nysusan

I loved Emeralds – for pretty much the same reasons as everyone else who loved Emeralds. I loved the costumes and despite the open mouth smiles and overly effusive moments I loved the port de bras and thought the dancers added a charming French “perfume”and warmth very appropriate to this homage to French romanticism.

I really, really disliked Rubies. I thought the level of technique was high in this (and throughout the entire production, really) but IMO the interpretation was completely misguided in terms of phrasing, syncopation, attack and style. Having seen many casts at NYCB from McBride/Villella/von Aroldingen through Weese/Woetzel/Reichlin as well as Vishneva/Sarafanov I really think the POB dancers just ignored Balanchine’s intent here, which is a far cry from just a difference in interpretation. I completely agree with Carbro’s reference to their legs looking “soft”. It has less to do with their musculature than with the way that they used their legs. Rubies is supposed to reflect the American attitude – more specifically it was designed to evoke the jazzy, manic energy of NYC. There was none of that feeling in this version. The aggressive, sassy, circusy NY competitiveness was replaced with a very smooth, sophisticated Parisian hauteur. Dupont & Gillot danced this like a seduction, which completely misses the point.

I have mixed feelings about Diamonds. I really love it and am so gratefull to have a recording of the whole thing but the principals here are simply not in the same league as Farrell/ Martins. In fact, in terms of their interpretation I don’t even think they’re even in the same league as Kowroski/Neal. I didn’t like the costumes and thought Lestau was too deliberate, too square and too romantic but, still, the performance was enjoyable and while not perfect I thought it was close enough to the intended style and intent.

I am very glad to have a recording of Jewels and as I said, I think the level of the dancing is very high throughout however I definitely consider this to be an alternate version. I agree with the posters who hope that other versions are released because this really shouldn’t be viewed as the “standard”, it is very far from the Jewels I know. I wish the NYCB would produce their own version, they have some great dancers right now. I’m also eagerly anticipating a Kirov DVD. Ayupova in Emeralds, Vishneva/Sarafanov Rubies and Lopatkina in Diamonds, that should provide an interesting contrast to the POB version!

A Bolshoi Jewels, what an intriguing idea. I would love to see Gracheva in Diamonds, in fact I would love to see

Emeralds -Lunkina/ Filin, Antonicheva/ Klevtsov

Rubies - Osipova, Arifulin, Shipulina

Diamonds -Gracheva, Tsiskaridze

I voted (awhile ago!) for Emeralds – for pretty much the same reasons as everyone else. I loved the costumes and despite the open mouth smiles and overly effusive moments I loved the port de bras and thought the dancers added a charming French “perfume”and warmth very appropriate to this homage to French romanticism.

I really, really disliked Rubies, and had mixed feelings about Diamonds. I’ll post more on the original POB Jewels thread.

Thank you nysusan for typing out the casting.

Yes, indeed! I appreciate all that careful work!

You're welcome. I know some out of towners try to coordinate visits to NY with ABT & NYCB seasons, and waiting for casting can be very frustrating!

BTW - I thought it was strange that Cornejo/Lane were scheduled for the last 2 performances of Sinatra Suite, till I read the posts and realized that Corella isn't included on the schedule. I'll bet he gets the first 2 performances, though it is a little disconcerting to think that his schedule imay not be finalized yet!

Don't know when ABT typically announces promotions, but with all the openings I'm certainly expecting to hear about some before the City Center season

Alternate home team cast, excluding casts I’ve actually seen

Emeralds: Scheller, T. Angle, Taylor

Rubies: Peck, De Luz, Krohn

Diamonds: Mearns, Hall

And alternate ABT cast, assuming that Nina returns…

Emeralds: Part, Hallberg, Fang

Rubies: Vishneva, A. Corella, C. Corella

Diamonds: Ananishvilli, Gomes

Watching the POB video really makes me long to see NYCB's Jewels again- hope it's back in repertory soon!

I was really hoping they'd try Misty Copeland in Rodeo, so it's diasappointing to see that she's not cast in it however it's a great break for Marian Butler, an oft overlooked dancer. Also sorry there will be no repeat of the Abrera/Hallberg Faun.

Good news is Sara Lane in Sinatra Suite with Cornejo, and I've already bought tickets to both of Veronika Part's performances in Symphonie Concertante

Susan

ABT hasn’t put any casting up on it’s website yet, but they’ve announced some limited casting in their ad in Sunday’s NY Times. For out of towners, or those of us who get all our news online these days, here’s what they’ve released (please excuse any typos):

The Green Table - Hallberg 10/19, 10/25, 10/31

Stappas 10/22 mat, 11/4 mat

Symphonie Concertante - 10/28, 10/31 tba

Kent, tba, Herrera 10/20

Wiles,Gomes,Part 10/21 mat,,

Wiles,Beloserkovsky,Part 10/25

tba, Beloserkovsky, Murphy 11/2

Rodeo - Reyes, Radetsky,Matthews 10/21 mat

Butler, Salstein,Stappas 10/21

Reyes, Radetsky,Stappas 10/27 Butler, Salstein, Matthews 10/29 mat

Meadow - Kent, Gomes 10/24

Abrera, Hallberg 10/27, 11/5 mat

tba, Gomes 10/28

Clear- Kent, Gomes 10/26, 11/1, 11/5

Reyes, tba 10/28 mat, 11/3

Afternoon of a Faun - Abrera, Stiefel 10/26,10/28 m,

Kent, Carreno- 10/29m

Ricetto, Hallberg 11/3

Sinatra Suite - 10/19,10/21are tba’s

Cornejo, Lane 10/26, 10/29 m

Fancy Free -

Salstein, Radetsky,Carreno, Murphy, Herrera 10/26,10/28m

Cornejo, Stiefel, Gomes, Kent, Abrera 11/3, 11/4

Pas de Deux - Dvorovenko, Beloserkovsky 10/19, 10/22m, 10/28, 11/3

Wiles, Gomes 10/21

Herrera, Carreno 10/22 m

That's it so far

Susan

For performances Oct 17-19 (R&J) - "The cast of Romeo and Juliet will include Diana Vishneva, Irina Golub, Yevgenia Obraztsova, Andrian Fadeev and Igor Kolb."

For performances Oct 20-22 (Swan Lake) - "The cast of Swan Lake will feature Uliana Lopatkina, Diana Vishneva, Victoria Tereshkina, Alina Somova, Igor Zelensky, Danila Korsuntsev, Igor Kolb and Andrian Fadeev."

That's 7 distinct pairings. Now to wait and see when specifically they will be cast!

http://www.ocpac.org/about/PressDetail.asp...ssReleaseID=516

GREEN, GREEN, GREEN!!!!!!

I'm taking a weekend trip to Chicago so hopefully I'll catch Lopatkina and Tereshkina in Swan Lake, but I sure am jealous of you getting to see Obraztsova in R&J.

Can't wait to hear your impressions...

Susan

Vishneva said on her website (the portion where she answers questions) that she would be dancing in Sleeping Beauty at the Met.

I don't know what to wish for - an ABT Beauty or a summer visit from the Kirov

Well, interesting as a Murphy Aurora might be, I actually do know which one I'll wish for (along with promotions for Part, Fang & Copeland and NO OTHELLO)!

The D'Amboise DVD sounds great - I can't wait to get my hands on it!

Susan

I'm afraid I can't join the growing consensus.

tikitatata, I’m glad you enjoyed my last post and I hope I don't offend anyone with my negative view of this company's week in NY. I really wanted to love them, I’d never seen them before and was very excited about their visit. I didn’t think I was going to love their Sylvia but I expected to love their gala & mixed rep programs. In fact I was upset that a business trip wouldn’t allow me to see their mixed rep program twice, now I’m glad I’m not going again this afternoon!

For me SFB’s week in NY is ending the same way it began, leaving me with mixed feelings. Their rep program showed the dancers to much greater advantage than previous programs, and they do have some beautiful dancers. Tan, Feijoo, Possokhov, Garcia, Molat, LeBlanc, Boada & Maffre really stood out. However, I didn’t like the pieces they chose to present.

I actually thought 7 for 8 was ok, not great but ok . It gave the dancers something to sink their teeth into and was the first thing I’ve seen this week that showed them at their best. I figured the program would pick up from there. Unfortunately while Quatenary also provided a showcase for the dancers it now has the distinction of being the only thing I’ve ever seen by Wheeldon that I truly dislike. It seemed very derivative of his other works and went on way too long to keep my interest. Frankly, aside from the Maffre /Possokhov pdd I found it boring.

I liked Artifact and if I had enjoyed the 2 pieces that proceeded it I’m sure I would have liked it more but I was already so numb from sitting through 7 for 8 and then Quaternary that halfway through Artifact Suite I almost got up and left. Literally, I talked myself out of leaving 2 or 3 times during the last 10 minutes. I can't remember the last time I felt that way at the ballet. If this is the future of ballet I will run screaming back to the past. Fortunately, I know it is only ONE future direction out of many possibilities.

If SFB is a post modern ballet company, then so be it however if they consider themselves to be a classical ballet company then I really think they missed the boat with the type of rep they brought for this engagement.

I left the opening night gala with very mixed feelings about what I’d seen and after 2 nights of Sylvia (the first 2) I still have mixed feelings.

The Gala-

Imagine my surprise when I read Rockwell’s review in the NY Times and found myself agreeing with him about the opening & closing pieces. I love Vertiginous Thrill and I enjoyed the SFB dancers in it but having seen the Kirov perform it a month ago I have to say that this performance just wasn’t on the same level. While I can believe that the SFB’s off center and exaggeratedly flung movement was more in line with the choreographers intent than the Kirov’s more classical approach the technical skill, speed & elan that the Kirov brought to it just wasn’t apparent here. True, the Kirov dancers are among the best in the world and some may find the comparison unfair but when your advance publicity heralds you as the best ballet company in North America I think it not only invites comparison to the best in the world, it demands it.

I also love Robbins’ Glass Pieces and was really looking forward to seeing the 3rd movement - but I found it flat and was stunned at how a piece that I recall primarily for it’s relentless pulsating energy could feel so low energy...

Interesting that Yuan Yaun Tan provided me with both highlights and lowlights of the evening - I really disliked her in the Swan Lake pas de deux. I don’t know if what we saw was her interpretation or Tomasson’s but one of them needs to write both “Odette is not a bird” and “Swan Lake is Petipa/Ivanov, not Balanchine/Eifman” at least 1000 times. The jutting elbows, angular arms and bird head shakes just didn’t cut it for me.

Then, after deciding that she was not a dancer I was going to like very much she totally won me over in Fifth Season, I thought her line and phrasing were gorgeous here, and this was my favorite of the new choreography I saw at the gala, I found the rest fairly forgettable.

Nutnaree Pipit-Suksun was very impressive, I would love to see more of her. I also really enjoyed Tina LeBlanc in the Harlequinade pdd.

On opening night Pascal Molat was my favorite of the men who, again, I thought were a mixed bag. Helimets, Smith, Martin all looked like very elegant “dancers noble” and wonderful partners but I don’t recall being impressed with their technical abilities. The virtuoso dancers like Boada and Garcia were impressive, but I found them a little sloppy and lacking in refinement. I know it’s unfair to form such strong opinions on the basis of so little exposure (and my opinions of Garcia & Molat kind of reversed after seeing each of them in Sylvia), but that’s the only perspective the gala program offered.

Sylvia - Wednesday Tan/Garcia/Possokhov/Castilla & Thursday Miner/Molat/Vilanoba/Sofranko

Well, first things first. San Francisco Ballet does style itself as a ballet company, and as a ballet this just didn’t cut it for me. The beautiful score is intact but IMO the costumes, scenery and most especially the choreography compares very unfavorably to the Ashton version. I see there have been lots of people, both in the audience and on this board who disagree with me but to my eye for most of evening it just looked like Morris took modern dance choreography and stuck point shoes on the women. And the women were far the worse for it. Much of what he created for the men looked ok but for most of the evening the women looked awkward and ugainly. I don’t care if the steps are hard to master (they looked hard), I found it ugly. I had no problem with the gender bending, the overt sexual references or the near nudity but those dryads in the beginning just looked like pelicans on pointe, and anyone who objected to Wheeldon’s ballerinas bending over in Evenfall should see the way Morris has these dancers sticking their butts out here.

That said, though I didn’t really like this Sylvia I didn’t hate it either and taken as a dance drama (or comedy) rather than a ballet the piece had it’s pleasures. I liked the use of the swing in the first and second acts and thought the 3rd act pdd was very inventive in it’s use of the veil to restate Sylvia’s character transformations and her relation to Aminta. I liked it’s subsequent change into a scarf and the reference to La Bayadere. I liked the ending to their pdd with the exuberant swings and high five symbolism and I loved (yes, loved) Aminta’s 3rd act solo. This was a beautiful, musical, inventive variation - too bad the rest of the choreography wasn’t at this level.

Having a generally negative reaction and then liking aspects of the 3rd act so much is what made me decide to see it a second time. While Tan is a far more technically accomplished dancer than Miner I didn’t like her interpretation as much. She seemed very tomboyish and almost peevish ( I seem to recall a lot of head shaking & foot stomping) as opposed to Miner’s more expansive, Amazonian take on the role. Yet Miner’s line & technical skills didn’t impress. Like drb, seeing Miner made me wonder what Mearns would look like in the role. Maybe it’s just the blond beauty connection but somehow longing for Mearn’s gorgeous line and musicality while watching Miner isn’t exactly a ringing endorsement of her interpretation.

I hadn’t been overly impressed with Garcia at the Gala but I liked him very much as Aminta (I had seen Rasta Thomas in the Brubeck solo recently so perhaps Garcia was the victim of another unfavorable comparison at the gala). His dancing in Sylvia was very elegant and his solos both virtuosic and refined. Molat, who I loved at the gala struck me as being a little more rustic in his characterization and also a bit less elegant in his dancing, though also enjoyable.

The houses have been very full, though not completely sold out. The curious thing is that the audience seems very different from the typical NYCB or ABT crowd. Morris devotees, perhaps?

I figured it might be time to start thinking about the winter season so I just went to the City Center website and was shocked to see that the night of November 1st is already listed as sold out. Tickets haven't even gone on sale yet, what's up with that? The program is Drink to Me Only With Thine Eyes, Clear, and In The Upper Room. Anyone have any ideas about what might be going on?

This is a very interesting thread, but then Vishneva is a very interesting dancer, to say the least!

... Still her claim to immortality as I have mentioned before, for me, is her performance in Ratmansky's Cinderella

Buddy, I wonder if you could elaborate a little on why you felt hat Cinderella is Vishneva’s best role. I haven’t seen the Ratmansy version but having seen the Ashton and the Kudela I’m having trouble picturing this role being anyone’s best

...

There are artists, like Luciano Pavarotti in his pre-Three Tenors days, who always play themselves... But there is no doubt that the artist supercedes the material. I've seen Vishneva live once, in Sleeping Beauty, and didn't for a moment think I was watching Aurora. There were some very lovely things that she did in that performance, but I felt like I was watching The Diana Vishneva Show.

(Someone has to be Scrooge...)

Interesting observation. I’ve certainly felt an element of “The Vishneva show” each time I’ve seen her dance but I felt it the least in Sleeping Beauty. I think one of the reasons she gives this impression is that a common thread each time I’ve seen her is her extrordinary stage presence and the huge scale of her dancing. As beck_hen points out, that’s not necessarily a bad thing.

Actually, I'm on the same page in that I've preferred the interpretations of others in Giselle, Swan Lake and R&J, the roles I've seen her in. But I'm interested in what she does, and her facility is huge. It's true she doesn't disappear into a role, but she announces herself as a ballerina, where others don't seem to do so no matter how satisfying their individual performances are...

I'm not sure she has any emploi in the traditional sense—she is a singular performer and has to find a unique way into each role.

I’ve seen her in Ballet Imperial, Rubies, Swan Lake, Giselle, Sleeping Beauty and R&J and I also prefer other dancers interpretations of everything I’ve seen her in -with the exception of Sleeping Beauty ( I’m with Gottlieb on that one!) But her technique is so powerful, her phrasing and line so beautiful and expressive and her artistic vision is so uncompromised that I think the fact that I may ultimately prefer someone else’s interpretation is completely beside the point. The point is that she provides such a unique experience that to miss a Vishneva performance is unthinkable in the same way that 30 years ago it was incomprehensible to miss a Makarova or a Kirkland performance. You go if you can get there.

I also think that the scale of her dancing and the unconventionality of her interpretations are the only things that are the same about the way she approaches different roles. That’s one point where I guess I disagree with Helene. Unlike many dancers who never seem able to submerge their personalities to the demands of a role Vishneva seems to approach each role differently. Her Aurora couldn’t be more different from her Giselle, who is completely different from her Juliet etc. Which is the way it should be. Not to mention the fact that she never seems to do the same role exactly the same way twice. She is endlessly fascinating. She may never be my favorite Odette or my favorite Giselle but she is well on her way to becoming my favorite among the current generation of ballerinas

Susan

I agree with most of the praise for Vishneva & Corella that’s already been posted here - I thought Vishneva’s Juliet was beautifully danced and like her Giselle, a fascinating and highly individual performance.

beck_hen writes “When Vishneva is really on, as she was last night, she has the ability to make completely controlled technique seem utterly spontaneous” and that is a perfect description of her Juliet. She was riveting. Her portrayal was so well built, detailed and dramatic yet it appeared to be completely spontaneous. It was impossible to tear your eyes away from her. It was particularly rewarding to watch the interactions between her and Veronika Part as Lady Capulet. As drb pointed out we are very lucky here in NY to have in Vishneva and Part two ballerinas who “write each performance anew”. It is a rare and precious gift.

I really liked Vishneva and Corella together and hope this partnership continues. I saw him with Ferri last year (or maybe 2 years ago) and loved the boyish enthusiasm he brings to the role, his natural brio serves it well.

I have no criticism of Vishneva’s dancing here – this time out she was marvelous. The thing that struck me at the beginning was the expressive use of her arms, and how gawky her Juliet was in the early scenes. Even in the first scene with Paris, she really seemed to be a very wild, almost geeky teenager with none of her mother’s grandeur or social graces. She seemed very out of place in that household. When she met Romeo she was transformed and after their first discovery of each other there was an explosion of passion. In the bedroom scene it seemed like he had to literally escape from her, she was not about to let him go. Whereas Ferri's Juliet is girlish and innocent, Vishneva's is girlish and wild, completely unprepared for her role in society. I think I would have preferred a little more modulation in her characterization but on the other hand, perhaps the extreme and uninhibited nature of her performances are part of what make them so exciting.

ABT really did bring out the A team for the first R&J. As FauxPas noted, this can be a tough ballet to sit through. Often it feels like you’re just waiting for the next pas de deux but it’s much more enjoyable when all the roles are well done, from top to bottom!

Erica was replaced by Marian Butler as the lead pirate woman tonight (July 7).

Corsaire is the kind of ballet that you just don’t go to see if you’re offended by blatant displays of virtuosity, but even for Corsaire I think tonight was over the top. There was a big group of teenage girls there absolutely screaming & squealing for each big trick and especially for Cornejo, who was awesome. Not only were his variations jaw dropping, he also acted the part very well and made a charming Lankendem. After Cornejo’s big variation in the market place I turned to my husband and (jokingly) whispered “wonder if Corella will try to top him”. As a matter of fact it looked like that's exactly what was going through his mind, resulting in the sloppiest pas de trois variation I’ve ever seen from him. I usually love him in this, but he really tried so hard that he lost his form and actually tripped himself up with a couple of very visible mistakes.

I was really looking forward to seeing Part as an Odalisque, and she did not disappoint but I was also surprised at how much I liked Ricetto in the first variation and Abrera in the second.

Reyes makes a charming and technically dazzling Gulnare and Hallberg was a pleasure to watch as Conrad but the real surprise was Herrera - Hallberg really brought out something special in this dancer that I don't usually care for. She was both modest and sparkling at the same time and she was so engaged when they were on stage together, she danced with almost a reckless abandon in their pas de deux. As much as I love Hallberg I don’t always like the combination of him and Wiles, so I find the idea of this as a potential new partnership very exciting. It seems to bring out the best in both of them.

Nysusan, how did the Kent performance go?

It was quite flat - not much of a surprise there. Kent was meltingly lovely from start to finish. She looked so cute shaking her little bow at Eros and the audience wasn’t about to quibble over a few wobbly pirouettes...

Saveliev was fine, as were Radetsky as Orion & Lopes as Eros but none were particularly distinguished. Kristi Boone danced well but didn’t have the same authority as Carmen Corella as Diana. Still, I was glad I went to see it again, it’s a lovely ballet. Getting to see Fang and Grant DeLong as Jason and Ceres was worth the price of admission.

beck_ hen, you’re in for a real treat with the Herrera/Hallberg Romeo & Juliet. I just saw them in Corsaire and Herrera was a completely different dancer from the one we saw in Sylvia. At first I thought it was because the role of Medora suited her and the circus atmosphere both allowed her to be more effusive and at the same time made her look somewhat demure (compared to Reyes, Cornejo & Corella). However by the time the 2nd act pas with Conrad came around it was clear that the partnership with Hallberg was a big part of the equation. They have great chemistry, he really brought out the best in her and I regret that I won't be around to see them in R&J.

Don't forget Old John's - a diner on 67th just east of Amsterdam. It may be a bit more expensive that your average diner but the menu goes from soup & salad to burgers to entrees - and it's just minutes from the back entrance to Linclon Center!

Herrera is not one of my favorites either, but reports have been good lately and last year one of the papers said that she was their favorite Sylvia in the whole run (I can't remember which reviewer it was, but I think the review said that she was able to do all the hard parts and was more lyrical than Murphy in the last act)

That was enough to convince me to buy a ticket for tonight, and I hope you will too!

Quoting myself (!), either I was remembering last year's rave review for Herrera incorrectly, or I absolutely disagree. She was fine, and I thought this was a good role for her in general but if I was advising someone on which Sylvia to see it would be Murphy - emphatically. I always thought of Herrera as a great technician who lacked lyricism and flow in her upper body, but I agree with Faux Pas that even technically she was no match for Murphy. Her leaps didn't soar (I found them kind of clunky), and I found her lacking in musicality and phrasing. I also thought her interpretation wasn't well defined. Murphy used the individual qualities of the steps as well as acting to delineate Sylvia's personality very distinctly in the 3 acts, I found much less differentiation in Herrera's interpretation. In the first act she did have bounce & enthusiasm but was too sweet to be believable as a proud, fierce Amazon and at the start of the 2nd act it really wasn't that clear to me that she was plotting against Orion and not just enjoying a little dose of hedonism - whereas Murphy's intentions were crystal clear. Her third act characterization was much better but, again, as Faux Pas said she wasn't on technically and her timing seemed off.

I thought Corella's characterization was perfect for Amnita, so open & guileless. His leaps soared but I don't think the quick Ashton changes of direction looked good on him. I agree that Pasteur may have been a little small to partner Herrera effectively, but I still really liked him in the role.

...Sarah Lane was delicious as the Goat-Girl but seeing her and Veronika together doing little bits after having leading roles in the City Center season was a little depressing. I wish that ABT would put together a gorgeous new Desmond Heeley production of "The Sleeping Beauty" ... The parallels between "Sylvia" and "Sleeping Beauty" made me connect the two in my mind. There are inspirations from "Beauty" that Ashton has taken and transformed for "Sylvia" - clearly this was intended as Ashton's "Beauty" for Fonteyn. Kevin spends a lot of money and energy finding vehicles to keep his superstar men happy, he needs to start paying equal time and attention to his junior women...

From your lips to McKenzie's ears!!!!!!! I was in DC for the Royal's Sleeping Beauty and so much of Sylvia reminded me of it, especially the pastel costumes and pastoral scenery, as well as the style. I wish ABT would bring us THAT production (with a few minor changes, of course!)

... Also, I think Veronika might make a stronger Sylvia than Julie Kent who was wobbly in it last season.

I haven't seen Kent (yet) , but I was just thinking that if Kent can do it surely Part can

and finally,

... I appreciated the ballet more as a whole tonight; it may be mostly a frame for the ballerina, but what a beautiful, gilded, rococo frame it is..

I really love this ballet, and last night I just suddenly realized that the season is almost over and that it will be a long time until NYCB starts its post Nutcracker run (I'll be out of town next week and miss most of the R&Js). So against my better judgement I've decided to go for one more and give that Kent/Saveliev/Radetsky cast a chance!

beck hen and faux pas - it was great to meet you, I'll look for you next time!

Disaster/farce has struck! One of the locks on my apartment isn't working properly, so, today of all days, my boyfriend locked me into the apartment when he went to work. I had a ticket for today's matinee! I tried going down the fire escape, but the bottom ladder to the ground wouldn't budge. Apparently, in case of a real fire I'm supposed to go up to the roof. I'm not sure what is supposed to happen after that! Rescue by helicopter? Needless to say I'm supremely annoyed and await your reports eagerly. If I had enacted the escape I'm sure I would qualify as a real balletomane. Do you think it's worth going tonight instead? Herrera is not a favorite of mine but she seems to be on a winning streak.

That is a disaster!!!

Herrera is not one of my favorites either, but reports have been good lately and last year one of the papers said that she was their favorite Sylvia in the whole run (I can't remember which reviewer it was, but I think the review said that she was able to do all the hard parts and was more lyrical than Murphy in the last act)

That was enough to convince me to buy a ticket for tonight, and I hope you will too!

Hi Chauffeur! Cory Stearns looked fabulous in a couple of the 3rd act national dances at both the Part & Vishneva Swan lakes, but I didn't notice him in Sylvia on Monday. Doesn't mean that he isn't the dancer beck hen was talking about, just that I didn't notice him

I saw Murphy's Sylvia last year. I liked her then but after Monday nighty's performance I think she has really come far in terms of delineating Sylvia's character development throughout the 3 acts. She is a dancer with such technical prowess but she really has a hard time portraying tenderness & vulnerability so, yes, this is a great role for her and I was really glad to see her bring some of those elements into her portrayal. Belosekovsky and Gomes were both great and it was wonderful to see Part & Underwood, even in such small roles. I also liked C. Corella as Venus, another small role that was done well.

This was my 3rd viewing and the ballet dragged a bit in places but I still love it, for me it is a very welcome addition to ABT's repertoire. As for the length - or lack of it - I think part of the problem is McKenzie's self imposed mission to "streamline" his full length ballets . As far as I'm concerned it's one of his most misguided policies, but it's clearly a priority for him. I recall reading that when the Royal first revived Sylvia they presented it with 2 intermissions and McKenzie ditched the 2nd intermission for ABT's version.

I'll be interested to read reports on the Wiles/Hallberg Sylvia. I saw Wiles last year and thought she did a pretty good job. Since reports from ABT's recent West Coast engagement were pretty negative I'm looking forward to hearing about this performance.

It had occurred to me that perhaps Vishneva was under the weather, or nursing a minor injury or deprived of rehearsal time etc. Still, she is considered by many (including me) to be one of the 3 or 4 greatest ballerinas of her generation, and has begun to be spoken of in the same breath as Ulanova, Fonteyn and Makarova. While I sympathize with Vishneva (and anyone can have an off night) I think a dancer of this caliber must be held to higher standards than mere mortals, and it must be noted when they turn in a sub par performance.

It should also be noted that most of the audience was enthralled by the performance. It will be interesting to hear what the local papers have to say.

Also - Makarova and brittle don't belong in the same sentence IMO. While Vishneva did bring Makarova to mind last year, I thought that this performance couldn't have been farther from Makarova's approach. Especially with regard to the lack of poignancy in her portrayal and the lack of elasticity and expression in her back. The 4th act was her best and her arms were gorgeous, but a little too superfluously swanny to me. Melt she did not. Up to a meeting for next time better (in my best Dianglish).

I must say, I was surprized to read that ABT's version of Swan Lake is so tradtional! Unless they have changed the setting, the story, and the choreography markedly since last year, it is, for me at least, an absolute travesty, and anyone with the least knowledge of its history should know that. A traditional Swan Lake has a lot more than just the Ivanov white swan pas de deux and the Petipa Black Swan, and ABT's version is wrongheaded in so many ways, theatrically and choreographically.

Cargill I agree with you 100% . It's unfortunate but these days when we are subjected to ballets called Swan Lake that feature Odette confined to a mental ward or Von Rothbart dragging a dead swan across the stage or a Can-Can in the third act I can understand how a mass market review can consider any production that hews to the basics of the story and includes some of the traditional choreography to be "traditional". Not only McKenzie's, even Martin's version is considered by some people to be traditional in relation to what's out there. Perhaps we need to start a truth in advertising campaign for ballet companies. I understand that Swan Lake fills the seats, but there should be some basic requirements for calling a ballet Swan Lake besides just using the Tchaikovsky score.

Wednesday Night's performance...

Well, I guess I'm not a Vishneva fan. I enjoyed but was not blown away by the performance she gave in Giselle last year that had the NYtimes etc gasping for breath, and tonight was nothing less than a disappointment.

Also--anyone else find it odd that a swan queen drowns? I always do!

Aurora - I am a great fan of Vishneva's. I loved her Giselle and her Aurora is stunningly beautiful. I loved her in Swan Lake with ABT last year but I was also dissapointed in her performance last night. Gone was the beautiful, flowing upper body she showed last year. This time she looked very angular. Her Odette was regal and passionate but not the least bit vulnerable or tender. There was ZERO chemistry between her & Carreno. After a slight bauble in an assisted turn she actually broke character and flashed him a big smile for saving the turn. It was only an instant but it pretty much told the story of the whole evening - it was a very deliberate performance, never "in the moment". Shockingly bad, especially after the monumental Part/Gomes Swan Lake in the afternoon.

Re: the Swan Queen drowning - she has to drown herself while in her human form, which is why she's in such a hurry to do it before she turns back into a swan.

drb, what a beautiful description of the performance. It was magnificent, Part and Gomes together were magnificent. He really did end the first act with a soliloquy, a poet-prince. He was such an ardent prince, so ready to meet Odette it was as if she answered the call of his heart. The dancing wasn't bad either!