Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

Roberto Dini

Senior Member
  • Posts

    139
  • Joined

  • Last visited

Everything posted by Roberto Dini

  1. Hallberg, Wiles, Saveliev (a brief review) David's performance was beautiful from his port de bras to his (always beautifully pointed) feet. His leaps have such lift to them! Michelle Wiles danced very well, but I wish she'd give more emotion and drama in her performance. In her entrance as Odette, I thought she didn't have the "Russian Back" to do the step--I don't know the name, but the one with the leg in attitude with the arms arched back--because her back was not arched as much as Nina's or Diana's; however, she displayed this flexibility later. Her Odile definitely had more of a spark. Unfortunately, she fell when her shoe slipped during her Black Swan solo, but she got right up and continued dancing. Suddenly her dancing had this intensity and beautiful flexibility and control (especially her back), that she seemed to be lacking before. The turns in attitude (en déhors?) were amazing. Her back was beautiful and she seemed to do them so slowly yet perfectly balanced, and held the leg in attitude all the way around. (I don't know whether I'm describing the step well. I don't know the name of it, but I always think Carmen Corella does this step beautifully in her solo as one of Myrtha's minions in Giselle because she keeps her leg in attitude all the way through the turn.) At any rate, the audience was completely with her (which they were anyway) and she finished the solo beautifully with a a series of fast chainées into one of those balances that stop on a dime without any rotation. Her fouettés in the finale were wonderful with some triples thrown in. (I wasn't counting how many she did.) David's variation and his turns in the finale were wonderful too. This was the last performance for me of the season b/c I really don't care for the Cinderella production. Although I might break down and see it just to see ABT once more before the season ends.
  2. No, I enjoyed her Odette/Odile immensely. David Hallberg was wonderful as von Rothbart. When he made Siegfried swear his love for Odette, Hallberg got this positively crazy look in his eyes. It was brilliant. Oh, yeah, his dancing was pretty good too.
  3. I agree the performance was stellar. I found Cornejo's death very moving; his dancing was wonderful as usual. Not to mention that Corella chopped of a good portion of Radetsky's rapier, and moments later, without dropping a beat, Radetsky borrowed one of his kinsmen's swords.
  4. I know this wasn't directed to me, but there at least a couple of points where the beggar touches both hands to the ground. I'm assuming it's choreographed that way because it's been at every performance I've seen. Of course, I don't know specifically which spot you're referring to. I was very tempted to take a personal day today so that I could see Ferri and Bolle again, but I figured there wouldn't be good seats available at this late date for Saturday night, so I didn't. Oh well... I thought Gomes was wonderful amazing on Friday night. Gennadi Saveliev did his drunken scene very well. Wiles danced beautifully but didn't make as strong an impression dramatically.
  5. I was a bit surprised that there were not more people at Monday's performance of Manon. Initially, I was disappointed to see that Stiefel was replacing Cornejo as Lescaut, but Stiefel did not disappoint. His jumps were wonderful, and while many people have commented on other threads that they don't like his acting, I had no complaints. I thought his performance was completely believable and his drunken scene was hilarious, without being forced. I don't think I've ever heard so much laughter during that scene. I'm sad that these are Ferri's last performances. While I think Ferri and Bolle danced beautifully together, I doubt anyone will be able to replace Ferri and Bocca. There was such abandon in Bocca and Ferri's dancing that it elevated their performances above the others. I wish there were more recorded performances of them together. Bolle is both a beautiful dancer and a beautiful man. I thoroughly enjoyed Bolle and Ferri's performance and look forward to tonight's performance.
  6. Friday, June 8 performance I couldn't believe that the lights were up behind the "shower curtain". I could see people wandering about and stretching. There were several points in the prologue that just looked as if there were too many people on the stage--either that or they didn't know where they were supposed to be. That's interesting because I found Kirkland so hammy and over the top that I was laughing out loud (quietly) in spots. She immediately brought to mind a man overplaying the role. While I'm not convinced that they belong in this production, I loved Carabosse's minion's costumes. Dvorovenko and Beloserkovsky danced well. Wiles did not move me. I was disappointed that they cut several of the variations in the last act. I was also disappointed in Saveliev. He didn't seem to have the stamina for the Bluebird. His jumps markedly lost elevation as his solo progressed, and it seemed to me that he dropped some of the beats towards the end.
  7. There's a beautiful moment in Emeralds where the women and men stand holding hands, alternating boy - girl. The women slowly go from a low arabesque en pointe to penché while the men, slowly going down on one knee, support them. I thought it was wonderfully executed. Bouder, Ringer and Suozzi's performances stood out for me. I also enjoyed Fairchild and De Luz in Rubies. They looked like they were having a lot of fun. Perhaps it's from where I was sitting, but I didn't think Fairchild towered over De Luz. I don't think he looked feminine at all. I thought Maria and he were great together.
  8. I would not think so, as you said the weight loss occurred over the last few years. I would think muscle loss would occur through fasting or extreme dieting. Weight loss over several years should not cause muscle loss.
  9. I do not understand this line from Alastair Macaulay's May 16, 2007 NYTimes review of the gala: First of all, I don't think Paloma Herrara looks anything like Ruby Keeler, but even if she did, how is that a valid criticism of her dancing?
  10. Darn! I was on my way into the city but the trains were messed up. I knew I wouldn't make the curtain, so I didn't go. I didn't feel like watching the first act on the large screen tv even if they have a much better monitor now.
  11. I am sad to say that I agree completely. I am all for giving performers some leeway, but this has to be the worst performance of the Rose Adagio that I've seen, and I don't think that her performance could be attributed to bad partnering. This was an Adagio with no credible balances. You cannot remove the balances from the Rose Adagio. Well, you can, but a Rose Adagio without balances in not the Rose Adagio. IMHO, that's what the Rose Adagio is about. I was a bit disappointed in this year's gala. The whole affair looked under-rehearsed. Perhaps they are too busy preparing other ballets. If that is the case, and there is not enough time to prepare for the gala, perhaps the gala should have been the premiere of the new Sleeping Beauty production. The highlights of the evening were Maxim & Irina's pas de deux, Gomes & Ferri, Cornejo (especially) and Reyes, and Corella and Ananiashvili. It is so prophesied? This I did not know.
  12. Hello. I'm a newbie to Ballet talk. I fell in love with ballet when I was 5 years old and had a walk-on part in the production of The Nutcracker that my sisters danced in. Despite my love of dance, my parents did not let me take dance classes. I finally studied dance in college and then continued after I graduated, taking ballet, jazz and tap classes as time allowed. I stopped taking class about 10 years ago, but I hope to get back to it just for myself because I enjoy it so much. I moved to New York eight years ago because most of my family lives in the area now and also because I love crowds the city and the many, different theater, dance, and music performances that one can see here.
  13. Hi. I'm a newbie here but wanted to jump into the fray as it were... Benvolio was Carlos Lopez. Craig Salstein and he alternated roles in some performances. I think Carlos Lopez is wonderful as Mercutio as well although I think my favorite--if I had to chose--would still be Herman Cornejo. I also enjoyed Radetsky's Benvolio on Monday night. I loved his precision (and beautifully pointed feet) in his solo at the Capulet ball. Of course, his Tybalt was excellent. I'd be curious to see him play Mercutio. I did not find Stella Abrera's Lady Capulet overdone. It's been probably 15 years since I performed in (and studied the text of) Shakespeare's R&J, but I felt Abrera's was a valid--and not infrequent--interpretation. I found Veronika Part's interpretation in the same vein. Of the performances that I saw, Corella/Vishneva, Ferri/Carreño, Corella/Reyes and Kent/Gomes (I couldn't help myself. It was the last week of the season!), I felt Ferri and Carreño gave the best overall performance. There are so many nuances to Ferri's dancing. Ferri's dancing always seems entirely integrated with the character. Sometimes, when I watch others dance, I find myself thinking about the dancer and not the character. I don't think that has every happened to me while watching Ferri. Of the Romeo's, Carreño made the choreography seem completely character-driven and natural. His dancing was incredible without appearing showy. The other Romeos—less so. Corella was definitely my favorite Romeo in the scene where he avenges Mercutio's death. His reaction was so intense and truthful. I don't think I've seen anyone else fight with that intensity. I loved it.
×
×
  • Create New...