Sounds like perhaps a partial-view seat. There are many of those at the Met---many more than the management would officially admit. Osipova was certainly always "in the frame" (unlike in "Bayadere" where she did finish a variation inside the wing). She was very clearly visible throughout the opening of the balcony scene, "felt the moon" on her face---it was actually a very beautiful moment, and the passion between her and Hallberg was quite obvious from seat E12 in the orchestra.
As a practical matter, it's difficult to see what else they could have done. The audience just wouldn't leave for the intermission and wouldn't stop clapping. For a very, very, very long time. This was very unusual for ABT. I think their coming out for a bow was the only reasonable solution.
I hope I am pasting the quotes above correctly - please excuse me if they have not pasted properly
My comments:
Osipova/Hallberg’s Romeo and Juliet: While most members on Ballet Alert seemed to love the performance, I was quite surprised to read the negative comments such as “over the top” with regard to Osipova. I was at Monday night’s performance and thought it was spectacular, and in a class by itself. I have seen many of the world's greatest ballerinas dance Juliet, many of which have simply blown me away. I expected a lot from Osipova, but once again, she surpassed all expectations. WOW! I can't even begin to describe it, except to say, that both dancers were truly committed and believable. Natasha was so in the role that my entire heart simply ached, and I had to keep from crying. The audience was so engrossed, that you could hear a pin drop. The connection between this pair of dancers is very special, even down to David’s gentle kiss on Natasha’s forehead during the final curtain calls.
As far as the curtain call at the first intermission…that was brought on by the insistence of the audience. The dancers had no choice but to finally come out. The lights were on, and the audience demanded to show their appreciation. It may not be the custom, but I think it is unfair to pick on ABT for allowing it. The curtain was down, the house lights on, and they took a curtain call at the intermission.
On to the comment about Osipova’s face in the moonlight. I saw her face very clearly from my orchestra seat. I always make it a point of sitting on the left side of the orchestra for Romeo and Juliet so that I am sure to see the balcony scene clearly. Monday night was no exception. Osipova was not in the shadows. To quote Ilya: “She was very clearly visible throughout the opening of the balcony scene, "felt the moon" on her face”