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  1. I am glad you too enjoy it. I thought it was an epic night. I personally dont remember a Juliet irradiating so much happiness for being in love, particularly in the balcony pdd, her variation was a celebration of love, she seemed flying all over the stage, I got chills through out the entire performance......and her acting before surrendering to dance with Paris, after begging to her parents was so moving, followed by that gorgeously emotional and heartbreaking pdd, my god, it was sensational. ...I also loveedddd the way she used her bourees to express emotions, in different moments, and how effective it was. I sense that she has a special connection to this role, but I heard that her Giselle was also really good.....I liked her before but have never been a fan. Now I cant wait to see her in SL and Don Q, since I am really really curious about her acting range and how she uses her technical power to fuel her artistry in a leading role. Its too bad that she is not dancing SL with David . I hope Simkin manages to partner her well, otherwise I sense the quality of the performance may suffer a bit. I have been a very strong critic of the current principals, after seeing Isabella last night, I think she deserves the chance to be considered apart from the rest in terms of star power and potential. I have also being quite impressed with Seo's progress, at least the show that I have recently attended by these two have been very high quality ones.....Hoping that Trenary, Brandt and Bell join the principal team sooner than later, so we can maybe recover some of the golden memories of past times.
  2. I went last night, and I am so happy that I did. I thought Boylston completely knocked the ball out of the park. My expectations were low, however, I can certainly say she stunned me, to the point that I rank her performance in my all time top 3-5 for this role. Her technical brilliance brought the choreography to life, better than ever. She made everything look so easy, yet so beautiful, and used it as a perfect vehicle to tell the story, as I have rarely seen before. Literally every phrase made sense for me last night. I remember reading somewhere that she have been taking acting classes for a while, and it shows ! She went from a girl to a madly in love woman in such a subtle, and at the same time, beautiful way. The performance progressed in emotion and her third act was just magnificent, particularly her last two scenes before the final one. Her last pdd with Paris was truly heartbraking and the moment when she decided to take the sleeping potion was so intense. I think she was so much in character that a few times she actually made some noise, particularly with her breathing, in a very organic way, and it worked for me really well. The whole show was very organic, I am still in awe. Hallberg looked much better than in the SuperGiselle show. Most importantly he partenered Boylston beautifully, those lift were just gorgeous. I loved the contrast of his Romeo and his elegant lines with the exuberant intensity that she transpired from beginning to end. The balcony pdd was very, very well danced but also full of love and beauty from both dancers. The final scene was just phenomenal, they were both at their best, bravo ! This is a great partnership and I hope we get the chance to see them dance together more often. I came out of the show pretty emotional and thinking how powerful and beautiful this ballet is, when is really well done. Together with the gorgeous score is definitely a jewel for the art. Cirio brought the house down with his technical power, the audience really loved him. His portrayal of Mercutio was cute, but still felt short for me in many regards , particularly his dead scene looked way too canned for my taste. I think also the contrast of Hallberg's lines next to him, did not make him any favor. He should dance next to Cornejo or Sinkim better. Calvin Royal looked really fantastic. Devon Teuscher's lady capulet looked underpowered, its probably a work in progress. Overall a magnificent show with two spectacular performances of the leading roles and a very strong support from the remaining characters and the corps.
  3. are you sure about this ? I checked, Teuscher got 2 Bayaderes, I believe, as did Seo and Boyslton. Teuscher seems to be the new AD favorite, KM has a clear tendency to "fall in love" for a dancer and then he will just have her/him do everything, like nothing would be enough, no matter how ready or how good or not so good she/he performs the roles given.... We had Seo ballet theater season a coupe of years ago, and she was clearly not ready for that, still nothing stopped him. The casting this week is a good example of how bringing 1-2 world class dancers could help to lift the quality of the performances, give Teucher, Boylston and/or Seo one show each, so they get their chance, and bring someone exciting for the remaining shows.
  4. Kim owned the met tonight, the house was very well sold. His jump are just priceless, what an elevation, he devoured the met stage with those jetes !. To me he has it all, he projects big, he is elegant, a superb partner and his technique is just amazing. I wish they could bring him full time for the met season at least ! He brought the house down with all his solos. Seo danced beautifully, her lines are to die for, those arabesques, my gosh, her upper body and port de bra are just gorgeous. Now, after she has clearly worked on her technique, her dancing in coming along together much better. I have seen her three times in raw making no mistakes, and delivering great performances, so since I was a big detractor before, its time to eat my words and say brava. This is a role that I think she still has to develop, particularly the snake-scene in Act 1 and some sections of her variations in act 2, during which she seemed rushed and a little behind the music. Overall, she looked really stunning, and very confortable with Kim, they look beautiful together. Gillian delivered, as usual. I just love her Gamzati so much. Her Italian fouettés were solid, her fouettés had plenty of triples pirouettes and ended also very well. The fight scene was very well played, by both, her and Seo, I was relatively close and really loved this. Sadly, the three shades were just a disgrace. Lane started relatively well, but shortly after she started the releves en arabesques, she fell off point, but even worst was how she continued, she walked some steps to fill in the music and got back on point at the very end, it really looked awful. I know some people mentioned before that she can be inconsistent, and that showed today. In the last 10 years, I have seen her doing this many, many times. Anyone can have an off night, but thats not how you recover from a mistake, she is simply making it look even worst. Next, Williams performed one of the ugliest 2nd shade variations that I remember, I am not going to even comment on this, it was just really bad, from beginning to end. Shevchenko was the 3rd, and also looked quite terrible to me, the ending in particular was horrific, I literally thought that she wd lose balance and fall, luckily she pulled a very awkward move and managed to stay on point. The shades had some good moments, and some not so good moments but they didn't look that awful to me. Definitely there were some significant wobbles a few times, but not to the extent of making me think that they would lose it. Overall I thought Kim, Seo and Gillian delivered a truly fantastic show.
  5. I agree with your post completely, to me one potential solution is "balance". Bring 2-3 big stars, and combine that with opportunities to in house dancers. Having 1-2 shows per week with a world-class casting won't hurt the growing opportunities for the home dancers. In fact, I think it would be a great experience for Trenary and Brandt, for example, to dance next to Smirnova, Nuñez, etc., . I dont understand why does it have to be all or nothing, before we had a constellation of stars to the point that the season looked like a ballet festival more than anything else, and now we went 180 degrees opposite, practically zero guest artist this year. Considering the quality of the female principals, having no guest stars, especially after Vishneva is gone, is ridiculous to my eyes.
  6. Regarding the empty seats in this round of La Bayadere....Years ago ABT threw an all star week of La Bayadere, which included: Smirnova, Terechkina, Cojocaru, Vishneva and Part.....I personally, went and saw pretty much all the shows....This year I havent attended to even one....and many abt long time fans feel the same, I am sure. The met is a huge theater to fill, no question about it, but when the casting has been of star quality people have consistently attended, for sure...once again, compare the selling of Osipova/Hallberg's Giselle versus the rest...... I dont think that ABT problems to fill the house should be resolved leaving the met, its a highly prestigious venue that I believe they should keep, although its clearly not ideal. The problems surfacing now are simply the result of the mediocrity of the casting planned week after week. Home grown talent, yes, we all advocate for that (Hallberg, Murphy, Kent, Gomes), at the expense of quality, definitely not......
  7. I was highly disappointed when I saw that neither of them got an opportunity at a major classical role this year. I am terrified about Trenary particularly, since I remember she was given the opening night in their SB tour in Paris. I really hope she did well bc if by any chance the artistic team of abt was not pleased, I am quite sure that it will take years for her to get another shot. For references, Wiles was given opening night in SL in London, it didn't go well, and from there on was a downfall that did not stop until she left.....Lane was given a shot also with the old SB production, they weren't happy and she was "punished" for that for quite a few years, in addition to the humiliation of having the role being taken away from her. On the opposite sides, Boylston and Seo were given big roles and quickly were given more and then promoted. I really hope Trenary doesn't go through what Lane, Wiles, Abrera, Part and some others went through.....My guess is they are both the relay of Murphy and Abrera, so sadly it will probably depends on when these two retire for them to have a chance at promotion. Brandt, in my opinion has all the ingredients to become a star dancer, its not only about the quaility of her dancing and her promising artistry, she is fearless and that is key, in my opinion, to succeed. She gave a tremendously strong performance on Le Corsaire last year in a short notice replacement...Her peasant pdd on the Super-Giselle night was amazing, she threw two long long balances that lasted for ever, the whole variation was impecable, clean and strong. Those balances to me were an statement of "I am here and ready", with a full house, on the night of these two mega-stars , having no fear, going the extra mile in the little chance that you have been given, is remarkable. She is hungry and that is great, that kind of personality in a dancer produces a lot of excitement in me. in the middle of the depleted quality of the prinicipals that we have now, she is screaming for a chance !!!! On another note, I went to Osipova and Hallberg super-giselle. I found it to be an epic night. This was not only about the exceptional and unique quality of both dancers, each in their own style, but about the chemistry of the partnership, that is to me what brought the performance to a different level. I totally agree with Macaulay's review, Osipova maintains a freshness in her portrait of the role that is absolutely admirable. I also think she has been polished big time in the RB, and this together with her unreal technical skills that are also a perfect fit for this role, makes it an unforgettable Giselle. David danced with less bravura, understandable considering where he is coming from. However, I still enjoyed his Albretch as no other, his landings are so soft, he is so elegant and his lines are to die for, I could watch him dance for ever. I also attended Seo/Bolle. I have also been a very strong critic of Seo's performances in the past. I saw her in SL last year and was very impressed, particularly her Odette was magnificent, I think she is the best Odette that abt has right now by far (particularly after Part's departure). Last Friday she delivered a magnificent show. No mistake were made, she looked secure and very much in control. I wasn't particularly thrilled with her Act 1, some minor steps were simplified, the hopes were short lived and the madness scene was "ok", I would say...but still, overall I thought it was really good Act 1. In Act 2 she definitely took the performance to a different level. First, her jumps are truly amazing, with great balloon and quite high, but what really impacted me the most was how she kept her upper body so relaxed, the shoulders, her arms, no visible tension, it was really beautiful, ethereal. This is the second time in a row that I see her giving a high quality performance in a major classical role, I think she has become stronger and more secure. Maybe she has had now enough time to digest the many roles that she was given before, most of them at the same time in a season that is so short. More rehearsal time have clearly paid off. Roberto, boy what else can we say ??? at 43 he looks and dances as if he were in his early 30s, with those endless legs, gorgeous face and greek-god body and look, I wish he never retires !!!! He was such a great partner for her, they looked very confortable together.
  8. Great news, for all of us, veronica's admirers http://rnzb.org.nz/news/rnzb-welcomes-international-guest-artist-veronika-part-for-dancing-with-mozart-season/
  9. I agree completely with nysusan. ABT had golden years, I remember seasons that I could barely skip a show, it was literally a star couple dancing after the next. The level of mediocrity that has taken over the principal roster is frankly devastating, never in my life I thought I would witness such an awful time in this beloved company of mine.....Facts speak by themselves, Osipova/Hallberg's Giselle is being sold out for months, and tickets has been sold at skyrocketing prices...the rest of the shows, half empty house at their best......nothing else need to be said. I understand that having all imported star dancers impacts negatively the morale of the company, but going to the opposite extreme, not having even a single star invited for the whole season, especially at this time when the roster is at all-time bottom level of quality, is simple ridiculous. Its not only about the audience, its also about the knowledge and inspiration that such experiences (dancing next to a world-class dancer) could this bring to the young and rising stars. It should all be about a balance....The casting offered by abt this season is simple at the level of a regional company, as sad as it sounds and there is a clear response from the audience to that. Personally, I have gone from attending 3-4 times a week for years, to barely attend anymore...I am afraid that the artistic direction has made a decision to take the company into this direction, sadly for all abt long time fans, and also for the new generation of ballet lovers. It may be a coincidence, but I have noticed all this took a dramatic change after Rachel Moore departed...... Luckily, we have a single world-class level show this year, I never thought it would happen but it did. I got my tickets and will be there tonight. The rest of the season, I ll attend a show here and there, but with little excitement overall.
  10. I was at today's matinee. I thought Lane had a truly spectacular first act, both technically and artistically. Her madness scene was brutal, and her Act 1 variation very impressive. There is an elegance, an expansiveness in her dancing that is absolutely magnificent, the way she finishes every phrase is remarkable and so tasteful ! C. Hurlin danced peasant pdd and she stood out too, pristine clear technique, clean, refined and musical....I was much less impressed by her partner though. Act 2, however, felt a bit underwhelming for me. Lane was still technically very, very strong, with some brilliant moments. However, I was very bothered with the little use of head/neck and also by her arms position throughout the entire act 2, very little 19th century romantic lithography in her poses. She looked way too earthy for me, with a lot of tension in her upper body as well. Some jumps looked heavy. The partnering was ok, but did not look amazing either, and certainly that didn't help her at all. It was a good second act though, but I was expecting more, I do believe she is a work in progress in this role, there is plenty of potential for a pretty spectacular Giselle in the near future, once she matures the character better. D. Simkin continues to be his same technical wonder, amazing really, those turns !. He has improved his partnering skills substantially, although there is still quite some work to be done before he can take it to the next level (Corella, Gomes, Bolle, Bocca, Carreno, just to mention a few). He didn't do the entrechat-six, but the cabrioles, I rather see the former.This is just my personal taste. The crow was muted, and that was also quite negative, I really think Lane deserved a much stronger reaction from the audience. It was as if the audience was not involved at all, no matter what they would do. Simkin managed to get some more enthusiasm at times, but still it was way less than what he deserved. I know Lane has a great troupe of fans here. I think she did great but in my opinion still far from quite a few great Giselles that we have had in the past.
  11. This is very true. Recently, Lehna Dunham had to apologize for initially supporting a writer of her show, Girls, apparently a friend of her, who had been accused of Sexual Assault. ......It could also be the case here, but I find Vishneva, Ratmasky and Kent statements quite strong, although I agree with your point that believing that someone close has done something really bad its not easy. ...On the other hand, Vishneva did label the incident to have "dubious intentions" and the critic's tweet as a "small indiscretion", I would say these two statements are more indicative of having some degree of knowledge about the facts though......both indeed highly contradictory with the official press release given by abt, from which one can interpret that something really horrifying did happen
  12. I hope that Marcelo gets proper legal advice and that they make a public statement with clear specifics to the case, sooner than later. If what happened or what he is been accused of doing its not that "horrendous", the lack of information is and will only do harm to him. For many people his resignation is an indication of accepting responsibility and he hasn't denied that the allegations occurred either (as opposite to Martins). The only public statement made so far by "an spokeswoman for Marcelo said "This is a time of reflection for Marcelo. He is gratified and strengthened by the support he has received from family, friends and colleagues"......so if the incident happened, I agree with someone who posted above that the right thing to do is to come forward, accept it, apologize and move on....btw Alessandra Ferri has written an extensive reply supporting Marcelo, in Ratmansky's FB post.
  13. I am absolutely heartbroken by this news: http://www.dancemagazine.com/marcelo-gomes-just-resigned-from-abt-2519159661.html I wish this wasn't true, we love you Marcelo and we will miss you very very badly on the met stage.
  14. It seems that there are pretty divided opinions about her here. I am personally a fan, she is small but I found her to be beautifully proportionated and musical. She is technically very strong, I think we all agree on this. I saw her Sylvia and loved it. Her personality off stage seems hilarious to me, there are plenty of videos on her Instagram rehearsing SL with Kolpakova...... This is one from the golden cockerel that I found hilariously funny https://www.instagram.com/p/BGanvyLEUeE/?taken-by=balletrusse&hl=en
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