nysusan

Reports were that Gomes looked tired in his Romeo with Seo on Wednesday. I agree with abatt, what prevented them from replacing both of the leads with Murphy/Whiteside? I don't think there are many people who bought a ticket just to see Gomes, most bought for Vishneva or for the pairing, It may be convenient to throw Seo in because she & Gomes have danced it together but I just don't believe that Seo was the ONLY dancer who could step in and take all of Osipova's & Semionova's scheduled performances,and now this. Oh wait, they gave one performance to Boylston, one to Abrera and one to Kochetkova. So we only had 3 Seo Bayadere's, 2 Seo Beauties, and now 3 Seo R&Js. Does anyone actually believe that she will ONLY do 2 Swan Lakes and 2 Cinderellas? Letting one ballerina dominate the season like this is unprecedented, especially when she isn't a star.

Just posted on ABT's twitter & Facebook: https://www.facebook.com/AmericanBalletTheatre/posts/10153290344621858 Thank goodness I saw Obraztsova's radiant Juliet last night. Looks like that & the Vishneva/Gomes Giselle are going to be the season highlights for me.

Unbelievable, this is the final straw. I know injuries happen but when did this turn into Seo Ballet Theater? If Vishneva is injured they have plenty of other dancers who could have been given this opportunity. People on this board have said that Juliet is Seo's best role. I hope so because there is nothing left for me to exchange this into, and if I don't like what I see I intend to boo. Loudly.

After she pricked her finger, in the corner of the stage with the King & Queen fussing over her she did indeed fall right on her butt. I was sitting very close and her performance read well in the front of the house, I thought she was lovely. I've seen this production 4 times now, with 2 more to go and I continue to be enthralled by it

Again, why? She is not a star, what is the advantage of casting her to replace Osipova?

They may know the role, but I don't see the benefit for ABT in using RB dancers like Lamb, Cuthbertson or Marquez who are unknowns to the general NY ballet community. Nobody who bought a ticket to see Osipova is going to say "oh,we're seeing Marquez instead of Osipova, that's fine". Cojocaru or Vishneva are really the only appropriate substitutions, although I could see them using Kochetkova since she and Seo have been the go-to girls this season (and thats what I'm afraid of). I don't think height is really an issue here. Juliet is supposed to be young, so being small isn't a disadvantage and neither is a size difference between Romeo and Juliet - remember Ferri/Bolle?

Exactly. But with the season almost over I'm at the point where I already have tickets to everything else I want to see. There's really nothing for me to switch to if it winds up being Seo or Kochetkova. I guess I'd take another SB if they announce the replacement soon enough but once thats over I am out of options. Fingers crossed!

And about last night - Part, Nedak and Murphy were sublime! Part was lovely, a very beautiful,sensual bayadere and she looked so happy to be dancing with Nedak, so secure. She may have come down a bit early from the second series of pirouettes with the scarf (in the shades scene) but she covered it well and aside from that there were no technical problems whatsoever.They looked great together and had great chemistry together. He is not a virtuoso technician, but he's certainly no slouch, either. Tall, strong with beautiful lines (there I go again!), his positions were always fully stretched and he has great flexibility for a big man. He was also a good actor and a great partner for her. Lets have more of them together! This was certainly the best all-around Bayadere of the season, too bad they only got 1 performance.

Hmm..I don't think I developed my understanding of line from any dance training, more from dance watching. And any appreciation of "line" will be subjective but I understand line to mean the physical shape the body makes, the geometric relationship of different parts of the body to each other and the space around it. For me, classical line starts in the core, the torso and back and radiates throughout the body and out into infinity (especially in arabesque). Specifically, in terms of Kochetkova's arabesque (and particularly in the classical shades act as opposed to the less restrictive phrasing in the first act) I find her body placement too angular (forward arm to torso, torso to working leg), her torso too rigid and I see no energy radiating from her fingertip through her body and out through her working leg. There was a discussion of classical line here several years ago: http://balletalert.invisionzone.com/index.php?/topic/25397-perfect-classical-line/ see post # 19 with some very good quotes from Robert Greskovic's Ballet 101 (pp. 151-52) by way of bart, and quotes from Gia Kourlis (of all people!)by way of 4mrdncr - post #22. I especially like " It means that every muscle and bone--from the toe to the fingertips--is working in exquisite harmony." There is also a great paragraph on line in the glossary of Ballet 101, on page 517. Its not online but here are a couple of quotes: "Whats important for clear, pure line is that, as the eye follows and takes in the shape held, however momentarily, by the dancing dancer, it finds a totality, a continuity of energy and form without noticeable disruptions, snags or breaks." "One aspect of line is its unending harmoniousness; it leads the viewer simultaneously to fix on the dancer's physical design in space as well as to follow the performer's energy as it radiates beyond its actual physical limits. Line doesn't outline or contain the dancer's presence in space, it continues it."

Amour, I agree with you about Kochetkova's first act - that was the first time I really enjoyed her dancing in a classical ballet. And I'm thinking thats because Nikiya's dancing in the first act is not pure classicism, it has a lot of character built into it and allows for many different approaches in terms of plastique and phrasing. Her technique is always strong - I never have any complaints about that- and I thought her phrasing was very dynamic, she used her back well and projected very well. But then we got to the shades scene and I saw everything I don't like about her all over again. The supple back & shading were gone - she was ramrod straight with a sharp movement quality, and she has an ugly arabesque. There is simply no line to it. Sarafanov was wonderful. No, he's not the Mariinsky wunderkind we first saw 10, 12 years ago but he is still an absolutely gorgeous dancer and I'd welcome seeing lots more of him (AND Kimin Kim, the current Mariinsky wunderkind). Also really enjoyed Boylsyon in this. I didn't stay for the last act, how was Aaron Scott's Bronze Idol?

I saw Raymonda Variations on Wednesday and again this afternoon. The first time out I thought Pereira was a bit tight and displayed her usual lightweight approach to the steps (limited phrasing, throwaway arms, sorely lacking epaulmant and stiff upper body) with the exception of 1 solo -I think the 2nd - where she seemed to relax and luxuriate a bit in the music. Todays performance was completely different and a huge step forward for her. She was just lovely. She danced with a beautiful lightness, displaying lingering balances with trailing romantic arms and playing with the music. What a difference! Her approach was completely from Bouder's (naturally)but this performance was beautiful.

I didn't mean to imply that Vishneva is taller than Tereshkina or Somova, I don't think she is.

Actually though Sarafanov is very slight he is not short. Back when he was at the Mariinsky he partnered Tereshkina, Somova and even Vishneva. They can't POSSIBLY give Seo another performance so if Cojocaru or Kochetkova can't do another one they'd probably have to develop a new Nikyia. I'd love to see Stella but my money would be on Murphy or Boylston - and I'd prefer either to Kochetkova

That was such a horrendous fall. Even though Osipova soldiered on at the end she was limping and you could tell she was in pain. I can't see how she can possibly be ready for those Bayaderes next week. Still, I hope it wasn't as bad as it looked and sending out my best wishes for a speedy recovery. As for her performance I'm pretty much with Amour on this one. With the exception of her mad scene (which I didn't like) I thought her first act was amazing - for all the reasons cited in previous posts - her ballon, elevation, speed all contributed to the overall joy and effusiveness of her portrayal. She changed some steps, she embellished but how can you complain, she was phenomenal. She was also phenomenal in the 2nd act but here I felt that the extreme technical feats, remarkable though they were, took away from the poignancy and heartbreak. She did not appear spirit-like, weightless or ethereal at all, she couldn't have been more flesh and blood. I recall noticing this last time she danced Giselle with ABT but this time I felt it was even more pronounced. I was not impressed with McRae and didn't think he and Osipova looked good together. LOVED Zhurbin, Part, Katherine Williams (the blonde Williams)and Fang. I have been a fan of Zhong-Jing Fang for years. There was a time 6-7 years ago when she was getting a lot of soloist parts and I thought she might be promoted but then she stopped being cast in anything but corps roles. I don't know why KM stopped casting her but she was gorgeous last night as Zulma and I hope we continue to see much more of her! Regarding Part - I noticed the lack of beats only after Amour mentioned it. I agree that It is curious, but it doesn't bother me.

I can't add much to the previous posts, but want to say that I feel privileged to have seen last night's Giselle. For me the Vishneva/Gomes partnership in Giselle is the successor to Ferri/Bocca and in the same league as the other great Giselles I've see from Fonteyn/Nureyev and Fracci/Bruhn through Makarova/Baryshnikov and Kirkland/Baryshnikov. They may both be showing their age a bit but the technical level is still quite high and their artistry is undiminished. As far as their characterizations, I love Vishneva's combination of shyness and curiosity and her complete adoration of Loys. And her 2nd act is the most ghostly and ethereal I can remember. I agree that Teuscher lacks the necessary authority for Myrtha but there were a couple of moments in her solo where she whirled with the fever of a fury. I think with time she will develop into a great Myrtha. For me at this point Part's is the gold standard at ABT. I also love Murphy's but she is so stern and unrelenting, I prefer the Mariinsky approach where you see the anger tempered by moments of regret. Also I'm sorry to have to agree with this one but I also found Salstein very sloppy in the peasant pas, though I thought Misty was lovely.

Wonderful triumph for Stella! Thanks all for the descriptions and the curtain calls. Sorry I couldn't be there but hopefully I will get the chance to see them next year.

LOL!! Actually, this is quite disgusting. ABT's weakest principal will now get 3 Nikiyas, 2 Juliets and 3 O/Os? Mckenzie shows no respect for his artists or his audience

Cornejo had been listed for tonight's Fancy Free - he has been replaced by Salstein

I'm still seeing Abrera

mussel, on 15 May 2015 - 12:17 PM, said: BRAVO, BRAVO, BRAVO Stella! And what a cast to make your debut with. I am just so bummed that I'll be on vacation that weekend and won't be here to see her. Hopefully it will only be the first of many.

I thought Teuscher made a fine debut as Hagar last night. Nowhere near the burning intensity and internal conflict I remember from Murphy's prior performances (unfortunately I will not be able to see her this season), but a very well danced and well thought out interpretation. This ballet has been completely re-cast since the last time I saw it and I thought everyone did well, with the exception of Stearns. He was the least seductive "man from the house opposite" I've ever seen. I thought I was starting to see an improvement in both his dancing and his stage presence in the past few seasons but based on what I've seen so far this season I'm not so sure. T&V was lackluster as noted by mimsyb. Boyleston had nice speed & energy but her torso and arms were lacking and so was her phrasing. Stearns was ok, he certainly has beautiful line but he looked somewhat sloppy in his variations with fudged landings and listing off center. At one point in that second variation it seemed that he was travelling off the diagonal. Perhaps they just suffered in comparison with Tuesday night's luminous Lane/Cornejo performance. I didn't stay for Fancy Free. I agree that it was a pretty uninspiring evening but Tuesday's was the exact opposite, I left the theater on a real high that night. There have been glowing reports on the Part/Abrera/Lane/Gorak cast of Les Sylphides so I guess its hit or miss so far.

Sounds like Abrera did the Mazurka role. Which did Part do? I can't imagine Gorak lifting her in the Pdd so did Lane dance the pdd and Part the prelude?

You know that I skipped last night's performance because I thought that despite Bouder's amazing technique she would be too cutesy & presentational for me as the Sylphide. I don't regret switching my tickets so I could see Sarah Lane's T&V - she was wonderful - but based on your description I just picked up a cheap ticket for the Saturday matinee. I still MUST see Part, Abrera and Lane in Les Sylphides at ABT's Saturday matinee but as soon as that ends I'm heading across the Plaza to catch Bouder & company. That will make it a 3 Sylphide/s Saturday for me since I'm also going to see Tiler Peck in La Slyphide on Saturday night. Only in NY, kids

According to the ABT calendar Devon Teuscher will now replace Julie Kent for the Sat matinee performance of Pillar of Fire as well as tonight's performance

The can stop programming mixed bills at the Met. I know - we all love them. I love them but ABT's main audience does not. Wait till the full lengths start and the seats will be filled, this happens every year. I think it shows a lot of commitment on ABT's part to continue programming at least a few nights of mixed bills even though they know that they will be way undersold. I was at last night's program and I thought it was wonderful. T&V is always played at a funereal pace at ABT, I've gotten used to it. That said Lane was heavenly and Cornejo has finally brought his partnering skills to an acceptable level. He has always been an outstanding dancer and it was jut beautiful to watch him glide through that treacherous solo. I agree that Lilac Garden was much more balanced than last year, Rodeo was still charming after all these years and for me it was a nice way to say goodbye to Reyes.