FauxPas

I saw the Saturday night and Sunday matinee programs. There was a lot to be happy about though some dancers are breaking through, some are new(ish) and finding their way but not there yet and some looked not in their best form but several shone like jewels. SATURDAY EVENING, APRIL 22, 8:00PM (Conductor: Litton) CONCERTO BAROCCO: Mearns, LaFreniere, Janzen [Solo Violins: Delmoni, Nikkanen] The performance started out somewhat tentatively with a disengaged Mearns and LaFreniere lacking authority. The corps looked under rehearsed. There was a lack of momentum and engagement and frankly speed and accuracy. Everyone was feeling their way into the ballet but not there yet. However, Janzen is a beautiful partner and Mearns came gloriously into focus in the pas de deux. The final fast section suddenly came together and the focus and energy were there. Mearns looked serenely happy at the final curtain call and LaFreniere stepped up her game. It ended on a high note. KAMMERMUSIK NO. 2: *M. Miller, Walker, *Kikta, Sanz [Solo Piano: Gosling] I didn't expect to but I really, really like this ballet. It's different and surprising. Miller looked good and recovered strongly after slipping to the floor. Emily Kikta had a wild, almost bacchante energy in the other ballerina role. This one had the right energy from the beginning. RAYMONDA VARIATIONS: T. Peck, Gordon, O. MacKinnon, Jones, Clark, M.T. MacKinnon, Lundgren Delicious. Tiler Peck glowed with a radiant smile and was again playing a bit with balances and timing like she used to before her neck and back injuries. Gordon also was fabulously classical although I wish in his second variation he didn't vamp so much before going into the turns a la seconde. I particularly enjoyed MacKinnon and Lundgren's variations. SUNDAY MATINEE, APRIL 23, 3:00PM (Conductor: Sill) SQUARE DANCE: Pereira, Stanley Dull performance. Pereira didn't do anything wrong technically but just doesn't engage or excite. Stanley was very good. AFTERNOON OF A FAUN: *Afanasenkov, Grant Here the extreme youth of the dancers really added something to the ballet. There was real unfeigned innocence, callow self-absorption and discovery. Both dancers are physically very beautiful as well as beautiful dancers. Domenika Afanasenkov has lovely arabesque and an ethereal quality. Her sense of languor and remote seductiveness as well as the flowing golden hair evoke Janie Taylor. A wonderful debut. More experienced dancers like Sterling Hyltin and Adrian Danchig-Waring are a little clearer in the mime suggesting when the dancers are connecting more with their images in the mirror and disconnected from reality. But that will come. It was magical. pause HAEIFF DIVERTIMENTO: Woodward, Ball Ball and Woodward are very different from Christina Clark and Peter Walker in this ballet (seen last year). Indiana has a remoteness playing a dream girl as well as artistry playing with the steps. Much more authority and owning the stage than the much less experienced corps dancer Clark. Being so technically strong helps in this. Peter Walker was a guy meeting a girl. Harrison Ball is a dreamer, almost a James in "La Sylphide" seeking his ideal woman. Very different approach and energy. Both "Faun" and "Haieff" give the impression of taking place in dance studios with two dancers meeting by accident, connecting and finally drifting away from each other with the elusive ballerina exiting. Interesting pairing. DONIZETTI VARIATIONS: Woodward (replacing M. Fairchild), Huxley Indiana was piquant and playful and didn't look the slightest bit tired or stressed by the last-minute assignment. Huxley was buoyant, in command and gallant. A lovely performance. I did find a slip in the program afterwards but for a last-minute substitution (Fairchild is still listed on the online principal casting page) there was no announcement over the loudspeaker. BTW: Lots of NYCB dancers and alumni in the audience. Amar Ramasar was conspicuous and I spotted Ashley Hod (recovering from ankle surgery) and several others on the First Ring plaza at intermission time. Evidently Domenika Afanasenkov has lots of well-wishers in the company who were excited by her debut. Also a lot of dancers and Wendy Whelan were cheering from the First Ring seats.

The classical ballet tradition in Eastern European former Soviet satellite countries like Ukraine, Georgia, etc. comes from Moscow and St. Petersburg. The Ukrainians and Georgians know this - it is an imported style. Their native dance style is traditional folk dancing which is more popular. All of these dancers in the Georgian and Ukrainian companies are trained in the Vaganova school from Russia often by imported dancers from Russian companies - like currently Nina Ananiashvili. Given that millions of people love Russian ballet, yes I think these companies can substitute for the tours of the Maryinsky and Bolshoi companies while presenting their own national style with integrity - not just as a "substitute". George Balanchine (born Balanchivadze) was born and raised in St. Petersburg. His whole training was at the Russian Imperial Ballet. There is very little Georgian cultural influence in his choreography from what I can see (maybe "Firebird"??). There is a ton of Mariinsky Russian influence in his ballets - especially pieces like "Diamonds" and "Ballet Imperial" and "Symphony in C". Therefore, what the Georgian ballet dancers bring to Balanchine is what they have learned from their Vaganova classical Russian ballet derived training. I saw nothing Georgian or anything other than Russian classical in their approach to "Serenade" (to its benefit) or to "Concerto Barocco" (to its detriment). I feel that these Western tours by the Ukrainian and Georgian ballet companies also send a message about the humanity and innate gifts and beauties of these people and their right to freedom. It also fills a need to see Eastern European Russian style classical dancing. This is the digital program for the GMU show which would identify some of the dancers who were anonymous this past Sunday: https://dpb-web.instantencore.com/program/42890/state-ballet-of-georgia-b/page/60912/home?cid=5206347

This same program hit the Lehman Center for the Performing Arts at Lehman College in the (very) North Bronx. The company performed the same program as GMU. No program, paper or digital, was provided by the company or the venue. I had trouble finding a website for the company - most online searches reverted to Nina Ananiashvili's personal website. I cannot identify any of the dancers - and almost all of them were very good and showed excellent training. The music was pre-recorded. The hall was less than half-filled and the applause for the Balanchine works was less than energetic despite a well-danced performance. The applause at the end was enthusiastic. Serenade – George Balanchine The company is full of willowy, long-limbed women with graceful arms and high extensions. The men (fewer in number on this tour) are all tall, dark and handsome with slightly angular exotic features and black hair. The neo-Romantic style of this early Balanchine ballet is well-suited to the company. Concerto Barocco – George Balanchine Here one sensed that a more American, faster, sharper style was needed - the arms were very soft and Romantic and the movements lacked dash and attack. It seemed a little slow lacking lightness. Sharpness was needed and a little more speed. The company is better at adagio. No one danced badly and it was enjoyable but stick with NYCB for this one. Sagalobeli – Yuri Possokhov The music is Georgian folk music. Some vocals, lots of drums. The men wear very tight pants and sleeveless vests. The women have long skirts and sort of harem girl tops. There is pointe work for the women, the men (strong) more folk oriented. The work started unimpressively but the dances went from all-male ensemble work to all-female ensemble work to interesting male-male and male-female pas de deux's. It ended with an exuberant dance for the whole company, male and female. It built up momentum and some of the choreography was good. The dancers put it over with a will. Ultimately I enjoyed it though I am not sure I want to see it again. The choice of Balanchine - okay for other regional cities on the 6 stop American tour - was kind of bringing coals to Newcastle. The company is well-trained and highly professional. I wouldn't mind regular visits if they could bring something other than Balanchine to New York. I know the company has a full-length "Laurencia" which is a rarity and I think could be a success. The story of an innocent girl who is raped (or nearly raped) by the corrupt General and incites the Spanish villagers to rebellion has a #MeToo female empowerment theme that would work well in the current cultural environment. The abrupt stoppage of Bolshoi and Maryinsky touring after the invasion of Ukraine has left many balletomanes starved for traditional Russian Classical Ballet. The Georgian and Ukrainian companies with their Russian dance heritage and tradition could fill the gap beautifully. I wouldn't mind if these companies toured the West with opulently mounted Russian classics. Nina Ananiashvili took the final group curtain call with the company and got a standing ovation. https://detroitopera.org/season-schedule/the-state-ballet-of-georgia/

I saw Smirnova dance Odette/Odile in "Swan Lake" with the Bolshoi on tour at the Theater formerly known as New York State several years ago. She was wonderful but could not redeem the truly dire Grigorovich staging which has idiotic ideas suggesting that O-O is totally a projection created by Von Rothbart. Very hard to care about her or the story. Horrible dated 1970's costuming. I don't know who does the Het staging of "Swan Lake" but it must be better than the Grigorovich. BTW: the Russians LOVE the Grigorovich "Swan Lake" and couldn't believe that it was reviled by U.S. audiences and critics. I would welcome the opportunity to experience Smirnova's Swan in a decent staging that respects the original concept.

Youtube clips of the performances in question: 1950's Bolshoi "Swan Lake" as danced by Maya Plisetskaya and Nikolay Fadeyechev (abridged Soviet propaganda film): Beryl Grey in Moscow: Royal Ballet version with Margot Fonteyn and Michael Somes and Benno.

This was posted on a Facebook page - the text is a quote from Grey's 1958 memoir "Red Curtain Up". Lots of points of interest here. The Royal Ballet "Swan Lake" in the fifties was done by Nicholas Grigorievich Sergeyev after the original 1895 Gorsky/Petipa. Things had changed a lot in Moscow by the fifties. In her 1958 book Beryl Grey describes a difference between The Swan Lake she danced in London and Alexander Gorsky's version appended by Asaf Messerer on stage in Moscow during her famous (or infamous, depending on your political views) tour to the USSR in 1957-58. Note usage of term "Black Swan pas de deux" that did not exist in Russia at the time. "For me the main differences between the Bolshoi and Covent Garden versions lay in the mime scenes. These were almost entirely eliminated in Moscow and dancing substituted, which often contained elegant arabesques and simple poetic arrangements, all expressing the music and helping the story. Act II having been re-staged, all the groupings and patterns of the swans were different, even including their first entrance, which in this version came before the Swan Queen’s. Even the pas de deux in Act II between Odette and Siegfried had in some parts a different pattern and direction. In Moscow, Von Rothbart played a more significant part, and the audience was made fully aware of his power over Odette and Odile. There were no huntsmen accompanying the prince, so the moment when the swans assemble in fear of being shot did not come. They were in a different place on the stage, and the Swan Queen did not appear for their protection, but to look for the prince. I thought the absence of Benno, the prince’s friend, was a great improvement. In the West he plays an important part in the famous pas de deux , but I have always thought this somewhat distracting, for it is surely more convincing as an expression of love when danced by only two people. I was told that Benno’s part was only put in because the original Siegfried was a man of fifty [Pavel Gerdt, ed.] who needed some relief from the strain imposed by the long, exacting pas de deux! In Act I instead of Benno the Bolshoi version had a court jester who also appears in Act III. Particularly impressive was the long, slow lift of the ballerina by the prince in Act II, shortly before she is drawn away by Von Rothbart. In Act III the dramatic impact of Odile was intensified by the way in which the divertissements are arranged to lead up to her first appearance. After that first entrance she has only to wait for one more divertissement — the Spanish Dance, which is the most brilliant and exciting of all the numbers. This makes a perfect lead into the famous Black Swan pas de deux , which is always eagerly anticipated by the public. The Russian arrangement of this pas de deux is almost entirely different from ours. Though I learned it fully later, Semeyonova was insistent that for our performances Yuri [Kondratov] and I should follow as nearly as possible my Western version. She suggested several alterations to the Act II pas de deux , however, adding little touches which she thought would enhance my interpretation, and which I could absorb thoroughly in the short time available before the opening. My solos, of course, were not altered in any way, apart from some help given in their execution. Act IV I had to re-learn entirely. It had completely different choreography, including a spectacular pas de deux for Odette with the magician, and some beautiful supported work with the prince. The groupings of the corps de ballet and their numerous exits and entrances towards the latter part of this act heightened the drama effectively. Much use was made of the swan-like movements here. The choreography had been done skilfully by Messerer, so that it did not seem out of harmony in any way with the choreography of Gorski but rather appeared a natural extension of his work in Act II. The ending of the last act was quite different from any I had seen. The prince fought the magician and broke off one of his wings. With his power lost, the magician died and the spell was broken. The swan-maidens were released and regained their human forms. Odette and the prince were united. I found almost all the mime had been eliminated in this act. So, with the added music and dancing, the Moscow version of Swan Lake became an even greater feat of endurance than that familiar to ballerinas in the West." https://www.facebook.com/photo/?fbid=6113144612098330&set=gm.1227808051189820&idorvanity=308496276454340 History of "Swan Lake" productions at Royal Ballet: https://www.rohcollections.org.uk/work.aspx?work=1890

Just a tantalizing taste of Herman Cornejo as Romeo from a rehearsal with Cassandra Trenary: https://www.instagram.com/reel/CovIMPrDwba/?igshid=YmMyMTA2M2Y= Herman had to cancel his Romeo with Trenary last summer during the Met season due to injury. Calvin Royal III subbed for him. I am glad that Cornejo is having such an Indian summer because he was stuck as Mercutio, Golden Idol, Benno and peasant pas de deux for WAYYY too long before McKenzie started giving him premier danseur principal roles.

They have blessedly added another Albrecht in Denys Nedak who guested at ABT as Solor in "La Bayadere". Excited! I am going on Saturday. Sorry not to see Tiutiunnyk. Wednesday, February 1 Evening Performance Giselle: Christine Shevchenko Albert: Olekseii Tiutiunnyk Thursday, February 2 Evening Performance Giselle: Elizaveta Gogidze Albert: Olekseii Kniazkov Friday, February 3 Matinee Performance Giselle: Iriyna Zhalovska Albert: Denys Nedak Evening Performance Giselle: Elizaveta Gogidze Albert: Olekseii Kniazkov Saturday, February 4 Matinee Performance Giselle: Iriyna Zhalovska Albert: Denys Nedak Evening Performance Giselle: Elizaveta Gogidze Albert: Olekseii Kniazkov Sunday, February 5 Matinee Performance Giselle: Christine Shevchenko Albert: Olekseii Tiutiunnyk

Ball really has that danseur noble prince quality onstage. It was interesting to compare the two casts of Haieff Concerto. Peter Walker was more an ordinary guy and Christina Clark was very relatable - kind of like two dancers in a dance studio going through their moves. With Indiana Woodward and Harrison Ball it sort of took on a "La Sylphide" tone - Woodward was the inaccessible female ideal and Ball seemed to be a romantic idealist searching for his dream woman. It was like two different ballets. BTW: I was at 2/3 of the 21st Century Choreography Program last night. Totally agree with the reviews of the first two ballets posted above. My first big thing is that I generally don't enjoy a ballet if I don't like the music, even if the choreography is good. "Voices" I didn't like the abstract music at all but I found Ratmansky was very creative in his choreography with hints of humor and drama. He really knows the classical vocabulary and uses it quite creatively. "Fortuitous Ash" has minimalist movie soundtrack music that is kind of meandering and doesn't really lend itself to choreographic patterns. Just generalized angst and undertones of menace. There was a tree like design projected on the floor that was striking and I liked the leotards very much. No one really stood out because the choreography seemed interchangeable - the opposite of the solos in "Voices". I didn't stay for the Peck ballet. I am sure I saw it in the Fall season.

I would also hope that Ball is young enough that his injuries will heal and abate over time and he will be able to return to dancing. Sometimes a long break is necessary after a serious injury. Best of luck to him in the future.

I saw the Haieff last night with Peter Walker and Christina Clark - I like the ballet a lot. Christina Clark is indeed long-limbed and radiated a lot of joy - especially when dancing with Walker and the corps. However, I saw some tentativeness in her solo which lacked authority. There were a lot of slow arabesques and turning in arabesque where she displayed effort. I chalk that up to nerves and expect she will improve mightily. I like this "All Balanchine" program which has some rarities and oddities. The "Valse Fantaisie" with Glinka music is windswept and charming - Indiana Woodward and Roman Mejia flew through it with élan. Tiler Peck was enchanting in "Donizetti Variations" though she isn't the risk taker she was before her injuries. Andie Veyette looked in good form though when doing tours a la seconde his arabesque is lower than it was. "Stravinsky Violin Concerto" had strong stylish men in Taylor Stanley and Russell Janzen (nice to see him back). I felt that Emilie Gerrity and Unity Phelan didn't quite have the necessary attack and sharpness of movement. Gerrity was somehow girlish and too soft and Phelan lacked definition in her movement and style. The movements need a little bit of weight which was lacking. Neither screwed up or were bad but it just wasn't fully there. Both ladies are covering a lot of new material and I feel this was a work in progress - I often feel that way about Phelan who I like basically - ditto Gerrity.

I was in the house last night. The Lorin Lotarro choreography for the Act 2, Scene 2 (sometimes Act 3) ballet is ridiculous as is the costuming. You would have no idea it is supposed to be Spanish as it is just shirtless male dancers lifting and throwing around the women dressed as goth ghouls from a zombie flick. The lead male dancer is supposed to be Piquillo, a toreador. Whiteside was shirtless in toreador pants with white face and body makeup. However, James Whiteside's height, commanding presence and powerful leaps and even cartwheels totally dominated the stage. From the limited and rather uninteresting steps given to him, he looks to be back in strong form and he always had theatricality and charisma.

Your wish is my command @abatt! https://www.kennedy-center.org/whats-on/explore-by-genre/ballet/2022-2023/united-ukrainian-ballet/?utm_source=wordfly&utm_medium=email&utm_campaign=23DBUkrainianBalletEM2&utm_content=version_A&pid=3833286&promocode=498680 Wednesday, February 1 Evening Performance Giselle: Christine Schevchenko Albrecht: Oleksei Tutuniqe Thursday, February 2 Evening Performance Giselle: Lisa Gogidze Albrecht: Oleksei Tutuniqe Friday, February 3 Matinee Performance Giselle: Iriyna Zhavlova Albrecht: Stanislav Olshansky Friday, February 3 Evening Performance Giselle: Lisa Gogidze Albrecht: Oleksei Tutuniqe Saturday, February 4 Matinee Performance Giselle: Iriyna Zhavlova Albrecht: Stanislav Olshansky Saturday, February 4 Evening Performance Giselle: Lisa Gogidze Albrecht: Oleksei Tutuniqe Sunday, February 5 Matinee Performance Giselle: Christine Schevchenko Albrecht: Oleksei Tutuniqe

Remember that the ABT Spring/Summer 2023 Met Season was planned by McKenzie since the planning has to be done a year in advance. Also I always thought that new season contracts start in the Fall, so that any big changes in the roster will happen in 2024 most likely. Susan Jaffe's artistic agenda won't come into focus probably until the Fall 2023 and 2024. Then, hopefully, there will be changes and improvements. New ideas and fresh innovations, we hope.

Given the current status of the roster of principals (which will change I am sure) and the probable retirement of "Le Corsaire" and "La Bayadere" from the repertory, a four-week season at the Met concentrating on full-lengths would be fine. I think ABT should add two weeks at City Center around March/April along with the two week Fall season at the Theater formerly known as New York State.

Giselle, Romeo and Juliet (I'm tired of it too), the obligatory week (or more) of Swan Lake, Like Water for Chocolate and Of Love and Rage would fill out a four week season. Also, they might do an abbreviated run of Of Love and Rage - basically a long weekend opening on Thursday and going until Saturday with only four shows. We'll find out soon.

Ms. Sheehan is now Mrs. Di Pietro on Instagram: https://www.instagram.com/kellie_di_pietro/ BTW: I saw a slew of All Balanchine I and Balanchine and Robbins: Masters at Work programs. Sterling Hyltin is retiring at the peak of her form. She will be missed except that she will be teaching at SAB. Her absence from two performances was due to a family emergency, not injury. The injuries of Roman Mejia and Peter Walker are unfortunate as the male roster is thin as it is. Russell Janzen has been out a long time as well. Andrew Veyette only danced the character role of the Baron in "La Sonnambula" and resembled Vincent Price with the greyed temples and mustache. It was quite appropriate. Ashley Bouder looked much thicker in the middle and rounder in the face. Her feet are still strong but her dancing lacked smooth transitions and flow in "Scotch Symphony". There were wobbles and stiffness doing developpes. Ashley B bounced back quickly from her pregnancy, losing all the weight and really pushing herself in class. I wonder what is going on now. Joseph Gordon is in fantastic form - a true classicist. He and Tiler Peck were remarkable in Tchaikovsky Pas de Deux. Tiler also danced with real panache and bravura doing multiple fouettés. They also looked good together.

Wow, well it's Russia Drew. Anyway, wasn't there also talk of a planned Ratmansky "La Bayadère" that would replace ABT's classic Natalia Makarova staging? Again, some political and cultural corrections could be integrated into this new production. It would all depend on whether Ratmansky renews his contract with ABT.

Alexei Ratmansky and Yuri Burlaka staged "Le Corsaire" for the Bolshoi in a much longer, much more faithful version than the one ABT has performed since the late 1990's. His Jardin Animé includes a large number of children and stunning visual tableaux that makes ABT's look skimpy. As of now, Ratmansky is right there in the house. How about a Ratmansky "Corsaire" (or at least "Le Jardin Animé") taking in some of the issues that Jaffe has brought up? Of course, it would not be a historical reconstruction because the Petipa original naturally would have been guilty of orientalist clichés and racist stereotypes. BTW: I believe that the slave dealer Lankendem was in the original libretto a mercenary and vicious Jew along the lines of Shylock. That one blessedly never made it into the more recent restagings.

Agreed but certain things like Wheeldon's "Like Water for Chocolate" have already been announced. So some planning was already done for the Met Summer Season 2023 prior to Jaffe's appointment. I also think that certain dancers have already been contracted for next year, so we can't expect some of the dancers we don't care for to have been dropped in a house cleaning move. I think that the 2023 season will have a lot of McKenzie's fingerprints on the season planning as to dates and repertoire and touring. But Jaffe, as of January 2023 will be in control of things like casting. So maybe no more Deven Teuscher and Hee Seo get two performances of everything and Shevchenko gets only one matinee, etc. Cory maybe gets some of his leading roles cut back due to age and declining technique and Camargo and others are brought forward, etc. Hopefully Jaffe is in the room and looped in for major artistic decisions like the last round of promotions and season planning for 2023.

Given that ABT has a five week season now I think I can guess what the Met 2023 Summer season will be. Swan Lake, Like Water for Chocolate, Giselle, Romeo and Juliet and possibly either a mixed bill or a second season of Of Love and Rage. Maybe Swan Lake will go into a second week like this year and we will get one long weekend of Of Love and Rage.

I am seeing Camargo and Seo in "R&J" on Friday and Trenary and Royal III on Saturday afternoon. Please in your reviews could you discuss the supporting casts? There seems to be lots of new casting for Mercutio (Klein & Pogossian), Benvolio (Frenette), Tybalt (has Jarod Curley been cast in the role?) and Count Paris. Also the mime roles of the Nurse, Friar Lawrence and Lady Capulet probably have lots of new faces this season. I am curious as to who is up there these days with all the rising new corps dancers and changes in personnel.

Seems that Pennsylvania Ballet restored "The River" with pointe work in 1998. Must also mention that Cynthia Gregory and Eleanor D'Antuono were in the first cast and are around to coach/restore it. Jennie Elser and Juan Carlos Peneula PA Ballet 1998:

@maps your wish is my command! ABT 1973 Cynthia Gregory and Marcos Paredes in "The River" in the "Lake" section danced on pointe. Less dark video:

An interesting fact about Chloe Misseldine - she actually is second generation ABT. Her mother is the Chinese ballerina Yan Chen who danced at ABT in the 1990's. I saw Yan Chen as Swanilda in "Coppelia" in which she was charming (I think her partner was Angel Corella). Chen was working her way up the ranks but was plagued by injuries and also was married and started a family which also includes Chloe's older brother Adam. So we know where the talent comes from.