ABT Fan

I did not go to Abrera's Giselle this year as I found her performance last year to be disappointing (some lovely moments, but not great). That said, I am still a devoted member of the Stella fan club and am looking forward to seeing her Pierrette and Mercedes in a few weeks. I have a hunch though, that she knows her technique isn't what it used to be, and that's why she pushed through an apparent injury to keep her Giselle performance. People who saw her last year as well as this year have noted even more of a decline in that one year, so perhaps she concluded that she better do whatever it takes to get on that stage because who knows what will happen next year. I'd say that the guest artists of the past 5 or so more years (post "golden age" that abatt references) did Abrera the most disservice. However, McKenzie chose to give principal roles to Seo and Boylston (the few roles that were given out to the core ABT dancers) during that time instead of Abrera. Abrera had that terrible back injury about 10 years ago, but she was healthy for several years after that and spent that time dancing peasant pas instead of getting new roles. So, it wasn't just the guest artists, per se, it was the AD choosing other homegrown dancers over her, and much younger dancers, who, IMO, could have waited a year or two to get Giselle or Juliet. I've been trying to figure out why he's loaded up Teuscher so much this season, more than any other female principal. I've thought that perhaps he sees her as "Murphy's replacement", a dancer with exceptional technique who can do practically any principal role. Teuscher turned 29 recently. I'm guessing Shevchenko is around that age. Although, I don't like the fact that he's overlooking other dancers (and is opposed to shorter dancers in many roles, on both the female and male side), perhaps he's figured out that he needs to make up for lost time and start pushing Teuscher and Shevchenko now before they're nearly 40 and past their prime! Hopefully, Brandt and Trenary won't fall into soloist purgatory like Lane and Abrera did, but given the AD's dislike for short dancers, who knows what their trajectory will be like. I'm cautiously optimistic. They both have the goods and I believe they're both around 25 (?). I hope they don't have to wait another 5+ years for the plum parts and a promotion.

Stella Abrera posted a touching tribute to Salstein on her Instagram this morning. Scroll through to see some nice pictures.

My guess is that he's judging her by what he's seen and read of her in interviews, in print and in video, and how she presents herself offstage. As a critic, his remarks should relate to someone's dancing, and only their dancing. But, he doesn't always do that. His comment years ago that Stiefel's hair made him look like a member of the Hitler Youth, had nothing to do with Stiefel's dancing (not to mention being highly offensive for many reasons). My impression is that he isn't talking about Copeland's dancing here, but her offstage persona. If he isn't, then using the word "unspoiled" is an odd adjective of choice to me.

I guess I have a different opinion on what Macaulay means. I think by "unspoiled" he's talking about her personally, as in she's remained humble and gracious despite her fame. I don't think he's talking about her dancing here, because "unspoiled" or "spoiled" usually refers to a person's character and also because he references her dancing immediately after that, changing the topic. If he meant that her dancing was "unspoiled", then his sentence should have read something like: "Since she’s now among the biggest names in world ballet, it's refreshing to see how unspoiled her mannerisms are, but I wish she projected more sheer authority." Macaulay has a habit of critiquing, or less often, praising the personal qualities of dancers, that has nothing to do with the actual dancing. How many remember the most unfortunate description he gave to Ethan Stiefel's hair and overall appearance several years ago?

Shevchenko's wobbles on the opening arabesques at the matinee were, from what I've seen, very uncharacteristic of her. I saw all three of her Myrta's last year and even in that first performance, her debut, she was rock solid. And, I love her characterization. I haven't noticed any sickled feet on her, as someone else mentioned. I'm glad to hear that Williams' debut went well; I wish I could have seen it. And, hopefully Waski will get her Myrta debut next year (assuming they do Giselle next year - please!).

I saw this on the other thread. Very sorry that I'll be missing his farewell. Though he wasn't a pyro-technician I thought he was a great dancer with a strong, precise technique and a great stage presence. He was also a very good actor. I'll miss him.

They were marvelous. And, they were all marvelously dressed. Anyone know where they were from? I did love Markle’s second dress and her mother’s.

I saw his IG story too and I took that as just his admiration for the company doing 3 shows today.

Yes, I agree with this completely.

Lane has posted that she's doing a last minute peasant pas at today's matinee with Gorak. Trenary must be injured, like it seemed earlier, and Brandt and Hurlin can't do all of them.

So I watched most of the replay. Markle looked happy and lovely but I didn't care for her dress. Too plain and I don't think it fit her well. It looked quite boxy in the body and the arms. Plain can be quite beautiful but this should have been more fitted. The tiara was beautiful. I have to admit that her hair was driving me nuts - the thick wisp that came undone on the left side of her face and that ended up sticking out behind her ear. Hairspray, honey! But, she and Harry looked very happy and I wish them a good life together!

Did Hallberg do the entrechats, I assume? How was his second act?

Did anyone watch or is currently watching the replay like me?

Yes, they are very difficult to do well. The dancer is expected to travel a great distance while not falling off pointe, which requires a lot of strength, all while maintaining a relaxed upper body with lovely port de bras and showing no strain in the body or the face (and while remaining in character). It's much harder than it looks, but a principal *should* be able to do this.

Yes, precisely my point. Though I was quite close to giving in to that orchestra seat. I'm curious though, where do you all see standing room availability? On the Met opera site? Where? I also hope Trenary is ok and that she'll be back soon. She has some big roles coming up.

Wow, this is surprising. I too assumed it would be Trusnovec when the time came.

I did consider it, thanks. But, it's soooo far away obviously. I don't like to use opera glasses because you lose peripheral vision and I always wind up missing things.

I never thought it would happen either, but my gamble didn't pay off. The few remaining tickets for tonight are astronomically expensive and too far away from the stage for me to justify it. So, I will have to experience it vicariously through everyone's reviews (please!). At least I did see this cast in Giselle once a few years ago. I do agree that there is a lot of mediocrity being pushed right now, and without going on about it (as I think most of us have already hashed this out in other threads) I am concerned about what's going right now and what will happen in just a few years. Someone mentioned "balance" up thread, and I agree that the AD doesn't seem to understand what that is, in many ways.

Thank you for that clip. I agree, and I think the music is just too fast today to stay on top of it. Speaking of music, I forgot to mention that in the second act the horns had some difficulty keeping it together. At one point, it sounded like one of the musicians either fell asleep or forgot what he/she was playing; they dropped out when they shouldn't have and then seemed to rush to get back on track, which sounded awkward to say the least.

Overall, Lane/Simkin/Shevchenko gave a magnificent performance this afternoon despite a few issues. Lane and Simkin are two very young lovers, so perfectly matched here (and, why oh why are they not doing R&J???). Simkin plays Albrecht not like a cad but as a very young man bound by duty to marry Bathilde who could not help falling in love with Giselle. He naively doesn't think about how this could all end. Simkin's technique was in full force - beautifully controlled pirouettes, incredible jumps. Very fine acting and good partnering though he had a few problems. Lane's first act was exquisite. So natural, sweet, innocent. Her hops on pointe were miraculous; she traveled all the way across the stage like it was nothing, all while maintaining her lovely port de bras and light upper body. The woman sitting behind me gasped and said "wow!" - just what I was thinking. Then Lane cut loose in a blazing series of pique turns. Her mad scene was just as disturbing as it was last year. Lane, I believe, goes into another realm here. It's like nothing I've never seen. Act II was glorious, though I agree that a few of Lane's jumps were low. She seemed tired or fatigued in a few places. I did not see that last year so I view that as a temporary negative. Lane's backwards spins at the beginning were at lightening speed. Her lightness and "wili-ness" was gorgeous and her port de bras as beautiful as always. This Giselle vividly demonstrated her complete forgiveness and undying love for the man who betrayed her. In the pas when Lane has to appear to float on a breeze, Simkin lifted her well but he didn't pull away from her once she was in arabesque which diminished the effect. In the first overhead press when Lane is horizontal, Lane was visibly wobbling in the air and she had to put her hand down on his shoulder before he quickly and pre-maturely brought her down. The second lift went better but was still not secure. (When she did her second Giselle last year with Cornejo, these lifts were rock solid.) Simkin did the brises which were clean and precise, but his legs and upper body didn't have the necessary forward reach to convey Myrta's pull on him. Other than that, his solos were breathtaking. Shevchenko was a commanding and evil Myrta. She is so strong and authoritative, despite a few bobbles on her opening arabesques. I think this will become one of her signature roles (I saw her debut last year which was just as powerful) and I suspect her O/O debut, in particular her Black Swan, will be fierce. She is also a good actress and her dismay and displeasure over Giselle's offerings and protection of Albrecht read beautifully. Rachel Richardson and Lauren Post (who was a last minute replacement for Trenary) were the lieutenants. They were well matched and danced well, though Post's legs didn't come together during the series of cabrioles. As noted earlier, Hurlin and Shayer did the peasant pas. Hurlin looked a bit nervous (I believe this was a role debut) but her technique was solid and she is so lovely. She didn't have the command or secureness like Brandt or Trenary, but how could she at this point? Shayer was solid with those big, gorgeous jumps of his. In the past, I've noticed that he tends to do weird things with his face like mugging or just odd expressions, but I finally saw none of that today. He had a wonderful open face and smile throughout. I really hope to see both of them promoted at the end of the Met season. Alexei Agoudine debuted as Hilarion, and his acting was very good. He's been in the corps for a long time and has remained in the background, except for acting roles. His dancing was ok, but the second act really needed someone with better technique. Isadora Loyola was a regal Bathilde and I always enjoy seeing Roman Zhurbin (Prince of Courland) in anything. Lastly, Luis Ribagorda was back on the Met stage after 4 years as Wilfed. He is a fine actor with a strong presence and I'll bet he enjoyed sharing the stage again with his wife, our glorious Giselle.

Muted in general but us diehards stayed and demanded and got a second much-deserved curtain call. Extraordinary performance. Will write more later when I get home. Lastly, as I was just picking up my coat, next to the counter is a large TV screen where Hallberg appeared on stage in costume marking a few things. I was prepared to stand there watching as long as possible but then it cut out very quickly. Darn.

Yes she and Gabe and they were terrific! Act I, Lane - incredible, heartbreaking, stunning. Wow! More later.....

I agree. This one doesn't bother me, for the reasons you say, and Abrera/Gomes are not up in the picture with her but hunched down and they blend in with the large ensemble. Also, the article is strictly about Firebird, so I get the emphasis on that character alone. The other picture's caption, that ignited this thread, was inexcusable. I had forgotten that Copeland's PR agent is also the company's. That is just wrong.

Thank you. I usually don't pay much attention to Wilfred either, but after seeing Patrick Frenette's emotional and very strong portrayal last year, I'm more tuned into that role now. I hope to get to see him in it again this wk. And, I agree about Jones' mime skills.

Thanks for your report. How was her mad scene? Was it "generic" as you say? I'm on the fence about buying a ticket to their Sat show; tickets are expensive at this point if you want to sit close enough to see faces. And, I'm curious who played Hilarion and Wilfred and how they were? I think they've lost some Hilarion's recently, so I'm guessing some debuts may happen this year.