Giselle05

nysusan- I'm so glad you liked it! I was there as well. I think it is one of those historical performances that people will be talking about years from now- "Wow, you were there when Bocca, Corella, Cornejo and Carreno did Le Corsaire?" ...It was just amazing. Bocca attempted the triple tour again, and was successful, if not as spontaneous as last Thursday. :rolleyes: Corella was unbelievable, as was Cornejo and Carreno, who I enjoyed more than on opening night. Reyes was great, and Kent just beautiful! Really an improvement from the first night, everything was very clean; she seemed to have gotten all the technical elements under her belt, and looked much more free. She looks so beautiful on stage. The pas de deux in Conrad's cave really moved me- Kent and Bocca have this joy that permeates their dancing and they obviously enjoy dancing together- what an amazing rapport. Looking forward to Swan Lake and Giselle!

Is the Pas D'esclave the pas de deux between Medora and Conrad in Conrad's cave? I would like very much to have a copy of the music from Le Corsaire as presented in ABT's version..and I especially adore the music in that pas de deux.

LOVE THAT!!

Women: Alessandra Ferri: legs, feet, sensuality, eyes, accent Nina Ananiashvilli: arms, neck, eyes Darci Kistler: arms, hair, grace Julie Kent: face, smile Sofiane Sylve: whiplash turns and balance Svetlana Zakharova: extension Suzanne Farrell: mystique Ashley Bouder: ballon Maria Kowroski: allure Men: Julio Bocca- smile, torso, arms, hands, buns, sensuality, flashing eyes Angel Corella- face David Hallberg- legs, stature Joaquin de Luz- smile Bocca, Cornejo, Carreno- "hispanic testosterone" Damian Woetzel- hair, flair :rolleyes:

I was wondering if anyone knew who wrote the music for the pas de deux between Conrad and Medora in his cave, in the second act. And as a matter of fact, the music from the beginning of the second act as well. It is just so beautiful, and I would love to own it.

OH NO!!!! Ferri has withdrawn from the July 11 Giselle!!! Well, I had tickets for both... Kent and Bocca together again- I knew the chemistry was good (in Corsaire) :-)

I was thinking thesame exact thing! Also, during Gomes' solo...I was thinking, wow, I hope Bourne sees this..

nysusan, I'm so glad I had influence! I really hope it is as amazing as it was opening night- they just really gave their absolute all. I'll be there, too- looking forward to hearing what you thought of it!!

So I finally saw it this afternoon- and I loved it! I've seen many ABT performances of Swan Lake- Kent/Malakhov, Ananiashvilli/Bocca, to name a few- and they are just all so different, but each exceptional in their own way. This was probably my least favorite cast, but I must say I now see Murphy on a whole new level. I, too, thought she'd be a better Odile, but was so impressed by her Odette. She really was so gentle and lyrical, and I loved many of her small nuances. During the close-ups, I loved her facial expressions- she really looked the part of a terrified, young maiden turned swan, not able to trust anyone and frightened by the prince. I thought the chemistry between her and Corella was very good! I didn't see "zero" chemistry at all! Corella really looked in awe of her. And his characterization really moved me- he was so genuinely drawn to this swan-princess and looked hopelessly in love, and towards the end, desperately so. I didn't think it was over the top. One thing that I did find strange, though, was in Act 1- and especially during the Pas de Trois- when Cornejo(s) or Reyes would finish their respective variations, and walk off aknowledging the prince, Corella had a strange expression- like "Yea, whatever, that was pretty good...do I know you?" I'd expect Corella to flash that great smile of his or show some appreciation or excitement. I think the whole first act looked a little stiff because it seemed as though they were all trying to be something they weren't- too perfect, i don't know- from the corps to the principals- Corella was almost unrecognizable- I wish he could've just let go and been himself. I guess it looked over-rehearsed. But I still loved it! And I am very glad this cast was filmed, because it will be so interesting to see both Corella and Murphy develop if McKenzie continues this pairing. Loved Gomes, and Cornejo "The Swamp Thing"- what a fitting name- I can't agree more...I was realy bewildered...and everytime he came on I'd just start laughing I wish he could just wear a big black robe or something.

I have only ever seen Vishneva and Malakhov (not live) in the bedroom scene. I too would love to see Ferri in it...how long ago did ABT do Manon?

I'm glad, bart. :-D The thing is- there was no loss of youthful power evident on that stage...with plenty of artistry!

I saw the opening night yesterday. What an unbelievable night. It was really a three hour competition between four of the biggest male stars in ballet. Bocca, Corella, Cornejo and Carreno all on one stage at the same time. Cargill, I agree about Carreno. His pirouettes of course were absolutely superb, but he didn't seem to have the charm, even evil charm, that Malakhov had. By the fourth time he demanded some money from the Pasha (the signature palm clapping) I was beginning to wish he'd just hand it over. While watching the tape with Malakhov, I always found myself wondering when he'd come back, but that wasn't the case last night with Carreno, especially with all the other superpowers on stage. To be honest, I didn't know where to look, I was getting dizzy! Bocca would come flying on stage, then I'd spot Cornejo flying on from the other end, Carreno whizzing off pirouettes in the back, and Corella dutifully tending to..everyone. Looked great doing just that . However he stole the show during the famous Pas de Trois- the house was just roaring. What a mind-boggling night, I'm still getting over it- and I may just have to go see this cast again on Tuesday. Cornejo was just amazing, what a seductive pirate he was! That was my first time seeing that side of him, and I just loved it. After Bocca and Corella's tour de forces, Cornejo came on in some sort of traveling tour with one leg in passe and the other out to the side- he was soaring. In fact, I couldn't hear the music for about two minutes, people were applauding for Corella, then didn't stop when Bocca came on, and no less when Cornejo did. It was like they were competing- very fun to watch! Bocca was just remarkable- no less remarkable than say, ten years ago. Bocca was older than everyone on stage, but looked younger and better than ever! He did an incredible circle of grande jetes that included side split leaps!! -jete, jete, jete-jump to the side-split-jump back to arabesque jete. It looked like a spur of the moment thing. As someone said back in January when he was at NYCB, gotta love a guy who's living on the edge. Then at one point (perhaps at the climax of the pas de deux) he flew on and did a tour en l'air- and I swear, the guy did THREE. The audience gasped, and that's when I was pretty sure I wasn't hallucinating. Can anyone confirm this? What blew me away was the partnering. Julie Kent was definetely not at her best, obviously with some time taken off, but she was, as always, beautiful to watch nevertheless. In Bocca's hands, she whipped out ten pirouettes like it was nothing- everything was so smooth and controlled. It amazed me especially, because on pointe, Julie towered over Julio by about 1 or 2 inches. Also- what chemistry the two had! This may well be the next McKenzie pairing- they were just beautiful together. They swept me away during the "bedroom scene"- maybe its just Bocca at his best, but everytime he does it, i.e. nuzzling neck, smiling so genuinely, embracing, laughing, looking straight into the eyes nose-to-nose, I completely believe it. Last night was definetely special, however. I'm looking forward to their Swan Lake, though I'm a little nervous for Julie...giving her current...er...technical setbacks. She pulled off the 32 fouettes just fine though, and the audience breathed a sigh of relief. Absolutely wondeful pas with Barbee's Pasha I also have to give Reyes a hand- what an outstanding Gulnare she made! Everytime she was on stage, she stole it. You could not take her eyes off of her- she had this boundless energy- and imagine the responsibility she was carrying- must have be quite some pressure. She didn't back down one bit and was very much a part of making the performance the huge success it was. Another treat were the Odalisques- Riccetto, Part, Bystrova. I loved Part- she was very secure and just gorgeous. She has such a regal presence and is such a beautiful dancer. I thought she really stood out among the three- all of whom were excellent. What I am very much confused by is- after all the gushing, and yelling, and "Brava" "Bravo" and "Bravi" where did all the curtain calls go?? They all gave their hearts to the performance, truly outdid themselves, and were phenomenal- they deserved so much more! I don't remember exactly, but I think Corella was the only one who got two calls (please correct me if I'm wrong)...and the principals didn't even come out altogether as they usually do. It was all very short...then the curtain just came down and the lights came down, and I saw many bewildered faces. Any one else feel this way? Apparently Tuesday is almost sold-out, so if you can go see it, don't miss it!

I saw three performances...why not, right? Les Sylphides Murphy, Kajiya, Riccetto, Beloserkovsky For me, Murphy is not a Romantic ballerina. She looked a bit stiff and chemistry was not palpable between her and Beloserkovsky. What really bugged me though, was that they were off the music on many of the well-known Chopin phrases, Beloserkovksy would lift her too late and set her back down too early, I didn't feel that connectivity with the music that I think is so essential in a ballet like Les Sylphides. Ricetto, Butler, Hamrick, Hallberg LOVED, LOVED, LOVED this cast!!! Hallberg is my new favorite up and comer! He is just so elegant, his dancing is so sincere and every single tilt of the head has a meaning. And he is so gorgeous! He is a replica of the young Godunov.. he has this unbelievable stature and presence. And those feet...his landings are so soft, like a cat. I loved Riccetto with Hallberg, I thought they had great chemistry and looked lovely together- just the fact that they are opposites, Riccetto is a petite, graceful brunette and Hallberg, this tall statuesque blond..I just loved it! Riccetto is a beautiful dancer, she is so proficient and consistent technically, but also has such beautiful phrasing and quality of movement. I can see her moving up in a few years...it just takes time to develop that aura, and presence a prima ballerina has. I'm so happy for her- the way she lived up to and exceeded the expectations the audience had for the evening (I was one of those who sighed quite loudly when the announcement about Kent was made). Melanie Hamrick had a great first turn- she seemed very nervous in the beginning but it was nice watching her anyway- something about her youthfulness probably added to it. Towards the end, she loosened up and began to smile, and her jumps really flew. It was a pleasure A word about Zhong-Jing Fang- what a gorgeous dancer. So fluid...I agree..I see a Giselle in the future.... Petrouchka McKerrow/Abrera, Bocca, Gomes PAmom, I'm also one of those who adores this Petrouchka! It was so colorful and lively. I do agree however that the title isn't quite appropriate. The ballet doesn't seem to be about Petrouchka, and "A Russian Carnival" certainly would have been more fitting. They captured the Russian spirit so well, with all the folk dances, and the snow, and the drunkards (by the way, brilliantly done by the four corps members- Roman Zhurbin stood out especially- and as the Chief Coachman as well) Gomes was just brilliant as the Moor, he was so funny, and adorable. I loved McKerrow as the doll, she had the perfect air of ignorance and flirtatiousness, and batted her eyelashes and blinked nonstop- very cute. Bocca I loved as usual-from when he first ran down the stage from his spot in the "teatr", limping, with his arms folded across his knees and his head down, he embodied the miserable, forlorn doll who no one loves and no one cares for or needs. He was so genuinely in love with the doll and visibly (and audibly) excited whenever she was around. I found myself having to relax my face as I was watching him- I felt so much empathy for the poor doll's anguish- and he had some adorable moments. When he ran into the hole in the wall, Bocca was actually "weeping" as he was hanging there- I appreciate sound effects like that! I wish that there was a pas de deux between him and the Ballerina- wouldn't that make sense? Anyway, it was geniously done. La Spectre de la Rose Riccetto, Acosta What I loved about Acosta is that of the three men I saw, he was the only one, IMO, that really understood the role. He was masculine, yet appropriately feminine at the same time, and had perfect upper body movements and gestures- sensual yet elegant. What was lacking was the virtuoso prowess of the other two. Reyes, Cornejo Cornejo was the clear winner. I've changed my mind about him in this role since seeing him at the Opening Night Gala. He mixed virtuosity with everything that Acosta brought to the table, and more. His jumps were, it seemed like, mutiple feet above Reyes' head as she sat in the chair! :rolleyes: It was just unbelievable. Riccetto, Corella I think this was an off performance for Corella. He came on stage through the window with a *BOOM* and crash, literally. Normally one of my favorites, he didn't really seem to get the part of the role that calls for him to embody the spirit of a rose, that a girl brings home from a ball - he was trying to get in as many jumps as he could, and that night, those weren't too successful and didn't add to or make up for the part that was missing. (I did love him in Corsaire though!!!! ) Polovtsian Dances Carreno, Boone, Paris I must admit I only stayed for one of these, having seen it at the Gala as well. Loved Carreno, who brought macho-ness and power, and perfect pirouettes to something I wouldn't necessarily include on an ABT program. Boone was very pretty as the Polovtsian Princess. The winners in my book: Bocca, Cornejo, Riccetto, Hallberg That's all

I was at ABT last night, so I missed the broadcast, but I've already ordered the DVD. It's on backorder and will be shipped out July 15....just a heads up. However I will watch it this Sunday :-)

Aww...Wendy said all that? (sorry a little confused hehe) I wish I could have been there... I was so touched after seeing After the Rain, and I wanted so badly to see it once more, but I couldn't. Hope to hear more!

Ok, how about Corella? I've always thought it was just that, Corella, and then I heard a few people say something like Corei-a. (like hey-a :-)) Anyone know? And, I'm not sure if this was covered before, but what about Xiomara?

Anyone go?

Oh no!!! Ferri isn't doing even one?? I suspected this earlier- on the calendar she was listed, but if you clicked on "buy tickets" her name wasn't listed on the met opera website....oh no. :'-( Well, there's Giselle... I agree, no Nina, no Alessandra...Oye.

I, too, went last night. To me, no words can express the way they dance together in pas de deuxs like these. I also went last Friday (when they danced this for the first time) and I thought that yesterday especially, (probably because they gained more confidence) they poured all their hearts into the piece. I sat at the front of the orchestra- I could hear them both breathing heavily with exasperation, they were just completely living the role. There was a beautiful part when Ferri would walk slowly, with Bocca clinging onto her arm and crawling behind her, then stop and fall back into his arms, then switch so her face was on top of his, and they'd embrace. They conveyed the drama so perfectly, how Onegin is in love with Tatiana, and she has not lost her feelings for him, but yet she can't do anything about it- it is too late. When Ferri ripped up the letter, she thrust it into Bocca's hands, her arm trembling. Ferri managed to have that stone cold look of defiance yet at the same time looked like she was about to burst into tears. There was some extremely difficult partnering- she'd jump and Bocca would catch her under her arms in the nooks of his elbows. Everything went very smoothly. Bocca, with his greyed hair and mustache, was extremely gentle yet ardent and desperate with passion. They got two curtain calls I was impressed with Michele Wiles in Theme and Variations- I'm not a big fan and was very displeased when I saw her on Friday in Ballet Imperial, just because I thought her demeanor wasn't suited for the ballet. However yesterday, it seemed right, and she pulled off all the technical elements with ease and seemed to truly be having a good time. I enjoyed it much better than Friday's cast, with Paloma in the lead. Paloma was paired with Angel, who was trying so hard to catch Paloma's eye and add some cute coyness (or simply just make eye contact) and Paloma just would not have it, simply ignoring him throughout the entire thing. I loved Diana Vishneva in Ballet Imperial. She has such a regal, commanding, queenly presence, and though she could have lightened up a bit in the beginning of the ballet (perhaps she was nervous) I found her perfectly suited to the role. I thought her and Malakhov were perfect together- the way they danced it really distinguished it from Theme and Variations, which didn't happen on Friday night (Murphy, Beloserkovsky, Wiles). Malakhov stumbled a bit on his solo parts, but it was probably because he's been off the stage for a while, and he still looked a little uncomfortable to be back on. McKerrow and Beloserkovsky (White Swan PDD) don't go together well IMHO. Her small nuances are not cohesive with his- they seem to see the roles differently and to me, it showed. I loved Friday night's cast of Julie Kent and Jose Manuel Carreno. Julie she looked much more confident than on gala night, and her performance was very deeply felt, and just beautiful. I loved watching her with Jose Manuel Carreno. nysusan, don't forget you've also got Giselle with Ferri...if you can go I hope that June 22 Les Sylphides performance indeed comes through..

Anyone see Bocca's last Don Quixote? I'll review shortly :-) Just came back from Tschaikovsky Celebration.

Did you notice, in the Grand Pas from Don Q Suite with Carreno and Vishneva, as she was turning in his arms, something happened, and she sort of started to fall in his arms and he almost couldnt catch her, so they made it into this long back bend..it was funny. At the end, when all the female principals were doing grande jetes in a line, Vishneva almost landed on Reyes' feet, who looked stunned and tripped a little bit. I agree, Herrera didn't have the spark she usually has in this ballet, perhaps she was saving for tonight? Bocca and Ferri were absolutely incredible. I am literally at a loss for words. They are so in sync, so perfect together, and they truly seemed to be dancing for each other and not the public. Yes, there was some heat!!! Heat doesn't even sum it up :blush: They were nose to nose almost the entire time. The partnering was so easy, clean, and powerful- Alessandra looked like she was just floating through the air..and her legs are so gorgeous!!! At their curtain call, they shared an adorable kiss as he presented her with flowers La Spectre de la Rose failed to move me. Cornejo has nice jumps, nice line, but something just isn't there for me. I don't think that he and Reyes have very good chemistry- at least it wasnt evident last night. I feel like the piece should be much more mysterious and romantic than they made it. I loved Kent and Malakhov, as I always do. She embodies the White Swan for me, she is so lyrical and beautiful. They look so great together on stage. I thought Abrerra was very pretty in Polovtsian Dances. It didn't showcase her that well but she looks like a very beautiful dancer- I've never seen her in anything else but Sinfonietta. Hmm...I think that's it for now. Overall I thought it was a very successful evening...and so glamorous!

OK, so tonight's gala is on. Wednesday is Bocca's final Don Quixote- I am wondering, if god forbid there was a strike, what would happen? Guess it'd be rescheduled...

OH. NO. Ive got tickets to 3 nights this week. Yes, what is the source??? ::PRAYING::

Julie Kent, Nina Ananiashvilli, and Stella Abrerra.

Mikhail Baryshnikov, Vladimir Vasiliev, Julio Bocca, and Angel Corella. Baryshnikov will dance the variation from the Grand Pas in Don Quixote, Vasiliev will dance Spartacus, Julio Bocca will dance any pas de deux with Ferri as a guesting artist, or as a matter of fact, Todo Buenos Aires would do the trick, and Corella will dance the slave solo from Le Corsaire as many times as the audience wants him to. I would love to see the four do the men's dance from Who Cares altogether to finish off the evening, just for fun. ;-)