Colleen Boresta

I attended the Octer 25th (Saturday) matinee. I agree with Leigh Witchel (his Dance View article) about "Baker's Dozen". I really hated everything about "Citizen" - the choreography, the music, the costumes - the whole works! All I kept thinking throughout the ballet was "What a waste of great dancers!" I thoroughly enjoyed "Theme and Variations" even though I've seen it many many times. I thought Michele Wiles was just dazzling in the ballerina role - regal, radiant, musical. I don't think she put a foot wrong. Cory Stearns was pretty good. I thought he was a bit off in his first solo. He wasn't as good as other ABT dancers I've seen in the part - Corella, Carreno, Gomes - but he's very young. Cory really did show great promise in "Themes". And yes, he seemed a bit small for Michele, but his partnering was fine. When I saw him last Spring in both "Le Corsaire" and "Etudes" I thought he was better when he was partnering than when he was doing his solos. But the highlight of the afternoon for me was "Pillar of Fire". What a beautiful ballet it is. And Julie Kent was so moving as Hagar. I saw Michele Wiles in the part a few years back, and she was wonderful, but for me Kent was even better. Her Hagar just broke my heart. Gennadi Saeliev was very good as the man Hagar loves. Sarah Lane was so perfect as the younger sister that I wanted to smack her. I was a little disappointed by Jose Manuel Carreno's performance. I saw Marcelo Gomes dance the part a few years ago, and he was so seductively evil. I understood why Hagar slept with him. (Heck, I would have run off with Gomes' young man from the house opposite if he had asked me.) Carreno is a wonderful dancer, but he's no where near the actor Gomes is. I hope ABT keeps "Pillar of Fire" in its repertory. I've only seen it three times, and I would love to see it many more times. "Pillar of Fire" is such a rich ballet that I feel like I get more out of it every time I see it.

I attended the Wednesday matinee of “Giselle”. I have a Saturday matinee subscription (two subscriptions actually), but I switched to the Wednesday matinee so I could see Abrera and Hallberg. I saw them dance in “Les Slyphides” at City Center about three years ago, and thought Stella and David would be wonderful as the leads in “Giselle”. Unfortunately, that was not to be. For a while, it looked like I was going to see Dvorovenko as “Giselle”. I’ve never seen Irina as “Giselle”, but I don’t think it would be a good part for her. (Anyone attending the Saturday matinee, please post and let me know how Irina and Max did in “Giselle”.) I don’t think Irina has the innocent quality Giselle needs, but I could be wrong. And Paloma Herrera (who I saw dance “Giselle” in 2006) was one of the worst “Giselles” I ever saw. Her dancing, her acting, everything was really off. (Gomes, however, was fantastic as Albrecht.) So I was very happy to see Cornejo and Reyes as Albrecht and Giselle. Thursday night’s “Giselle” must have been out of this world, because I really loved their performances on Wednesday afternoon. I saw Xiomara dance “Giselle” in 2005 (with Corella), and as good as she was then, she was even better at Wednesday’s matinee. Her Giselle was so young and so in love with Albrecht. Her mad scene was absolutely heart breaking. And in Act II her lightness and incredibly fast footwork was just perfect. Herman’s Albrecht broke my heart even more than Xiomara’s Giselle. I think his Albrecht loved Giselle from the very beginning. He seemed even younger than Giselle. I got the impression Albrecht pushed his real life way to the background, and didn’t even think about it or his fiancée when he was with Giselle. In Act II Herman was the most devastated Albrecht I’ve ever seen (and I’ve seen “Giselle” close to 30 times). I started crying as soon as he appeared in Act II, carrying flowers to Giselle’s grave. I don’t always cry when I see “Giselle”. I think, for me, it has to do with the power of Albrecht’s performance and the chemistry between Albrecht and Giselle. In 2006 I saw Vishneva and Corella in “Giselle”. I thought both danced beautifully, but for me there was no chemistry between them. So I didn’t cry. But on Wednesday afternoon, I wept bucketfuls. Both performances were so real and so moving I feel sad thinking about the Reyes/Cornejo “Giselle” even now. Other performers stood out too. I definitely agree with all the posters who have commented on Isaac Stappas’ incredible performance as Hilarion. And I always love seeing Susan Jones as Berthe. She was like a real mother, not a corps member made up to look older. Her relationship with Reyes’ Giselle was very close and loving. Gillian Murphy was the best Myrta I’ve ever seen, and other posters have described it better than I ever good. (I don’t think Gillian would be a good Giselle however. I hope she never dances the part. She’s just too powerful, too strong. I remember my disappointment years ago seeing Cynthia Gregory dance Giselle. She was just too strong for the part. I didn’t believe for a minute she had a heart condition. Did Gregory ever dance Myrtha? I think she would have been outstanding in the part. Lastly, Sarah Lane and especially Mikhail Ilyin were wonderful in the peasant pas de deux. What an exciting dancer Ilyin is! And after seeing him as Birbanto in “Le Corsaire” and the lead peasant dancer in “The Merry Widow’, it was the first time I got to see what Mikhail really looks like.

I attended a different performance of "The Merry Widow" than Haglund (I went to the July 5th matinee), but I agree with her assessment of the ballet. "The Merry Widow" is a silly ballet, but the music, the costumes, and the sets are beautiful. It is very well danced as well. I knew Marcelo Gomes would be a fantastic Count Danilo (and I was right. Gomes is a wonderful comedien, with a great comic's timing), but I wasn't sure about Paloma Herrera as Hannah. But I'm pleased to report Paloma was a very good Hannah. The rest of the cast was spot on too, especially Sascha Radetsky and Maria Riccetto as the young lovers, and Mikhail Ilyin as the leading Pontevedrian dancer.

I also attended the Saturday matinee of "La Bayadere". I really don't have much to add to the excellent reviews of Mary Cargill (the online "Dance View Times") and the many Ballet Talk posters. I saw Part and Gomes dance "La Bayadere" last year, and as wonderful as that performance was, this year they were even better. Both their dancing and acting was deeper and richer, and so beautifully shaded. And Part and Gomes were so in tune with each other - their chemistry was both exciting and heart breaking. I liked Michele Wiles as Gamzatti. Maybe she's not up to the level of Gillian Murphy in the part, (Unfortunately I've never seen Dvorovenko as Gamzatti) but I thought she played the spoiled princess very well. And her dancing was spectactular, expecially in the betrothal scene. I do agree, however, that she's not a great jumper. As has already been noted several times, the corps in Act II was just perfect. And Mary Cargill is right. This production of "La Bayadere" is really a gift from Natalya Makarova. (I hope and pray ABT dancers continue to perform it for many years to come.) I've seen a couple of "La Bayaderes" which end with the Kindgom of the Shades scene. I much prefer how Makarova's "La Baydere" ends. There's perfect closure (in my opinion anyway). The bad guys (and girls) get punished, and Nikiya and Solor end up in paradise together.

In response to Faux Pas's question about why Maxim B. is not dancing Solor to his wife's Nikiya, I don't know. But I saw him last year in the part, and technically he was a big disappointment. He didn't even attempt to do the double assemble air turns in Act II. Irina, however, was wonderful. And Gillian Murphy was a perfect Gamzatti (I've seen her dance the part three times.) I've never seen Murphy dance Nikiya, but from reading the Ballet Talk posts, I think she might be better off sticking to the part of Gamzatti. After all, Gamzatti is a ballerina role, and it's not one many dancers can do as well as Murphy. I'm going to the Saturday matinee of "La Bayadere", and I'm really looking forward to it. I'll post about it on Sunday or Monday, but I'm sure I'll mainly be agreeing with the opinions about Monday's "La Bayadere". (I also saw Part and Gomes dance "La Bayadere" last year.)

Maybe I thought Michele's balances were just a little bit shaky in the RA because I saw Paloma Herrera dance Aurora last year. (Actually I saw Paloma dance the role twice. I was supposed to see Diana Vishneva in the role the second time, but she was out sick.) Paloma's balances were absolutely rock solid. I may be wrong, but I don't think anyone balances like Paloma. Saying that, I will say that overall I thought Michele's Aurora was better than Paloma's. (Although Paloma's Aurora was very good).

I attended the June 21st matinee of “Sleeping Beauty”. I may be in the minority, but I thought it was a beautiful production. Michele Wiles was a radiant Aurora. Her balances in the Rose Adagio were a little bit wobbly, but the rest of her performance was just perfect. As always, David Hallberg was the ideal prince, but a prince who’s an exciting solo dancer as well as an excellent partner. I usually like Maria Riccetto, but I was very pleased when it was announced from the stage that Veronika Part would be dancing the role of the Lilac Fairy. I don’t think I’ve ever seen a better performance in this role than what Part delivered on Saturday afternoon (and I’ve seen the full-length “Sleeping Beauty” close to 20 times). I, like so many others, do not understand why Part is not a principal dancer. I think the Lilac Fairy, like Gamzatti in “La Bayadere” and Myrtha in “Giselle” is one that should be danced by a real ballerina. And Part is certainly that. Among the other fairies, I enjoyed most the dancing of Misty Copeland and Jacquelyn Reyes. (Is Jacquelyn Reyes Xiomara Reyes’ sister?) I usually love Sascha Radetsky, but I thought his Bluebird was very disappointing. My only complaint about this production is that the divertissements for Puss in Boots and the White Cat, Red Riding Hood and the Big Bad Wolf, and Cinderella and the Prince have been dropped the last act.

I also attended the June 11th matinee. My first Don Q. was in June of 1981. Kitri was danced by Gelsey Kirland (the only time I got to see her dance) and Basilio was Mikhail Barysnikov. It was an unbelievably exciting ballet, forever implanted in my mind’s eye. However, that performance set a very high standard for Don Q’s, one I was sure then would never be reached. Fortunately, I have seen some wonderful Kitris and Basilios since – Susan Jaffe, Nina Ananishvilli, Paloma Herrera, Gillian Murphy, and Xiomara Reyes as Kitri – Julio Bocca, Angel Corella, Jose Manuel Carreno, and Carlos Acosta as Basilio. But yesterday’s Don Q might have been the best Don Q I’ve ever seen. It’s certainly up there with the three or four best ballets I ever saw. Cornejo was unbelievably exciting – the best Basilio I’ve ever seen. His leaps, his spins, the multiple double turns en l’air – all stupendous. His comic timing was right on, and I thought his partnering was fine. I wasn’t at all sure about Cornejo’s partnering abilities before seeing him on Wednesday. I’ve never seen him before in a full length ballet where he was the leading man. Several years ago during the pas de deux from The Nutcracker (it was one of those Tschaikovsky Celebrations) I saw Cornejo almost drop Reyes. But yesterday, there were no partnering problems. He even did very well with the two one handed lefts over his head in Act I. (Is there a name for those? This seems to be very clumsily worded. But if I worry too much about my phrasing I’ll never post on Ballet Alert again – so…) Xiomara Reyes was wonderful. She’s a real spitfire, and her chemistry with Cornejo is even better than the chemistry she has with Corella (which was very good the two times I saw Reyes and Corella dance together). Her footwork is amazingly precise and fleet. She can whirl across the stage at a really dizzingly speed. I just have two quibbles about her performance. The first was the leaps with the kicks to the back of the head. They didn’t seem that high yesterday. I’ve seen much higher leaps with kicks to the back of the head from Nina A., Paloma Herrera, Gillian Murphy, and even Reyes herself when I saw her in Don Q. with Corella in 2003. My second quibble is about her balances during the Grand Pas in Act III. It’s not that they were wobbly or anything. It seemed to me that she didn’t really attempt the balances. Of course steady balances are an essential part of Aurora’s Rose Adagio in Sleeping Beauty, but are they important to the Grand Pas in Act III of Don Q? I’m asking this because I’m not sure. And in my mind’s eye I still Paloma Herrera’s Grand Pas balances. (I saw Paloma dance Kitri with Julio Bocca in 2004). Her balances went on for so long it seemed like time stood still. Cornejo and company brought the energy level of Don Q. to an incredible high. As has already been mentioned by Mary Cargill in her “Dance View Times” review (online), and posters Sealings and Christine174, the whole cast was wonderful. I knew Craig Salstein was a good dancer, but his acting as Gamache was superb! His Gamachje was a scream! Sarah Lane and Isabella Boylston were excellent as the flower girls. Sascha Radesky was one of the best Espadas I’ve ever seen. (I really hope he becomes a principal before too much longer.) Melissa Thomas was quite good as the Queen of the Dryads, but I thought her landings in her main solo were a bit heavy. Anne Milewski is always good as Amour. (I’ve seen her dance the part many times). She’s got a great light leap and quicksilver footwork. But again I wish she would tone down the cutesiness. It’s getting to be annoying (to me anyway). And Joseph Phillips as the main Gypsy! All I can say is “Oh my God!” Where does Kevin McKenzie get all these phenomenal male dancers? And not to take anything away from Reyes’ performance, but I wish McKenzie would work a bit harder on getting phenomenal female dancers for ABT.

I haven’t posted on Ballet Alert (though I’ve read many posts) since April, and this new system is really confusing. All I want to do is add my thoughts to those who have already posted about the Lander and Tharp ballets. It used to be that one could add a reply under ballet companies. But since that isn’t the case any more, I’ll put this under new topics (though it’s not at all a new topic). I attended the June 7th matinee of “Etudes” and “The Rabbit and the Rogue”. I really loved loved loved the Tharp ballet – the choreography, the music, the dancers, everything. I don’t have a lot of time (and I’m never sure how to phrase my ballet opinion), so I just say that I agree with FauxPas review of “The Rabbit and the Rogue”. (And she writes much better than I ever could.) I also agree with SanderO that “Etudes” and the new Tharp work should not have been on the same program. (And everyone sitting near me felt the same way.) The two ballets were too similar – with regard to the energy and the music. But I do like the Tharp piece better. (And I like “Etudes as well). My problem with “Etudes” is that I saw the Kirov dance it during their City Center season. I thought Dvorovenko was equally as good as Somova, but Cory Stearns and especially Jared Matthews were not up to the standards set by Schkyarov and Sarafanov of the Kirov. Stearns was pretty good, but I think he’s a better partner than a solo dancer (at this point in his career anyway.) Jared Matthews was pretty good, but in my mind’s eye I saw Leonid Sarafanov as the turning boy. So of course Matthews came up short (in my opinion anyway). Even Alistair McAuley commented on Sarafanov’s eight consecutive double tours en l’air. Matthews did about four, five tops. I know ballet is not just about technique, but it’s basically (technique that is) what “Etudes” is about. I really think there are quite a few ABT men who would have fit the turning boy better than Matthews. When I saw ABT perform “Etudes” previously, Corella and DeLuz were very exciting turning boys. Okay, Corella’s sick and DeLuz’s with NYCB, but what about Gomes, Halberg and Radetsky. And foremost – why wasn’t Cornejo scheduled to dance “Etudes”? Okay, so Cornejo was dancing in the Tharp piece, but both Stearns and Matthews danced in “Etudes” and “The Rabbit and the Rogue”. (And at the same performance no less.) I remember at least one Ballet Alert poster saying that he (or she - I can’t remember the poster’s name.) was really looking forward to seeing Cornejo try to best Sarafanov in the turning boy wars. Anyway, I would love to see the Tharp piece again (and as already been said, preferably at City Center). There was so much going on in the ballet that I really think I would benefit from a second viewing.

I attended the April 20th matinee, the last performance of the Kirov’s City Center season. I hope they return before too long. I bought the ticket for the April 20th matinee because I wanted to see the Kirov dance Balanchine, and most of all I wanted to see Vishneva. I’ve seen her in “Swan Lake” and “Giselle” (with ABT) and she was fantastic. I really wanted to see her perform in a non-story ballet. Well, that was not to be, but the afternoon was still wonderful. “Serenade” was absolutely gorgeous. I was particularly impressed with the performances of Victoria Tereshkina and Ekaterina Kondaurova. Nadezhda Gonchar was okay, but she did not dance at the level of Tereshkina and Kondaurova (in my opinion anway). Both men were very good (Ivanchenko and Sergeev). As I mentioned before, I was really impressed (and surprised) by the level of the male dancing this time. I’ve seen the Kirov six times before their City Center season, and while the men might have been decent partners, they were rather klunky in their individual performances. So “Serenade” is another ballet I’ll never be able to see again (like “Les Slyphides”) without comparing it unfavorably with the Kirov performance. And I probably shouldn’t say this – but it’ll be even worse if Darci Kistler and Yvonne Borre dance the Waltz Girl and Russian Girl parts. (I saw New York City Ballet dance “Serenade” in late February, and I was very disappointed in Kistler’s and Borre’s performances. And after reading the Ballet Alert posts pertaining to their performances of “Serenade” I know I am far from alone. Before seeing the April 20th performance, I wondered how the Kirov would do in “Rubies”. After seeing their beautiful “Chopiana” (twice) I figured “Serenade” would be a lock for the Kirov ballerinas. And “Ballet Imperial” (which was choreographed for ABT, wasn’t it) was another ballet the Kirov would dance wonderfully. But “Rubies” is a different story. I wasn’t sure the Kirov dancers would have the speed and attack necessary for this Balanchine/Stravinsky ballet. However, I am so glad I was wrong. The Kirov’s “Rubies” was a really exciting ballet. Sure, the scenery was a bit tacky, but that didn’t bother me in the least. And the dancing by the three leads – Olega Novikova, Vladimir Shklyarov, and Ekaterina Konadurova was just perfect. (These performances have already been described by other posters). Novikova and Shklyarov reminded me very much of Megan Fairchild and Joaquin DeLuz, who I saw dance “Rubies” last June. Novikova even looks like a taller version of Fairchild. And Shklyarov has the boyish good looks, exuberant personality and bravura dancing technique of DeLuz. I saw Shklyarov in “Etudes” and thought he was very good, but I was so overwhelmed by Sarafanov that I didn’t pay a lot of attention to Shklyarov. And his part in “Etudes” wasn’t the show stopper role. But after seeing Shklyarov in “Rubies” I think he would make a really exciting turning boy in “Etudes”. Also after seeing Konadurova several times this time, I think she can dance just about anything. I would really love to see her again (and soon). The last ballet was "Ballet Imperial". It was announced from the stage that Vishneva would not be dancing Sunday afternoon. The boos were so loud (mine included), that I didn't hear who would be replacing her. I asked the lady sitting next to me, and she said "Alina Somova". I had seen Somova in "Etudes" and loved her. I really wanted to see Vishneva in "Ballet Imperial", but Somova was really an excellent replacement. Again I loved her - I think she's really an exciting dancer. Was she as good as Ashley Bouder whom I had seen dance the role in February? No, but I think few ballerinas dancing today dance with the total joy and technical precision of Bouder. When I saw New York City Ballet's "Piano Concerto No. 2" in February, I saw Savannah Lowry in the second ballet role. She was good, but the Kirov's Ekaterina Osmolkina was much better in the part. On the other hand, NYCB's Jonathan Stafford was far better than Anton Fadeev in the male lead (in my opinion anyway). Fadeev and Danila Kortsuntsev were the only Kirov males I was not impressed with. All in all, it was a magnificent season for the Kirov. As a side note, I saw Anna Kisselgoff in the ladies' room after the second intermission on Sunday afternoon. I told her I really missed her reviews in the New York Times, and that everyone I knew missed them as well. She said "Thank you". I really had to restrain myself from saying "Please!!! Go back to the New York Times as the Chief Dance Critic and send Alistair MacAuley back to the UK. Of course I didn't say this. I wondered how she would have responded if I had.

I also attended the April 13th matinee. I don’t have a lot of time, so I’ll make this brief. “Chopiana” was even more beautiful than when I saw it at the April 5th matinee. I love ABT, but I don’t think I’ll ever see their “Les Slyphides” again without comparing it negatively to the Kirov’s “Chopiana”. Naomikage was exactly right when she posted last week that this ballet took her away to a deep forest. And maybe this is just my opinion, but I much preferred Yevgeny Ivanchenko’s Poet to that of Danila Kortsuntsev whom I saw in the part on April 5th. Ivanchenko was not only a wonderful partner, but he had wonderful leaps and great soft landings. With regard to “La Spectre De La Rose” I’m not sure who I saw as the young girl. The program said Nadezhda Gonchar, but I swear it was Yalina Selina whom I saw in the part on April 5th. Does anyone know for sure who danced this part at the April 13th matinee? I’m so used to seeing ABT and New York Ballet, and I know most of their dancers by sight – certainly all the principals and soloists and many of the corps as well. It’s strange seeing a company where I only know a few dancers. (But if the Kirov could come back to New York every year, then I’d get to know their dancers better. Wouldn’t it be fantastic if that could happen?) But whoever danced the young girl, she was really wonderful – the epitome of the romantic ballerina. Igor Kolb was pretty good as the rose, but I preferred Anton Korsakov in the part. Not only were Korsakov’s leaps higher than Kolb’s, but Korsakov did wonderful multiple air turns. Kolb only did pirouettes (I hope my ballet terms are correct.) I don’t mean to be picky about this, but Kolb just didn’t live up to my expectations of how the part should be danced. Diana Vishneva was wonderful as the “Dying Swan”, but I was more moved by Lopatkina’s performance in the same part. I greatly admired Vishneva’s swan, but Lopatkina’s swan brought me to tears. And I really really really really loved "Etudes”. All right so it’s not a serious piece of artistry, but it’s such a fun ballet. And yes there are a lot of balletic tricks. But if these tricks are carried off (and they were), then you have a really exciting ballet (in my opinion anyway). The entire cast was great, but Somova and Sarafanov really stood out. Other posters have described their performances much better than I ever could. Somova was fantastic, but Sarafanov was one of the best dancers I’ve ever seen – and I’ve seen Barysnikov, Cornejo, Corella, Woetzl, Ulbricht. In fact Sarafanov may be better than those dancers I just listed except for maybe Barysnikov. I’d love to see him dance more often, but it doesn’t seem like the Kirov will return to New York for quite a few years (at least that’s what an article in Playbill said). Well, at least I’m going to one more performance (the April 20th matinee), although unfortunately I won’t be seeing Sarafanov at that performance.

I also attended the April 13th matinee. I don’t have a lot of time, so I’ll make this brief. “Chopiana” was even more beautiful than when I saw it at the April 5th matinee. I love ABT, but I don’t think I’ll ever see their “Les Slyphides” again without comparing it negatively to the Kirov’s “Chopiana”. Naomikage was exactly right when she posted last week that this ballet took her away to a deep forest. And maybe this is just my opinion, but I much preferred Yevgeny Ivanchenko’s Poet to that of Danila Kortsuntsev whom I saw in the part on April 5th. Ivanchenko was not only a wonderful partner, but he had wonderful leaps and great soft landings. With regard to “La Spectre De La Rose” I’m not sure who I saw as the young girl. The program said Nadezhda Gonchar, but I swear it was Yalina Selina whom I saw in the part on April 5th. Does anyone know for sure who danced this part at the April 13th matinee? I’m so used to seeing ABT and New York Ballet, and I know most of their dancers by sight – certainly all the principals and soloists and many of the corps as well. It’s strange seeing a company where I only know a few dancers. (But if the Kirov could come back to New York every year, then I’d get to know their dancers better. Wouldn’t it be fantastic if that could happen?) But whoever danced the young girl, she was really wonderful – the epitome of the romantic ballerina. Igor Kolb was pretty good as the rose, but I preferred Anton Korsakov in the part. Not only were Korsakov’s leaps higher than Kolb’s, but Korsakov did wonderful multiple air turns. Kolb only did pirouettes (I hope my ballet terms are correct.) I don’t mean to be picky about this, but Kolb just didn’t live up to my expectations of how the part should be danced. Diana Vishneva was wonderful as the “Dying Swan”, but I was more moved by Lopatkina’s performance in the same part. I greatly admired Vishneva’s swan, but Lopatkina’s swan brought me to tears. And I really really really really loved "Etudes”. All right so it’s not a serious piece of artistry, but it’s such a fun ballet. And yes there are a lot of balletic tricks. But if these tricks are carried off (and they were), then you have a really exciting ballet (in my opinion anyway). The entire cast was great, but Somova and Sarafanov really stood out. Other posters have described their performances much better than I ever could. Somova was fantastic, but Sarafanov was one of the best dancers I’ve ever seen – and I’ve seen Barysnikov, Cornejo, Corella, Woetzl, Ulbricht. In fact Sarafanov may be better than those dancers I just listed except for maybe Barysnikov. I’d love to see him dance more often, but it doesn’t seem like the Kirov will return to New York for quite a few years (at least that’s what an article in Playbill said). Well, at least I’m going to one more performance (the April 20th matinee), although unfortunately I won’t be seeing Sarafanov at that performance.

I attended the April 5th matinee (Fokine program) I haven’t posted on Ballet Talk in ages. I still read many of the posts, especially of the ballets I’ve attended. I think there are posters such as Carbo, NYSusan, Michael, and many many more who write much better reviews than I ever could. What made me post this time was Alistair MacAuley’s review in Monday’s New York Times. How did this guy ever get to be the chief ballet critic of the New York Times? When I read one of his reviews I always think (besides the fact he’s out to be as cutting as possible just for the fun of it) “Did he see the same performance I did?” The only male MacAuley praised was Danilo Korsuntsev in “Chopiana”. I agree Korsuntsev was a good partner, but as a soloist I thought he was rather klutzy. (Forgive my phrasing. I’m not great with ballet terms.) He had the heaviest landings I’ve seen since Alexander Godunev. The women in “Chopiana” were just wonderful, especially the main female dancer. I think that was Yana Selina, though her name wasn’t listed in the program or the insert. She was just so ethereal, the perfect romantic sylph (to me anyway). I was concerned about seeing “La Spectre De La Rose”. In my mind’s eye I see Herman Cornejo dancing the Rose (and few male dancers can compete with him). Also I’ve been rather disappointed by the male dancers of both the Kirov and the Bolshoi during the 90’s and 00’s. So I was very pleasantly surprised by Anton Korsakov’s performance. He didn’t measure up to Cornejo, (but then who does?) but he was very good – nice leaps and wonderful multiple air turns. And Selina was again a perfect romantic ballerina. (I think it was Selina. Anyway it was the same dancer I saw in “Chopiana”. My biggest complaint about MacAuley’s review was when he wrote about Ulina Lopatkina’s “Dying Swan”. Other posters have already described it, but I don’t see how any reviewer could do other than praise this performance to the rafters. Lopatkina actually became that swan – it was one of the most beautiful dances I have ever seen in my life (and I’ve been attending ballets since 1980). “Scheherazade” was very enjoyable, even though the intermission before this ballet was about 40 minutes and the overture was like 10 minutes. Lopatkina was again wonderful, and her Golden Slave, Yevgeny Ivanchenko, danced very well. But I didn’t see a lot of chemistry between the two leads – I didn’t see a lot of smoldering passion in this “Scheherazade”. But all in all, it was a great afternoon at the ballet. If only Anna Kisselgoff could be persuaded to come out of retirement and become the chief dance critic of the New York Times again. Oh well, I don’t think that’s going to happen.

I also attended the Sunday matinee. Thank you to Bobbi, ViolinConcerto and drb for expressing my views about “Divertimento No. 15” (and expressing them so beautifully). I think Ashley Bouder is developing into a real ballerina. And what an exciting performer she is! She lit up the stage every time she entered. I found myself watching Ashley even when she wasn’t dancing. I, too, was very concerned about Abby Stafford when I didn’t see her at the end of the ballet, and during the curtain calls. Hopefully, her absence was just precautionary. I’m not sure what I think about “Klavier”. I need to see it a few more times before I make up my mind. I really didn’t like the Beethoven music, but then I’ve never been a big fan of piano music. I have to admit “Klavier” held my interest (unlike just about all Peter Martins’ ballets). And the final pas de deux for Wendy Whelan and Sebastien Marcovici and Wendy Whelan was just mesmerizing. As always, I enjoyed “Fancy Free”. Tyler Angle was very sweet as the second sailor. He really showed a lot of promise. (I probably should know this, but is Tyler Jared Angle’s brother?) Daniel Ulbricht as the first sailor was just perfect – what incredible leaps and energy he has. I was a bit disappointed with Benjamin Millepied as the third sailor. I’m too used to seeing ABT’s Jose Manuel Carreno in the role. To me, Carreno owns the part of the rhumba dancing sailor. I really missed Carreno’s playful sensuality, and sly sense of humor when I saw Millepied dance the role.

I attended the January 22nd performance. I don’t have much time, so I’ll make this very quick. I really do not like “Morgen”. It’s a pretty looking ballet, and it was well danced, but to me it just went on and on and on. I find Peter Martins’ choreography in this ballet (and many of his other ballets as well) to be very repetitious. New York Export: Opus Jazz” I loved. It was my first time to see it, and I really want to see it many more times. It’s not really ballet – but what great choreography and music! And the young cast was so enthusiastic – it was a great closing ballet. But the highlight of the afternoon for me was “Ballo della Regina”. What a glorious Balanchine creation it is. The female corps was wonderful and the demi-soloists (Edge, Riggins, Keenan, and Scheller) were just perfect. When I bought my ticket for this performance, I was really hoping to see Ashley Bouder in the killer ballerina role. But I thought Megan Fairchild really held her own in “Ballo”. (I’d still like to see Bouder dance it, however.) The real standout for me was Joaquin De Luz. I’ve been a fan of Joaquin DeLuz since his ABT days. I think he’s really refined his technique at New York City Ballet, especially since he was made a principal last year. The lady sitting next to me said DeLuz reminded her of Edward Vilella. Unfortunately, I never got to see Vilella dance, so I don’t know whether she was right or wrong.

I went to the October 30th matinee. Maybe it’s me, but I did not like Tudor’s “Dark Elegies” at all. I just could not get into it. I’m not sure whether it was the choreography, the music, or the performers – probably a combination of all three. On the other hand, I was absolutely riveted by ABT’s production of “The Green Table”. The whole cast was wonderful, but Julio Bragado Young stood out as the Profiteer. He was just so smarmy – it was a perfect characterization. And Isaac Stappas was very powerful in the role of Death. Did anyone see both David Hallberg and Stappas dance this role? I would be interested to read about the differences or perhaps similarities in their interpretations. I hope ABT keeps “The Green Table” in their repertory. I think it’s the kind of ballet I could get more out of every time I saw it. The highlight of the afternoon for me was “Les Sylphides”. I’ve seen “Les Sylphides” four times in the past two years, and Sunday’s performance was by far the best. Other posters have already written about the dancers I saw in “Les Sylphides” yesterday – Erica Cornejo, Zhong-Jing Fang, David Hallberg, and Stella Abrera. I agree with what was said about Hallberg, Fang, and Cornejo. But I didn’t find Abrera to be at all stiff in her dancing. In fact I was so impressed by her performance that I would like to see her dance the title role in “Giselle” (instead of Myrtha). As a matter of fact, I would also like to see Cornejo and especially Fang as “Giselle”. One thing I don’t understand was why Sunday’s audience seemed so underwhelmed by “Les Sylphides”. To me the ballet was very close to magical.

I also went to the October 22nd matinee. I definitely agree with atm711 and Michael that Irina Dvorvenko was totally miscast in “Les Sylphides”. As the other two soloists, however, Yuriko Kajiya, and especially Zhong-Jing Fang were just wonderful. No wonder so many Ballet Alert posters were impressed by Fang’s performance in “Les Sylphides” during ABT’s Met season. I also agree with Michael’s review of “Afternoon of a Faun”. What a perfect little jewel of a ballet it is – great music, great choreography, and two beautiful performances (which Michael has already described much better than I ever could). I agree as well with atm711’s views on Herrera in the Paquita pas de deux. Carreno was also outstanding in this pas de deux. I haven’t seen Carreno dance for a couple of years, and I was glad to see that he is just as exciting a performer as ever. And he and Herrera have great chemistry. As much as I enjoyed Herrera’s and Carreno’s performances, I found this Paquita pas de deux to be a choreographic mishmash. It seemed to me that bits and pieces were taken out of the longer Paquita Grand Pas to create this pas de deux. Why doesn’t ABT revive Natalia Makarova’s staging of the Paquita Grand Pas? I don’t think they’ve danced in about 20 years. As always, I totally enjoyed “Rodeo”. As the Cowgirl, Xiomara Reyes was just perfect. She’s become quite an actress in the past couple of years. As the Head Wrangler, Jared Matthews also stood out. And wow, is he beautiful! No wonder Reyes’ Cowgirl wanted him. I was a bit disappointed in Sascha Radetsky’s Champion Roper. (And I usually love Radetsky.) I’m not really sure why – Radetsky seemed a bit off at Saturday’s matinee. I also kept noticing how messy his hair looked – which was distracting me from Radetksy’s performance.

I went to the Saturday matinee of “Spartacus”. Like nsusan, I went to see Lunkina. I loved her when I saw her in “Giselle” in 2000. But I have to say I did enjoy “Spartacus”. It was my first time to see it live. The music, the choreography and the costumes were all wonderful. And the male corps was outstanding. I think ABT’s male principals and soloists could do a great job in “Sparatcus”. I love nysusan’s idea of Acosta and Gomes playing the lead roles in “Spartacus”. But I really don’t think ABT’s male corps would be up to the job. I saw Alexander Vorobiev as Spartacus. He was okay, but not spectacular. His leaps were very good during the last scene of Act I, and in Act III right before he went to battle against Crassus. He did make very dramatic use of his arms however. And his two pas de deux with Nina Kaptsova as Phrygia were gorgeous. I really liked his one handed lift at the beginning of Act III. It seemed like Vorbiev walked forever with Kaptsova placed high above his head. It was very exciting. I thought Vladimir Neporozny was very good as Crassus. He acted the part very well, and his air turns were very well done. I agree with nysusan that he was not quite up to the level of the ABT principals. He was much better than Vorobiev, however. I also agree with nysusan about the performances of Kaptsova, and Ekaterina Shipulina as Aegina. The woman sitting next to me said she thought Shipulina had a stiff neck, but I didn’t really see that. But overall, I enjoyed the ballet as a grand spectacle. And the music was great I’m definitely going to look for a cd of “Spartacus.”

I went to the July 16th matinee of “Giselle” with Xiomara Reyes and Angel Corella. It was an incredibly beautiful and moving performance. In her dancing, Reyes stood out for her amazingly fast footwork. In Act II, she seemed lighter than a feather. But I was really impressed by Reyes’ portrayal of Giselle. In Act I, her Giselle was extremely young, innocent, and so full of love for Loys/Albrecht. When she found out that Albrecht had betrayed her, you could see her heart break right on stage. Reyes’ mad scene was so moving, I found myself in tears. As Albrecht, Corella’s dancing was as impressive as usual. In Act II, his double assemble turns and leg beats (what is the correct ballet term for leg beats?) were outstanding. But his acting was just as powerful. Corella’s Albrecht was a young nobleman who thought he could take and do whatever he wanted. Notice his treatment of the poor Wilfred. But I think this Albrecht really fell in love with Giselle, probably without intending to. I don’t think I have ever seen an Albrecht as devastated as Corella was by Giselle’s death. Susan Jones was extremely moving as Giselle’s mother. She was like a real mother, not some corps member made up to look older. And her relationship with Giselle was very close and loving. I agree with Andres that Isaac Stappas was “suitably slimy and frightening as Hilarion.” Danny Tidwell showed great promise in the peasant pas de deux. He’s really had a great season. As his partner, Anna Liceica was really lovely. And finally, the Wilis were just perfect. I don’t think I’ve ever been so involved in a ballet, not since the last time I saw ABT’s “Giselle”.

I saw “The Green Table” back in January of 1981. The Cleveland Ballet danced it at BAM (Brooklyn Academy of Music.) I wasn’t too impressed with the Cleveland Ballet, but I was overwhelmed by Dennis Nahat as Death. (Didn’t Nahat dance with ABT at some point in the past?) It was an incredibly powerful performance, so powerful that I have always wanted to see “The Green Table” performed again. And unfortunately it’s more relevant now than it was in 1981. Now if only ABT would perform “A Month in the Country” before Ferri and Bocca retire. They would be magical in that ballet.

I was feeling really lousy on Saturday, and I debated a bit about whether or not to stay in bed or go into Manhattan to see “Swan Lake”. Thank God “Swan Lake” won out. I had never seen Vishneva before, and she was really a glorious Odette/Odile. Maybe she wasn’t quite as tragic an Odette as Part or Nina A., but I think that will come in time. I really love Gillian Murphy as Odette/Odile, but she just doesn’t have the arms of the dancers trained in the old Soviet system. When Odette was turning back into a swan at the end of Act II, it was like she had no bones. She really became a swan for me. It was just breathtaking. I really want to thank nysusan, faux pas, drb, and Zerbinetta for writing so beautifully about the Vishneva/Saveliev “Swan Lake”. It saves me a lot of time, because I agree with them. I ‘m also aware that their ballet writing is better than mine, so I’m very glad they posted before me. I just want to add that Vishneva stood out for her musicality. Also, when the ballet was over, I heard people commenting about what a graceful Swan Queen Vishneva was. I agree with that too. I am a little confused about something Richard53dog wrote. He said Vishneva danced a different solo in the Black Swan pdd. I’ve seen Kevin McKenzie’s “Swan Lake” six times lives, and the tv version several times, and Vishneva danced the same solo as all the other Odiles. Yes, she certainly added great flourishes, like putting her hands over her as she did some very fast turns at the end of the solo, but it was essentially the same solo. Saveliev’s performance has also been described very well by the above named posters. At Saturday’s matinee, his landings were a little rocky in the first Act I, but after that he was just fine. I don’t think he and Vishneva had a lot of chemistry, but since this was only the second “Swan Lake” they danced together, I could understand that. Some people around me (stupid me in my opinion – I know I shouldn’t be judgmental, but…) were upset that Saveliev’s dancing was not at same level as his dancing in “Le Corsaire” two weeks earlier. It’s an entirely different ballet, an entirely different part. No matter what Kevin McKenzie said during the intermission of the tv “Swan Lake”, “Swan Lake” is about Odette/Odile. Siegfried’s role is to support her. (Or am I wrong here? I don’t think so. If Saveliev started dancing like the slave dealer from “Le Corsaire” in “Swan Lake”, it would be just awful. It was great seeing Michele Wiles and David Hallberg in the Act I pas de trios. Wiles was glowing, and Hallberg was as elegant and wonderful as usual. I wasn’t really impressed with Simone Messmer. I thought she was okay, but no more than that. Speaking of David Hallberg, I’ve always meant to ask why he didn’t dance the leading roles in “Raymonda”, “Swan Lake”, “Le Corsaire”, etc. I was just looking at the ABT brochure I got last November. I understand about Nina A., but she’s out this season. Hallberg’s still dancing with ABT.

I went to the June 18th matinee. I found “Petrouchka” to be somewhat disappointing. I remember seeing the Joffrey Ballet perform this ballet a couple of times in the 80’s. I can’t remember who danced the main role, but the Joffrey’s “Petrouchka” was a very tragic figure. I didn’t find that to be the case with ABT’s “Petrouchka”. “Polovtsian Dances” was a lot of fun – great music, great costumes, and especially Sascha Radetsky!!!!!! He’s really become an exciting dancer. He also has such a commanding presence. I found myself watching him even when he wasn’t dancing. “Les Sylphides” was wonderful. The corps danced beautifully, but it was Maria Riccetto who really made the ballet magical. To me, she was the epitome of the romantic dancer. But the highlight of the afternoon was Danny Tidwell in “Le Spectre de la Rose.” His dancing stood out for its elegance and musicality. And those great light leaps and equally soft landings. It was a very exciting performance.

I also attended the Saturday matinee. First of all, I want to thank Carbo for expressing my thoughts about Michele Wiles' performance, and expressing much better than I ever could. Saturday was the third time I've seen "Raymonda". Last year's "Raymonda" with Wiles/Halberg/Molina I enjoyed a lot, but this year I really loved this ballet. Even though the plot is paper thin and far-fetched to boot, I found myself totally absorbed in the ballet from start to finish. I know Kevin McKenzie has made a few changes to this year's "Raymonda", but the performances were the reason I loved it so much on Saturday. I wasn't expecting much from Tamas Solymosi as Akerakhman after having read about his disappointing performance of the Black Swan pas de deux. But Solymosi was very good, both in his acting and his dancing. And he was very sexy too, but not as sexy as Marcelo Gomes. As Carbo has already said, Wiles and Gomes have great chemistry together. Their pas de deux after Jean de Brienne kills the Saracen was so beautiful I was almost in tears. I also loved Stella Abrera, Anna Liceica, David Halberg, and Danny Tidwell as Raymonda's friends. I was very disappointed when I saw that Tidwell is going to be replace Ethan Stiefel in "Le Spectre de la Rose". I didn't even know who Tidwell was. But after seeing him dance in "Raymonda" I'm really looking forward to his performance in "Le Spectre de la Rose". Now if I could only see Tidwell partnered with Maria Riccetto instead of Xiomara Reyes. I should be fair and reserve judgement on Reyes' performance until I actually see her in the role.

Everyone has written so beautifully about Peter Boal's farewell performance, so I'll just add a few thoughts. It was really an unforgettable afternoon. "Apollo" was never a favorite ballet of mine until I saw Peter Boal dance it for the first time this past February. All of a sudden I "got" "Apollo", and for the first time the sheer beauty of the ballet and Boal's dancing brought tears to my eyes. I felt the same way Sunday afternoon. I also discovered that I really really like "Agon". I saw it a long long time ago, and had convinced myself over the years that it was a ballet to avoid. What a big mistake that was! (But I'm only 51, and hopefully have many many more years to attend ballet.) I have always loved "West Side Story Suite", but I thought it seemed a bit out of place on an afternoon dedicated to Peter Boal. I kept thinking "This should be part of Jock Soto's farewell performance, not Peter Boal's". (I think an excerpt from "West Side Story Suite has now been added to Jock's farewell performance, hasn't it?) I don't know if Peter Boal's like will ever be seen at New York City again. I canonly hope that 20 or 25 years from now Ballet Alert posters are writing about the farewell performance of some New York City Ballet dancer presently in the corps.

I also went to the Saturday matinee. After hearing a lot of negative things about the ballet beforehand (especially with regard to the plot) I wasn't expecting too much. But I really enjoyed "Sylvia" - the sets, the costumes, the choreography and especially that glorious, glorious music! Julie Kent was a very sweet Sylvia. I loved her musicality and the delicacy of her phrasing, but she lacked the stamina needed for the part (IMO anyway). The hero, Aminta, doesn't really get to do very much. On Saturday afternoon, Gennadi Saveliev danced very well, but his Aminta was pretty colorless. Sacha Radetsky as Orion, however, was wonderful both in his acting and dancing. During Act II when Sylvia was trying to get Orion drunk, Radesky was very funny. And Orion's two slaves (danced by Grant DeLong and Arron Scott) were even funnier. With regard to the goats - I didn't even know they were goats. I thought they were cats. I kept wondering what those annoying cats from Act III of "Sleeping Beauty" were doing in "Syliva". I didn't realize they were goats until I read my program after the ballet was over.