mimsyb

What a difference a day and a performance makes! I too was gobsmacked at Tereshkina's impressive technique, but was also moved by her singular portrayal of Nikiya. The pairing of Tereshkina and Shklyarov was like fire crackers going off! Not only did they convey the passion necessary for these roles, they lent an energy to the ballet that carried over into the entire company. I've not seen such electricity from the company in a while. Any time these two would care to defect to ABT I would be a happy camper! I'm too overwhelmed to write further!

OK, but if you have two people who barely know each other, as professionals and artists, they should be able to get past that and deliver a performance that is, if not sizzling, than is at least compatible. It's called "acting". Dancers tell a story, both with their technique and their expressiveness. This is not a year end recital. It's the Met. Or maybe this also goes to the degree of all the hiring of guest artists in the first place. Maybe too much odd pairing is going on. If the hiring is to continue (which given the current state of affairs seems to be the way), than why not bring two artists who actually dance together year round to the Met. At least that way, they will have said hello before they step on the stage. I don't need "one for the ages" every single night, but as an ardent and frequent ballet goer and one who spends excellent money for seats, I do expect a bit more from visiting artists than just the steps done to music. I expect it from our local dancers also. As I said. It's the Met. It's ABT.

Gorak seems a bit diminutive for this role, and not capable of being sinister, but anything is possible.

Well, I guess we see different things on any given night. While I would agree with you about Muntagirov (fine, not exceptional) in every aspect, I thought Smirnova and her performance was DOA. I never once felt any connection between her and Solar, either as a human or as a Shade. She never looked at him, acknowledged him, and seemingly didn't even know he was there. And he was most clearly there, in every respect. Technically secure and his acting and fine looks all served him well. She on the other hand, while technically OK, had a small list of "what's going on here"? While her extensions are fine (she's Russian; they all have great extensions. It's how they're trained), her shoulders and especially her neck showed a great amount of tension and stiffness. Her musical phrasing was astonishingly off; sometimes early by several beats (wait, wait), or often late even. If one is early in the music one better be doing something very interesting out there! Her port de bras came not out of any idea of story telling, but rather the idea that "here I do this arm, there I do that one". Nothing ever extended beyond the fingers. (and sometimes didn't even reach down to them!). The steps were all "done", but unlike say, Cojocaru who uses the "steps" to convey longing, anguish, joy, confusion, love, you name it, here the steps were merely steps. Little connective tissue . (here again is where both Cojocaru and Vishneva excel.). I found Smirnova cold, uninteresting. I didn't believe her story for a minute. Her feet also were a problem for me. Not especially pretty, she didn't even attempt to articulate any of the foot work, almost as if she didn't want anyone to notice her not so pretty feet. Cojocaru is also known for perhaps not the most perfect feet, but she in contrast doesn't run from that fact, but embraces it all and uses her feet to extend her character. Never have I held my breath so much as when she rolls through her foot into that gorgeous arabesque in the last scene of Act I. This alone tells of her anguish over Solar and her circumstance. She can break my heart with that one move! My heart stayed most certainly intact from last evening's performance, alas. On another note, while the corps was a tad erratic, Devon Teuscher's second Shade variation was quite pleasing. As was Skylar Brandt as the first Shade variation. I always like Yuriko, very secure. I have always wished she could learn and concur her battu work more cleanly and clearly. Maybe someone in Houston can show her how it's done. (but then few of ABT's women really can do an exceptional entrechachat, or six with the possible exception of Stella and Nicole Graniero). So, last night I saw something very different than many in the audience, although I did hear a few grumbles around me. When one starts looking at the old guys playing the Temple "staff", then something is clearly not right. On to Tereshkina!

That's actually not a bad idea! Roman, while delicious as the evil one, is also not bad in the looks department and would make a dashing Purple Rothbart. He's an amazing actor and would bring lots of cunning and deception to the role. And I'm pretty sure he could dance it. We see him so often in character roles that we forget what a really fine dancer he is. Watch him in anything when he's not a" meanie "or a clown, and you'll see what I mean. ( I had always wished that Isaac Stappas could have done the Purple One when he was still in the company, but alas that never happened. Another fine theatrical actor/dancer ! And no-one was more handsome, IMO.) The only problem with this concept is in the first prelude scene when Rothbart becomes the Swamp guy in very quick fashion. Maybe a double could be used in this situation. But really, the concept makes very good sense. And what an opportunity that could be for any dancer in the company. To dance a dual role like that would be splendid!

I'd like to see Patrick Ogle or Thomas Forster given a shot at this role. Possibly Calvin Royal also.

Alina Cojocaru=Perfection! Tonight was simply stunning!

Well, hopefully we won't see this ballet repeated, but I think Luciana Paris could do a credible job of the Glove Seller. I know she's in the corps, but whenever she steps out into roles, she's noticed.

I would tend to agree about Veyette and Boylston. She's clearly a work in process here. Strong technique, but a certain lack of bravura and polish to her dancing. A bit tepid. She frequently doesn't complete her movements, so they look foreshortened, un-musical. Again, maybe lack of rehearsal time with Veyette. He, on the other hand, was brilliant! Clearly demonstrating a difference in approach and style to Balanchine. Such amplitude to his movements, but always musically astute. His port de bras were some of the most gorgeous I've ever seen. The exuberance at the top of his jumps, his lush plie' at jumps' end, the beautiful crossing of the foot in coupe' back position, his clear, effortless directions of croisse', eface' and ecarte', the overall attention to his partner, and his over the top handsomeness all made for the high light of the "Theme" performance. This was a Master Class in how Balanchine can be danced. The men (and women) of ABT should take note. By comparison, they all looked tight, pinched, small. All either under danced so as to disappear, or tried so hard it looked forced. Possible exception here was Daniel MAntei, who brought his own wonderful sense of elegance to the stage. He should be getting more to do, IMO. I also picked out Nicole Graniero in the corps, who always brings a certain radiance to the stage. She too, is unafraid to demonstrate her willingness to 'put herself out there', without sacrificing musicality or style. While sorry not to have seen Gillian dance the lead, the reward was seeing Andrew. I, like others, have wondered at the paucity of good men capable of dancing "Theme" at ABT, and the need to "import" from across the Plaza. I was supremely glad it happened on a night I attended! Wish I could say the same for "Gaite". What a total waste of dancing talent! Silly, opulent costumes aside, couldn't a better ballet be plucked from the rep at ABT? No-one to my eye stood out (OK, Marcello looked fine in those tights and partnered in his usual fine fashion), and most everyone seemed again to be merely beating time or trying so hard it looked dumb. (the absence of character dancers like Isaac Stappas and Julio Brigado Young was keenly felt). Well, pairing these ballets together (Massine and Balanchine) clearly shows how fortunate we are that the works of Balanchine have only retained their glisten and importance, while those of Massine have faded, rightfully so. Better to see "the style" of Massine via the Trocks, who clearly do a better job of these types of ballets, and even dance them better!

I agree about the pricing. Out of range. The good thing about the "State Theater" (I refuse to call it by it's other name), is that one can get a really nice seat in the second ring for a lot less money. The sight lines are wonderful and you feel a lot closer to the stage than at the Met. I usually sit in Grand Tier (also pricey!) at the Met, but second ring at the "State" is a better deal.

And hopefully no more "thud" of a castle smack dab in the middle of the stage in Aurora's Birthday scene, no more yucky "yellow brick road" costumes for the Garland Waltz, and maybe, just maybe the restoration of a few of the dances for the last act! (and this is just a short list of the wrongs about this mess of a ballet.) This past production was a total embarrassment for a major company!

I would tend to agree. It's become like "Nutcracker", without the fun. Despite some flashes of excellence in the dancing, the production looks tired. Costumes and scenery could use some sprucing up. (others have commented on the gypsies, in particular). To me, the corps lacked energy. (and this is just the beginning of the season!). Many seemed to be dancing by rote. Time to put it away for awhile and return it only with a new production.

Hopefully Lendorf will be among the dancers coming to the Joyce in January, 2015. Then we'd get a nice up close look at him.

Go with Row A in the GRand Tier. "Bayadere" is about spectacle and certainly the corps work in the Shades scene. Too close and it's lost. The orchestra loses too much perspective.

They should promote from within. If none of the lower-ranked dancers are good enough to some day be principals, then what are they doing in the company? Aren't dancers hired for their potential to grow as artists? Surely McKenzie doesn't expect all his principals to be international superstars. Well, I think some dancers might be hired because they are very strong corps dancers. Marian Butler and Adrienne Schulte come to mind. Both solid corps dancers and a needed commodity in any organization. They sometimes get a chance to step out, but mostly perform as the "spine" of the ensemble. Always reliable. Sadly, I do feel in ABT's case that it is becoming more and more a company of International Principles with an American back up ensemble. Maybe they should change the name to International Ballet Theater.

So happy for Simone! How I would love to see this. Did she ever do a Myrtha when she was at ABT?

Actually, Cory might do quite well as Odile based on his wonderful interpretation of the "ballerina" in Ratmansky's "Bright Stream". His pointe work was pretty amazing!

Britten did the orchestrations. I believe Chopin is still credited with the score. Agree about "Tempest". One of the worst ballet moments ,ever!

For something beautiful and different, go to the Cloisters. The extraordinary sound installation is now over, but this setting always takes my breath away. It's a wonderful way to escape the mad house that is Christmas in NYC! Also, any time listening to the choir singing at St. Thomas Church on Fifth Avenue is time well spent. If you do like crowds, try the covered kiosks at either Union Square or Columbus Circle. Always fun. Balthazar's in SoHo for a fun dining experience.

I believe it's called doing "a green show". At least that's how I've heard it described by some Russian dancers. I saw a production many years ago by the Moscow Ballet (not Bolshoi) and the snowflakes all held kleenex tissues in their fingers! Pretty weird!

I found "Cheri" to be beautifully conceived and executed by everyone involved. I can only add that the raw emotions displayed by both Ferri and Cornejo were deep and affecting. The choreography was quite complimentary to these emotions and was gorgeously performed by both dancers. For me it was interesting to see these two "classical" dancers expanding their repertoire with no trace of falseness or pretense. Story telling at it's best and most creative. My only wish was that the program could have listed the various works performed by the elegant pianist, Sarah Rothenberg. I recognized a few works of Ravel and Poulenc, but wished for a more complete listing. But kudos to all!

I agree that satire requires a sure degree of mastery and technique. I think Bourne goes beyond that here. Even he has spoken of his great love and respect for the original versions of "SB". Of loving the balances the ballerina does in the Rose Adagio, etc. And I definitely think he has a great regard for the score. He has decided to tell the story in a different fashion, using his own dance vocabulary. No, you won't see any balances on one leg by Aurora, but you will see two very ravishing pas de deux that clearly tells us about these two lovers and what their love means to each other. His Garland Waltz is one of the best. His use of his "corps de ballet" in the vision scene is entirely appropriate. I could list more happy surprises in this work. Suffice to say, yes, it was "theater" in that respect, but even so, most good dance, whether classical ballet or Paul Taylor should first and foremost be good theater.

Easily one of the best and most satisfying productions I've seen this year. Utterly original (yet there is certainly an air of reverence for the original), this is certainly not your grandma's SB.! But what terrific use of the music, and the story telling was clear and original. I thought the sets/costumes were superb and the choreography challenging and ravishing. I've seen it now five times and each time it gets better. Cast is thrilling!

Thanks for the reminder! At least we know filming is underway, thanks to Gillian! It's troubling that there is such a limited film record of ABT's outstanding dancers -- especially Murphy and Gomes -- while they are in their prime. Amen to that. I'd add Herman Cornejo to that list of dancers whose dancing surely warrants a few permanent records of their work.

I'm also traveling to SFO in April to see the SFB. But my reason is to see them dance the Ratmansky Trilogy of Shostakovich. SFB co-produced it with ABT and I think given their wonderful roster of dancers it will be very interesting to see this performed by this company. Having seen the recent presentation of "Cinderella" by this company a few weeks ago, I have no interest in seeing it again. For me, choreographically weak. But these are wonderful dancers and should do the Trilogy with great elan and style. Can't wait!