ABT Fan

Last night was a very uneven night - some parts were brilliant and others were simply awful.

I agree with others regarding Part last night. This was my first time seeing her O/O but I've seen her dance countless times and have never seen such stiffness in her back before. Some of the iconic O/O moments lost their impact because of this. Her arms, legs and portrayal (especially of Odette) was gorgeous though and the audience loved her. I also don't need to see exactly 32 fouettes (I never count them), but her working leg was turned in and she traveled a lot. There was no fire or attack and she looked rather precarious (I didn't count any doubles as others noticed). Also, her final leap wasn't a leap; she just fell forward off the cliff.

But, I feel for her deeply having had such a bad partner as Whiteside. I was pretty astonished at how awful he was. I think this is the first full-length ballet I've seen him in as the lead (I think he's a good dancer but I don't love him so I try to choose other performances w/ better, in my opinion, male dancers). I didn't realize how bad of an actor he is as I've mostly seen him in pure dance roles. In the first act when Siegfried makes his entrance, that's usually a big moment, but he fell flat. After his mother has told him it's time for him to marry and Siegfried then walks around the stage alone while the corps dances, that's also an important part. Corella did that extremely well: you could really see and feel how conflicted he was, realizing it's time to grow up and accept not only adult but royal responsibilities. Whiteside was utterly blank. In fact, he was blank all the time - in his face, body.... And, I disagree that he was a strong partner to Part. Many of her supported turns were off balance and in one of the lifts she had to put her hand down onto his to support herself (it looked like she was going to fall forward). His technique was fine, even really good in some places like his solo in the first act - his control was impressive. But, overall it was still a very disappointing performance from him. And, totally agree that there was no chemistry between Part and him.

Now...Gomes on the other hand...Yowza. Too bad we can't clone him so he can dance Purple Rothbart and Siegfried at the same performance. This was the first time I really believed that the party-goers and especially the four princesses were under the spell of P.R. What a delicious, evil, conniving (and commanding!) performance. There were so many nuances and wonderful touches - the way he picked up one the ladies and tossed her aside, not even looking at her, to focus on the "entranced" girl who bourrees towards him; how he dismissed the four princesses with a flick of his hand; his command of his cape; his Machiavellian laugh. Magnificent!

The pas de trois was fantastic - Devon Teuscher and especially Christine Shevchenko have really blossomed into ballerinas. Wonderful technique, natural and happy expressions, gorgeous epaulment. If Calvin Royal III isn't promoted this year I'm going to be really upset. He's been performing principal and soloist parts for years now, and extremely well. He dances like a well-seasoned soloist and is a very good partner. It's time!

Catherine Hurlin is an O/O in the making. It is hard to take my eyes off of her and she had a big night last night - the flirty girl, a big swan, and the Spanish princess. She and Royal look beautiful together.

The four little swans were nearly perfect. Gabe Stone Shayer as one of the Neopolitans was great - he excels at big jumps. Jonathan Klein as his partner was also very good.

The night really belonged to the supporting cast, with Gomes as the ring master.

If Don Q comes back, I predict a debut for Skylar Brandt as Kitri. She's a real spit-fire and she has incredible turns.

And, if Cassandra Trenery continues her successful command of more leading and demanding roles (I suspect she will), I also predict another big debut for her too - maybe Giselle.

I'm definitely going to Stella's Aurora--wouldn't miss it for the world. And she's dancing with Marcelo. If you can go to only one SB, this is the one I'd recommend.

I will also be there and that night they're celebrating her 20th anniversary, so it should be quite a treat!

FINALLY...... I will get to see Veronika Part as O/O on Wednesday night, as this must be the first year in a long time that she wasn't relegated to a weekday matinee. Plus Gomes as Purple Rothbart (also a first for me) should make it quite an evening. Can't wait!

Will be looking forward to reading others reviews for the run as well!

I agree; lots of money. My vote would be to revive Ratmansky's delightful "Bright Stream". More dancing for everyone, a wonderful score, and a just plain fun and funny ballet. Speaking of money. I also wish that ABT had spent more on advertising "La Fille Mal Gardee". Not well known in this country, but such a truly fine ballet. What a shame more people didn't know about it and attend.

I would also love to see Bright Stream revived.

Thanks to all for their comments on Cockerel. I debated on getting a ticket (and was afraid I'd miss out on something great), but am now glad I didn't!

I was there this afternoon for MSND and had a lovely time. I think Daniel Ulbricht is an outstanding Oberon. I saw him last year and loved him and this year loved him even more because his acting and characterization seemed freer. He sailed through the variations as if they were easy and my jaw dropped when he flew across the stage moving backwards on the diagonal.

I liked Teresa Reichlen's Titania's more than I had in the past. She had a warmth in her performance that I hadn't seen before. Her pas with cavalier, Russell Janzen, was lush, flowing and secure. He is an excellent partner.

Indiana Woodward was Butterfly. She seemed a bit unrefined in some lines and movement but danced with a wonderfully juicy muscularity and for the most part was technically secure. It would seem she has soloist in her future (IMO along with Unity Phelan, Miriam Miller and particularly Alexa Maxwell.)

The Divertissement pas - Hyltin/Ramasar. I loved it. First off this has to be one of the most beautiful pieces of ballet choreography ever. Hyltin is a dancer that has snuck up on me! I've only become a fan in the last couple of years. Seconds after she come on stage she did a supported pique arabesque, and the musical phrasing she created with the use of her head and arms captured me. I knew I was in good hands. Ramasar was an attentive, beautiful partner. He had one small mess up with a turn but was otherwise quite fine.

I liked LeCrone as Hippolyta. She doesn't really have the jump for the role but carried it off and nice looking fouettes!! I almost didn't recognize Chase Finlay (Lysander) with the costume and wig. It was nice to see Erica Pereira doing something other than Butterfly. She was fine and sweet looking as Hermia. I've never been a fan of Pereira's but this season I've enjoyed every performance I've seen her in. I'm looking forward to future performances. Lauren King (Helena) gave us suitable drama in the first act and her amazing glow and smile in the second. King is a dancer who can light up a stage.

All in all a wonderful performance. The place was packed. I know the couple sitting behind me had never been to the ballet before. In fact, at bows, when Reichlin brought the conductor out the man behind me said to his companion, "Wow that was nice of her." On way out I spoke to the couple for a moment. They loved the show. It's always good when first timers leave the ballet feeling happy.

Ulbricht was a fantastic Oberon. His jumps on the diagonal blew me away. Everything he did looked effortless; and no winding himself up before whipping off multiple pirouettes (a few fellas at ABT should take note of that). Reichlen is just gorgeous and Janzen was a strong and attentive partner.

I was so happy that Ramasar was doing the pas this afternoon. He and Hyltin were lovely together, although I kept comparing her to Merrill Ashley's phrasing and musicality in his piece. It is the most beautiful choreography and the accopanying score is so sweet and tender I find myself holding my breath. At the end when Hyltin has to fall forward out of her arabesque into Ramasar, it looked like she got stuck at the top, but it was still a breathtaking moment and several people around me "ahhhhd" with delight and she turned and fell backwards in Ramasar's arms. (I wanted an immediate replay!)

I had forgotten how charming and magical this ballet is as I haven't seen it in a long time. The children were adorable, and as usual extraordinarily rehearsed (though one little butterfly lost her way at one point but quickly got back into place). A wonderful afternoon.

Gina Pazcoguin on instagram is rather ambiguous but seems to be implying that her departure from NYCB is permanent:

https://www.instagram.com/p/BF9WCRmJsup/?taken-by=georgina_pazcoguin

If you look at her posting from 3 days ago (with the photo of Bottom sitting on the toilet!) she replies to someone and says she's just going on leave. But I agree that her tone in other postings makes it sound as if she's leaving for good.

Craig Hall suffered a number of injuries over the years which he has talked about. It's good that he was able to transition to the second part of his career. Jonathan Stafford was able to make a similar transition when his career was also stalled because of non-stop injuries.

On City Ballet's AOL series, Hall talked about his many injuries. Here's a short Pointe magazine article that talks about that. I agree that it's good news that he's transitioning now and will stay a part of the NYCB family. I always enjoyed seeing him dance.

http://pointemagazine.com/news/craig-hall-talks-city-ballet/

http://www.nytimes.com/2016/05/19/arts/dance/review-taylor-stanley-at-city-ballet.html

According to the NY Times, Peter Martins's decison to promote Stanley was spontaneous.

Wouldn't Martins have needed approval from the board (for any promotion) beforehand?

DeCoster - I agree with you regarding Hoven and Hurlin (I haven't noticed Fang enough outside of typical corps roles to say either way). Hoven seems to be on an upsurge, starting with last year. Perhaps he'll finally make soloist? Hurlin, like you, I notice her every time she steps onstage and I see lots of big potential there. I also believe she's destined for great things!

Per the relevant IRS 990s, Peter Martins made more than $700 K during NYCB & SAB's 2014 fiscal year. (For NYCB, that's the year ending 6/30/14.) Here's the breakdown:

Base Compensation, NYCB AD = $733,333

Non-taxable benefits, NYCB AD = $39,352

Royalties / Choreographic fees, NYCB = $10,125

Base Compensation, SAB Director / AD = $114,704

Non-taxable benefits, SAB Director / AD = $5,735

Total = $903,249.

It's not exactly an apple-to-apples comparison if you throw in choreographic fees and SAB, but the NYCB AD chunk is in excess of $700K, even before benefits.

That being said, $1 million to run ABT is insane. Heck, there are college football coaches who don't make that much.

ETA: For the record, I'd like to think that the AD of a major arts organization isn't in it for the bucks.

So Martins makes 900K. Wow. Seriously, wow. But, as we both said, you still can't compare the two companies in terms of money, and I can't believe anyone could garner that much at ABT. I'd say that's impossible.

Julio Bocca is being considered? http://www.busqueda.com.uy/nota/julio-bocca-considera-una-propuesta-del-american-ballet-de-nueva-york

I've heard this before, and it sounds more like a crazy rumor. Being offered $1 million to run ABT is ludicrous (whether that's an annual salary or a combo of salary and signing bonus to lure him away from Argentina). ABT doesn't have that kind of cash. McKenzie makes less than 300K and even across the plaza, Peter Martins makes less than 700K and NYCB has a LOT more money than ABT.

Good for her! I'm sure she'll be wonderful. The Broadway bug is certainly going around NYCB.

Me four (also in response to Lopez's quote)!

At least two of Semionova's roles are going to Teuscher, a soloist, for Symphony #9. And, I think that may be a debut for her. Take heart folks, at least Seo wasn't cast in everything! I would have liked to have seen Abrera get one of her Sylvia's and another debut for another up-and-comer.

I'm startled by this quote.

I'm afraid if Angel is looking for a company where dancers don't get cranky and frustrated after long rehearsals, he's going to be firing 40% of his company every year.

Me too.

And, seriously, standing with "hands on hips and crossed arms" are hardly petulant gestures. That's how dancers stand in class and rehearsals, unhappy or not!

Whoa! Didn't expect to read this.

I feel so badly for the dancers being let go, especially the "older" principal dancers. What a shame.

What a loss for ABT and us in NYC to see Baca join, but congrats to him as he joins as principal dancer! That's quite a step up, but he'll now get opportunities that he may never get at ABT, or at least for several years. So good for him.

Oh gosh, I completely forgot about his support of ABT and their school. Yes, I remember Copeland danced in one of his videos years ago.

So very sad to hear he's passed away. Shocked actually. I had many posters of him on my teen-aged bedroom walls and nearly wore out my tapes (remember those?) of his music.

Another legend....gone.

Plenty of professional dancers take company class with other companies if they're traveling, and it doesn't mean they're auditioning. It's a courtesy some companies extend to other professional dancers (though it's frequently due to a connection), but that doesn't mean it's an open-door policy whereby any dancer can just show up. Maybe she is auditioning, but it's very possible she isn't.

Isn't this only Gorak's 2nd season as a soloist? And he is also young, I believe around 24, does that sound about right? If so, he may be learning a lot of the repertory of the principal men as a bit of an understudy while being given time to 'settle' with everything that entails. I would be very surprised if Gorack doesn't follow a similar trajectory as Halburg baring an injury or some similar setback. He had a whirlwind season last Met season so maybe this one is meant to really solidify things in the studio before stepping it up again. I can't remember Gorack's height but did assume it being on the shorter side. They have Simkin, Cirio, Lendorf, Cornjeo, and Scott that are all shorter dancers so they are missing some on the taller end. Especially now that Halburg has been out for so long. I think Gorack's time will come. It would be hard to fathom someone so beautifully talented to languish too long. But, ABT has done it before. Stella, and Lane.

He was promoted in August 2014. According to this article in Pointe magazine, written in Sept 2013, he was 23 then, so he'd have to be 25 if not 26 by now. Yes, still young. http://pointemagazine.com/inside-pt/issuesoctobernovember-2013prince-waiting/

He's not very tall though, but height-wise he partners well with Lane, Copeland and Boylston. He could never partner Part or Semionova, and I think Murphy would be too strong for him (and maybe she'd be too tall on pointe for him anyway).

I think his time will come, though I expected to see him dance more principal parts this season. But, there's plenty of time for casting switcheroos.

Regarding Heymann, I wish in their press releases they'd mention who the ABT exchange artist is with the POB. Does anyone know?

Gorak may have been denied a Romeo at the Met, but I see he's now been cast with Copeland on July 15 in Virginia. I'm betting Copeland's Met partner, Simkin, has other performance obligations then.

I'm still a bit confused as to what happened exactly, but it's sad that Kobborg and Cojocaru will be leaving. Seems a very unfortunate situation to say the least.

Congrats to her!!

I think part of the reason they have not been able to establish "stars" is because they have relied on guest artists for so long to bring in the cash flow. It's a cyclic problem--no "stars" leads to bringing in outside "stars" which then leads to a lack of development of younger dancers who can not develop into a star because they are not given the chance. Hopefully that is a thing of the past, and talented young dancers like Trenary, Brandt, Waski and Lavine can have more opportunities to step into larger roles.

You can't have a roster full of home grown stars if you don't actually try to grow them. Which is why I'm thankful for Copeland, because I do believe her fame is helping the company out. Maybe if they are less worried about the dollars, they will take more chances.

All great points Kaysta! I am hoping that this year will be the first of many where there are few guest stars brought in. I don't begrudge those international stars as many of them are outstanding dancers, but the Met season shouldn't live or die on them. Develop the home team. Last year was overkill.

Fabulous, thank you! Her upper body carriage is always so lovely.