Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

Rick

Member
  • Posts

    93
  • Joined

  • Last visited

Posts posted by Rick

  1. 12 hours ago, canbelto said:

    I'm very tired but I was there tonight and it was just one of those performances where everyone was on. I thought Katherine Williams made a wonderful debut as Queen of the Dryads. This role brings out the best in Isabella Boylston -- her jumps and balances were amazing. Fouettes good -- singles with doubles mixed in, little traveling. Simkin was spectacular. I lost count of how many 540's and 9-pirouettes in a row and saut de basques and whatever else he did. Stella Abrera and Calvin Royal were a really handsome Mercedes and Espada. Cate Hurlin and Cassandra Trenary also excellent as Kitri's friends. 

    A superb evening indeed. I've been lukewarm about Boylston in the past but she definitely won me over last night. Those fouettes - gosh, so effortless. And Simkin was phenomenal. Abrera and Royal too. My last Don Quixote was with Osipova/Vasiliev a few years ago. I think I enjoyed last night's performance even more.

  2. Apologies if this is the wrong forum but does anyone recall a recent ABT performance of Balanchine's Symphonie Concertante (Mozart)? I'm just trying to anticipate possible casting for November 3 and 4. Thank you.

    https://www.nycitycenter.org/pdps/2018-2019/Balanchine/?utm_source=wordfly&utm_medium=email&utm_campaign=DEV18BalanchineAnnounceMEM&utm_content=version_A

    Edit: oops, never mind, the photo shows Gillian Murphy and Stella Abrera.

    abt_symphonie-concertante_gillian-murphy

  3. Devon’s upper body flexibility was fine. What was lacking was a sense of abandon, or surrender. I mean, her Romeo was this tall, dashing Aran Bell who seemed completely in love her, and yet she seemed to feel nothing.   She went through the movements without expressing emotion. I think it’s her first time dancing Juliet so hopefully her interpretation will be more convincing next time. 

  4. 15 minutes ago, NinaFan said:

     I wasn’t able to stay for the third act, so I don’t know how Gorak did as the Bronze Idol.  Did anyone see it?  

    Gorak was wonderful as the Bronze Idol. And I agree that Kimin Kim was incredible. He seemed suspended in midair for most of the ballet. Such a noble, ardent partner for Hee Seo and Gillian Murphy as well. Wow. Same cast on Friday night - definitely worth seeing again.

  5. 13 minutes ago, MJ said:

    ... the tap piece blew everyone away I hope they do it again....

    That Tap piece, If ABT does not add it to their repetoire, Dance Theatre of Harlem should. Amazing! I want to see it again!

    I really loved the tap piece too! Gillian Murphy, Arron Scott, and all the other dancers exuded so much joy. I hope ABT performs it again soon, perhaps in their fall season.

  6. 13 minutes ago, MJ said:

    ... the tap piece blew everyone away I hope they do it again....

    That Tap piece, If ABT does not add it to their repetoire, Dance Theatre of Harlem should. Amazing! I want to see it again!

    I really loved the tap piece too! Gillian Murphy, Arron Scott, and all the other dancers exuded so much joy. I hope ABT performs it again soon, perhaps in their fall season.

  7. I attended the entire program yesterday.

    The Harlequinade excerpts were delightful and made me want to see the entire ballet later in the season.

    The Michelle Dorrance piece was strikingly inventive in the way it fused tap dance and ballet into a coherent and utterly engaging piece.

    Afterite was a puzzle, worth seeing for Alessandra Ferri and the unusual choreography (which I thought bore the influences of William Forsythe and Pina Bausch). The narrative, however, wasn't clear to me. What did Misty Copeland, Jeffrey Cirio, and Herman Cornejo represent, and, as discussed above, what was the gas chamber all about?

    Macauley writes:

    "Mr. McGregor doesn’t tell his story clearly, but its ambiguities are the point. Though I’ve given away what happens at the climax, I think its element of horror leads us back to the tragic cruelty of Stravinsky’s drama — but this time we follow it from the mother’s point of view."

    Probably worth seeing again, though I can understand how the symbolism would be deeply offensive to some of the audience members.

  8. 12 minutes ago, nysusan said:

    Then we came back for the second act and everything changed - she was beautiful. Her arms were soft as a sigh and her epaulment was wonderfully romantic.

    I agree! I thought Act 2 was incredibly beautiful. Seo and Bolle were just wonderful.

  9. Such a glorious Square Dance yesterday afternoon. Megan Fairchild exuded joy and made everything look so effortless. Taylor Stanley was a revelation - I didn't think anyone could beat Peter Boal is that role but Taylor definitely came close with his classical line, buoyancy, and sparkling technique.

    Agree with Cobweb about Oltremare and Four Seasons. Roman Mejia stole the show. Catazaro looked a bit nervous but it's always good to see him.

  10. 4 hours ago, abatt said:

    I actually feel the opposite.  Sarah may have done more and better quality fouettes than Hee, but Hee never looked defeated or dejected after the fouette section.  She remained entirely in character.  In contrast, Sarah was visibly upset and distraught, which took the audience entirely out of the character and story.  I thought Sarah's reaction compounded the problem.

     

    Yes but oh did that make the final scene so much more compelling. Like she jumped off the cliff because she couldn't complete the fouettees. 

     

    Kidding aside I loved last night's performance. SUPERB Act 2. Daniil was surprisingly noble as Siegfried. And Lendorf's charisma was very potent. Gorack as Benno was also a joy to watch. 

  11. A truly magnificent Giselle with Sarah Lane and Herman Cornejo last night. Such dazzling technique and deeply heartfelt emotion as well. This was the first time I ever wept at the ballet. I will remember this performance forever.

  12. However, Gillian is on a whole other level. I have avoided Gillian as Juliet in the past - I avoid this ballet too. However, she owns the role both in dance and dramatic terms - each moment was fully realized and captured. There was no hardness, no remoteness - every step had an emotional through line. Of course she has strong feet and a high extension but that was used for musical and expressive means, not technical display. There was a sense of emotional abandon and headstrong passion that was blandly responded to by Hammoudi but she made him better and pulled him up to her level.

    I was moved by Gillian's interpretation as well. I've always admired her technique but never thought of her as an "actress" - well, she certainly delivered a complete range of expression last night, filled with nuance and free of any false notes or melodrama. Compared to Gomes, Hammoudi was a more passive Romeo, but I thought this was a valid interpretation that showcased Juliet as the ballet's central character whose actions drove the tragedy.

    I believe Margot Fonteyn created the role of Juliet in her late forties, so perhaps Alessandra Ferri's return to the role will be compelling as well.

  13. (Herman was amazing. He is not the most romantic of leading men, but he definitely had the strongest technique of all the casts I saw.) Happy to report that Kochetkova has improved a lot as O/O since 2013. I'm glad I attended. I also thought that Sterling Baca was a very wonderful purple Rothbart, and Zhang was excellent in the pas de trois.

    I really liked Cornejo and Kochetkova as well. I can't wait to see Sterling Baca in lead roles at the Pennsylvania Ballet.

×
×
  • Create New...