angelica

There is something so exciting about following the trajectory of a ballet dancer's career from their initial performances in ABT2 or in the corps, through their rise to soloists, and hopefully into the limelight. Somehow they become a part of your life (or mine, speaking for myself). Once I see them in a studio rehearsal, I feel that I know them, which of course isn't factually true, but I love the feeling.

Looking forward to sharing thoughts and hearing yours as well after the performance.

I don't think the dancers at ABT are ever given enough coaching from within, guest artists notwithstanding. Gillian surely got more and better coaching in New Zealand.

To quote from a famous Julia Roberts movie of some time ago, "Big mistake. Huge."

Yes, that's true, ABT Fan, although experience does refine the technique and raises the star power (although if Skylar raises it anymore the Met ceiling will have to be raised as well). Do you think any other soloists have that star power? I believe that Sarah Lane showed it in her performance of Giselle with Cornejo, and that Cassandra Trenary and Christine Shevchenko may have it too. Need to see them in full-length ballets. Will be seeing Teuscher on Wednesday.

its the mom, for someone who has not consistently attended ABT performances over the years, you are extremely knowledgeable and your summary is quite on the mark. The only thing I would say is that I believe it was felt in the past by the artistic staff at ABT that Gillian didn't have the "floatation quotient" (my phrase) to dance Giselle. However, when her husband, Ethan Stiefel, was directing the Royal New Zealand Ballet a few years ago, and Gillian joined him there for a time, she was given wonderful coaching and the opportunity to dance Giselle, from which a beautiful film was made. The film was interspersed with artsy images of wind-swept fields, which perhaps was inspirational, but in that film Gillian danced a wondrous Giselle. I don't think her performance at the Met this season was up to that standard, but I'm glad she was given the opportunity because it might have been.

Yes, yes, yes to future leading roles for Skylar! Not only is her technique strong, but to use ABT Fan's phrase above, I believe she also has the "it" factor. Remember that Cirio was a principal dancer at Boston Ballet for some years before joining ABT, so had already been dancing leading roles. Medora was Skylar's first leading role, learning it in three days, and she was a phenomenal success.

ABT Fan, I agree with everything you wrote about last night's performance, but I want to take a moment to emphasize what you said about Cirio. We have gotten so accustomed to flying male principal dancers that the bar has been raised for those so-called "tricks" so they have become almost de rigeur. I agree that Cirio was a stunning Ali, that his technique was impeccable, and his elegance and "line" gorgeous. He's a great addition to ABT's principal roster.

I do agree, Waelsung, that the promotions of the last decade had left ABT in a sorry state, and agree with you about Seo, Boylston, and Vishneva. For myself, I include Kochetkova in that group. But I think this season, with the injuries that have caused rising soloists to replace principals, has been a turning point for the company. I think you missed something by not buying tickets for the most recent cast changes, and I would encourage you to keep an open mind about the latest crop of home-grown soloists-on-the-rise, because the times they are a-changing'.

Welshing, did you see Lane's Giselle last week with Cornejo? It was magnificent. Or Skylar Brandt as Medora? With three days to learn the role? IMHO, she is a future world-class star. I also love Cassandra Trenary, but I don't think Ratmansky's Golden Cockerel or Sleeping Beauty showed what she can really do with classical ballet. I haven't seen Teuscher's Swan Lake yet, so I can't speak for her, but I have a ticket for her Wednesday debut. I think this is a very exciting time at ABT.

I was at Skylar's debut Monday night, and loved the performance so much that I returned again tonight. ABT has a new star in its crown. Sarah, Herman, Daniil, Jeffrey, Craig (though he should smile a little less)--they were all wonderful too.

Thanks, Kaysta. What troubles me about Hee Seo, is that when I've seen her in a studio rehearsal she looks stunning. But when she's onstage she seems not to project out to the audience. I have the same problem with Cory Stearns. They are both beautiful dancers, but a coach who can bring out that intangible stage presence would be welcomed.

It was KMcK who chose this casting, not Hee herself. Maybe that's something we can agree on?

Hi ABT Fan, the reason I included Sarah in the list, although ITA she has been spectacular for some time, is that she's on the short list for promotion--and she did move to another level in her Giselle performances. I agree that Christine is another incredible soloist. I think my omission was an oversight because I didn't see her in DonQ, alas.

I totally agree. Skylar's last-minute substitution for the injured Maria Kotchetkova was a phenomenal success. She was technically secure and radiant throughout, handling the most difficult passages with ease and aplomb. Yes, aurora, you surely "saw the start of something spectacular," and I think with this performance Skylar is poised to rise to the very top of ABT's principal dancers. What are we going to do about this sudden outburst of spectacular ABT women--Sarah, Skylar, Cassie, Devon? Can we promote them en masse to Principal?

Oh, I know! Flagship Soloist!

For the record, Sarah Lane danced O/O with Angel Corella in Spain when his company was alive there. That's not a bad recommendation.

Thank goodness for Ratmansky and his discerning eye!

I couldn't agree more, after over six decades of watching wondrous Giselles. I, too, am holding my breath for a promotion for Sarah. With Theme and Variations, Sleeping Beauty (old and new versions), and now Giselle, she has certainly earned her place in the principal roster.

I sat in Row A Orchestra, and to me, her facial expressions were nuanced and not in the least fake or overdone. And I'm glad to hear that they registered with you, DeCoster, further away. The funny thing is that Seo and Stearns have always looked exquisite to me in the studio, and when I see them on stage they don't project. Haven't seen Boylston enough to say.

For me last night, Time. Stood. Still. I second every person above who wrote of the marvels of Sarah and Herman's performance. Their Giselle was history-making for me, surely one of the greatest Giselles I've seen over a lifetime of maybe 50+ performances of this singular ballet. What distinguishes this ballet from every other is that dancing IS THE STORY of Act II, so the dancing is continuous, hardly stopping for mime of any sort. And what choreography! I thought Sarah was amazing. Although she's short, IMO she dances TALL. Her extensions are high, her jump is big, and when she's balancing on one leg, say in a developpe a la seconde, she draws it out with the music before melting down onto flat. What most amazed me was that she maintained the height of her jumps throughout the second act, with no sign of losing stamina, even towards the end. What a technique! All in favor of rendering the story, which was clearly shown in both her facial expressions, her ports de bras, and her body. Herman, too, outdid himself in both realms--dancing and acting. His jumps were high and often breathtaking. And his acting portrayed deep sorrow at the pain he had caused, which it seemed would haunt him for the rest of his days. All in all I saw four performances this season, which made me realize how important are the supporting roles. Christine Shevchenko was exquisite as Myrta, with beautiful port de bras and spacious jumps. But not only Myrta--the peasants in the PdD, as well as Hilarion, Moyna, and Zulme, all contributed to the suspension of disbelief in which one can immerse oneself in the veracity of the tale. I'd like especially to mention Cassandra Trenary in the Peasant PdD, who dances so cleanly and brightly, and is simply a joy to watch. Last night's Giselle will linger in my mind in days to come. And thank you, everyone on Ballet Alert who started posting like crazy the minute the casting change was announced--I wouldn't have known if not for you.

I went twice to the company class onstage. Each time they made us leave just when they were getting to my favorite part of the class, the petit allegro and grand allegro. The barre was all very nice, as was the adagio, but we never got to see the dancers sail through the air. If they would let us stay for the entire class, I would go again.

Yesterday I died and went to Ballet Heaven courtesy of ABT's double header of Giselle, both performances of which were long awaited and historical. Above I wrote about Sarah Lane. Here are some further thoughts: Of course, Stella Abrera is, and was again last night, the quintessential Myrta, cold, fearless, and authoritative. One moment struck me as especially poignant: when Gillian was standing in front of David, shielding him from Myrta's power, Myrta, who had always relied on her switch of myrtle to exercise her will, suddenly realized that in the face of Giselle's love, it had lost all power. The subtle acting from Stella that conveyed this realization is worthy of mention. Christine Shevchenko was also a commanding Myrta, and I would especially commend her tiny, rapid bourrees, as well as the many high-flying grand jetes in attitude that she did throughout the second act. Both Hilarions, Craig Salstein and Thomas Forster, were excellent. And I must not fail to mention Cassandra Trenary, Blaine Hoven, Skylar Brandt, and Joey Gorak for their show-stopping performances of the peasant pas de deux. Gillian, too, was a lovely Giselle, but to my eyes did not quite reach the level of innocence in Act I, and lightness in Act II, that she did in the film with the Royal New Zealand Ballet. Still, I was glad to see her and she deserved this opportunity. Seeing David Hallberg back on the stage was something, I confess, I had not expected in the last two years. For me, the highlights of his performance were his confidence in lifting Gillian in Act II, which I gather comes from his now-stronger upper body, and the series of entrechats six he did towards the end of the ballet. I think he's still getting his "stage legs" and his "line" back, and that we will see many beautiful performances from him in the seasons to come. Welcome back, David!