abatt

Murphy was fantastic last night. This is one of her best roles. Regarding Reyes, has she ever performed Sylvia, or will Thursday be her debut? On a separate note, Boylston was replaced last night in a minor role (Persephone). Now Boylston is someone who I would be interested in seeing as Sylvia, but I guess that won't happen this season. Herman has had a run of bad luck in the partner department. First Cojocaru cancels out, requiring ABT to go and hire a ballerina short enough to take over Cojocaru's roles. Now Osipova has cancelled, requring Reyes to step into a role she was never scheduled to dance. These problems highlight the difficulties presented by using a short male principal. One of the other ballerinas scheduled to do the role cannot just step in and add a performance to her schedule, because they are all too tall for Herman. I like Herman very much, and I'm glad he has so many opportunities with ABT. However, the casting issues are apparent.

Yes, Murphy was wonderful on Thursday. She grows as an artist every year. Her current interpretation of SL is much richer and deeper than the one that was preserved on DVD some 10 years ago. Her physical, technical power is probably the strongest of anyone in the company. She always blows me away when she adds the swan-flap arms while she's doing triple fouettes in Act III. Whiteside had a very successful debut in the lead role. Based on what I've seen he is a valuable addition to the ABT roster.

Thanks mussel

More than a decade ago there was an off Broadway play about Diana Vreeland called "Full Gallop". It was excellent. Did anyone see that? It was at Manhattan Theater Club. I think Mary Louise Wilson played Vreeland.

Onxmyxtoes, I think Kent did the pique turns instead of the arabesques because it is easier for her. If you noticed, there were also a number of instances in the second act where she altered the choreography to avoid doing arabesques. It didn't bother me that she made these changes. These are the types of changes she needs to make in order to continue doing the role.

I attended this afternoon's performance w. Kent and Gomes. What Kent lacks in flexibility and technique due to age, she more than made up for in dramatic presence and detailed characterization. She certainly changes the choreography in a number of ways to suit her current level of ability. She was at her best in conveying the tragedy of Odette's situation. Great mime, excellent acting. I'm not sure how many more seasons she will continue to do SL in the future, but I'm glad I decided to see this performance. Gomes is of course the best partner at ABT- maybe one of the best anywhere. He partnered her perfectly. His Act I solo was beautifully done, with a fully stretched line. He is not an especially great spinner or jumper compared to some of the other ABT men (like Cornejo), but his Act III was very well done. Kent did her fouettes (singles) in Act III well, but with some traveling. She was deliciously evil as Odile. I thought Purple Rothbart suited James Whiteside well. He was a bit tentative at the start of the ballet when he partners Julie. The matinee on Sat is always a gamble because of the number of kids. Well, it happened- Just as Julie took the stage in Act II a kid starting screaming so that 3,800 people could hear. Kent clearly heard it too, but she soldiered on and ignored the disturbance as best she could. It was a very gratifying performance from the leads. Onwards to Sylvia. There are a few people who have breathtaking port de bras in Swan Lake. In this regard, Lopatkina is my gold standard. (I've never seen her do SL live, but I have seen her on DVD). Kent came pretty darn close to the Lopatkina port de bras gold standard today.

I attended last night. First let me say that Herman was BRILLIANT. His technical level is so high - the highest of any male principal in the company. He was flying in the highest jumps and most perfect turns I've seen since Angel Corella's performances in his prime. He pulled out all the stops for us. Acting was good too. There were one or two minor partnering issues, but nothing horrible. He has waited a long time get this part at ABT, and he made the most of every moment. Thrilling. I wasn't quite as enthusiastic as Buddy about Kochetkova. I have an admitted bias for long limbed dancers as Odette, so Kochetkova does not fit that image. (Obviously they needed a tiny woman for Herman.) She performed well, but somehow I wasn't terribly moved by her Act II. She seemed to relax later on in the ballet, so her Act IV was much more dramatic and moving than her Act II. She definitely has strong technique, but I felt that a little more attention to using her back and arms would have added a lot to the performance. I thought as Odile she did a fine job with the technical dimensions, but I never felt that she was a temptress - more like a high school girl at the prom. (Her Odile costume was ill fitting. Too large. I bet she is the smallest dancer to ever wear these costumes at ABT.) Jared Mathews did a much better job as Purple Rothbart than I expected, compared to prior years. Again, Joe Gorak was wonderful as Benno. The audience was packed to the rafters.

I didn't see any possible way that Hallberg would be shut out of the London visit by the Bolshoi. It was just a matter of time before they worked him into the schedule.

Did she come to NY on tour with POB? I don't remember her. Do you think McKenzie's wheels are already spinning about a potential guest appearance by Froustey during the SFB off-season.

Will Melanie Hamrick and Jose now be a bi-coastal couple?

More patrons would be willing to pay good money to buy tickets to a gala involving fashion. As the song in Gypsy goes, ya gotta have a gimmick....

Here is some info from the NY Times re the Fall 2014 Gala. http://artsbeat.blogs.nytimes.com/2013/06/20/new-york-city-ballet-announces-fashion-focused-fall-gala/?ref=arts

When POB came to NYC last summer and brought their Giselle, that didn't stop ABT from doing Giselle. Moreover, ABT knew well before it put out its schedule that POB would be bringing Giselle. The only adjustment was that ABT did Giselle during the first week of the Met season to put as much space as possible between its Giselle and the POB Giselle.

Yes, my understanding is that the non compete has prohibited the dancer from performing in NYC during the ABT Met season, as well as several months prior to and after the Met season. It appears that ABT regularly gives waivers, but refused to give a waiver for the Mik tour for O/V to appear w. the Mik at the Koch. Here is a Time Out article from 2012 in which McKenzie says that the non compete prohibits ABT dancers from appearing with other companies for 3 months before and 3 months after the ABT season within a 100 mile radius of NY City. http://www.timeoutchicago.com/arts-culture/dance/15190196/kevin-mckenzie-american-ballet-theatre%e2%80%99s-artistic-director-interview

YEAH! We're getting the Bolshoi next summer in New York! Can't wait. I'm a little surprised by the rep, since they did Don Q and Spartacus during their last NY visit. I notice that Osipiova and Vasiliev are reuniting with the Bolshoi during the Bolshoi's upcoming visit to London this summer. I sure hope that if the Bolshoi invites O/V to reunite w. the company for the NY Tour, that their agent works it out in adance with ABT so that O/V can appear with both ABT and Bolshoi in NY. The non compete issue destroyed the Mik's planned visit to NY a few years ago. On the conflict issue, I wonder if the Bolshoi will invite Hallberg for the summer NY performances, and if so, what will McKenzie do about that in terms of non compete issues.

MMDG has done L'Allegro before at the Koch (then called the State), and the venue worked very well. Tix prices range from $40-$125. L'Allegro is a masterpiece. I will definitely be there.

Thanks Natalia. I was recalling the NY premiere, not the DC performances.

The purple Rothbart at the premiere, based on my recollection, was Malakhov. I actually don't even recall the other Rothbarts during that initial run. I also recall that Susan Jaffe had an off night at the premiere (partnered by Carreno). I think Malakhov received the most enthusiastic applause that night. He was excellent, but Gomes is better. I remember thinking that the second night cast (with Ananiashvilli and Bocca) was vastly superior, although I can't recall the Rothbart of that performance.

As part of Lincoln Center's "White Light Festival", the MMDG will present L'Allegro ... at the Koch on the above dates. Tixs go on sale to the general public in late June. Presently on sale to patrons and subscribers.

I've been disturbed by Kourlas' interviews. I think some of the people she interviewed spoke too freely to their detriment. Given that she is a seasoned journalist, I sometimes feel that the people she is interviewing are relatively naive and inexperienced in dealing with publicity and the press, and that Kourlas is capitalizing on their naivete.

Sara Mearns' performance w. the Philharmonic is coming up next week. The program is called A Dancer's Dream. It is being filmed and will be shown in cinemas ion Sept 12, 2013. Cinema locations TBA.

Semionova was gorgeous. Those super long limbs are remarkable. Hallberg danced beautifully. Gomes nearly stole the show. He had the audience in the palm of his hands. A spectacular evening. The house was very full.

Yes, Herman's execution of these turns were perfect.

The gate dance is the dance that Mercutio, Benvolio and Romeo perform at the front gate of Juliet's home before they sneak into the party.

Totally agree about the Ashton Cinderella. I first saw it during the RB visit to the Met in 2004 and loved it. (I remember seeing Rojo and Cojocaru.) The other versions that ABT has done have not measured up in any way to the Ashton version. In fact, Cinderella week at ABT was always my week off from seeing ABT performances.