nana

https://www.nytimes.com/2018/06/05/arts/dance/review-harlequinade-american-ballet-theater.html

Very well-written 

27 minutes ago, lmspear said:

Nana,  I just noticed a typo in my original post.  The article dates from 2011 rather than 2001.  I'm sorry for throwing off your math. 

Oh, no problem, I should've known that 2001 is too back then! Regardless of the math, my main message remains: Hoven was a great Lensky  

1 hour ago, lmspear said:

I wanted to double-check my memory.  A quick Google search didn't mention a promotion to soloist, but I did find this 2001 article in Pointe Magazine, which does short interviews with Tamm, Hoven, and Hammoudi, labelling them the next potential star danseurs of ABT.

 

 The Next Guys of ABT

 

 

 

Interesting that Hoven said Lensky as his dream role almost more than 15 years ago. I found him excellent in the role this season. 

On 6/25/2017 at 2:12 PM, Kaysta said:

I'm not trying to be disrespectful here, just trying to understand...

 

If you've been going for many years and have not liked what you've seen, why do you still attend?  Wouldn't it be better to not give money to companies that you think are putting on subpar work?  

Good point, I don't plan to attend current in-house principal's performances any more. I was at least trying (actually quite hard this season) given that Vishneva is leaving and I live in NYC.

6 minutes ago, Kaysta said:

So you've seen 3 maybe 4 bad fouetté sequences and that's enough to dismiss all US dancers as lacking technique?  Ok, then. Not sure what else to add, except perhaps a recommendation to skip the US companies and wait for the European companies to come touring. 

 

Personally, I've seen some amazing and some not-so-great performances from dancers trained all over the world.  Not going to pigeonhole an entire system over some fouettés.

Not only 3 or 4, i saw almost 70% of the shows this season and several over the years. I misunderstoond that abt and nycb are the best companies then or they just choose to cast dancers who are not the best even though there are many good ones. I don't want to see dancers who can't even execute original choreography anymore. Great for them to have people who love them whatever they do  

38 minutes ago, Kaysta said:

You don't enjoy Stella as a dancer, that is your opinion, and you are allowed to state it.  But I don't think the majority of yesterday's audience would agree with you regarding her performance, as she received a loud standing ovation from the crowd.  And while I agree that one is unlikely to grow from a pure technique standpoint once they have reached principal status, I completely disagree with your viewpoint that one can't grow artistically as they perform a role repeatedly.    Many of ABT's dancers have gone on the record (and it has been discussed and published) that one of the downfalls of ABT's guest and scheduling policy, is that they only get to perform a role once a year (if that) and that it hinders their artistic growth.  

 

 

This is your opinion and I'm not really sure what it has to do with Stella or this topic.  Just because ABTs principals had a rought time with the fouettes during the Swan Lake run doesn't mean that US dancers lack technical ability.  You can't judge an entire group by one company run.   I don't know if the US system is the best way to train a ballet dancer or not, but I know there are plenty of technically secure US trained dancers out there.

 

 

Yes, I was hasty to say that but I thought ABT is one of the best companies in the US. I attended Sara Mearns' NYCB swan lake and she didn't finish fouette and did some awkward thing.. many of ABT performances and that nycb experience made me think that way and should i think that it's just a coincidence? I've attended many ballet shows in the world and was surprised at these sequences actually given that I thought abt and nycb are world level companies. I don't want to blame any but wanted to raise a constructive discussion.

also i didn't say dancers can't grow artistically. Of course they can and do and I love to see them too. What I wanted to say is that i have doubt on it was merely due to lack of opportunities. And even for a not great of performance Seo, i saw people gave standing ovations - it doesn't necessarily mean that the show was successful. But I understand that different people can have different opinion. 

3 hours ago, Kaysta said:

Maybe the ABT principals are not "star material" because they lost all of their developmental years while guest artists were coming in and taking their opportunities.  Stella was lovely yesterday (personally she blew me away, but to each their own), but she debuted in this role at the age of 39, when she should have debuted in her 20's.  That is on Kevin McKenzie.  

I'm not sure it's because she didn't have chances earlier. And principal is not where people develop their skills and practice in front of audiences - they should be fully developed and ready when they are in principal roles. Probably they can be more mature as they age but I don't think it's because she didn't have chances. 

I agree that AD has responsibility but now I'd rather think if there's a larger issue in ballet education system in the US. We don't see many world level dancers with strong technicality (e.g. Swan lake fouette) or strong acting skills. Is it because dancers didn't have chance to get very organized education on acting or high techniques from early on?  

I also attended Saturday matinee with the hope to find my favorite ABT in-house ballerina. This forum loves Abrera so I'll be most likely a minority, but i still don't see what's so special about her (i was very much disappointed by her giselle earlier this season). For Onegin, largely, it was fine, but it wasn't great or memorable. I liked some parts in 2nd act, but 1st act was so so. Same as Strearns. It was ok, but i couldn't understand some of his course of emotions (like big smile during the first pas de deux (not dream one) with Abrera). Probably it's unfair to compare this couple to Vishneva/Gomes or Ferri/Bolle given that it was first time for Abrera but i still think her characteriziation is not attractive enough. But I thought Trenary was lovely and Hammoudi was the best among the Gremins I saw (Zhurbin, Whiteside). 

Alas, I don't see any female principal dancer in ABT who I'll choose without heistation now. I like solists more. I enjoyed Shevshenko very much in DQ and Le Corsaire and saw her potential as an actor - hope to see her more in principal roles. I think Trenary also goes well with Tatiana too, but I don't know if she'll manage this level of acting. 

I really liked Tuesday's performance, so attended again last night and it was even better. Especially, Simkin and Lane were much better yesterday so the whole performance was higher level. I sat quite close to the stage and could see the facial expressions of Bolle and Ferri, and their actings were sublime and in the end Act 3 made me tear up. I felt so fortunate to see the moment. 

1 hour ago, abatt said:

I also noticed in the final scene Ferri was very stern with Bolle, in contrast w. Vishneva.  However, throughout the pdd you could slowly see her starting to fall for Onegin.  In fact, there was one lift during which her facial expression telegraphed that she had fallen passionately again for Onegin.  This progressive, subtle transformation during the pdd could only be accomplished by someone  with very astute acting skills like Ferri.  I found it more convincing than Vishneva's frenzied approach from the outset. 

I can't agree with you more, Abatt. Being cold at first made a lot of sense (she's seeing a man who insulted her and killed her sister's fiancee after all). I wasn't emotionally that intense when Vishneva started the last pas de deux in act 3 but it became a killer at the end. But for Ferri's, it was more powerful from the start (but less intense at the end). They interpreted the role differently, but I must say both are the real experts, and I enjoyed both. I liked Ferri's introverted act 1 too, but overall Vishneva was more strong in act 1. 

Bolle was excellent. He was more like a bad guy style who already experienced many women and was bored with an unexperienced peasant girl in the first act. But then it seemed like he became genuinely interested in Tatiana once he saw a beautiful and seemingly unachievable woman in act 3. It wasn't like regret over  His acting in act 2 (flirting with Olga) was very detailed so I was totally into the drama. His physique is just so exceptional that I ended up understanding why Olga was also into Onegin over Lensky once Onegin showed some interest. 

I thought Simkin's solo in 2nd act was emotional and dancing was great as always, but agree that he has a partnering issue so the couple wasn't as secure as Boylston-Hoven couple. And for Olga, I found Boylston more lovely than Lane. 

I'm curious about two young couples too and debating which one I would choose. I'd lean towards Hallberg though. Any thoughts?

17 minutes ago, fondoffouettes said:

I never thought I'd forgo seeing Visheva in her farewell year, but her dancing has been so mannered over the past four or five seasons. She's like an overly ripe hothouse fruit in these ballet-dramas.

I was a bit worried about that before I went to today's performance because I knew that some people talked about it and I didn't want to be disappointed. But I didn't find that she's mannered in the role (probably I would say she's a bit mannered when she did the final bows?). Actually I still loved her because she's natural and her acting is just so seamless. Of course, Gomes was wonderful as always. Sad that it's the last season at the MET to see them together. 

Can't make it... Orchestra J rows selling at the price I bought ($387 = $185*2 + fees). PM me if you're interested.  Currently all orchestra section is sold out. 

1 hour ago, DeCoster said:

Hee Seo, on the contrary, seems to have bigger grand jetes than ever before.  I noticed this watching her Mercedes and it was even more apparent on Saturday.  (I have never seen Seo's Giselle, and I would like to some day.  She has a wonderful lightness and buoyancy.)  Yet I am still of a divided mind about this ballerina.  I remember when she danced a lead role in Kudelka's Desir, still in the corps.  The beauty of her lines and fluidity of her movement were captivating.  She looked like a star to me, certainly more polished than Boylston, also a corps standout during that time.  Since then I have had mixed experiences.  I adored her in R&J and later Ashton's Cinderella, but not so much in Bayadere or La Sylphide, where she struggled visibly at points and sometimes literally stumbled.  (My husband, present at both of these performances, characterizes Seo as "not a very good dancer.")  Veronika Part has had inconsistent performances over the years, but there is more riskiness and transcendence to her dancing, so the baubles seem somehow worth it.  Watching the recent instagram videos of Annaisvilli's pique menage made me think in particular of Seo's pique turns and how she doesn't really drive forward with much power or energy.  Everything is sort of underneath her and a bit tentative.  So went Saturday's performance of Corsaire.  Her stumbles were fairly minimal, a bit of odd hopping in fouettes when she seemed to come off pointe yet kept going and one unfortunate double pirouette where she was crooked from the start and landing awkwardly.  Otherwise, her dancing was secure but too guarded for my taste.

I agree that Seo was shining when she was in the corps and when she was a soloist. I also thought that she's a star material and had had hopes for a long time but now I'm tired of seeing her falling off/stumbles. It's OK not to be very technical (we don't request triple turns), but I want to see "clean" variations at least after 8 years of her debut of principal role. Also as mentioned by vipa, I don't see her uniqueness either in terms of artistry. 

Agree that although Ali variation didn't go super well, Ahn seems to have potential to grow as a prince; will need to see him in other roles. Trenary was gorgeous and lovely. I saw Cirio as Ali and Lankendem and I thought he's well equipped with acting and clean techniques.  

Today technical deficiency of Seo was obvious. 

I think what Waelsung said has a point. I don't think the problem is because of guest star policy of ABT, but because there haven't been many comparable level of stars from home-grown in ABT so far. I also do not care the dancer is home-grown or from anywhere else. What I care is the quality of performance. Honestly, people here are very excited about Abrera, but after seeing her giselle, I didn't want to see her anymore, so I don't think she's that level of dancer (and one of the reviews of Le Corsaire said she simplified its step too, such a disappointment!). But agree with most people that soloists (Shevshenko, Trenary, Lane, Brandt... ) seem to have a good potential to be the stars and loved them so far. Hope ABT can get their old name back. 

Ahn in Corps de ballet is also likely to be promoted if his Ali/Lankendem in Le Corsaire go well. 

I can't agree more, Lane's will stay in my memory. I want to see her more in other ballets. 

It was such a night. Gomes is certainly the best and I got teary after the 2nd act. It was my first time seeing Abrera's giselle and I had high expectations but I couldn't connect with her during the 1st act. First part (joyful lady) was fine (although she had a mis-step during hop on pointe), but I just didn't feel much during the mad scene. 2nd act was much more engaging and beautiful - and i've never felt so sad because of Albrecht but today i felt very sad. Also it was special to see Gomes' 20th anniversary. Hope he can dance at least 10 more years! (I wish I could see Vishneva/Gomes Giselle again sometime, but that might be just a dream). Anyways, bravo, Gomes!   

Thanks, California. Yes, I meant that! It must be very difficult to be seen non-laborious. Other than pas de poisson, I didn't have much complaint about Boylston's technique. I rather thought that her arabesque line is prettier than I expected. 

I didn't know how hard the "floating" steps are. I go to Abrera's tonight, so I can appreciate it again!

Thanks, seattle_dancer and kfw. I just asked them and the only open dress rehearsal left this season is Golden Cockerel this Thursday (for others, there are wait-lists). I don't know if it helps, but they said that the registration on rehearsal for Met season usually opens in February.  

To clarify on my comment on Boylston's jump, I meant the jump in her solo (two feet jumps with bending back), and I felt like her jump was not light and somewhat heavy. But her injury explains a lot. Hope she's getting better soon, and wanna see her giselle once again with her full capacity!  

Hope she will get better soon. 

There was no curtain bow for Shevchenko's second Don quixote either. I also wondered why then. 

I saw the performance today and I enjoyed it. I liked Isabella Boylston's acting because it was very natural and out of her (compared to Murphy's...). She was lovely and joyful lady in the first act and mad scene was also convincing. Her giselle signature posture in act 2 was beautiful. Jumps were not the best, but I was mostly happy with her giselle. I thought that maybe if Giselle is made as a movie, Isabella Boylston would be a good candidate for the role. She was theatrical and her movement was always along with the stories and natural. James Whiteside showed nice entrechat six, but I didn't feel much from his Albrecht. 

Oh, good information! But if I sign up now, can I see dress rehearsal this season? Or, should I wait until next season?

Seats 28, 30 ($67 for two - face value) PM me if interested