aurora

I adore Part, but is it really "opening night" when the ballet is performed year after year after year? Googling "vishneva swan lake ny times" I don't find a previous review. It is typically the first night thats reviewed. Such has been the case with *every* previous ballet performed this season and, in my recollection, in previous years as well. Both Part and Vishneva had previously been reviewed in the role in the times in joint reviews with other dancers, neither one as an opening night review to themselves. (the vishneva one is from 2005, Part had ones in 2004 and 2005 that I saw. I am all for reviewing multiple performances, but I think it disingenuous to say that it isn't opening night and act as if there is nothing odd about omitting that review.

I'm sorry, but does anyone else remember the NYTimes deciding not to review opening night and reviewing instead the second night of a ballet? I don't. I'm really shocked...

As does mine. I saw no "rattling" on the part of Veronika. This is a narrative--Veronika gets rattled--that I do not, at this point, think has validity. She was strong, secure. The music for the coda of the black swan was a disaster. The pace of the fouettes was much faster than she usually takes it and the sequence following it, the orchestra had a positive meltdown. And yet she didn't let it fluster her a bit. I was very disappointed to see Cory Stearns was going to be her partner, and yes I would have preferred to see her with Marcelo, with whom she has a truly marvelous partnership, but I thought he acquitted himself surprisingly well. He seemed totally besotted by her from the moment he saw her. She played the role of Odette differently with him than with Marcelo--Less afraid, as one couldn't be afraid of him, he was so puppyish and unintimidating. It wasn't the great love of the century, but it worked. I noticed a few difficulties in the partnering, the hand she put for support in the white swan pas de deux lift cited above, but there was no sense of panic, no sudden movement about it. it was a calm gesture of support, not belied in the position in any other way. and there was a slight flub in the footwork in the final act. Given the fact they were not slated to perform this together and would have had almost no time to rehearse it together I think it was a very successful partnership. I would also like to commend Stearns for his characterization during the black swan pdd--he did his solo while appearing still totally enamored of Odile--the character was apparent throughout. I was surprised and pleased. I too was sorry not to see Simkin, but i think it likely the partnering was stronger with Matthews. Certainly it was one of the most satisfying pas de trois i have seen in a long time. Also, I had seen Matthews in this role a year or two ago, in a very poor performance. He danced very well last night. I am very pleased to see him getting back to form. He was promising a few years ago and then fell off badly shortly after his promotion to soloist. It is good to see him doing well again. I would also like to second the kudos for the Neopolitan dance of Philips and Salstein--Ideally matched! Neither flagged, as often happens in this sprint of a dance, and really perhaps the most satisfying rendition of it that I have ever seen. But really, Veronika just shone. I thought it was a gorgeous performance.

I respectfully disagree... at least regarding the first. I think its clear I almost never (ahem) agree with Macaulay, so I hope it isn't taken as me just reiterating his points, but I have been, since the comments on the last two performances started coming in, trying to figure out how to reconcile my responses with those on this board. I thought Alina's first act exquisite. Really wonderful. And I thoroughly enjoyed the rest of her performance and am glad I saw it of course, but am not in the raptures that everyone else here is. And it is for (I sense) the same reason that Macaulay was not. I did not feel the character developed. How many times has it been discussed here that the character in act III is a mature version of that character we meet in act I? To me she was the same flirtatious innocent sweet creature. She was charming, lovely, to be sure. But there was not the increased authority, maturity... I didn't sense a development between the three acts. Osipova, whose act I was NOT as secure though it had incredible moments to it (and yes, she was visibly nervous, a surprising and actually rather charming thing in such a powerhouse), new to the role, gave me more of a clear delineation of the development of character. Oddly, the one thing I disagreed with Macaulay on was a criticism of David, that his acting was less developed than Carrenos--Carreno gave me way less than David did. David brought life and passion to what is, in this version a pretty rough sketch of a character. (and generally I am of the school that Macaulay goes overboard on David--and I think he did here too at the end--although I do think David is pretty fantastic). One other thing. I liked Michelle Wiles! I feel odd saying it, both as everyone else has said how awful she was, and because I generally don't like her. I think if you read every comment I have ever written here, you would be hard pressed to find a nice thing I have ever said about her. But I thought she had real authority. I know everyone loves Stella. I saw her (Stella) in this role twice--Weds with Part and Sat matinee. I thought she was more successful on the matinee. Partly she danced better. Partly she and Cojocaru were a better match--Part's own authority made Stella's lack of authority more glaring while Alina's sweetness was not a problem. But although Stella danced well on both occasions, I did not believe for an instant she had the power to control the events, to banish Carabosse. Wiles had authority. I believed she was controlling events. I wasn't looking through opera glasses and my seats aren't fabulous enough that I could see the grimaces referenced above, so I will have to take your word for it. But from where I sat, she looked serene, confident, and I believed she was powerful and in control. Stella doesn't make me think that. And as such, for a Lilac fairy, I don't care if I think she dances more beautifully than Wiles--it isn't sufficient for the role. I think I have more to write about the two performances later, but for now, as no one has mentioned Riccetto as Florine in the afternoon... I thought she was lovely. very precise and truly lovely. I enjoyed her rendition of the variation very much.

Fondoffouettes' comment reminds me of one other thing I meant to comment on (well there may be more thing, but I found this very poignant)... I am not sure if it is the choreography as it now stands (there are so many changes), or if this was Part's own touch, but I loved what she did with the roses. Often the second batch of roses are brought over to the side by Aurora and sort of flung at the feet of the royal couple. While this can read as a moment of youthful exuberance it also does not seem very in keeping with a Princess (thanks for the roses, I'll throw them on the floor now!). Part curtseyed deeply as she dropped them reverently. It was a different effect and much more moving I felt...also more in keeping with the character and the moment. It was beautiful.

I concur with Waelsung. There are certainly things I dislike about the production, but all the changes have been for the better. The costumes are generally improved. This does unfortunately, to my eyes, make the remaining cheesy ones stand out all the worse--the King and Queen especially (her costume isn't bad in its lines, but the fabric is just so gaudy!). I am glad the fairy knights are gone from the vision. And especially that many variations were added back into the final act, I don't even mind them being given to the prologue fairies--it gives them something to do instead of introducing new characters and I thought it worked nicely. Part and Gomes were fantastic. The vision sequence was especially exquisite, the only downside being loud children (argh). Her Rose adagio, while not having the longest balances in history (Her balances got longer, longer and more secure as the night went on, with some truly jaw dropping ones later in the night), was secure and joyous, no nerves visible and her gracious acknowledgment of each suitor at each balance (both sets) was in character and lovely. Abrera as Lilac--She danced well (a few, tiny bobbles but nothing significant) but I do not see her as having the authority this role demands. I did not for an instant believe she had the power to chase off or vanquish Nancy Raffa's Carabosse. She was sweet and lovely, but the role needs more I think, and I didn't see it. While Bluebird and Florine received much applause and started out decently, they were kind of a mess starting from their solos. Radetsky got some good height but his lines were ugly and he looked like he was gutting his way through it. Boyleston started off her variation nicely (though I thought her arm positions were a bit careless, which matters in that variation) but then had a little difficulty and the coda was sloppy. I was left with the impression this could be a good role for her (she just had some difficulties, it was her debut in the role I believe?). I did not think it an attractive part for him however. I would be interested in hearing other's opinions however, as from the roar of the crowd, I was not in the majority on this ;) I don't mean to sound harsh! In any case, the night belonged to Part and Gomes, and they were fantastic. She may not be everyone's ideal of Aurora, but she developed the character through all the acts and was really a dream!!

I've lived in four big cities in a row, and I travel extensively on my own. If I thought walking alone late at night in a city was a bad idea without question or regard to specific circumstances, I'd never get to the ballet or opera. Comments in the artsbeat blog on the times are now revolving around this issue...

http://artsbeat.blogs.nytimes.com/2010/06/...acked/?ref=arts Osipova attacked leaving the theater...

Osipova does both roles. She started out doing Gamzatti and more recently has been essaying Nikiya if I have the order correct. Clips of both are available on youtube.

Actually both Part and Murphy wear Gaynor Mindens--so both wear said controversial shoes!

Ahh ok, sorry, just some of the things you had said made me wonder. As for spell check, well...I don't think spell check has quite caught up to twitter yet OT=off topic. I was just saying that unlike my other comment, this one wasn't really relevant to the subject at hand, Mme Alonso!

Not that much Alonso's case though. Her active career as a ballerina was over by the time she returned back to Cuba in 1960. All her years of glory took place in New York-(1939-1959), while Castro was still a Law student in Havana University. Two things, the fact that it didn't help her get ahead as a ballerina does not mean she didn't use political connections to get ahead. She used them to found her school and company become a major force to be reckoned with in Cuba, that qualifies as "getting ahead" to me. Also, and yes, OT, are you deliberately misstating the term? I know you hate twitter, but after reading and participating in that thread, you can't seriously think "Tweeter" is the correct term and using it seems to show a certain intentional disrespect that seems unnecessary, especially here where it is totally out of context.

They did, on the Dance in America series. It included interviews with Millicent Hodson talking about her process retrieving information about the work and the process of recreating it on the Joffrey company. I imagine that this may be either the Paris Opera Ballet or the Maryinsky, who both perform the Hodson reconstruction of Sacre and have Petrushka in their reps. Let's see what we can find out... According to what i saw online, POB didn't start doing the reconstruction til 1991, so if the date is correct, it is not them. Also there is apparently a DVD of the Maryinsky doing Rite of Spring, but paired not with Petruska, but with Firebird (with Big Red!) on Bel Air Classics. So a much more recent recording. http://www.arkivmusic.com/classical/album....album_id=226668 I am therefore still thinking that this must be the Joffrey recording since they did perform and record it in 1990...

Joffrey?

I don't know if I would say that was agreeing with everyone here...it is so *much* more acidic. He thoroughly disliked everything besides the one piece with Hallberg in it. That really wasn't the impression I got from the reviews here although they were not raves by any means. What I find most interesting about this review is his call (more than once) for "male centrality in ballet." I didn't realize this was what he thought ballet should be aiming for, but I'm glad I do now. I think it is odd. A balance between the role of male and female dancers? that makes sense....But why are we going for one being central?

OT Personally I find this nomenclature way less offensive than "girls," which is not infrequently used. Is there some reason it is verboten? I was unaware of this...

She really wasn't. She certainly didn't act. There was no emotional connection at all between her and her prince as Odette. So much so that the story became unclear. And NYCB or not, it is a story ballet. And her Odile had no confidence, forget about whether you like a vampy portrayal or not, this was a timid one. But that was not what I was even talking about, really. In the first meeting of Odette and the prince, she slipped as he was about to lift her. I don't know if this shook her badly, it was certainly not something she seemed injured by, but he worked mightily to save her and not drop her. After that it was flub after flub. She would achieve a beautiful moment (some lovely balances here and there) and then after putting her foot down, have to check herself because she bobbled so badly. When she started her fouettes I was concerned. She had seemed so off on everything leading up to them. The started off slow and cautious (there were never going to be 32) despite the fact the music was quite swift. But initially it seemed like she would get through them. Then she started veering downstage and to her right. Until she fell out of them completely. She stepped into an arabesque and then just... gave up... and walked over to stage left while the fouette music was still playing... she was obviously shaken through a very slow series of pique turns. Her face as she stood downstage while Albert Evans talks to her was, well she just looked to me like she wanted to leave. I like her. I don't mean to be mean. It was a really painful thing to watch. Maybe the critics saw something other than I did. I hope so for her sake.

So was anyone else at opening night of Swan Lake? No one has anything to say? I have to say it left me a bit speechless.... I would prefer to not say much until other people have said things...I am not familiar with this production, etc. but in a nutshell I think it is an inferior production. The costumes are ugly and terribly mismatched (some are very modern, some pretty traditional and thus look like they wandered in from another production altogether, others are somewhere in between, more traditional in style but more modern in the patterning of the fabric), the scenery/sets, such as they are, are ugly and set no mood whatsoever. But if the dancing is good, who cares, right? Kowroski had the kind of night no dancer wants to have on stage, even if she is hidden in the back line of the corps. And she wasn't. The only time she seemed to have any sort of emotion at all was in the final white act, and after the disaster of her black swan, I can believe her distress there was absolutely genuine. Anyone else?

I find statements like that so insulting to poor Ms Guillem, who was, and I suppose remains, controversial in her own right. (I don't mean your statement Jayne! That of the artistic director!) While her extensions were certainly extreme, especially for the time, she never distorted her line to achieve them as does Somova, and an arabesque, when performed by Guillem, was actually BEHIND her. She also had, in spades, one of the things Somova lacks: Strength and control. Watch her in the Grand pas Classique video. each time her leg goes higher. It is a conscious choice, not a whacking to the ear. She also had lovely feet. To compare those two bodies...that artistic director must have been looking at something completely other than what I see. Or he equated "bodies" with "how high a leg can go"

According to the stamp on the video that one is from 2007. One from feb(?) 2009 recently appeared on youtube. it can be found here: http://www.youtube.com/watch?v=3OxkSCKSAww There is certainly improvement, especially in the arms. I found it amazing, however, that she somehow managed to make the balances disappear. They barely exist in her rendition... There was some debate as to how critical they should be to the success of this adagio in another forum on here, but surely they should seem to be part of the variation, and a climactic part at that.

I wonder if this can be broken off into another topic on the role of the balances in the rose adagio starting with the post quoted below? It seems worth its own topic and while it certainly stemmed from a discussion of this particular performance, a real discussion of the subject would be off topic here... This is interesting, because I now begin to think that the balances and the fouettes of Odile are this odd matter of whether they should be subordinate (or whether they really are not quite integrated, and are separated off) to the rest of the pas or be the focus, in fact be quite competitive. It's more subtle to want to see these difficult technical feats subsumed to the drama, but they are definitely there for showing off, and to some degree, not in the most high-minded way. I think it works both ways, and is like pianists doing the Chopin Double-Thirds Etude flawlessly and 'like velvet' but somewhat automaton-like, or those who play it with 'more dynamic colouring and poetry' but miss notes and make slight messes. I'd like to say I find myself in Michael's camp on this one, but I think I'm not. If balanchinette is correct about this: , then I can sympathize with the nerves, but these balances are literally framed to be a kind of separate 'testing moment', in which everything else seems to stop, and the drum rolls only intensify this almost militaristic demand that is being made. So if I see the hand rushing back down again, I'm always disappointed, since I know that others are able to do them with much more confidence. There really are some pieces of music and dance that are meant to display as a kind of exhibitionism. That's why Nureyev was so good at 'Le Corsaire'. Of course, Corsaire and SB are not comparable works, but maybe these extreme virtuoso parts within SB and SL are really much the same. They have to be poetic and part of the whole, but they're athletic as well, and once you've seen the nonchalance of Sizova and Bouder with these balances, it's hard for some of us to accept less, although I mean only in terms of those, not what else the ballerina may do in the same performance inthe rest of the piece.

But Ballanchine is done regularly at City Center (by ABT, and recently The MT ) which is much closer to Lincoln Center than the Joyce. And ABT did Balanchine at the MET last Spring/Summer

And his waist is so calm and so vertical in the huge split tour jetes! The costume does let you see all that... But does anyone else have trouble taking anyone seriously who is wearing it? I find it truly ludicrous.

I wish he hadn't! She is lovely of course but I think it ruins Act 2. She just sort of hops up and gets involved in everything and it detracts rather than adding to it in my opinion.

I am sure that is what it is based on. And I have favorites too (but I am not a professional critic). That doesn't make it objective of course, other people of taste and experience don't think as well of some of his favorites, and actually like some dancers he has taken a dislike to. The problem I have regarding Macaulay and his favorites is that it is almost to a point where you don't need to read the reviews if a certain dancer is going to be mentioned. If Corey Stearns (I'm ambivalent) or David Hallberg (who I like very much) is dancing, one might as well not bother reading, because the review will be nothing but superlatives. I certainly don't want him to be cutting or cruel to these dancers, I think they are good (in the case of the former) and excellent (in the case of the latter) but Macaulay just gushes. I also found it interesting that he spent so much time in what was ostensibly a write up of rising stars in this year's Nutcracker to a dancer who was out due to injury. That is lovely for Kathryn Morgan, but he certainly did not do the same for the other promoted dancer out with injury. He gave Morgan perhaps the best review of the piece based on statements like "if I remember correctly," and to me that is odd.