ivan Zaytsev who danced the peasant pas de deux. Also Zaytsev's leaps lacked elevation. I didn't s
  13. I obviously don't know musical terms. But I really did not like the music Ratmansky used for The Tempest. And even after seeing it a second time the to me the story made no sense.
  14. 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 i
  15. I was at the June 28th matinee of Swan Lake. I thought Semoionova was spectacular. Guess that's what makes this an interesting site. Polina Semionova is magnificent in the dual role of Odette/Odile. Usually a ballerina favors one role over the other. Semionova is one of the few Odette/Odiles I have ever seen who is equally stunning in both parts. As the Swan Queen Semionova has gloriously rippling swan arms which appear to be almost boneless. Her wonderfully supple upper body shows clearly the misery Odette feels when Siegfried declares his love for Odile at the ball. Semionova’s every movem
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