angelica

Another one? Who was the first? These discussions are getting all scatterd about on the forums, but what is known for now: Messmer and Mathilde Froustey to SFB, and Messmer herself says that a Bolshoi danseur is headed for SFB, but I've heard no confirmation of that. And I should say that SFB has made no official statements yet. Thank you, Pherank. I thought what was meant was someone else from ABT. Phew!

Another one? Who was the first?

Oh, no! Cory injured? Does anyone know how seriously? He has had such a great season so far, I hate to see him sidelined.

And what about Stella Abrera? Where does she fall height-wise? Ought she not also be promoted to principal status? Her willowy physique makes her seem tall, but I think she may actually be more along the lines of Murphy or Herrera or perhaps slightly taller (not sure).When they pair her with Radetsky she always seems a tad too tall for him. Abrera was one of the dancers I was immediately drawn to when I first began attending ABT performances and the quality of her dancing has been outstanding--consistently musical, lyrical, and simply a pleasure to watch. Unfortunately I feel as if they are no longer testing her out for principal roles, as they had several years ago when she was assigned Cinderella and a couple Giselles (though the latter never took place due to injuries). I've always been curious to see how she would fair in a full-length classical ballet or as MacMillan's Juliet or Manon. Unfortunately her New York-based fans have never had the opportunity to experience this, though I'm always thrilled to see her as the Lilac Fairy, Mercedes, or Myrtha. In looking at the bios of ABT principals, it's interesting that virtually all of them were promoted from soloist to principal within a span of two to four years. Veronika Part had to wait seven years to be promoted from soloist to principal, which seemed like a very long time. Abrera became a soloist in 2001, so I'm not optimistic that she will get her shot, but you never know. Savaliev occasionally danced principal roles in his decade-long career as soloist with ABT, so perhaps Abrera could be afforded the same opportunities, even if she doesn't get a promotion? I agree with you completely about Stella Abrera. I remember those cancelled Giselles and how bad I felt for her. It seems that she has fully recovered from her injuries, as evidenced by her having danced 10 Auroras in 30 days with the Royal Ballet of New Zealand last fall. It seems heartless on the part of ABT to deprive her of the opportunity to dance leading roles and to deny her promotion when she always performs so exquisitely. I would so much like to know the reason why this isn't happening. I'm guessing that ABT will perform Giselle again in its 2014 New York season. Wouldn't it be wonderful to see Stella dance the title role--she has so many fans in New York, who would come out in droves.

And what about Stella Abrera? Where does she fall height-wise? Ought she not also be promoted to principal status?

Oops, so sorry! I think I was "projecting," as the psychologists say. Yes, do go to see Lane/Simkin.

I'd definitely opt for Lane, with vipa's caveat about Simkin's partnering. As for where to sit, it really depends on whether you'll need to get to the ladies room at intermission. Having said that, I'd still go see Lane.

I agree -- those fouettes in the first video you posted are gorgeous. One really realizes what we're missing out on when one sees that. This is a very good point made clear in the videos. I think that what's happened is now that ballerinas are doing multiple turns, audiences have come to focus on the spinning itself, the number of revolutions, with the fan, without the fan (in Don Q, not SL), rather than on the extension of the leg a la seconde, which is now hardly noticed. I wish I had thought to pay attention to that in the two Swan Lakes I saw earlier in the week, with Semionova and Part. Well, there's always next year.

I am sure ballet dancers need to listen to and follow the music. But, there are some conductors who don't like or cannot conduct for ballet. Once a conductor told me that conductors who don't like to watch the principle dancers feet cannot conduct for ballet. Is it true that the conductors and principle dancers need to cooperate in ballet performances? It was true in "The Red Shoes," when the new composer/conductor, Julian Craster, tells the principal dancer, Victoria Page (and I may be paraphrasing here), "Vicki, dance whatever tempo you like. I'll follow you."

Referring back to Batsuchan's comparison of the Semionova/Hallbert Swan Lake with that of Part/Stearns, I totally agree that although the Semionova/Hallberg performance was technically correct in every way (well, almost every way), the Part/Stearns performance was far more moving. I wondered whether Hallberg was losing steam towards the end of the Black Swan PdD when he landed his double tours en l'air in nothing resembling any position. And he did that twice. Because I'd never seen Hallberg be so sloppy technically, I watched specifically for that in Stearns's performance, thinking that perhaps by that time in the ballet nobody can do anything technically anymore. But, as Batsuchan noted, Stearns landed both turns in beautiful deep demi plies in fifth position. I'm beginning to really love Stearns, now that his acting is ratcheted up. His renverses were especially gorgeous, as he extended his torso backwards just a bit extra, to the limit, at the end (I don't really know how to describe this movement but it was beautiful). I'm thinking that he may be one of the purest dancers I've ever seen, never showing off, but always reaching for the best he can deliver.

Kudos to the editor who had to draft that correction. It couldn't have been easy to find a succinct way to clarify the identities.

I, too, would love to hear about Hee Seo's debut. I saw her in the dress rehearsal, and although she missed a couple of technical points (she didn't do the battus before the single, double, and triple turns in the PdD; and she didn't do the tiny ronds de jambes en l'air before the developpes a la second in her solo), my overall impression was that she danced exquisitely, rapturously, like liquid silver. I hope her debut was a success.

I'm reading all the above comments and saying to myself Yes! Yes! Yes! I want to quote everyone who expressed praise for both Veronika Part's performance and that of Cory Stearns. Cory has made a giant leap from last season, growing in stage presence and emotional expression. I've been watching him since his performance as James in La Sylphide some years ago, and have always admired his gorgeous line and handsome face. Perhaps it was his success in the character of Iago in The Moor's Pavane that gave him the courage to do more on the acting side. Or maybe good coaching. Or maturing. Whatever it is, it's working. He has never been one to showcase himself, which makes his acting all the more authentic. Last night he seemed thoroughly engaged with Veronika, responding to her outpouring of emotion with beautifully expressed emotion of his own--tenderness, sorrow, love. I was truly moved by his portrayal, which seemed completely genuine. In the past, Veronika has had to carry the ballet on her own when she was paired with Cory, but now she has the opportunity for a real connection, which she has to make the most of. Watching her last night, it seemed to me that she maintained the same anguished expression throughout the entire lake scene. She has a wider emotional range than that, but perhaps her history with Cory, where she has had to carry all the emotion, has reified that aspect of the role for her. Now it's time for her to engage more with him. Veronika is surely one of the great Odettes of all time. But last night her Odile had me completely in awe. She was magical: seductive and menacing, and dancing with the utmost self-confidence (I'm still not 100% rid of the knot in my stomach when she does those fouettes, but it's beginning to go away). I won't say more because others have said it above, except to agree that Vasiliev looked ridiculous as Veronika's father; that Stella Abrera was beyond luminous; and that I wish they would change the costumes for the aristocrats in the first act because their fullness makes the dancers seem heavy and encumbered. They could cut out that maypole and I wouldn't miss it.

I think that Herman was already spinning in the womb and that he came out spinning!

Gomes absolutely owns the role of Purple Rothbart. I thought he was almost over the top yesterday, making "knowing" eye contact with the audience, as if to say "here it comes," something that Corella used to do sometimes before he did an eight-turn pirouette. I saw Vasiliev do the same role in the dress rehearsal and it was sadly inferior.

I'm on board for Matthews as well. He has outdone himself this season, and reached a whole new level. He is definitely principal material. I hope Hammoudi will be back from his injury soon. As for the Semionova/Hallberg Swan Lake on Monday night, right now there are very few seats available, although of course certain ABT "hold/VIP" seats might be released tomorrow or Monday morning.

Notwithstanding the blackface, which I managed to avoid by focusing completely on the Golden Idol, I thought the Golden Idol was wonderful. Thanks for putting it up. I'll check out the other videos too.

Does ABT have anything like a pension benefit and, if so, after how many years? That might affect a dancer's decision about whether to stay or move on.

I totally agree about Matthews. His Lensky was magnificent as was his Mercutio. My eye is drawn to Gorak also.

I'm glad that so many people on this forum like Whiteside because they will make up for the tickets I won't be buying when he is dancing. You all may be right, and I am being too quick in my judgment. But just for the record, Veronika had the "line" when she graduated from the Vaganova School. What took time for her to develop was stronger technique and greater self-confidence. Perhaps being in the midst of Hallberg and Stearns, both of whom have an exquisite "line," will help to refine Whiteside in that regard. I hope that is the case.

Well, perhaps I'm living in my own little corner of my own little world, but I go to the ballet to see beautiful classical lines. For me that's the starting point, upon which speed in a Balanchine work or drama in a Macmillan work are built. Petipa ballets are all about line. So although I may appreciate that a certain dancer has X and Y virtues (e.g., versatility, partnering ability), if the pure classical line is missing, my aesthetic appreciation is diminished.

Yes, and yes, Colleen. But I find him extremely unrefined, compared, for example, with the likes of the triumvirate of Hallberg, Matthews, and Gorak. Do go yourself and see what you think.

This is an excellent move on the part of ABT. Maybe Mr. Roberts can help those talented male corps members grow into soloists and ultimately principals, so that ABT no longer has to import foreign guest artists but can promote from within.

Skylar Brandt.