angelica

1 hour ago, ABT Fan said:

 

Yes - Lane, no doubt, and Shevchenko (I saw all 3 of her Myrta's - wow). I haven't seen Teuscher's O/O and will miss it next week as I have to work. I have seen her in soloist roles, but I haven't seen her in anything yet this season. I think Trenary is on the cusp.

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.

1 hour ago, Kaysta said:

 

I think Teuscher has IT as well.  I look forward to hearing your thoughts after Wednesday's matinee.

 

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

10 minutes ago, its the mom said:

I do remember the film and her opportunity at RNZ.  But with proper coaching earlier, might she have been able to dance that role?  It just seems that dancers lost out in the last 10 years because of the guest artists.  

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.

7 minutes ago, Just an Observer said:

Once the Wed night Swan Lake became available, why was it given to Seo, rather than Abrera or Lane? The Misty casting  I get - - - she attracts an audience that otherwise would not attend. But Seo?

 

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

10 minutes ago, ABT Fan said:

 

I agree Brandt possesses that as well. But, since I feel that a few of the other principals do NOT have "it" and they have danced leading roles for years already, I think Cirio and Brandt demonstrate to me anyway that you either have "it" or you don't. Experience doesn't equate star power or aura. 

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. 

3 minutes ago, its the mom said:

I have not consistently attended ABT performances over the years, so I am not as knowledgeable as those of you who are long-time audience members.

 

There is no earthly reason that a principal dancer like Gillian Murphy was dancing her NYC debut of Giselle this year.  

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.

2 minutes ago, abatt said:

I also enjoyed Skylar's performance last night, as well as the rest of the cast.   I hope her performances as Medora lead to additional future lead roles for her.  As noted above, her technique is very strong. 

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.

26 minutes ago, ABT Fan said:

Cirio was beautiful as Ali even though he doesn't have the same arsenal of tricks that Simkin and Cornejo have. But, his technique is so clean and he gets great height in his jumps and his elegant presentation is unmatched by Simkin. 

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.

3 minutes ago, Waelsung said:

To be honest, I just don't care where they are guest stars or ingrown, as long as their dancing warrants what the ABT has been charging for good seats these days. I'm not a fan of Hee Seo and wouldn't pay a dime to see Boylston dance anything, not even modern repertoire. I'm not interested in Ferri's comeback (wonder if she'll be doing these until she's 100 years old), nor in Vishneva's retirements. This is why I, who used to subscribe to 2-3 series per season + acquire individual performances as the casting became clearer, am yet to buy a SINGLE ticket this season.

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'.

13 minutes ago, Waelsung said:

 

Yep, that would be me, no doubt. The only thing is I would be all for developing ungrown talent if I saw some, but, like I said earlier, except Shevchenko and - maybe - Lane, I just don't see any future wolrd-class stars in the making. Unfortunately, if the company goes the way the ABT seems to be going (no more guest stars to save money, but home-grown dancers available on the cheap, even if they're not ready and have no potential to ever be), it will very quickly turn into another provincial company. The local crowd will always be there to cheer the home team, but big-league attendees (and sponsors) will not be enthusiastic enough to keep the budget sane and the price of the seats even remotely affordable. Hate to burst everybody's bubble, but the ABT future DOES appear to be pretty grim.

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.

1 hour ago, Kaysta said:

I was the other person who mentioned her and I agree with you.   I do like Hee Seo (I think her Juliet is quite stunning), but it was frustrating for us (and probably her as well) last year when she was made to cover for multiple injured dancers.  Honestly, I mean no disrespect to Hee.  Even if she isn't my cup of tea in every role, she is obviously a beautiful and talented dancer.

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.

3 hours ago, abatt said:

Happy for Shevchenko.  I'd much rather see her than have a return to the days of Hee Seo Ballet Theater.

 

 

3 hours ago, abatt said:

Happy for Shevchenko.  I'd much rather see her than have a return to the days of Hee Seo Ballet Theater.

 

 

4 hours ago, abatt said:

Happy for Shevchenko.  I'd much rather see her than have a return to the days of Hee Seo Ballet Theater.

 

 

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

1 minute ago, ABT Fan said:

 

What a wonderful problem to have with so much talent!   Though I'd remove Sarah from that list as she's been spectacular for awhile (her long-awaited Giselle propelled her forward even more). And, I'd add Christine Shevchenko to the list of incredible soloists.

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.

34 minutes ago, aurora said:

I don't think anyone should hesitate to go out and grab a ticket. In fact I'd advise you do.  I felt like I saw the start of something spectacular.

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!  

2 minutes ago, nanushka said:

Any guesses (wishful or otherwise) for who might take over Kochetkova's O/O the following week, if she's still out?

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.

18 hours ago, ABT Fan said:

 

We can also add Whipped Cream and Coppelia to that list. And, even though it isn't a full-length, she performed Miranda, the female lead in Ratmansky's The Tempest and was first cast.

Thank goodness for Ratmansky and his discerning eye!

2 hours ago, mimsyb said:

.... after last night, I really feel as if I saw the greatness that makes memories live.  So, welcome Sarah to this very elite short list of wondrous  Giselles.

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.

6 hours ago, DeCoster said:

As for critiques of Lane's facial expressions, I am less inclined to dispute these critiques as I general sit in the dress circle and sometimes the grand tier, often in standing room.  Therefore, I sometimes can't read the facial expressions of dancers with smaller eyes and perhaps more subtle characterizations (Seo, Stearns, and Boylston fall into this category for me) without opera glasses, whereas Lane's expressions actually reach me.  Reading others reviews I'm wondering if some of how perceive dancers is influenced by where we sit.  For instance, those who sit close in the orchestra might view Lane's expression as fake or overdone, whereas it really works for those of us in the balconies.  Just a suggestion . . .

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.

1 hour ago, seattle_dancer said:

One year I also saw the company class onstage.  I loved that benefit.  We sat in the front of the orchestra, and you get a chance to see pretty much all the dancers.

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!