ABT Fan

I’ve not seen any announcement as to why and I see nothing on his IG.

R&J casting update: Carmargo replaces Stearns w/ Seo on opening night and is still paired with Boylston on 7/13. Stearns is still listed on 7/15 but I have a feeling that'll be updated soon. Poor Stearns, missing the entire season after 3 years - I hope he's ok.

T&V casting switch: Teuscher/Ahn now have 7/7 and 7/9 (evening) Shev/Bell now have 7/8

I also agree with this and I seriously doubt he’s on the principal track.

Anyone have a detailed report on Brandt/Cornejo last night?

Do you mean WILL be turnover? We’ll have to wait and see what she does, but new leadership usually involves changes so I’m hoping she will make some in favor of promoting some corps dancers (if McKenzie doesn’t do it himself before he leaves).

I’m having the same problem as you all above. Still haven’t bought a ticket. Do not have the time or the money to see multiple casts and every cast has one principal I want to see and one that I don’t. Also really want to see Curley and Ischik as Purple VR. I saw Shevchenko’s debut years ago and she was gorgeous, but as much as I like Royal in certain things I’m not convinced he can handle the technical and dramatic demands of Siegfried. She was incredible with Forster yesterday in L&R - if only they were paired in SL. Boylston’s O/O was bland when I saw it last. I would imagine Seo’s Odette would be wonderful (Odile I’d have low expectations) and I’d get to see Bell. If only one of my preferred PVR’s was cast with them.

I'm quoting myself because I thought of a few more things: I thought the same-sex partnering for both the men and the women was marvelous, cleverly constructed and added to the narrative (and it did not look like "and, now we're going to do some same-sex partnering" as I've felt when watching some other ballets). Frenette as the head suitor was superb in both performances yesterday - he always brings depth and dramatic intensity to everything he does (Wilfred, one of the Toreadors) and I'm glad he's finally getting some meatier roles this season. I thought the company as a whole looked fantastic, especially the corps which is chocked full of talent. So many women and men corps dancers are able to do so much more as we've seen the past two weeks alone. Yet, the problem is where do they go with a soloist rank that is full with dancers (except one, maybe two) who have been at that level for years and do not have what it takes to move up thus making room for others. Coker needs to be made a soloist already and there are several men who could easily take on that title as well. It's a great thing for the company to have so much corps talent but it's a problem when there isn't room for them to move up to the level they deserve.

Just back from today's double-hitter. I had only planned on seeing the matinee, but even though L&R is an imperfect ballet there are fantastic elements in it so I decided to stay for the last performance. I loved the sets, costumes (truly gorgeous) and the music. The ballet has a full scale opera feel to it that I mostly loved - lots of moving bodies and scenery. Fantastic dancing opportunities for everyone - the corps had a LOT to do, sometimes too much (he needs an editor) and I love how he frequently has so many juicy roles in his ballets. Ratmansky doesn't always choose dance-able scores IMO, but I loved this one. Like others, I was disappointed in the book that he chose - I don't need or want every new ballet to be progressive, woke, enlightened or the like, but a story revolving around a young woman who is passed from man to man and lusted after by every single man - oh, and almost killed by her husband and then she forgives him - is not very 2022. He really couldn't have chosen something different? That said, I admire his choreography and wanted to see what he would he would do with it, and see the up-and-comers. Hurlin/Bell were very young lovers - innocent, naive, and despite their technical virtuosity they were lacking in dramatic depth here. But, their youth and technique still served the ballet fairly well. Like others said, I didn't see much character development with either of them. By Act II, watching Hurlin being tossed around by every man on stage started to feel icky. When Bell is brought out and he and Hurlin are reunited to their surprise after many years, they were emotionally blank - what a lost moment. Technically, they were both incredible. The choreography was clearly made for them being first cast, and the fast and furious nature of some of the partnering, turns, and leaps suited Hurlin really well. They had no trouble with both of the torch lifts - Bell made it look easy. On the contrary, Shevchenko/Forster were mature adults who demonstrated the rage, conflicting emotions, forgiveness and compassion that Hurlin/Bell were missing. Forster is a gifted actor and his anger and frustration were palpable. He was clearly devastated over how he treated Callirhoe. When Shevchenko/Forster were reunited, you could see the disbelief and love by both of them as well as Shevchenko's uncertainty and unforgiveness. I had less of an uncomfortable feeling watching Shevchenko being tossed around by the men - yes, same undesirable story but her maturity and depth as an actress made me feel like she could handle it better or maybe even get herself out of that situation somehow. When she and Chaereas came together at the end, it was poignant, touching and I could see Shevchenko working out the emotional logistics of forgiving her love for what he had done. Technically, I thought Shevchenko struggled during Act I with some of the quick choreography but other than that she was expansive and secure. The first torch lift was fumbled, but the second one was a success. Forster's menage of jetes were extraordinary. Camargo was a strong, dramatic and technically terrific Dionysius - I felt his grief over his dead wife and his love for Callirhoe and her son. Hoven in the same role in the evening lacked that dramatic weight - his dancing was fine, a few bobbles, but emotionally flat. Curley was Mithridates at both shows and, wow! For someone so young and inexperienced he held the stage and has the most piercing eyes which he used to great effect. He made great choices dramatically, small nuances that made big impressions and he had wonderful jumps. His purple von Rothbart will be powerful. Misseldine was an absolute queen as Queen of Babylon. Williams was very good but she didn't make as strong of an impression. I absolutely loved the section with Dionysius' Soldiers - 6 men in gorgeous teal coats exploding across the stage, especially the incredible de la Nuez with his menage of jetes. I've no doubt left some things out, good and bad. There was a lot that liked about it and I'm so glad I went despite my reservations. I just wish he could have chosen a more, yes, enlightened story.

Waski posted this: https://www.instagram.com/p/CfKf2MEANkx/?igshid=YmMyMTA2M2Y=

Interesting casting update on the Met Opera's site: it says that Jose Sebastian is doing Siegfried June 27 and July 1 (ABT's site says that is Ahn). I think the Met Opera just mixed the two up, but their casting sheet is usually the one that's correct, not ABT's. https://www.metopera.org/season/2022-abt/swan-lake/

Eric Tamm was never a soloist. He was a very promising corps dancer, who was given some soloist opportunities, before he left. I always felt he was on track for promotion and was very sorry when he stopped dancing.

Frankly they should be preparing Ahn anyway. What if someone else gets injured or sick? Forster isn’t any older than Whiteside or Stearns, he’s about 35/36. Is Camargo tall enough to partner Seo?

Yikes. And, not surprisingly that means Ahn has been replaced as Purple von Rothbart, by Sebastian and Curley. It's not looking good that Stearns will be able to dance this season. Are they giving Ahn a crash course in Romeo so he can cover that too? They have no other choice really.

So, Curley is now playing Mithridates 6 times?! I haven't seen the production yet, just rehearsal clips - it seems to have some difficult choreography, but maybe it's a short role. Still. Wonder why they didn't spread the love amongst him and Frenette, the later who is only doing it twice. Sorry to hear that Stearns is either ill or injured. But, a good opportunity for the corps fellas. I wonder what the Plan B is for SL which is only the following week, in case Stearns is out of that as well. He has 2 shows.

Boylston and Simkin blew the roof off tonight! They got an even bigger reception than Brandt/Cornejo at the matinee. This is a great role for Boylston: she has a big, high jump, great extensions and a vivacious personality. Fast turns, good hops on pointe (though Brandt’s traveled much further) and fast fouettés, though she nearly lost it at the end. Simkin brought his usual bag of tricks: 540’s, endless pirouette revolutions, beautiful, high jumps, plus charm, wit, and impeccable timing. Overhead lifts were solid. Teuscher was an underwhelming Mercedes; no sass, spirit or flair. Such a contrast to Trenary’s fiery interpretation at the matinee. Her Queen of the Dryads was lovely but her lack of an arabesque muddled some lines. Forster was a very good Espada. Williams and Waliski were fine flower girls. Klein was outstanding as the lead gypsy - so glad he’s getting Mercutio, he needs to be featured more. Coker and Granlund stood out in the corps, both need to be promoted. Crispino again caught my eye; he was a Toreador and played it up magnificently. A wonderful double-feature day at the ballet.

Brandt and Cornejo were fantastic this afternoon! But, Cornejo was truly exceptional. At 41 with a long history of injuries, he was in truly magnificent form. He pulled off multiple pirouettes with ease, leaped high with no strain, and his swagger, charm, dramatic and comedic abilities are unparalleled. Only a few times did his age show - in Act III his jumps to arabesque gave away a reduced flexibility in his back and leg but it didn’t matter. He also dances with intelligence but no ego - maybe twice I saw him attempt a crazy turn that you could tell he couldn’t quite complete or at least complete cleanly but he quickly shifted gears and ended the turn with a flourish and additional step or two that beautifully covered it up without it being obvious. The one arm overhead lifts, and all overhead lifts, were effortlessly and beautifully done. Brandt was also exceptional but there was something missing which I can’t quite articulate. She had some amazing balances which drove the audience wild. Hops on pointe covered the entire stage with ease. But her Plisetskaya jumps were a bit sloppy and she didn’t hit the shape. She’s really turned into a marvelous actress. She and Cornejo had some funny, natural moments. Her maturity really comes through now, she’s an intelligent dancer with lots of confidence but I think sometimes she vears too close to boasting. She also juts her head out a lot which breaks her alignment. McBride and Granlund were lovely flower girls, but McBride needs to ease up on her megawatt smile. More soloist opportunities for Granlund please. Trenary was a gorgeous, sexy, commanding Mercedes and a beautiful Queen of the Dryads with secure Italian fouettés. Shayer was ok as Espada. He lacked Spanish flair and bravado; he did really well with the cape though. He has extreme flexibility but he needs to reign that in at certain moments. Coker was a lively and sassy gypsy lady and her partner, Magbitang, wow! I see him as the next Cornejo - technique, charm and great stage presence. Incredible that he’s only an apprentice and probably still a teenager. Always great to see Ribagorda as the hilarious Gamache. Rachel Richardson was a last minute sub for Amour; she was spritely and charming. Luigi Crispino caught my eye in the background- he has a very animated face and fabulous technique. He’ll make a great Basilio some day. The company really looked great and I almost couldn’t believe I was finally back at the Met after 3 years. I did miss the extra supers on stage, especially the man with the bushy white beard who used to super in all the full lengths.

Fantastic to see two deserving corps dancers get cast, Klein and Pogossian. Anyone else remember Jeffrey Cirio in this part? Wow. Hope to see a few other corps fellas get Benvolio.

Positively not lack of opportunity nor partners. He was given Romeo, Nutcracker Prince, Prince Desire, the poet in Les Sylphides, T&V, and other high profile solo roles. He danced with Boylston, Copeland, Lane, others. His partnering never improved, in fact it was scary at times or just plain weak. Dramatic and technical abilities never developed beyond peasant pas or the Bronze Idol, his two most frequent roles. For whatever reason he just didn’t progress in ability. As far as I know and remember, he was never injured, at least nothing long term or serious. He was an absolute favorite of mine for years, in basic soloist roles. I will say that his Bronze Idol is one of the best I’ve seen.

Oh yeah, how could I forget about Gorak. Speaking of, he’s not cast in anything. Assuming he’ll do peasant pas de trois in SL like usual, but for a soloist it’s sad that that’s the best he can do. I’m wondering if he’ll leave soon.

I think you’re probably right. I also hope that Jaffe brings him back as a guest (I also hope she trims the roster a bit). Cornejo is 41; I’m shocked he’s even doing T&V especially since he didn’t do it at their last Fall run in 2019.

Pretty sure 6’3

I don’t think Bell and Shevchenko have danced together before and they probably had little rehearsal time. So a little unsteadiness or apprehension seems expected under the circumstances. Wish I had seen it as it sounds like it was a great show regardless.

Yes, that was originally Stearns

Wow. I’m sorry to have missed Hurlin, but I just couldn’t sign up for a 3rd DQ in one week. For those who didn’t see this, ABT posted rehearsal footage of Hurlin’s fouettés for an ad on IG: https://www.instagram.com/reel/CezB1VJpalH/?igshid=YmMyMTA2M2Y=