angelica

I saw the Friday night performance. While Osipova's technique was flawless, I was surprised at the lack of fluidity in her upper body. She doesn't have the plasticity of, say, Veronika Part, who only has to breathe to radiate eloquence. In fact, I could imagine that Osipova had been trained in the U.S. rather than in Russia. Still, she was adorable to watch and her jumps are, beyond question, thrilling. However, the very best part of the evening took place in the second act, the workshop of Dr. Coppelius. A child in the front of the Orchestra was laughing without any inhibition whatsoever at the stunts of the mechanical dolls, and his/her laughter, was infectious. The child's laughter spread through the audience, which ended up laughing on both accounts--the merriment of the "dolls" onstage and the merriment of the child.

The Wednesday matinee was a performance to remember. Hee Seo was a lovely Giselle. Because I was sitting in the Grand Tier rather than the Orchestra, it was difficult for me to see anyone's facial expressions, but I thought that Seo's dancing in Act II was especially lovely, particularly in the second half of the act, when she seemed to dance increasingly weightlessly. The phrase in which David carried her diagonally across the stage in arabesque where she barely grazed the floor in between each one is etched into my brain. I'm eager to see her up close and as she develops the role in subsequent years. To me personally, the afternoon belonged to Stella Abrera, who gave a breathtaking performance as Myrtha. Imperious and implacable, she soared into the air, truly embodying the essence of the character. At the high point when she emerges from behind the corps in grand jetes, everyone around me gasped at her speed, height, and fierceness. I hope that next year she will dance the title role. The Peasant PdD with Sarah Lane and Daniil Simkin was the best I've seen this season.

I've been thinking a great deal about this right-turn, left-turn thing lately, as I try to achieve perfect pirouettes. At the ripe old age of 100 (well, you know), I'll take perfect singles, maybe an occasional double on a good day. I'm right-handed, but I pirouette better en dehors to the left and better en dedans to the right. I do pique turns better to the right. I've been under the impression that that's because my right leg is stronger than my left, and so I can pull up onto it more easily and it holds me more securely. When I see dancers who turn to the left, I've wondered whether that's because their right legs are stronger than their left legs. Any thoughts?

I thought the Vishneve-Gomes Giselle last night was utterly ravishing. How to describe it? If only I were a poet. Even after having seen countless performances of this ballet in my lifetime, I was crying at the end of Act I, so moved was I by how vividly Marcelo conveyed the depth of his grief. Vishneva's Giselle in Act II was flawless and weightless, an exceptional, perhaps defining rendition (as if such a thing could ever be possible). She reminded me of the performances of Ekaterina Maximova in the 1960s, in which Maximova seemed to float above the stage, never quite touching the floor. Vishneva, too, transcended the material world, elongating and shaping her body into the most eloquent embodiment of perfect ballet line. My husband described the production as "operatic," noting the light motifs in the music, which recur more and more ominously. Which brings me to the magnificent Veronika Part, who was gorgeous and merciless as Myrtha, truly a wili on the warpath. Glorious, unforgettable performances by all. And let me not forget to commend Gennadi Saveliev, who, IMHO, seems more than anyone else to embody the role of Hilarion.

Apologies for going off-thread. I think I was responding to members who noted that ABT is bringing in so many guest artists and not grooming its own, and suggested that we keep our eyes out for this young man as someone who is likely to be promoted from within. And interestingly, just today we learn that ABT is bringing in another guest artist--I know, that's another thread. Again, apologies.

Has anyone seen Irlan Silva in ABT II? He is the subject of a terrific documentary following his trajectory from the slums of Rio de Janeiro to the Prix de Lausanne, to winning at Youth America Grand Prix, to the JKO School, to ABT II. He is a gorgeous dancer, exquisite line, handsome, fluent in classical and contemporary dance. I hereby predict that he will rise through the ranks to become an ABT principal from within. The documentary is entitled "Only When I Dance." You can get it from Netflix, even via instant download, and I encourage everyone reading this thread to check it out.

I would like to think that principal dancer status will be bestowed on Abrera, Lane, and Seo, in that order (may they all be free of injuries for the duration of their careers!) They are all beautiful dancers who have shown their ability to rise to the occasion and charm us, thrill us, and even stop our hearts. Perhaps they won't all be technical wizards, capable of 32 fouettes and then some. Some dancers are more lyrical, some more powerful. I have to wonder whether the training in the US is part of the difficulty, as so many of the strongest dancers were trained in Russia and Latin America. Still, we have our Julie Kent and our Gillian Murphy (and others whom I don't mean to intentionally exclude), and hopefully the three above named will follow on their heels (no pun intended).

I thought that Act III of the Semionova-Hallberg Don Q. was utterly ravishing. You could feel the chemistry between the two artists. David looked so proud of Semionova at the curtain calls, so I'm not surprised that he twittered that she had UP-ed her performance. How lucky we are to live in this age with such fantastic dancers! And I totally agree that Veronika Part was magnificent as the Queen of the Dryads. Also, Sarah Lane's performance as Amour was the first I've seen where I didn't think the role was treacly. I, too, am eagerly awaiting the Semionova-Hallberg Swan Lake--except for the fact that it signals the close of the season.

One ticket left in side parterre, $115. May be gone by the time I add this post. Sometimes seats held for VIPs are released at the last minute day-of. Suggest you keep checking web site if you want a seat. And if you find one, grab it!

I'm also very excited to see the stellar Stella Abrera dancing Myrta on June 1st. I saw her a few years ago as the Lilac Fairy and immediately bought a pair of her autographed pointe shoes, saying to my husband that she's going to be a Principal next year. Sure enough, still a soloist, she was given the title role of Giselle to dance in a Wednesday matinee (like Seo this year), but alas, she was injured, and sidelined for a long time. I'm so glad she's back in a major role. Maybe next year will see her debut as Giselle. angelica

I'd like to see more Simkin & Lane too. I think they'd do a charming Coppelia I'm a little disappointed that I won't be seeing Steifel with Cojocaru in Giselle. Halberg seems a bit tall for her and he's not my favorite, but I'm still looking forward to seeing Cojocaru as well as Muphy who will be doing Myrta (if all goes according to plan!) I can't imagine anything but adoration for Hallberg. I am always thrilled to see him dance. angelica

Right. I forgot about that part -- definitely not directly behind the conductor. And you're right about it being a personal thing.

Last year I tried every section of the Met and came to the conclusion that, at least for my requirements, the Met isn't the best house for ballet. Every seat is a compromise, in our way or another, except perhaps those ends of the Orchestra "Premium," which I believe are saved for Press and dignitaries. Maybe you can get them at the very last minute if they're not being used. Anyway, here's my assessment: Orchestra front row center: you miss the feet when they are flat but can see them on pointe. Otherwise, it's great for getting every nuance. Orchestra middle: not too bad as long as you don't have heads in front of you. No way to plan in advance unless you have a subscription and so do the people in front of you. Grand Tier Center: Okay if you like to see ballets in panorama, e.g., I would recommend for a first time Giselle. However, for the nuances of acting and expression, it's too far back for my taste. Center Parterre: Pricey and also too far back if you like to see the dancers close up. You can't watch an entire ballet through binoculars. Side Parterre: first row only - don't sit anywhere in the side parterre except first row. Good seats, you see up close, but you miss a corner of the stage. Dress circle, first row center, best seats for the money. Hard to get. Balcony and Family Circle: Okay if you have really good eyesight, but I don't. This year we got our subscription for Row E Center Orchestra. I will report further on how this worked out. angelica

Best Met location for dance is the Grand Tier. The more center the better. If not a subscriber, walk ups work sometimes and not so well others. It depends on particular casting. But I've frequently had great luck with same day walk up. (sometimes better location than my subscriptions!) Last year I tried every section of the Met and came to the conclusion that, at least for my requirements, the Met isn't the best house for ballet. Every seat is a compromise, in our way or another, except perhaps those ends of the Orchestra "Premium," which I believe are saved for Press and dignitaries. Maybe you can get them at the very last minute if they're not being used. Anyway, here's my assessment: Orchestra front row center: you miss the feet when they are flat but can see them on pointe. Otherwise, it's great for getting every nuance. Orchestra middle: not too bad as long as you don't have heads in front of you. No way to plan in advance unless you have a subscription and so do the people in front of you. Grand Tier Center: Okay if you like to see ballets in panorama, e.g., I would recommend for a first time Giselle. However, for the nuances of acting and expression, it's too far back for my taste. Center Parterre: Pricey and also too far back if you like to see the dancers close up. You can't watch an entire ballet through binoculars. Side Parterre: first row only - don't sit anywhere in the side parterre except first row. Good seats, you see up close, but you miss a corner of the stage. Dress circle, first row center, best seats for the money. Hard to get. Balcony and Family Circle: Okay if you have really good eyesight, but I don't. This year we got our subscription for Row E Center Orchestra. I will report further on how this worked out. angelica

Wish list: More Veronika Part--partnered by Hallberg. Stella in Giselle title role. Osipova with Simkin in Don Q. Something else, not Cinderella--there's nothing I like less than a ballerina dancing with a broom! Enough time and money to see every performance!

Actually, their partnership began last year with Giselle. Yes it did, and that Giselle was great. But I know exactly what Angelica means. This R&J was on another plane completely. It may not have been the first time Osipova and Hallberg danced together, but it felt like it could be the beginning of a legendary partnership. And, as with Angelica, it was a performance of R&J that I will remember forever along with Fonteyn/Nureyev and Ferri/Bocca. Thank you, nysusan, that is exactly what I meant!

Rosa Mexicano is a wonderful upscale Mexican-inspired restaurant right across the street from Lincoln Center on (I believe) Columbus Avenue, and a great way to spend time between the two performances. But I'd advise you to make reservations in advance. Two weeks before Super Saturday I went online to Open Table to make a reservation for two, and the only time available was 5:30. It was already booked for 6:00 and later. But it worked out very well.

At the outset, let me say that I will long look back upon this past Saturday as a day when I was privileged to witness a historical and momentous event--the first performance by Osipova in Romeo and Juliet. It was historical firstly because it was her debut in the role, and secondly because I believe the day will go down in history as the beginning of a great partnership between Osipova and Hallberg, as important in the history of ballet as the Fonteyn-Nureyev partnership of decades past. I like to think that on my death bed (okay, it was R&J, after all) I will be able to look back and remember how beautiful was the budding of this partnership, and that I was witness to it. Like many others, I, too, saw both performances on Saturday. Although it has been suggested in the various postings, I would like to spell out what in my view was the most significant difference between the two interpretations of the lovers. I felt that in the characters of Romeo and Juliet as played by Hallberg and Osipova, the protagonists, upon seeing each other for the first time, were stunned, overcome by feelings they had never before experienced, hardly knowing what to make of them but understanding their enormous significance without being able to put words to them. They did not know this was "love at first sight," they knew only that something extraordinary and previously unknown had just happened to them. The attraction to each other was palpable, and with this attraction each of them became the characters in the drama for the entire ballet. During the curtain calls they both looked, at first, shaken, as if they had gone through a rite of passage together, an intense experience for them both that went beyond the drama of the performance and extended into real life. Hallberg had become Romeo and had initiated Osipova into the role of Juliet, for which she would be eternally grateful to him and which he felt honored to have done for her. An enormous bond between them had been strengthened. Whereas in the Vishneva-Gomes performance, I felt that the moment Romeo and Juliet saw each other they knew that they had each found true love. They seemed more experienced with these feelings, they weren't stunned by them, but rather, were overjoyed. Vishneva danced with joy and abandon, which was different from Osipova's sense that something new and special had just happened to her. Both Vishneva and Gomes danced magnificently, but it was a different sense of communication that took place between them, a more knowing understanding of what had transpired. As for the scene with the doll and the nurse, perhaps I'm taking this too literally, but I think that when the nurse touched Juliet's breasts and then Juliet touched them herself, registering surprise, it was the nurse's way of saying "You are becoming a woman, my dear child, you are developing womanly breasts," and when Juliet touched them herself, it was as if realizing for the first time that she was, indeed, becoming a woman, and all that that awakening meant for her.

I concur: both Stella Abrera and Hee Seo are principal material! angelica

I'm sooooo glad to hear that others were as enraptured as I by Veronika Part's performance in Saturday night's SL! I learned of the cast change only at the last minute and feared that I wouldn't be able to get a ticket. Thankfully, I did, in center orchestra, and I was in awe of her performance. After Nina, I thought I would never again fall in love with a ballerina, but I did fall in love with Part that night. Stunning. I've been going to the ballet since 1950 and I sat there mesmerized. The nuances, the intensity, the eloquence! Images of that performance will be forever engraved in my brain. And of course David Hallberg is the ultimate prince. I felt he had a bit of a struggle in some of the lifts, but all he has to do is stand there to capture your attention. Gorgeous. And when he jumps, he floats. angelica

I almost forgot to mention what a pleasure it was to see Stella Abrera dancing so beautifully in the first act pas de trois. I think (and hope) she will move up in the ranks. angelica

Last night, seeing Part and Hallberg in SL, I knew I had gone to Ballet Heaven. Part was gorgeous, her dancing/acting, as a single entity, was eloquent. The two long-legged dancers with perfect ballet line had me in awe. Part's expressiveness and Hallberg's responsiveness had me holding my breath as each movement unfolded. David is perfection itself. And I can hardly find the words to describe Veronika--amplitude, eloquence, intensity, breathtaking. angelica

"I preferred Maria Riccetto over Michele Wiles as the Lilac Fairy. Wiles was way too stiff and brought very little personality to the part. The most beautiful Lilac Fairy that I ever saw was Marianela Nunez with the Royal and I would have Yekaterina Kondaurova (who I saw back in February when the Mariinsky was in DC) in second. The Lilac Fairy should set the tone of "Hey! - Don't worry! - Everything is going to be OK!" I did not get that from Wiles at all and when I watched her with my opera glasses (I was in Family Circle last night) she usually had a very pained expression on her face." I fell in love with Stella Abrera when I saw her dance the Lilac Fairy three (four?) years ago. After her first variation I said "She's going to be a principal next year," and bought a pair of her autographed pointe shoes. Although she wasn't promoted to principal the next year, she was scheduled to dance Giselle on a Wednesday matinee, for which I bought a special ticket. Then she was taken off the schedule because of her injury. I am absolutely thrilled that she is back. This season I saw her dance Mercedes in the Saturday night Don Q and thought she was exquisite--charming, seductive, with exquisite port de bras and technique. I hope ABT will do Giselle next season and that Stella can finally make her debut in the title role. angelica

Stella Abrera is back! And she is dancing magnificently! Please, ABT, promote her to principal dancer! I can't get enough of her! Also Sascha! angelica

Please, please, ABT, promote Stella and Sascha to principal dancers. Wouldn't they look wonderful together in Giselle next season? angelica