Colleen Boresta

I definitely agree with Canbelto about Reichlen being the best Tall Girl ever. I'm sorry to hear about Korowski's tumble but that's one of the things about live theater. You never know what will happen. Glad to hear she recovered so quickly.

I'm off to the Part/Whiteside/Abrera La Bayadere. I will post more later. To those who were at Friday's performance just one question. Who danced the Bronze Idol (why he's called bronze I don't know because every time I've seen La Bayadere the idol looked like he was painted gold. Why not the Golden Idol?) and how was he? I remember reading an online review a few years ago (I can't remember who but it was someone who use to post on Ballet Alert but then got a blog.) Anyway the reviewer said something like everyone who had ever seen Corella or Cornejo dance the Bronze Idol had to die before a new Bronze Idol could be appreciated.) So far I've found this to be true. No Bronze Idol has lived up to my memories of Corella and Cornejo. But I keep living in hope. Maybe today the Bronze Idol's performance will blow me away. I'll let you know.

I just wanted to see that I agree totally with mimsyb's suggestion of Luciana Paris as the Glove Seller and Faux Pas' suggestion of Stella Abrera in the same part. I have never seen Le Beau Danube but from what ATM711 said it looks like it would probably have the same casting problems as Gaiete Parisienne. I assume Le Beau Danube is set to Strauss' music. What about ABT dancing Balanchine's Vienna Waltzes? Stella or Luciana or Diana would be great in The Merry Widow part. Actually I think Diana would be better in the Rosenkavalier section. I think Julie Kent would be wonderful in the Rosenkavalier section as well. Voices of Spring could be danced by Reyes and Cornejo, Lane and Simkin, I'm not sure who else. Possibly Bolyston. I think Gorak would be wonderful in Voices of Spring but I'm not sure who to cast him with. Several ABT dancers would be good in the Tales from the Vienna Woods opening section. The same is true of the Explosions Polka section. I have never understood why ABT has never danced the lighter Balanchine ballets.

I really enjoyed Gaiete Parisienne. There are times (not all the time of course) when I like to see a light ballet with a great score. Like The Merry Widow. I do agree and should have mentioned in my previous postings about how horrible the costumes were. That fuschia jacket on the Baron (Jared Matthews at the Wednesday matinee) was really hurting my eyes. Also the Glove Seller, in my opinion, needs to be played as a femme fatale. Why else would everyone in the nightclub be fighting over her? The only thing is I'm not sure who at ABT now could play this role. The only dancer I can think of off the top of my head is Diana Vishneva. Irina Dvorovenko would be great as the Glove Seller but she retired from ABT. Maybe Julie Kent. I saw her dance The Merry Widow three times in the late 1990s/early 2000s and she was wonderful. From what I could see the part of the Glove Seller does not require any difficult dancing. Does anyone else have any ideas on this?

I know it's only a few hours after I wrote my mini-review but let me write my more detailed review of the May 21st matinee performance. Theme is led by Sarah Lane and Daniil Simkin. Lane's footwork is both sparkling and clear. As petite as Lane is her manner in Theme is that of the grandest ballerina. As the lead male dancer in Theme Daniil Simkin shows off wonderful leg beats and a thrilliing double air turn/pirouette combination. His partnering of Lane is much more secure than I saw him dance Theme with Isabella Boylston last November. The second piece is Balanchine's Duo Concertant which is set to music by Igor Stravinsky. There are only two musicians, a violinist and a pianist. Both perform on stage. Nothing much happens during this work. During close to half the ballet the musicans play while the dancers, Paloma Herrera and James Whiteside, stand and watch them. Also eelStravinsky's music is very slow. I feel like I am going to fall asleep. The afternoon ends with Massine's delightful Gaiete Parisienne. Veronika Part is sweet and lovely as the Glove Seller but she does not come across as the kind of woman men fight over. Jared Mattews' Baron is an attentive partner for Part. His acting, however, is rather bland. The standout of the work is Craig Salstein. His Peruvian is witty, sexy and a superb dancer. The can can girls are just terrific. I could see them kick up their heels all afternoon and the evening too.

I attended the Wednesday matinee. In Theme Daniil Simkin's partnering with Sarah Lane was much more secure than when I saw him dance this with Isabella Boylston last November. Simkin's solo dancing was superb, especially his double air turn/pirouette combinations. Sarah Lane was just lovely in the ballerina role. She danced with precision and clarity. Her manner was that of the grandest ballerina. I have never liked Duo Concertant, not when I've seen NYCB dance it and not at Wednesday's matinee. Talk about a dance that doesn't challenge the performers. Nothing much happens throughout the whole ballet. Also the music was so slow it was putting me to sleep. I loved loved loved Gaiete Parsienne. It was so much fun. All the dancers were superb, especially Craig Salstein, Veronika Part and Jared Mattews. And the can can girls were terrific. I'll post a more detailed review in a day or two. Let me just add that I love reading long reviews. So thank you choriamb and vipa for such detailed reviews. I certainly can't make it to all the performances I'd like to so reading about them is the next best thing. I didn't see him last night but I have seen Andrew Veyette dance Theme at the end of Tschaikovy Suite No. 3 many times and I find him to be the standard by which other male dancers in this role should be judged (at least among males dancing right now). I was disappointed to hear about Boylston's performance in Theme. I saw her dance it with Simkin last November and she was very good. I don't know for sure of course but maybe she didn't have enough rehearsal time with Veyette and nerves overtook her. After all Gillian Murphy was supposed to dance the part on Wednesday evening. Is Murphy out injured? Does anyone know? Also what about Cornejo. He was supposed to dance the lead in Theme yesterday afternoon. Is he injured as well?

As I already mentioned, I was at the May 17th matinee performance of Don Q. It was very entertaining. I don't think anything can live up to my memories of last year's Don Q with Osipova and Vasiliev, but on Saturday afternoon there is magnificent dancing to be found from the entire company. ABT soloist Isabella Boylston is a high-spirited Kitri. She stands out for her soaring leaps and lightning fast turns. Boylston 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 well executed. Boylston does travel a bit, but she alternates between very secure single and double turns. My only complaint she about Boylston's performance is that she does not hold her balances during the grand pas. All five times she looks as though she is going to attempt the balances then thinks better of it. I can't forget Natalia Osipova's balances in Don Q. They went on for so long that it was as though time stood still. Daniil Simkin is a spellbinding Basilio. As a dancer he is a model of ebullient virtuosity. His high flying leaps with amazingly soft landings, his spins and turns - all are outstanding. In the coda of the Act III grand pas Simkin's revoltades stop the show. Revoltades are turns where one leg flips over the other in midair. Simkin performs these easily and effortlessly. For the most part Simkin's partnering skills are fine. He does have a bit of trouble with the two one-handed lifts over the head in Act I. Both lifts are quite wobbly. Simkin is also a fine comic actor and his miming is spot on. Other dancers stand out as well. Sascha Radetsky performs the role of Espada, the matador, with precision and Spanish flair. Stella Abrera shines in the dual role of Mercedes/Queen of the Dryads. Abrera dances Mercedes with a sultry steaminess but her Queen of the Dryads is a model of classic elegance. Abrera's Italian fouettes in the vision scene are flawlessly executed. As the foppish Gamache Craig Salstein shows his comic genius. He does so many entertaining bits of stage business that it's hard for me to focus on the dancing (unless it's being performed by the two main couples). Gemma Bond's Amour impresses with her sparkling footwork and lovely light leap. Arron Scott is an exciting and high flying Gypsy King. In my opinion Scott's promotion to soloist is long overdue. I also hope that Isabella Boylston becomes a principal at ABT soon.

The Met is a huge theater to fill. It easily has 1,000 more seats than the David Koch Theater where the Bolshoi and the Mik (thank you Abatt for this abbreviation of the company name. I have no idea how to spell it or say it.) are performing. Maybe ABT should think about changing their season so that they can use the David Koch Theater. Another thing is ABT's prices are way too high. It's not just at the Met. As was mentioned when ABT had their fall season at the Koch last November, their prices are much higher than any other company that uses the Koch Theater. It cost me $97 for an ABT orchestra seat. The same exact seat cost $53 for a NYCB performance. The same was true with San Francisco Ballet, Paul Taylor Dance Company and now the Bolshoi and the Mik. Who makes the decision about pricing and such at ABT I wonder. I have loved ABT for years but if they are not careful they are going to price themselves right out of the ballet market.

Last year I saw Vasiliev go up on releve (one leg only though) on the second one-handed over the head lift in Act I of Don Q. His Kitri then was Natalia Osipova.

I was watching a dvd of Don Q while exercising and I noticed that there are five places in the Act III gralnd pas, not three, that require balances. Again, Boylston did not attempt any of the five.

I was also at the Saturday matinee. I will write a more detailed review in a day or two, but I'm glad I can say I had a totally entertaining afternoon. Danil Simkin was incredible in his endless pirouettes and revoltades. His two over the head with one hand lifts, however, were quite wobbly. Isabella was wonderful except for the fact that she didn't hold her balances during the Act III grand pas. All three times she looked as though she was going to attempt the balances, but then thought better of it. Boylston did stand out for her soaring leaps and really fast turns. As already mentioned, Craig Salstein was hysterical as Gamache. He did so much entertaining stage business that it was hard for me to foucus on the dancers ( unless they were the two main couples). Stella Abrera and Sascha Radetsky were terrific as Mercedes/Queen of the Dryads and Espada, the Matador. Again I will post more in a few days.

I myself loved the combination of Dances at a Gathering and Union Jack. I really love love love Union Jack, especially the Royal Navy section. I am sorry I am not able to see it during the Spring season.

In my opinion, orchestra Row H is too close for viewing any ballet at the Met, especially La Bayadere and the glorious kingdom of the shade segment (this has already been said). I think you have to be in row L or further back at the Metropolitan Opera House to really enjoy a ballet at the Metropolitan Opera House. The David Koch Theater is quite a different story. Orchestra row H is very good viewing at the Koch . But then I think practically any orchestra seat at the Koch Theater is good for watching ballets. From what I have read and heard, we have Mr. Balanchine to thank for this.

I saw Part dance Nikiya twice, both times with Gomes and they were both spectacular. I've never seen Whiteside as the lead in a full length ballet. I did see him dance (with Herrera) in Theme and Variations last November and I was very impressed with Whiteside. I'm really looking forward to his Solor. I saw Tereshkina dance the Russian girl in Serenade in 2008 and she was really lovely. I saw Shkyarov dance in Rubies and Etudes in 2008 and as the lead in The Little Humpbacked Horse in 2011. He was not only a sensational dancer but a very good actor. I don't think you can miss seeing both of them. If I could get to Manhattan (from Staten Island) on a weekday evening I would certainly see their performance in La Bayadere.

I never saw Gomes as Basilio, but I don't think it's the kind of part he excels at. I saw Hallberg as Basilio in 2011, and I thought it was not the kind of role he excels at. My list of great Basilios includes Barysnikov, Bocca, Corella, Carreno and Cornejo. I have to add Vasiliev (Ivan) to that list even thougah his line is pretty nonexistent and his landings are sometimes heavy. I saw Simkin as Basilio in 2011 (with Yurikio) and he was very good. But I am concerned about his partnering of Boylston, especially those one handed over the head lifts in Act I. Boylston is bigger than Yurkio (sorry about the spelling) and Simkin had problems partnering her in Theme and Variations during the fall season at the David Koch Theater. I will post after I see Saturday's matinee of Don Q.

I attended the May 10th matine. I loved Glass Pieces, especially the last segment, Akhnaten. Glass' commanding music, accented by a pulsating bass drum, is matched by the thrilling dancing of the male corps de ballet. Just thinking about this last section makes my heart beat faster. Opus 19/The Dreamer is a ballet I never got until I saw it danced by Janie Taylor and Robert Fairchild. Their performances were so haunting that I was taken away to some otherwordly place. On Saturday afternoon, Sterling Hyltin and Gonzalo Garcia's dancing did not take me anywhere. For me Garcia lacks Fairchild's line and emotional connection to the piece. Hyltin's performance is missing Taylor's fearlessness and sharp attack. The Concert was a perfect way to end the afternoon. It really is a comic masterpiece. I haven't seen it for a number of years but I did not see any changes. All the dancers were great but Maria Korowski, Andrew Veyette, Gwyneth Miller and Georgina Pazcoguin stood out for their perfect comic timing.

I saw 'Coppelia' on February 23rd. I don't have much time so I'll just talk about Sterling Hyltin as Swanilda and David Prottas as Dr. Coppelius. In the all important role of Swanilda Sterling Hyltin sparkles. She is absolutely adorable, so much so that I can't help liking her no matter how badly she hurts Dr. Coppelius. Hyltin's comic timing is spot on, especially in Act II when Swanilda is pretending to be the doll Coppelia. Hyltin shows off Swanilda's mischievous nature as she convinces Dr. Coppelius that Coppelia has really come to life. Her Spanish and Scottish character steps are vivacious and fun. With regard to her dancing, Hyltin stands out for her mercurial footwork and fast turns. She is a little wobbly during the Act III wedding pas de deux, but this does not take away from an overall wonderful performance. As the elderly Dr. Coppelius, young corps member David Prottas is both amusing and touching. In Act II Prottas' acting makes it clear that Dr. Coppelius truly believes that Coppelia has come to life. The look on Prottas' face when Swanilda reveals that she is just pretending to be Coppelia is heartbreaking. As Dr. Coppelius holds the naked limp doll in his arms I really feel sorry for him.

After reading Canbelto's posting re: Coppelia I looked on the NYCB website and saw that Veyette is dancing the part of Franz four performances in a row. If he was noticedably tired at yesterday's matinee, what is he going to be like at today's performance? And I've seen Veyette twice as Franz and he was wonderful both times (this was in 2009). There are three couples dancing the leading roles in Coppelia. I already thought it was strange when I looked at the casting page on the NYCB website and saw that Fairchild/DeLuz and Peck/Veyette don't even have a fulll day off before they dance again. I'm treating my niece to the February 23rd matinee of Coppelia and it worries me that Hyltin/Garcia will have danced Coppelia the night before. I hope both Hyltin and Garcia won't be noticeably tired when we see Coppelia (a ballet which I really love). And with regard to Veyette dancing Franz four performances in a row that seems like it should be against some union rule. I assume DeLuz is injured. Why not divide the Franzs between Veyette and Garcia? I never saw Garcia in the part but I know he's danced Franz with NYCB. And isn't there at least one other dancer who can dance Franz? So far the NYCB Winter season has been so good. I hope it doesn't come to a disappointing conclusion with these strange casting decisions.

I agree with Abatt. In 'Dances at a Gathering' Catazaro really stood out, I think he has a great future at NYCB.

Here are my thoughts on Jennifer Ringer's farewell performance. It is not surprising that someone with Jennifer Ringer’s generous nature chose two ensemble ballets – ‘Dances at a Gathering’ and ‘Union Jack’ for her farewell performance with New York City Ballet. ‘Dances’ is a gorgeous work choreographed in 1969 by Jerome Robbins to eighteen of Frederic Chopin’s piano pieces. There are ten dancers at this gathering – five women and five men. Each dancer is distinguished by the color of the outfit they are wearing. There have been recent complaints in the social media about ‘Dances’. Some say it is too long. (The ballet lasts one hour.) Others say it has never been the same since the original cast retired (a common complaint about the works of both Jerome Robbins and George Balanchine). For me, however, time flew by while I was watching this ballet. I found myself wanting to stay in Jerome Robbins’ enchanting world for the whole afternoon. Robbins always said there was no story to 'Dances' but I see real people with real human emotions at this outdoor gathering. All the dancers are fresh and natural whether they are performing alone, with one partner or in larger groupings. ‘Dances’ is truly a masterpiece. Robbins’ choreography flows seamlessly from Chopin’s music. His wittingly romantic lifts and steps are endlessly innovative and inventive. All the dancers are marvelous, but it is Jennifer Ringer’s day. As the girl in pink, Ringer is radiantly lissome. Her body is the ideal vessel for Chopin’s gorgeous piano pieces. Other performers also deserve mention. Corps member Zachary Catazaro (in blue) stands out for his soaring leaps. As the boy in brown Gonzalo Garcia whips off exciting turns, most notably his turns a la seconde. Maria Kowroski (in green) is very funny as the girl who flirts with several partners but ends up losing them all. I am totally captivated by ‘Dances at a Gathering’ and hope to spend more time in Robbins’ sunny and poetic world. The afternoon ends with ‘Union Jack’ choreographed by George Balanchine in 1976. It is a three part salute to Great Britain. It uses military tattoos, Scottish folk songs, music hall ditties and sailors’ hornpipes to set the mood. The score is adapted by Hersey Kay who did similar arrangements for Balanchine’s cowboy ballet, ‘Western Symphony’ and his Sousa piece, ‘Stars and Stripes’. Part I is a salute to the Scottish and Canadian Guards Regiments. 70 clan members, dressed in complete tartan wear, march onto the stage in complex formations. Then the parading evolves into spectacular dancing. Part II is the costermonger pas de deux. It is set in an Edwardian music hall where a down on their heels couple performs. Both Amar Ramasar and especially Jennifer Ringer are adorably hammy as the Pearly King and Queen. Ringer shows off spot on comic timing as well as gorgeous high kicks. At the end of the pas de deux the couple’s daughters, the Pearly Princesses, arrive in a pony cart. Then the whole family dances together, the Princesses as well as the Pearly King and Queen all trying to upstage each other. Part III is a tribute to the Royal Navy. All the dancers join in the high-flying hijinks. For years no dancer in ‘Union Jack’ flew higher than former NYCB principal Damian Woetzl. In my mind’s eye I still Woetzl performing his solo, his endless leaps and turns so light asnd effortless. On Sunday, Tyler Angle does a good job in this role, but he’s still not up to Woetzl’s level of dancing. Ashley Bouder is a very impressive leader of the Wrens. Usually the part is danced by a tall performer, but Bouder, with her commanding presence and impeccable footwork, truly owns this role. ‘Union Jack’ ends on its usually happy note. As the orchestra plays “Rule Britannia”, the cast uses semaphore to signal “God Save the Queen” and the Union Jack flag rolls down the back wall of the stage at the David Koch Theater. Then it is Jennifer Ringer’s turn to take her final bows with NYCB. Company members past and present honor Ringer with huge bouquets of flowers and hugs. The audience gives her a standing ovation and throws flowers onto the stage. At one point Ringer holds up her hands in a mock gesture meaning “Please don’t hit me”. Jennifer Ringer is a ballerina who will truly be missed.

I'm still putting my thoughts together about yesterday's fantastic performances and will post later in the week. I just wanted to mention that I saw James Fayette in the lobby of the David Koch Theatre yesterday. I went over (he was by himself) and told him I was a big fan, etc., etc. He could not have been nicer. I asked him if his kids would be coming onstage during the final bows. He said they were too little and there was a fear they might fall off the stage. How old are they? 4 and 2, something like that? Anyway, as has been said so many times already I will really miss Jennifer Ringer.

I didn't see Jewels (or New York City Ballet for that matter) until the early 1980s. I don't think I saw Patricia Neary as the Tall Girl in Rubies, but I can't remember who I did see. I didn't see Jacques D'Ambroise as the cavalier in Diamonds, I saw Peter Martins (who was wonderful). Anyway, it's good to see that for the most part Jewels is looking very good after almost 50 years.

I attended the February 2nd performance of "Jewels' and am surprised that no one has mentioned Teresa Reichlen performance in "Diamonds". When I first saw 'Jewels' more than 30 years ago, the ballerina role was danced by the imcomparable Suzanne Farrell. It was a performance I thought I would never see equalled until I saw Reichlen on February 3rd. Reichlen stood out for her meltingly expressive upper body and gorgeous deep back bends. Her arabesquues were absolutely gorgeous and her musical phrasing was creamy and luscious. Reichlen enriched "Diamonds" with a regal grandeur not often seen in 21st centiury ballerinas. A very young corps member, Russell Janzen, was Reichlen's cavalier. He was a very good partner and was doing pretty well in his solos until he slipped as he was about to leave the stage. I do think he has real potential and will look for him in the future. All the other dancers were great, except for Savannah Lowery as the Tall Girl in Rubies. I think the problem is that Teresa Reichlen's performance in Rubies is embeded in my mind. I thought Lowery was pretty bland in the part. Her dancing lacked sharpness and explosive stage presence. Is there any one at NYCB besides Reichlen who can dance this role? I can't remember who danced the Tall Girl the first time I saw 'Jewels'. Who were the great Tall Girls of the past? Can one of them help turn a current NYCB dancer into a a great Tall Girl in the future?

I saw Simkin in Don Q during the Met season in 2011 and he was wonderful - both in his dancing and his acting. HIs Kitri was Kajiya (did I spell her name right) and I thought she was miscast in the part. She's more of a lyrical, romantic dancer. I think Boylston will be a very good Kitri. As a matter of fact I'm almost positive my subscription ticket for Don Q during this Met season is for Boylston/Simkin. I always thought Kitri was Herrera's best role, but I haven't seen her dance it since 2004. I really enjoyed Vasiliev in Don Q (with Osipova, no longer with ABT, which I am very disappointed about) last year. If Herrera can still dance Kitri like she did back in 2004, she and Vasiliev should put on quite a show! We're talking about Don Q, not Swan Lake or Giselle or Sleeping Beaiuty. I just looked at the ABT performance calendar and I see that Reyes/Cornejo are also dancing Don Q. I saw them dance this ballet twice and both were excellent. I also saw both Reyes in The Dream and she was very good. I have never seen Cornejo dance Puck live but from watching The Dream on dvd he's probably the best Puck dancing the part today. That being said, I saw Simkin dance Puck in 2011 and he was fantastic. It was like he lived in the air. I think Puck is one of Simkin's best roles. His Oberon was Cory Stearns and Simkin/Stearns had fantastic chemistry in 'The Dream'. I hope Simkin and Whiteside are as good togetherer. By the way, I found Oberon to be one of Stearns' best roles. And I have been impressed by the performances I've seen Whiteside give at ABT. And yes, I was right. I will be seeing Boylston/Simkin in Don Q this spring.

Sorry that I'm a bit late in posting this, but I also went to Sunday's matinee. I agree with with everyone has said about 'Concerto Barocco', Maria Kowroski and Sara Mearns complement each other beautifully. Mearns dances with joyous abandon and Kowroski's supple body and glorious extensions are shown to their best advantage. Every time I watch 'Concerto Barocco', however, Peter Anastos' satirical piece, 'Go For Barocco'.created for the Ballet Trocks, plays in my head. I often wish I could see the NYCB dancers play patty cake and get tangled up in twisting daisy chains like the Trocks do. 'Kammermusik No. 2' is an interesting piece, but not one I totally enjoy. I find the piano music for the duets to be somewhat atonal and redundant. I feel like it is almost a sin to criticize any creation of George Balanchine's, but the choreography for these pas de deux is very repetitious. Myu favorite parts of this ballet are when Rebecca Krohn and Abi Stafford perform together. They are wonderfully paired as they dance on their heels, perform high kicks or leap across the stage, ponytails flying. The leading men don't have as much to do but Amar Ramasar is a very good partner for Krohn. Jared Angle's lower body is so noticeably out of shape, however, that I can't concentrate on his dancing. My favorite work is 'Who Cares?' The four principals are so fresh and joyously musical that I feel like i am seeing this work for the first time. (I've seen this Gershwin ballet close to 40 times.) Teresa Reichlen is all coltish playfulness, her long legs whipping across the stage as she buildis her as she builds her "stairway to paradise". Ashley Bouder is sweetly coy in her duet iwth Robert Fairchild to "Embraceable You". She effortlessly tosses off endless fouettes and chain turns in her solo to "My One and Only." As fantastic as Reichlen and Bouder are, the real standouts (for me) are Robert Fairchild and especially Tiler Peck. Fairchild's timing, rhythm and wonderfully light leaps with the softest of landings - all are beyond compare. When I first saw Tiler Peck in 'Who Cares?' (June of 2011) I found her to be the equal of the role's creator, the great ballerina Patricia McBride. That was an accomplishment I had been afraid I would never see. At Sunday matinee's, however, Peck's dancing surpasses not only McBride's, but her own incredible performances in 'Who Cares?' Her solo to "Fascinatin' Rhythm" shows off Peck's precise quicksilver footwork as well as her musicality and phrasing. I have never seen anyone else whirl across the stage at such a breakneck pace. Peck and Fairchild's pas de deux to "The Man I Love" is heartstoppingly beautiful. The two are magical togther. Peck lights up with an inner rapture as she dances with the man she really does love The luminous yearning of their passion brings tears to my eyes. If only NYCB would replace Santa Loquasto's cheesy and gaudy costumes, 'Who Cares?' would be an absolutely perfect ballet.