fondoffouettes

I just returned from the Wednesday matinee performance, which was probably the most well-sold Wednesday matinee I've ever been to. Kudos to whoever in ABT's marketing department developed the American Girl Place promotion for today's performance. The audience was filled with little girls (and their dolls), and most of the children were remarkably well-behaved. It was nice to have a somewhat full house and lots of energy, especially since Part has been saddled with so many matinee performance this year. It was a breathtaking performance from her, but I think I'd rather start with the bad... Stearns' performance today was the most dramatically inert performance I've ever seen on ABT's stage. In the past, he has been criticized for showing a lack of warmth and intensity towards Part, but today, he barely seemed to be there mentally. He might as well have been thinking about his Fairway shopping list for most of the performance. This is all the more frustrating because his dancing has grown very elegant and more impactful in recent years. And his partnering of Part was among the most impeccable I've seen (from a technical standpoint). However, he barely interacted with his court, the peasants, his mother, anyone. Who can say what he felt, if anything, during his birthday party? It was in stark, upsetting contrast to Gomes, who, at one point on Monday night got out of his throne because he was so engaged with Sarah Lane's dancing in the peasant pas de trois. I know everyone cannot be Gomes, but I've never seen someone--even Stearns--dance for an entire performance with nearly no variation in facial expression. He didn't seem to have feelings about impending marriage (either positive or negative); the princesses were simply there and he danced with them a bit. When he received the crossbow from his mother, he was like "oh, isn't that nice," whereas some dancers can make so much of the moment. The corps dancers standing on the sidelines were much more expressive than Stearns. At one point, Thomas Forster interacted with one of the court ladies and delicately traced his hand through the air, mirroring the way Siegfried later points to the swans alighting on the lake. It was more expressive than anything Stearns did all afternoon. It's one of the few times I've seen an ABT principal performance that is shockingly bad for dramatic rather than technical shortcomings. I will be discussing Part's performance in a separate posting because, frankly, she inhabited a completely different world onstage.

I look forward to reports of Saturday evening's performance because I think that will be the true indicator of Seo's current technical ability. I do absolutely think it is possible for dancers to grow technically, even at later stages of their careers, and Seo is still near the beginning of hers. I agree that the more traditional trajectory has been for a dancer to begin with prodigious technique (Murphy, Herrera) and to work over the years at becoming softer and more lyrical. Murphy has clearly done better than Herrera in that department, though perhaps the tragic, adagio roles will never quite be the ideal fit for her. I think she is absolutely stunning, though, in roles like Sylvia, Gamzatti, and Titiania, just to name a few. If you had told me ten years ago, when I first saw Part in Swan Lake, that she would one day whip off an entire series of double fouettes (in Corsaire), I wouldn't have believed you. Who knows where Seo will go from here, but it's certainly within the realm of possibility that she could develop a more secure technique. She's not the first ABT ballerina to have a catastrophic Rose Adagio or to travel like crazy in her fouettes. I look forward to seeing how she develops over the next few years, and if there is really no advancement in her technique, then yes, it will be problematic.

Yes! The peasant pas to trois was light, incredibly musical and just about flawless. Kajiya and Lane were lovely. Gorak has been such a joy to watch this season. He's already a soloist (with huge principal potential) in all of our eyes.

With the switch in casting, tonight's performance may not have been a dramatically satisfying one, but it provided an opportunity to reflect on what vastly different dancers bring to the table. Murphy has softened her Odette considerably over the past 10 years, and she has clearly made an effort to be much more expressive. She has, in particular, managed to work on her swan arms to great effect. I'm afraid, however, that I am never quite convinced that she truly inhabits the role of Odette. Whereas someone like Vishneva luxuriates in every phrase (perhaps a bit too much sometimes), Murphy is at the other end of the spectrum; her dancing has a clipped quality when she's not consciously trying to be soft and expressive. And, unfortunately, it can be a little too clear when she is trying to be soft and expressive. I wish she could simply become lost in the moment, but I suppose that's something you can't learn. Don't get me wrong--her dancing tonight was lovely, and she always used her formidable technique in service of the role. However, without the prospect of seeing her as Odile, Murphy's emotional/dramatic shortcomings as Odette became all the more clear. I usually try to see Murphy every other year or so in Swan Lake, and tonight made me realize that I've mostly been going to see her black swan. It felt like a breath of fresh air to see Seo's sensuous Odile. Her expressive arms, flexible back, and beautiful arabesques were an interesting contrast to Murphy. I suspect Seo truly stepped into the role at the last minute, with little preparation, and the audience was really behind her. The adagio with Gomes was absolutely gorgeous -- one of the most memorable I've ever seen. The balance mentioned by abatt was truly impressive and (for me) unexpected. I've rarely seen an ABT ballerina try to hold that balance for very long. The fouettes traveled a lot and ended a bit early, but the audience was very forgiving. Who knows what else Seo has been up to today, and her own Swan Lake is still five days away. An enormous bravo to Marcelo for his magnificent partnering. He made it feel like an exciting, off-the-cuff pas de deux (which it was!), and he supported Seo in every way. Brava to Seo for stepping in several days before she was prepared to dance this role. I've often been in the "too much, too soon" camp when it comes to Seo, but I'm convinced she has something special, and I'm willing to wait for the technique to catch up to her. All dancers can work on their technique, but that undefinable "it factor"--for lack of a better term--can't be learnt, it seems.

Mid-performance casting change at tonight's Swan Lake: Murphy was injured at some point during Act II but danced the act to completion (quite strongly, it seemed). After a long intermission, it was announced that she was injured and that Hee Seo would be dancing in her place for the remainder of the performance. After more waiting, Act III commenced and Seo had the whole audience rooting for her. I'll write a more detailed review later. Best wishes to Murphy for a speedy recovery.

I attended today's matinee and will just add a few additional thoughts to nanushka's already very complete report. I, likewise, have been one to question Seo's abilities in more classical roles, but today I was convinced that she is the interpreter of Giselle within ABT's home team ranks. Her expressiveness, the fluidity of her upper body and arms, ballon and quick, effortless footwork were truly breathtaking. As much as I admired the masterclass delivered by Vishneva on Monday, it was refreshing to see a performance that was much more effortless and spontaneous. There was nothing labored or calculated in Seo's performance. I walked away thinking, "This is what Romantic dancing is supposed to look like." If she could combine today's artistry with a more solid classical technique, I can only imagine the heights she could reach in roles like Aurora, O/O, etc. After Hammoudi's long absence, I was worried he wouldn't be up to the task of partnering Seo, but he did very well. His solo sections were less impressive but fine. Overall, I felt it was a triumph for Hammoudi, especially after dealing with an injury. Teuscher was wonderful as Myrta. I saw Murphy on Monday, and while her stern stage presence would seem ideal for Myrtha, her dancing just isn't lyrical enough. Murphy's dancing is too compact and rigid, while Teuscher was expansive and lyrical. I could watch her arms for days! It seems odd to say it, but I wonder if ABT should drop Myrta from Murphy's rep. Murphy is a natural at being intense and stern onstage, but that's not enough for a good Myrta. Teuscher was beautiful, without overdoing the sternness, and I very much hope ABT will give her more opportunities in the future.

ABT lists the running time of R&J as being 3 hours, and so much of that time is spent on harlots twirling around in the street and other filler. http://www.abt.org/performances/performance_display.asp?Event_ID=13 At least with SB, it's three hours densely packed with interesting dance. I love R&J, but I feel like the viewer has to slog through a lot of boring bits to get to the good parts.

Does anyone know how long a La Scala intermission usually lasts? The old ABT Sleeping Beauty was 2 hrs 35 min. (including intermission), and I believe they usually aim for intermissions of approx. 20 mins. (as opposed to the Metropolitan Opera's tiresomely long 30-40 min. ones). If La Scala does intermissions that are as short as ABT's, then it's very likely that Ratmansky has restored some choreography. Twenty to 25 extra minutes of choreography would make sense for the wedding variations, I believe? And I have my fingers crossed that he can fit in that gorgeous entr'acte! I find it very odd that ABT's press release on Sleeping Beauty did not mention that it would be a co-production with La Scala. Surely their press offices could have made a coordinated effort in publicizing this new ballet.

I'm glad to hear it was another lovely performance from Gorak and Reyes, and thank you for confirming these modifications. I attended Wednesday evening and was pretty sure Gorak/Reyes had not walked down the stairs in the overhead lift in the final act. However, in that performance, the inverted lift during the ballroom scene was included, and it was executed flawlessly and without hesitation. I hope Gorak can gain the confidence, strength or whatever it is he needs to perform these partnering elements more consistently because he is otherwise so well-suited to these princely roles. I felt that Wednesday night was real triumph for Gorak. His dancing was very reminiscent of early Hallberg (another dancer who had partnering jitters when he was young). Yet, Gorak brings a warm, unassuming, sweet quality to his dancing that is uniquely his own. I hope he is paired with Reyes again in the future.

At NYCB, you can get decent seats for $25 in the orchestra section (to the extreme right or left side). At ABT, similar seats--with even poorer views--go for $109. ABT also blocked out many dates for its 18-29 club subscription because it would rather have empty seats than sell tickets to young ballet-goers. It looks like ticket sales have been shockingly bad this season. I just checked the Hallberg/Murphy Cinderellas, and the orchestra section looks at least 50% unsold for their two evening performances. Most evening performances at ABT are about as well sold as a Monday night Sylvia.

I attended today's matinee with Part/Whiteside and was deeply impressed by how they have both grown into the lead roles. They delivered the most technically secure performances I've ever seen them give at ABT. Neither is the ideal spitfire one imagines for Don Q, but both brought gorgeous technique and an innate sense of musicality. I know Whiteside has had his detractors, and I myself have considered him a raw talent in need of much refining. But what a difference a year has made. His spins and leaps were beautifully executed, and his control and cleanness in these elements brought to mind Gomes and Carreno. (Whiteside would whip off a crisp and fast spin only to deliciously slow it down at the end -- an effect Carreno always seemed to love.) Gone is the slight sloppiness one occasionally saw in Whiteside's spins or his transitions between elements. Is Whiteside the partner for Part in her (sadly) post-Gomes era? I am now convinced that this may be the case. His support of her was near-perfect; the lifts, promenades, fish dives, and supported pirouettes were wonderful. The chemistry was not quite at Part/Gomes levels, but it was a much, much better than with Stearns. It was clear that Part and Whiteside have a good rapport, and she seemed to have every confidence in him as a partner. Their pas de deux throughout the ballet were truly the highlights, though they danced beautifully on their own, as well. It was a delight to see Part dancing against type -- and so brilliantly. However, I was reminded that so many elements of Kitri's choreography actually do align with Part's greatest strengths: soaring grand jetes, sky-high extensions (hers seem to have only gotten higher in the past couple years), gorgeous arabesques, and lovely balances. And then it came as a wonderful surprise to see her execute the many whiplash pirouettes, the fouettes, and the other tricky bits more flawlessly than I've ever seem from her. I've never seen her pull off each and every unsupported pirouette (which can be her Achilles' heel) with such confidence. I feel very lucky to have seen such a perfectly cast Vision Scene. Stella was fantastic. What a pure joy to see her execute Italian fouettes. She makes them look so graceful and effortless. I believe it was Nicole Graniero as Amour. (Please correct me if I am wrong.) She was fantastic in the role -- not Tinker Bell saccharine, but just the right mixture of sprightly energy and technical precision. Gorgeous leaps and perfect multiple pirouettes. She's not a corps dancer I've followed in the past, but I was really blown away by her today. In the Kennedy Center thread, it was mentioned that Zhiyao Zhang was an incredible lead Gypsy. His performance in that role today was among the best I've seen. I can't wait to see what else he will dance at ABT. Bronze Idol? Ali? He seems to have what it takes, at least based on today's small sample of his talents. Christine Shevchencko was absolutely lovely as one of the Flower Girls.

Was there a time when the Met season had more varied programming? It's times like these when I wish ABT had online performance archives. I'd like to see ABT in more mixed rep., but I do think it's the warhorses that help to define ABT against its neighbor across the plaza. It doesn't want to go the way of City Opera, which filled no particular niche in its last few years. I think Ratmansky would be the best hope for bringing interesting pieces to ABT while still respecting the classics. I fear Steifel could be McKenzie 2.0.

The programming prospects of a Paloma farewell season are exciting, as she can still dance most of the full-length classics proficiently. I'd personally like to see her go out with Sleeping Beauty, which has really been one of her best vehicles. And it would be nice to see an ABT ballerina go out in a ballet that is not tragic! I can only imagine (and dread) what a Julie Kent farewell season will look like, whenever that might come. Onegin, Lady of the Camellias, Manon, Romeo & Juliet, Othello, Month in the Country, Merry Widow...anything featuring silk skirts and overwrought pas de deux. I hope she bows out while she can at least still dance SL, Giselle, and the Dream.

Since when does rarely performing with the company mean you're taken off the principals roster, though? Well, ABT does seem like a company willing to keep a principal on the roster long after he or she has stopped performing frequently. In my first couple years of ABT performances, I remember seeing Guillaume Graffin listed as a principal, but he never seemed to appear onstage in principal roles. It does seem unprecedented, though, for one of ABT's guest star-like prinicipals to appear frequently on the road and barely at all in the Met season. It's usually the reverse scenario. But, maybe he'll become a principal dancer like a Bolle, who shows up for only a handful of performances throughout the year. If Vasiliev doesn't have commitments to dance elsewhere this summer, though, I think his lack of appearances in the Met season may indicate an impending departure. He and Osipova jump around between companies so often that it wouldn't come as any surprise.

Of the 62 performances this spring, I count 29 that include either a guest artist, "exchange artist," or part-time principal (Bolle, Vishneva, Hallberg, Vasiliev). I think this speaks volumes about the state of ABT's full-time company. I agree with you that the male principal situation is particularly fragile right now. I take particular issue with performances featuring guest artists in both principal roles (e.g. those two Bayaderes). I feel as if ABT's full-time company is treated simply as the backdrop for these "star" performances. I don't see how this can benefit anyone within the company. In instances in which only one guest star is cast in a ballet, at least an ABT principal can potentially benefit from the opportunity to dance with a novel partner who may push him/her to new artistic heights.

At least they now say "one of the world's leading ballerinas." The subway ads in NYC called her the leading ballerina or something similar. Rather stiff delivery, but cute cat!

I'd be curious to know what sort of cover system ABT has in place for these roles. We hear snippets about soloists learning roles they never get to dance. Is there always a cover in place in the event KM cannot swiftly fill a role with a principal or guest artist? We hear so much about the cover system at the Met Opera that it makes me wonder how it works in the ballet world.

Even though T&V is short, it seems to be one that really tests the technique of ABT's male dancers. With David Hallberg MIA for the first few weeks and Eric Tamm and Jared Matthews involved in other mixed program pieces, they may not have had an obvious partner for Murphy. It seems like ABT is willing to test dancers in T&V on the road or at City Center/Koch Theatre but that they'd prefer someone more experienced to dance the role at Met. It seems like a role in which the male dancer is very exposed, so I can understand that reasoning. I'd be interested to see Veyette after ABT's underwhelming T&V performances last fall. I imagine Gomes would be able to lift Semionova as well as Stearns, if not better. When I've seen tall casts in DQ (Hallberg/Wiles, Whiteside/Part), they tend to do the lifts in a less bravura manner. Same goes for Kitri's running leaps into Basilio's arms.

His move to Vladivostok was reported in these forums last summer: http://balletalert.invisionzone.com/index.php?/topic/37688-joseph-phillips-has-moved-to-vladivostok/ I haven't been able to find much on his activities over the past year. I agree with what others have said about Kristi Boone. There has been a feeling of stagnation over the past couple years, which may of course be beyond her control. I was always thrilled whenever I would open my playbill and find Riccetto cast in a soloist role. She was one of ABT's most musical dancers, and brought beautiful technique to her roles. That said, I found the telecast of her Swan Lake with Julio Bocca's company to be merely proficient. It showed she could carry a full-length ballet, but it may not have made the desired impact on ABT's management, assuming they tuned in. As much as I loved her dancing at ABT, I'm not sure she is a dancer with great dramatic depth or acting ability.

It's true - I can hardly think of a more punishing assignment. I just wish the performances had occurred closer to home or been telecast in order to prove to the ABT management that she has what it takes. I do recall watching some clips of that Royal New Zealand Ballet reality show, and with all due respect to RNZB, it was striking to see the contrast between Abrera's very high quality of movement (in even the most basic steps) and that of some of their own dancers.

I do think this must be the case. Beyond her beautiful line and exquisite classical technique, she certainly has the look favored by KM. I'm not saying she's someone who would ever try to get by on looks (and she doesn't need to, given her tremendous talent), but in a company like ABT, it has certainly helped others to have ideal ballet bodies and pretty faces. I imagine this would have only helped to open doors for Abrera at ABT, and yet, that has not been the case... I have to assume that the injuries she suffered several years ago, around the time she was cast in the Kudelka Cinderella and Giselle, sidelined her chances of promotion. Perhaps there are lingering physical issues that prevent her from carrying a lead role in classical ballet. If there are no physical issues preventing her from dancing an Aurora, Odette/Odile, etc., then it makes me sad to think she has never been given the opportunity. American audiences have never had the opportunity to see her tested in such roles, and until we do, it's hard to say what KM's reasons may be for holding her back. I'd be curious to know whether she has ever been the cover for one of these roles. The only deficiencies I've noticed in her dancing is a tendency to occasionally tense up during particularly difficult sections and also a bit of inconsistency in unsupported pirouettes. She's not an invincible Murphy, but not every principal dancer needs to be. ABT has certainly been willing to work with other principals whose artistry eclipses any technical shortcomings.

I was worried the 10th anniversary celebration would impact pricing, but luckily dynamic pricing does not seem to have kicked in for that performance...yet. I have to say I can't believe it has already been 10 years since Vishneva danced that first, sublime Giselle with Corella. I have been following her less in recent years as her dancing has become a bit more mannered, but I figured it was time to revisit her Giselle, and who knows how long she will keep coming back to ABT. I remember her as the Manon to see, and I can't wait to see her vamp it up in that role. (Well, we once had an embarrassment of riches with both her and Ferri in the role.)

Yes, and that big round of soloist promotions in 2007 (Boone, Lane, Kajiya, Copeland, Matthews, Salstein) has not led to further promotions for any of these six dancers. Almost all of ABT's current principal dancers moved from soloist to principal within the span of two to four years. Part is the exception, spending seven years as a soloist before promotion. If McKenzie has plans for promoting any of the six aforementioned soloists, I have to imagine it will happen soon, as they will have reached that seven year mark by this summer. (I realize all careers do not follow a standard trajectory, though.) Promoting these six dancers all in the same year and keeping them in the soloist rank for so long has left very few opportunities for up-and-coming corps members. I'd be curious to know how many of the ABT corps members feel like de facto soloists but without the titles and salaries. While NYCB has certainly been a bit top-heavy in recent years, I think they do a much better job of acknowledging the true roles played by their dancers.

Yes, I would strongly recommend trying to get something slightly farther back. The orchestra section banks very little until about row H or so. Sitting in the first five rows, you'll find that dancers' legs and feet will occasionally be blocked by other audience members' heads. It can be exciting to sit very close, but I think the negatives outweigh the advantages for me. If you are on the shorter side, I would definitely recommend switching tickets. (And if you are on the taller side, you can count on fellow audience members making crabby comments about your height, as happens frequently to my 6'4'' ballet-going companion.) Depending on how far to the side you are, quite a bit of either side of the stage can be cut off when you sit very close. If you are only slightly to the side, then I wouldn't worry about this issue too much.

The one casualty of the new casting is that Seo loses her Nikiya and instead dances two Gamzattis. Her style and temperament seem more well suited to Nikiya, but I'm still doubtful about her ability to carry the lead role in a classical ballet. Has she danced Nikiya before at the Met? This was probably a wise decision on ABT's part, though I can't imagine her being an ideal Gamzatti, either. It's great to see Murphy cast in Cinderella, as she always seemed like the obvious choice for the role. I wonder if David's uncertain availability was holding up the casting announcements for those two Cinderellas and the Dreams. I have such fond memories of David as Oberon and Gillian as Titania. How wonderful to see them paired in these two ballets.