sz

Yes, Herman is only 27, but that's about the age when other great, ballet males (and some females) started having such probs. It's not a numerical issue, dancers are all so young, it's Herman's heavy-duty dance career, since he was 16, taking some toll. I hope Herman will be all better soon. And Sarah is just beginning to develop who she wants to be, who she will be, as a soloist at ABT. She's trying different things out....having been a soloist at ABT only since August 2007. Veronika has been a soloist for quite some time, in two major companies.

October 23, Thursday night: Lovely name, "ABT's Mariinskette, Sarah Lane." Fits her perfectly too! In size and presentation, Sarah and Herman were, have been, a special match except that now Herman is facing injuries (I will not go into details) from years of hard work and age. He was not in the best shape last night to partner his ballerina well. He looked terribly under rehearsed in the pas de deux and finale, though his two solo sections were danced well enough. Sarah started off with regal confidence, and beautiful technique -- I thought her two solo sections had matured and were quite brilliantly done, with strong, clean, musical precision. And the solos' tempi was faster than in past performances, so her solo sections were quite exciting. Petite Sarah had no problem keeping up with the quick tempi, and actually looked as if she loved the challenge. But Sarah cannot dance the pas de deux by herself. Herman just wasn't there, or he was in the way at the wrong times. He zapped, bit by bit, Sarah's confidence every time any partnering moves became insecure, and there were many. The shoulder lift at the end of the finale, that didn't stick, was the least dangerous, but stood out as obviously wrong to the audience. Herman has been one of my very favorites in Theme, but he should have let his understudy take his turn last night.

Wonderful, exciting news!

Morris choreographed a brilliantly fun piece, Sandpaper, for SFB a few years ago. Such an inventive and wonderful piece using a large corps. I was hoping we'd see it again this City Center season, but alas.... no. I agree with last night's comments so far. Taras was once again beyond belief in two of the ballets presented; one was Helgi's (all males w/ many classroom-like steps), the other was (Melancholic) 4Ts. I was completely sure I had seen an angel fallen from heaven! But an angel with fire in his soul and body. This young man is a tremendous talent. I too missed seeing Van Patten in 4Ts. Both she and Sylve are extraordinary in any ballet, especially Balanchine's. I consider myself very lucky to have seen them again last night, in any part, in any roles. Btw, the gorgeous, dark girl in the corps, I mentioned earlier, had the night off....

I saw opening night, October 10, 2008 (Friday) and the next night's, Saturday's performance. Sofiane Sylve, as always, was very impressive in 4Ts (Choleric). Strong, solid, tall, gorgeous, big with movement quality, she dominates the stage whenever she enters. She is missed sorely at NYCB, and I wonder if SFB will be enough for her, as there seems to be no male-match partner there yet at SFB. Sarah Van Patten was also excellent in 4Ts Sanguinic with sharp attack and a hypnotic presence. She danced a sexy, sensuous part in Golden Hour too. Van Patten is fair, beautiful, strong, a more delicate version of a Sylve-type dancer. Fine technique is only the beginning in enjoying these two womanly dancers. And to see them both in the same ballet (4Ts), dancing next to each other, was a huge delight. Of the many fine men at SFB, I was completely thrilled with the debut of Taras Domitro in Melancholic of 4Ts. A young, very flexible, wirey, long-limbed man, he was so daring and full of passion for this role. Not one step was done safely without full extreme. Domitro has some rough edges to smooth, but I am so happy I'll be seeing him again in 4Ts on the 16th. This time, I might just skip the other three ballets preceding 4Ts though..... especially Morris' not-at-all Joyride. What poor programing. I'm sure many in the audience left before the best (4Ts) arrived, just because it was really getting boring/repetitive.... Divert #15, on opening night was a bit of a disappointment too for me, except for Ruben Martin who was a handsome presence with sexy, elegant, musically-sensitive, manly-full movements. But Divert is about women and they were just ok, a nice dress rehearsal for the most part... They all danced very well, but not beautifully. There was one girl in the corps of Divert, who has danced in nearly everything I've seen so far including Wheeldon's Golden Hour. Dark, petite, very pretty. I wish I knew her name, as I had a hard time taking my eyes off of her. Very musical, gorgeously feminine, as well as strong in whatever speed or technique was required. I hope she's learning lots of soloist parts.

I think Sofiane is one of today's very best, but definitely a dancer's dancer. Dancers (past and present) with whom I've attended the ballet have all gone bonkers for Sylve, especially while she danced at NYCB. Sofiane doesn't play to the audience, instead giving the fullest interpretation in her bold style to the execution of the steps. Helps to appreciate her more if you have some sense of what it takes to execute those steps that she does with such fullness, confidence and ease. Her lines are huge and so is her movement. Doesn't hurt that Sofiane is also "ravishing" beautiful to look at even while standing still. I'm excited to see Sofiane and Lorena again after a quick peek of their SFB performance at the Fall Festival. I believe Sulcas wrote a review about it just recently.

Some very good casting for Divert 15 and Suite #3, and Janie in Serenade/Junction!! Hope we'll get to see this when NYCB comes back to New York.

Suite #3!! Those lucky Parisians!!! Theme, the last section, should be full of brilliant, top-quality dancing.

Bravo to FauxPas! Beautifully said.

Leigh and Bart, TOO funny!!!

>>How long can his reviews be? Unlike us, he has limited space to give his overall take on the season and >>single out one or two highlights and/or duds for special attention. Exactly what a wrap-up ought to be: a *limited* review of the *entire* season (or most of it). If Alastair had spent less than 2/3 of his wrap-up talking about Sleeping Beauty which he has already reviewed in much detail a couple of times....then he could have given readers a better overall review. It's certainly unrealistic to expect every ballet and every debut, and every returning star, would be written about, in one article, but I expected better than a "so-what." p.s. I apologize if I'm repeating myself.... I'm restless, not sleeping, after reading about Japan's earthquake. Fortunately, it was a good distance from where ABT is touring in Tokyo.

Osipova Sylve Somova (just to irk you all....) Jaime Diaz (can I put him in drag, please......) or Kondaurova I think selecting four diva men would be easier in today's ballet world: H. Cornejo D. Hallberg Jaime Diaz D. Simkin (he'll be here soon!!! yeah!) Joseph Phillips or Sarafanov or Shklyarov or David Prottas or Jesus Pastor (I haven't decided yet, and I don't think I can....)

>>Doesn't most of this come down to liking critics who say nice things about dancers, >>ballets and companies we like, and trashing those who ignore or write mean things >>about the dancers, ballets and companies dear to us? No. When I read a *paid* critic's review, I expect to read a substantial opinion, details and more details of what dancers are doing and how they are doing it along with opinions of the production as a whole. I'm not looking for someone to validate my own opinion. Alastair has no problem discussing the pros and cons of ABT's new Sleeping Beauty production in great detail -- he's done it at least three times since the production first premiered. Yet Giselle, still beautiful and very successful, wasn't commented on much, or perhaps I missed a couple of the week's reviews(?!). I'd like to see Alastair discuss the dancing with as much passion ("serious" ness) as he finds clever one-liners.

Very sweet of you, Carbro, to quote Alastair's comments in full. "Charming radiance" is how I would describe Sarah's dancing too, so thank you for reminding me of that. I guess I got all emotional and upset because I didn't understand why Alastair would wait for over a month to bring up Sarah's Aurora debut whatsoever in this very ambivalent wrap-up review, if he was going to wait to see her in the role again before really commenting. And yet two-thirds of his review was about the Sleeping Beauty production. He wrote about the production earlier this season in much detail. That's what I thought was lazy. Yes, it's much easier to find and write about faults than to tell readers what and why something was especially good... Surely, Alastair was invited to see many other ballets at ABT, and I wanted to hear his thoughts on most, if not all of them, and hear his views of the many dancers involved, not just principals. I think ambivalence happens when there isn't enough knowledge or word-count to go into more intimate, technical, artistic details. Yes, Herman jumps and lands nicely, quietly, but what else about his jumps are so amazing?! I wish Alastair had written more than just the obvious. No, I don't think it was ABT's best season ever. Following the Kirov's visit was a huge challenge. If NYCB's season had been better overall, only a two-or-three week celebration of Jerry.... One had only to compare the programs the Kirov chose over the ones ABT/NYCB cast and marketed. The Kirov was diverse and exciting. (I only missed the Forsythe.) ABT's season was rather predictable as was most of NYCB's. Not their best. Still I can't imagine what purpose Alastair had in mind calling ABT's season a "so-what." Herman's debuts alone were extraordinary.

That last line really got on my nerves too.

I prefer front, or middle-front (close to the stage) center seats of the orchestra level. The first row, center, of the first balcony is very good too, but I personally don't like watching dancers from that above location. There is no standing room.

>>Sounds like the Reyes/Cornejo Giselles were a smashing success! Cornejo's Albrecht (dancing/acting) was the best I've ever seen. I caught his first (NYC debut ) at Wednesday's matinee. Don't miss any chance to see him in this. The only thing that still needs attention is the Act 2 partnering. Cornejo really needs a Giselle who is even smaller, lighter, than Reyes to handle those floating qualities. It was pretty good with Reyes, but not at all what it could be. Experience will help, but I think Reyes is not right for Cornejo. In Act 1, I kept seeing Reyes as Cornejo's older sister.... It was an odd chemistry. Reyes was much better and convincing in her role of Act 2. I also saw the Hererra/Gomes/Part Giselle on Wednesday evening and share Susan's feelings with Hererra. >>It didn't help that in her brief appearance in the ppd Sarah Lane pretty much >>gave a clinic on everything Paloma’s first act Giselle lacked - the delicacy and >>fragility of her dancing, the lingering balances and infatuation with her partner. >>Can we please see her debut next year? From your lips to Kevin's ears!!! I didn't want to be the first one to say it.... I felt much the same about Sarah's presence during Act 1 of Reyes' performance too. When Sarah and her male peasant pas partner first sat on that infamous bench (before Giselle makes her entrance), the audiences started a small reaction of applause thinking Sarah was Giselle. Yeah, she's that into character! Then Sarah proceeded to dance her solos and the ppd with all the qualities one could hope for in a youthful Giselle. >>I've only seen 2 Giselles so far this season but I agree that (with the exception >>of Ms. Lane) the 2 casts I saw in the ppd were underwhelming. This is especially >> disturbing in regard to the company's up and coming men. Though Hoven was >>better than Matthews neither one impressed, and it's unusual to see ABT's men >> struggling with the choreography - it used to be a highlight of the production. Agreed again. I was disappointed with Hoven, (Wed evening ppd) and a bit less disappointed with Ilyin who danced the matinee ppd with Sarah. Ilyin is a fabulous turner, jumper, but doesn't quite have the leg/body proportions (sorry....) to shine brilliantly in such a role. I thought Ilyin was the best overall technically of the new men in the ppd....

Sara Mearns' promotion is wonderful news! I'm so thrilled for her.

I thought that overall these photos were coldly dehumanizing rather than joyfully celebrating the beauty that comes from observing highly skilled ballet dancers. Froman could have taken pictures of the rehearsals for this event and created something more interesting/memorable. Imagine dancers with faces and dance movements! I'm also in agreement with Lobenthal's review of that benefit evening in The NYSun.

It was very exciting indeed to see Sara Mearns in Brahms 4th. It was so wonderful to see the flavor and steps of this movement danced with the fire, abandon, meatiness and sexiness - all and more - that this role deserves. Not to take anything away from Sara's beauty which is exceptional, but part of the magic and excitment was finally, again, seeing the choreography as it was intended, eg, "full out." (I had been missing like crazy the boldly, stunning Sofiane Sylve in this part). A special mention should also be made to Stephen Hanna who brilliantly handled the very demanding partnering of the 2nd movement with Sterling Hyltin. Hanna made Hyltin a swirling, diping, twirling, diving miracle of romantic, emotional release. It was breahtaking.

I had to leave the performance early, right after the shades section. Did anybody notice Christine Schevchenko (new to ABT) towards the end of the ballet? She was listed to do one of the flower girls, but I unfortunately missed her. I've heard Schevchenko is very promising...

I will not say much about Sarah Lane's Beauty debut last night as she has been a good friend of mine for quite some time. But I thought, with a bit of Kirov-ish touches, Sarah has never danced better. And what a lovely actress Sarah was too. I was totally blown away. Herman, as always, was such a thrilling and beautiful, strong, classical joy. Bluebirds.... I thought Saveliev could have done far better. And Kajiya was full of long lines but too cold overall for such a charming part. Kajiya also left out, simplified, some of the choreography in her solo, which had me concerned. The addition of the Jewels section of music to the last act was new this year... but the choreography was given to the fairies, and it was pretty much just classroom steps. None of it seemed necessary or magical. ABT badly needs to bring back the real last act with puss n' boots, etc. And I'd like to see the marriage scene's grand pas and variations kicked up a little by adding a bit more of exciting technique without removing the grandeur. Many of ABT's production changes definitely were for the better, but Peter Martins was wiser than Kevin by not messing with most of the gorgeous original production that we all have known for so many years. ABT's is still awfully flat at times. And, I can't believe that the fireworks / smoke for Carabosse were still much TOO much.

I just loved the moment during Patti's acceptance speech, when the music started cutting in telling her to wrap it up: "Oh, shut up, I've waited 29 years for this!!!" I can't wait to see Patti in Gyspy again. Her ever brief performance number at the Tony's showed how much stronger she's grown from the role, night after night on B'way, and Patti was pretty darn amazingly strong back at the City Center Encores' brief run.... I think Patti's absolutely, perfectly brilliant in the Mama Rose part, and totally deserved the Tony. I was also so happy for her that Arthur Laurents was in the audience to see all of this.

Wednesday evening's cast: Ananiashvili was, as ever, a wonderfully strong, daring performer even if her age and physical abilities are not quite up to a fine technical Kitri any longer. But both Nina and Carreño were having such a good time, along with Sarah Lane (Amour), Veronika Part (2nd act Queen) and Simone Messmer (Gypsy lead) that this performance quickly became great fun and a thrilling joy.

Xiomara Reyes as Kitri Wednesday... I thought she did about 50% of what she is capable of doing with that role except for her 3rd act variation and fouettes which were at her best. Those Kitri jumps (kicking the back of her head) were barely there in the 1st act and she made no efforts to hold any balances with or without a partner. I too was a bit worried, in advance of the performance, that some of Cornejo's partnering might be far less than adequate, but, yes, even the two, one-handed lifts over his head in act 1 were nicely done. Some other less "big" partnering efforts still need some work/attention, but overall, Cornejo has come a long way with his partnering skills. >(Is there a name for those?....) Over the head held lifts with one arm seems perfectly described! >And Joseph Phillips as the main Gypsy! All I can say is Oh my God! Fantastically talented, Joseph, is quickly becoming a new favorite of mine. He's a bit taller than Herman and has a princely, calm elegance. He should progress into principal parts very well at ABT with the right female partner....