cobweb

Anyone any word what is the delay entering the theatre?

I also was there for the all-Balanchine/all Tchaikovsky program on Wednesday night. What's not to love?

Serenade -- I agree with vipa, Sterling Hyltin suddenly seemed more interesting. The minute she came onstage she seemed to have more presence and more purpose in her movement than I have seen in her before. Jared Angle is such a noble and gracious partner -- I love watching him. Teresa Reichlen, Sara Mearns, Adrian Danchig-Waring all wonderful. Looking ahead to next week, I have some doubt about Savannah Lowery in this ballet, but we shall see.

Mozartiana -- I enjoyed this more than I recall enjoying it before. I liked the contrast of the little girls with the adults. In the simplicity of the girls' movements, one can more easily notice the building blocks of ballet. I particularly noticed the angling and changing directions of their heads and shoulders, which I don't notice as much or as clearly in bigger, adult choreography. The girls looked beautifully rehearsed. Maria Kowroski gave a charming and individual, nuanced interpretation. Tyler Angle terrific. I totally look forward to Sara Mearns and Chase Finlay next week.

Tchai suite #3 -- Justin Peck has great dramatic presence. Looked to me like a potential principal dancer. Antonio Carmena has amazing leaps -- they seem to come out of nowhere, suddenly arriving in position high in the air, especially the grand jetes. Tiler Peck & Joaquin de Luz -- wonderful. De Luz seems to be getting more noble and more serious as he ages, while keeping a sense of irrepressible good humor.

All-Balanchine/all-Stravinsky last night. More on that later!

I too would love to read reports of ABT's visit to Australia, Misty's debut and any other performances!

It is too bad that Misty is only scheduled for one performance of Swan Lake. You would think at least two, would give her the chance to relax and develop, or at least a second chance to get over any nerves and anxiety. With only one scheduled, it's like an audition -- you better nail it, this is it!

Cobweb *loves* Herman Cornejo!

Cory Stearns will never be my favorite dancer, but I thought he was fine, and the pas de deux with Murphy sizzled with sexual chemistry. Jared Matthews was vivid and funny. All in all, I found this the most satisfying performance I've attended this season. (The Dream, that is... never mind about The Tempest.)

I'm just sorry they didn't include some younger, promising corps members: Brandt, Royal, and Shayer. I'm sure it must help with development to get a chance to take on bigger roles earlier, rather than waiting (as did Zhurbin, Teuscher, and Shevchenko) 8 years or more in the corps.

Another report on last night. I found both Seo and Bolle a little blah. Seo is very beautiful in many respects but to me just does not project the magic and interiority needed for this role. As for the fouettes, while I enjoy technical wizardry (a la Gillian Murphy), I don't require it. Still, it seems that the ability to do a series of clean singles, more or less staying in place, should be a basic requirement for this role. I found Bolle attractive but not what I'd call riveting.

There were smaller moments and smaller roles, however, that I enjoyed. For me the revelation of the evening was Zhiyao Zhang (hope I'm spelling that right), dancing with Joseph Gorak in the Neapolitan. I've heard raves about Zhang on this board, but only ever seen him in minor, peasant-type roles. Now I see what people are talking about. With his super-clean and effortless technique, and wide-open, appealing stage presence, he threatened to outshine even the beautiful Gorak.

I enjoyed the Spanish dance, especially the men, Calvin Royal and Luis Ribagorda. Royal has an inherent nobility. I have the feeling he hasn't yet fully embraced his tallness, but he should. Ribagorda was super-committed and intense.

Finally, I usually avert my eyes from the Swamp Thing, who (which?) I find ugly and awkward. Last night, however, I paid some attention to him/it. It's further testament, if further testament were needed, to the skills of Roman Zhurbin, that I felt sorry for this creature. He seemed sad, lonely, and tortured, not knowing how to get along with others, not knowing how to find happiness, and farfetched as this may sound, he actually wrung some of the evening's most heartfelt emotion out of me.

Amen to Gabe Stone Shayer as Puck.

Calvin Royal would be great as Purple Rothbart.

As to Misty Copeland getting to dance O/O in Australia, and the question of whether Sarah Lane will also get the opportunity, I'd just say that I would be much more interested in seeing either or both of them, rather than most of what's been on tap this week. I would have loved to see Veronika Part again, but I can't get out of work for the matinee. I love Gillian Murphy but I've seen her do O/O quite enough at this point. I've also seen Herrera, Semionova, Boylston do the role once, or more, and that was enough. I had a hard time imagining Alina Cojocaru as Odette/Odile, but I was intrigued enough to buy a ticket. IMHO, fresh approaches are definitely needed.

What I'm wondering (among many other things, of course) is why they took Cornejo out of Swan Lake tonight. He's still set to dance The Dream Monday night. If Cojocaru for whatever reason bailed out of Swan Lake, couldn't they have put in Isabella Boylston to dance with Cornejo? If she is a fit with Simkin, surely Cornejo also can dance with her. I'm not sure actually that I've ever seen Cornejo and Boylston paired, but it seems reasonable size-wise. On the other hand, in the absence of Cojocaru and Cornejo, the ideal replacement would involve Veronika Part.

I hope Murphy can make it back for Titania.

I do too, but if not, I second Drew's suggestion to get Alina Cojocaru to fill in!

I enjoyed last night’s performance very much, despite a few reservations. It’s a shame Herman Cornejo didn’t dance. He seems a better fit with Cojocaru, and not just height-wise. Hallberg’s Albrecht was so ultra-refined and aristocratic, it seemed at odds with Cojocaru’s unmannered girlishness. Of course, I don’t know how Cornejo would have played Albrecht, but it seemed like Hallberg and Cojocaru were working with two different interpretations, and I chalked that up to the last minute cast change. I fervently hope that Cornejo is well and able to dance in Swan Lake.

I enjoyed Cojocaru’s Giselle. Musical, expressive, light and airy, and of course, that special Cojocaru unmannered sweetness. She is a special dancer.

I look forward to seeing Hallberg in The Dream. My impression from last night is that he has gained tremendously in refinement and control, but I missed the freshness he had when he was just a joyous and beautiful youngster at ABT. Perhaps it was just his interpretation of Albrecht. I hope so.

I recall vividly from a past Giselle the moment when Bathilde indicates Albrecht's clothing with a question -- her hand gesture says, what's up with this outfit? And Hallberg, as I recall, hesitated then suddenly made his excuse -- a gesture of shooting with a bow -- saying I've been hunting. It's a small detail in the ballet, but the way Hallberg did it, it seemed to arise spontaneously in Albrecht, and was so absolutely beautiful, expressive, and fleeting, that I've never forgotten it. Last night, at the same moment, Hallberg just hesitated and looked confused, unable to muster any response for Bathilde's question about his clothes.

I enjoyed seeing ABT. In past years I was a heavy-duty ABT fan, but I’ve gotten weary of the same old rep, and also trying to get my ballet budget under control, so I’ve seen very little this season. A month or so ago I saw the Theme & Variations/Duo Concertant program (skipped Gaite Parisienne), and was disappointed. Perhaps the company is just not prepared for, and too exposed in a demanding piece like T&V. On the other hand, they do Giselle well (even if the Wilis were a little ragged). I particularly enjoyed Yuriko Kajiya in the peasant pas de deux. Not to beat a dead horse, but I don’t understand the loss of talent and artistic decisions that are being made at ABT. Kajiya is so delicate and so engaging – I would much rather see her than the unrefined Isabella Boylston who is being pushed so heavily. Alas. Houston will enjoy seeing Kajiya, as San Francisco enjoys Simone Messmer.

Casting change for tonight: David Hallberg tweeted that he will be dancing w Alina Cojocaru tonight. I'm not complaining about that, but I was totally looking forward to seeing Herman Cornejo!

Kaysta - totally safe! Good luck squeezing into the subway car.

Georgina Pazcoguin leapt onto the stage with commanding authority as Hippolyta last night. Shrouded in fog, a brilliant, billowing orange cape, a huge helmet, and holding a large golden bow, the not-tall Pazcoguin nonetheless dominated the scene with her strong presence. Her grand jetes were large and her fouettes had a marvelously springy quality. I don't know why she isn't used more! She seems relegated to "hot tamale" roles, when she seems capable of so much more.

I saw three Oberons: veyette, Carmena, and de Luz. Advantage: de Luz! Razor-sharp and full of sweeping amplitude.

I believe her debut is tonight. I'll report back. She has been so woefully underused that I've wondered if she was injured. Why did they promote her to soloist if they were going to use her so little?

Speaking of standouts and elegance: I thought Olivia Boisson looked particularly aristocratic in Titania's retinue. Some of the other women got a bit swoopy -- Whee! All this chiffon! -- but her lines were always firmly elegant and her carriage beyond reproach. She was a standout in the Melancholic section of 4T's too -- she released her big, silky battements right on the music and without the least disruption to her torso. I hope we get to see more of her.

Troy Schumacher is my favorite among the current crop of Pucks. He doesn't have Ulbricht's level of bravura technique (who does?), but he's got more than enough for the role, and I find his unfussy and mischievous but sweet-tempered characterization delightful.

Kathleen, it's funny you single out Olivia Boisson in 4T's, because I also noticed her -- several times! I couldn't quite figure out what made her stand out. Thanks for the analysis.

I also love Schumacher as Puck and similar roles (like the Jester in Swan Lake). He has a relaxed charm and connects beautifully to the audience. I find Ulbricht too stiff.

I couldn't quite figure out why Puck didn't levitate the other night, but I had the impression the butterflies were trying to quickly hook him up and couldn't quite get it done in time.

The new costumes are brilliant -- and I mean that literally. The colors, and Oberon's allover golden glow, seem to radiate all the way up to the fourth ring. The article in last week's New York Times was accompanied by some lovely photos that show the care and detail that went into the construction.

I was also there last night and enjoyed it very much. Finlay and Catazaro both looked adorable in those pageboy wigs, and Finlay especially was comically silly. What a pleasure it has been to have him back this season. I thought Veyette was a little stiff in his upper body and had loud landings. I look forward to seeing Antonio Carmena in the role. He doesn't have Veyette's presence but he is fleet of foot. Megan Le Crone did very well as Hippolyta. Sara Mearns and Tiler Peck - just wow to both. The new costumes looked fresh and brilliantly colored. The music is beautiful. It's a great ballet.

On to tonight's performance!

I was there on Friday night. Tiler Peck and Robert Fairchild outdid themselves in Who Cares. An exhilarating, passionate, and technically stunning performance. I saw this ballet earlier in the week and felt I was getting sick of it but Friday's performance revitalized my interest. Lauren King and Devin Alberda an especially fresh and charming pair. And Ashly Isaacs again looking terrific. She interacts with her partner and with the audience in a fresh, lively way - seems spontaneous and genuine, not canned. So confident and secure that she takes her time, casting a teasing glance at the audience and letting us know how much she's enjoying herself. Projects authority and ownership of the role. Looks like a seasoned pro, not like a young member of the corps de ballet who's being thrust into principal roles.

Also enjoyed Concerto Barocco with Teresa Reichlen, Abi Stafford, and an elegant Russell Janzen.

Other Dances - Ashley Bouder softer, less mugging - terrific! Joaquin de Luz amazing.

During Neverwhere, I enjoyed a sandwich over at the Atrium.

Any reports on the Copeland- Cornejo Coppelia?

I have to agree about the bizarreness of the LaCour-M. Fairchild casting. It looked odd and awkward, and neither of them seems to have the right presence or personality for this ballet. No one could live up to the Peck-R. Fairchild performances, but at least Hyltin and Ramasar seem more suited to each other, and to the ballet. Reichlen and Ashly Isaacs were both wonderful, however.

Also, totally totally agree about Nowhere, or Neverwhere, or whatever. Nevermore!

I was there Friday night and Saturday matinee. Needless to say, I agree with everything said in praise of Teresa Reichlen as the Tall Girl in Rubies. Her grand jetes were spectacular, and that one where she dashes out from the wings and does a huge grand jete in the middle of everything was high, fully stretched out in every direction, and right on the music. I appreciate the energy and sunniness that Savannah Lowery brings to the role, but Reichlen is a hard act to follow.

How old is Joaquin de Luz? I found an article from 1999 that said he was 23, which would make him 38 now. I don't know how he continues to dance at this level. In Rubies on Friday night he looked amazing, with far greater height, precision, and charisma than the young guys trotting along after him. I enjoy that section with the men playfully jogging along after their leader.

In Diamonds on Friday night, I felt Maria Kowroski was losing steam toward the end, getting sloppy in her form. (Related to her spill on Saturday?) Sara Mearns on Saturday was resplendent.

I enjoy Jewels and the multitude of forms and relationships that it expresses.

Does anyone have a report on the Jonathan Stafford farewell?

A few people mentioned Ashley Bouder being ahead of her regiment. I've never seen her in this ballet and I'm curious. I saw her do Square Dance (she was amazing, great role for her), in the last section she was ahead of the corps but the only one on the music. Clearly the conductor was conducting for Bouder's speed and it didn't matter to me that the corps didn't really keep up. Union Jack is a different thing, unison matters more - so my question is - Was the she ahead of the music or was she dancing at the start of the note not the end? I'm sorry but I can't think of another way to phrase that. Or was she doing the kind of musical phrasing in which she speeds up some steps so she has time to hold a balance. Just curious, if anyone has the time to answer

I am not musical enough to answer that with any confidence, but I'd be interested if someone else can answer. What I notice is that she starts her movement earlier than the others, and on top of that she moves so fast that she arrives at the final position very quickly, so by the end of the movement she's even further ahead of the others.

You mention Square Dance -- I am glad it's coming back in the fall!

I have been enjoying the season very much. I saw Tiler Peck in her debut in "Green Montgomerie" in Union Jack. She was delightful. I was surprised that I found it refreshing to see her in a non-bravura role. Without the distraction of technical wizardry, she was appealing and genuine (I mean, she always is, but it was easier to notice in the absence of chaines at the speed of light). Ashley Bouder drives me crazy in the RCAF/WRENS role by continually being ahead of her troops... unlike Tiler Peck, who was a team player. The new pony doesn't seem to be working out. He seemed extremely restless and fidgety at one performance, until Amar Ramasar took him firmly in hand, and then on Tuesday night he bolted into the wings way ahead of schedule.

I saw several performances of Davidsbundlertanze, which I had never seen before. I love it. There were quite a number of memorable performances, but I particularly enjoyed Russell Janzen and Ashley Laracey. Janzen seems to be growing in leaps and bounds since January, when I saw him looking a little tentative in his debut in Diamonds, and crashing into one of the wings on one of his exits. He now looks commanding and authoritative. As an audience member, it's very gratifying to see that kind of growth!

Casting is up for Midsummer Night's Dream. Many debuts to look forward to! It seems to be the season of Ashly Isaacs, Ashley Laracey, Lauren Lovette, and Russell Janzen.