ABT Fan

ABT has back up performers for the lead roles waiting in the audience or backstage in the event the lead performers cannot continue. The show must go on. It is part of their assigned schedule from ABT. So Hee Seo did not coincidentally happen to be nearby and available to perform. It was part of her job as the understudy for O/O on Monday evening. She was very lucky that Gomes was her partner. In lesser hands the evening very well might have been a disaster.

The theory that Hallberg is replaced because he's too tired after his extra Giselle doesn't seem plausible. Why would they give the performance to Gomes, someone who just performed on Monday and is now - justifiably - even more tired than Hallberg.

Of course ABT has back-up performers and Seo would have been in the theatre, but, she would not have been sitting backstage in full stage make-up for SL with her hair done and have been already warmed up ready to jump onstage.

Who knows the reason for the Hallberg replacement tomorrow night, but Gomes has already proved himself to be more capable than any other male dancer in the company so I can definitely see him able to dance another SL so soon but not Hallberg.

Whoa. I feel like I should be shot for complaining, but tomorrow was my only chance to see Hallberg dance this season. He probably needs a break after dancing a second last minute Giselle on Saturday. But, to see Gomes dance again......well, twist my arm!

Regarding Seo, I agree that she definitely has her weaknesses and I think she was promoted to principal too soon, but it's unfair to critique her dancing on Monday given the circumstances. As nanushka said we have no clue where Seo was or what she was doing before she got the urgent call to go on. I imagine she was already in theatre, but 30 minutes isn't nearly enough prep time - and that 30 minutes wasn't just for her to warm up, but to get her hair/make-up done and get dressed. I think she deserves nothing but praise for Monday. Yes, she's a professional and a principal, but stepping into a performance half-way through is a tough one and thankfully that doesn't happen that often. And, luckily Gomes was dancing - who better to help anyone get through a tough situation (including helping Murphy to finish Act II).

Wow. Best wishes to Murphy for a fast recovery. And kudos to Seo for stepping in. I can't imagine.

Gorgeous photo! Congrats to them both!

Thank you kbarber for posting that link. Terrific dancing! At first I couldn't figure out what the audience was gasping/laughing at during Gomes' piece and then I realized it was over Forster's and Hammoudi's beautiful arches. Guess they don't see nice feet in Indianapolis?!

I guess jumping onto a mattress (or something like it) is not quite the same thing as jumping into a man's strong arms! ;)

I guess my complaint about last night really stemmed from the fact that a) I was really looking forward to Hallberg's entrechat sixes and b) his brises were NOT impressive NOR dramatic.

Batsuchan, I agree! I think the issue is also that David's entrechat sixes are stunning, one of the best in the world, while his brises were accomplished, but by no means any kind of best.

I still remember Hallberg's entrechat sixes from his Giselle w/ Osipova I think 2 years ago. He took my breath away. And, that was an extraordinary partnership (though apparently short-lived).

So nice to hear that he's blossoming abroad!

sasark - I'm also a "front row center" kind of person. But if there's a live orchestra or if the front row is right up against the stage (depending on the theatre), then a row or two or three back. I need to be able to see faces and feet (and don't want to have opera glasses glued to my face).

Wow! That just happened. Hope you're right, bingham....

Here's a second video released by ABT on June 9 titled "Meet the Dancer: James Whiteside".

This is a start, and I applaud them for that, but so far these videos are too brief and on the surface. It feels force-fed with Whiteside telling us how amazing it is to dance "the greatest hits" (as he rattles off the names of the big war horse ballets). I wanted to hear more about him and his dancing process. Seeing rehearsal footage is great, but why not some performance clips too?

This was my first time seeing Manon and I couldn't have had a better cast to introduce me this ballet (though I would have preferred to see Abrera as Lescaut's Mistress).

As a lot of people have already said, Vishneva and Gomes were superb and I still can't stop thinking about their go-for-broke dancing. This was one of those few performances that I'll never forget. I was struck how Vishneva uses her arms and hands like no other ballerina I've seen; they're a total extension from what her legs, torso, neck and head are doing if that makes sense. Some dancers' arms/hands look like separate entities or accessories (Copeland does this). Vishneva's entire body is in sync with what she's thinking and feeling. I can see why Vishneva only dances with Gomes at ABT; their partnership is so rare and special and I don't think any other male dancer (not that I've seen) can rival his partnering skills. In the beginning of Act 1 when Des Grieux dances alone upstage for Manon and it ends with multiple pirouettes descending down onto one knee, I held my breath it was so beautiful. Gomes has such control.

Cornejo was in terrific form as Lescaut - gorgeous high jumps and wonderfully funny touches during his drunk pas with Copeland. Copeland did a fine job but I think Abrera would have been more convincing as the Mistress.

I must comment on some of the other dancers who danced in supporting roles. I thought Barbee was wonderful at Monsieur G.M.; he really is a great actor and was so natural and convincing. Zhurbin as the Jailer was spot on; he takes such command of the stage in whatever role he's in it's hard to watch anyone else. Eric Tamm as one of the Clients stood out; he added some great touches to his character that were both funny and clever. And, Catherine Hurlin, who is still an apprentice, was very noticeable as one of the Harlots. Granted she's tall (and was recently on the cover of Dancemagazine so she's recognizable to me), but she easily stood out even though she spent a good deal of time way upstage behind everyone else. Her dancing was lovely and she seemed very much at ease on stage and with the role. I think she'll be one to watch.

A performance I'll never forget.

I'm going to the matinee today. If anyone else is and wants to meet up at intermission, send me a message.

My pleasure!

And my thanks to everyone who suggested Cojocaru for Giselle. I'm going to try to snag a seat to see her!

Should he be added to the poll list of next ABT AD? Maybe he was already on the list, can't remember.

He was already included on the poll but only has 5 votes. Perhaps now that he's left Barcelona, folks will give him more votes.

If you want a Cinderella suggestion, I'd keep Reyes/Gorak. This should be a good role for Reyes and if you haven't seen Gorak yet, he's a wonderful up-and-coming corps dancer who should really be a soloist at this point and has a very promising future. I'd bypass Kent (although Gomes is superb in everything). Murphy/Hallberg should also be very good, but for Cinderella I'd keep Reyes/Gorak.

Don't forget Seo and Cojocaru, both on Saturday.

I'm trying to figure out the same thing.

I saw Reyes do Giselle with Bocca years ago and I thought she was quite good, but Bocca completely outshone her. I don't know that Kent can pull off being a village girl anymore so I'd pass on that one.

Semionova is doing Giselle with Hallberg, and just to see Hallberg in Giselle would be worth it alone. He's spectacular. I think this will be Semionova's debut.

I've heard that Seo is quite good as Giselle. I don't know about Cojocaru.

I'll appreciate hearing others thoughts as well.

I was so afraid this was going to happen as his difficulties getting financing was regularly reported on. He made a valiant attempt and sacrificed so much in trying to establish a major ballet company in Spain. I give him a lot of credit. I wonder what his future plans are now?

Though I'm sure this is years away, I hope after Copeland retires she becomes a coach, teacher, or ballet mistress with ABT. She's so well spoken and such a good role model. I always enjoy seeing her in interviews, but I think those 3 little girls nearly stole the show!

I saw this on James Whiteside's Twitter feed and it's posted on YouTube as well.

A nearly 3 minute video on what makes ABT's dancers special, and why having dancers from different schools is a good thing (something that has been debated frequently on Ballet Alert). Maybe I'm reading into it, but the clip feels a bit defensive with several dancers commenting on how their differences in training helps them to adapt to choreography and why the company's diversity is an asset as opposed to other companies who are more homogeneous (in training and background). Yes, diversity is absolutely an asset. But, my vibe is that this video was put out to help diminish some of the negative comments about the influx of guest artists and foreigners. Anyone else think so?

Now, if only the company would release videos of recent performances. But, maybe this little clip is a sign of more things to come.

That's what I was afraid of. Darn it.

Dale: I was just looking on ABT's site and on the eve performance of June 14 it has Abrera listed as Cinderella, followed by Murphy (presumably for the Fairy Godmother) and then Hallberg. http://www.abt.org/calendar.aspx?startdate=6/1/2014

(The order is out of whack - for the other Cinderella performances it always lists Cinderella first followed by The Prince and then the Fairy Godmother.)

I got excited thinking Abrera was given a Cinderella but then I read your casting list and you have Abrera listed as F.G. Is the order on ABT's site more out of whack than I thought, meaning Abrera isn't cast as Cinderella?

I thought Stearns was an excellent Iago in Moor's Pavane last fall. I haven't seen him as von Rothbart but I'm surprised to hear that he was not so great apparently. He did have the magnificent Roman Zhurbin to play opposite in Pavane; maybe he needs the tug-of-war dynamic to turn him into a bad guy.

But, a major snafu is the link on ABT's website page promoting Smirnova's debut that is supposed to take you to a performance clip of her in Bayadere is now blocked by the video's owner as private, unless the owner has granted you access: http://www.abt.org/smirnova.asp. Seriously ABT? You don't make sure the clip is for public use or that you have the rights to it before posting it? Tacky. Perhaps this is ballet karma. ABT won't allow their performances to be taped and in return they can't distribute a clip of one of their biggest guest artists.

I realize taping performance and creating DVD's isn't cheap, but it's an investment that is not only important for the company's posterity, it's important for its dancers, for teaching/coaching, for the current audience, and for future audiences. Don't they realize how important social media is? That it's crucial nowadays in order to draw in more people and sell more tickets? Look at all of the performance links and videos on NYCB's website. With the number of retirements and resignations happening at the end of the Met Season, it's sad to think that we'll have no record of those dancers. Herrera is retiring next year and Kent and Reyes can't be too far behind. Gomes is one of ballet's most important male dancers. Do they not see the importance of capturing him on video while he's still in his prime?

So many things about this company are baffling me.

Royal New Zealand Ballet needs to find another AD to replace Stiefel. And, Pennsylvania Ballet also needs a new AD.