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LeCorsaire, June 24-30, 2005

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Pirates and a pasha. Odalisques. Abduction and rescue. Mayhem, merriment and why are those slaves so happy?

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I was there last night and the audience LOVED it. Standing and cheering. There was a lot to cheer about, but for me, at least, it was Petipa's choreography, not the (to my mind) really tedious and flashy new choreography for Conrad. The odalesques were a real treat--Part in the turning role (she did fine, not Murphy of course, but her phrases were so gorgeous!), Ricetto in the first one, which suits her, and then Bystrova substituted for Abrerea as the middle one. She is a really lovely dancer, soft, with a beautiful upper body. Gulnare was Reyes, and she is my favorite in that role now that McKerrow and Tuttle don't do it--she made it demi-caracter, so that there was a real feeling that she was a captive, not just a dancer doing steps, but she didn't overplay it either. Her coda, with some wonderful turns, started the cheering. Kent had a few technical problems, but more than that she really flattened an already one-dimensional character by seeming so very very happy about everything. You got the feeling that if Conrad hadn't come by, she would have been just as happy with the Pasha or anyone else she happened to see. Corella was just wonderful as Ali. Of course he has some of the most interesting of the men's choreography, because it has a real flavor. Carreno was the slave merchant, and danced so well, but I missed the sleaziness that Malakhov gave--Carreno seems just too nice and too noble.

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Finally, a solo for Bystrova! Even if she was substituting for someone else. More please, Mr. McKenzie! :smilie_mondieu:

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I saw the opening night yesterday. What an unbelievable night. It was really a three hour competition between four of the biggest male stars in ballet. Bocca, Corella, Cornejo and Carreno all on one stage at the same time.

Cargill, I agree about Carreno. His pirouettes of course were absolutely superb, but he didn't seem to have the charm, even evil charm, that Malakhov had. By the fourth time he demanded some money from the Pasha (the signature palm clapping) I was beginning to wish he'd just hand it over. :( While watching the tape with Malakhov, I always found myself wondering when he'd come back, but that wasn't the case last night with Carreno, especially with all the other superpowers on stage. To be honest, I didn't know where to look, I was getting dizzy! Bocca would come flying on stage, then I'd spot Cornejo flying on from the other end, Carreno whizzing off pirouettes in the back, and Corella dutifully tending to..everyone. Looked great doing just that :unsure: . However he stole the show during the famous Pas de Trois- the house was just roaring. What a mind-boggling night, I'm still getting over it- and I may just have to go see this cast again on Tuesday.

Cornejo was just amazing, what a seductive pirate he was! That was my first time seeing that side of him, and I just loved it. After Bocca and Corella's tour de forces, Cornejo came on in some sort of traveling tour with one leg in passe and the other out to the side- he was soaring. In fact, I couldn't hear the music for about two minutes, people were applauding for Corella, then didn't stop when Bocca came on, and no less when Cornejo did. It was like they were competing- very fun to watch!

Bocca was just remarkable- no less remarkable than say, ten years ago. Bocca was older than everyone on stage, but looked younger and better than ever! He did an incredible circle of grande jetes that included side split leaps!! -jete, jete, jete-jump to the side-split-jump back to arabesque jete. It looked like a spur of the moment thing. As someone said back in January when he was at NYCB, gotta love a guy who's living on the edge. Then at one point (perhaps at the climax of the pas de deux) he flew on and did a tour en l'air- and I swear, the guy did THREE. The audience gasped, and that's when I was pretty sure I wasn't hallucinating. Can anyone confirm this?

What blew me away was the partnering. Julie Kent was definetely not at her best, obviously with some time taken off, but she was, as always, beautiful to watch nevertheless. In Bocca's hands, she whipped out ten pirouettes like it was nothing- everything was so smooth and controlled. It amazed me especially, because on pointe, Julie towered over Julio by about 1 or 2 inches. Also- what chemistry the two had! This may well be the next McKenzie pairing- they were just beautiful together. They swept me away during the "bedroom scene"- maybe its just Bocca at his best, but everytime he does it, i.e. nuzzling neck, smiling so genuinely, embracing, laughing, looking straight into the eyes nose-to-nose, I completely believe it. Last night was definetely special, however. I'm looking forward to their Swan Lake, though I'm a little nervous for Julie...giving her current...er...technical setbacks. She pulled off the 32 fouettes just fine though, and the audience breathed a sigh of relief. :lol:

Absolutely wondeful pas with Barbee's Pasha :huh:

I also have to give Reyes a hand- what an outstanding Gulnare she made! Everytime she was on stage, she stole it. You could not take her eyes off of her- she had this boundless energy- and imagine the responsibility she was carrying- must have be quite some pressure. She didn't back down one bit and was very much a part of making the performance the huge success it was.

Another treat were the Odalisques- Riccetto, Part, Bystrova. I loved Part- she was very secure and just gorgeous. She has such a regal presence and is such a beautiful dancer. I thought she really stood out among the three- all of whom were excellent.

What I am very much confused by is- after all the gushing, and yelling, and "Brava" "Bravo" and "Bravi" where did all the curtain calls go?? They all gave their hearts to the performance, truly outdid themselves, and were phenomenal- they deserved so much more! I don't remember exactly, but I think Corella was the only one who got two calls (please correct me if I'm wrong)...and the principals didn't even come out altogether as they usually do. It was all very short...then the curtain just came down and the lights came down, and I saw many bewildered faces. Any one else feel this way?

Apparently Tuesday is almost sold-out, so if you can go see it, don't miss it!

Edited by Giselle05

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I saw the opening night yesterday. What an unbelievable night. It was really a three hour competition between four of the biggest male stars in ballet. Bocca, Corella, Cornejo and Carreno all on one stage at the same time.

Bocca was just remarkable- no less remarkable than say, ten years ago. Bocca was older than everyone on stage, but looked younger and better than ever! He did an incredible circle of grande jetes that included side split leaps!! -jete, jete, jete-jump to the side-split-jump back to arabesque jete. It looked like a spur of the moment thing. As someone said back in January when he was at NYCB, gotta love a guy who's living on the edge. Then at one point (perhaps at the climax of the pas de deux) he flew on and did a tour en l'air- and I swear, the guy did THREE. The audience gasped, and that's when I was pretty sure I wasn't hallucinating. Can anyone confirm this?

Giselle05, you make me feel as though I were there. I wish !!

Glad to see the slightly older guys can still generate so much excitement -- artistry compensating for the loss of sheer youthful power???

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I'm glad, bart. :-D The thing is- there was no loss of youthful power evident on that stage...with plenty of artistry!

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I saw it last night, and I adored it. It was the best full length ballet I've ever seen (out of the say 5 I've seen lol). I saw Michele Wiles as Medora, who was stunning with her turns and clarity. There's something missing with her though...something that sets her apart from the principals, but I can't figure it out. Then Maria Riccetto was so controlled and beautifully refined. I really enjoyed watching her. Sascha Radetsky was fabulous...stumbled a little but who can't love him. Marcelo Gomes was also great...he seemed to float across the stage. But the star of the night was most definitely Carlos Acosta. He was AMAZING! His jumps, turns, and energy were absolutely incredible. My jaw hit the floor when he danced, and he just made me sit on the edge of my seat. The entire Metroplitan Opera House agreed with me; he got the loudest roar of all the dancers.

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I saw the opening night yesterday. What an unbelievable night. It was really a three hour competition between four of the biggest male stars in ballet. Bocca, Corella, Cornejo and Carreno all on one stage at the same time.

....I also have to give Reyes a hand- what an outstanding Gulnare she made! Everytime she was on stage, she stole it. You could not take her eyes off of her- she had this boundless energy- and imagine the responsibility she was carrying- must have be quite some pressure. She didn't back down one bit and was very much a part of making the performance the huge success it was.

Giselle05 - thank you for the great description. I was only planning to see 1 performance (the Wiles/Solymosi/Acosta/Riccetto/Radetsky/Tidwell cast) but you made the opening night cast sound so great that I decided to go and get a ticket for Tuesday night!

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Bocca was just remarkable-  he flew on and did a tour en l'air- and I swear, the guy did THREE. The audience gasped, and that's when I was pretty sure I wasn't hallucinating. Can anyone confirm this?

You saw correctly Gisselle05, a triple assamblé tour. I envy those of you attending Tuesday night! I do hope you can give a report of how it goes. :beg:

I attended the matinee on Saturday 6/25. It was Ms. Murphy's first time as Medora and Mr. Lopez's first Birbanto. Both dancers had great performances but I will say it's not my favorite role for Ms. Murphy. It's hard for me to imagine any young woman with that much power to ever be enslaved.

Highlights for me that afternoon included:

• Carlos Lopez's Birbanto. From "god to godless" is how I am thinking of my season of watching Mr. Lopez. His performance in "Sylvia" had a self assured god-like strength without looking like a self-important diva when he unveiled himself as Eros. Like his role as Eros, Mr. Lopez's Birbanto had terrifically clean footwork and an confidant stage presence. The obvious difference in the roles was the fire he emoted as the passionate Birbanto. His dancing delights me, his acting impresses me.

• Gennadi Saveliev's Lankendem. I have been most impressed with Mr. Saveliev this season. Each time I see him he comes across improved from what I last remember of him. His Lankendem was a crafty businessman, effective slave handler, and one terrific dancer! His solo in the "Pas D'esclave" brought audible gasps of delight which turned turn hearty cheers. He executed three of the cleanest "540°"s I have ever seen, consecutively! He then launched into barrel turns en menage to end with another 540°. Impressive! Personally, I will make future performance choices with watching Mr. Saveliev in mind.

• Seeing Ethan Stiefel during intermission. Mr. Stiefel had been cast as Ali for this performance. I had been looking forward to that. Mr. Corella pleased the crowd, as he usually does, but I was left wondering what Mr. Stiefel's slave would have been like. It was nice to see him even if it was, as my dad put it, "in his civvies."

Disappointments for me that afternoon included:

• Odalisques. They were off, out of synch and seemed to struggle through the whole dance.

• Mr. Zhurbin's Pasha. I liked his Lead Coachman and was so-so with his Moor in "Petrouchka" but his Pasha was not effective. It was too immature even for a bumbling rich guy with some of his gestures coming across circa 21st century. I am all for giving the new dancers a chance but this role needs more coaching if it is to be set on a first year corp member.

• Some poor patron's hearing aid had horribly loud feedback. Although the ushers tried to pin point where it was coming from, the illusive sound continued through the entire show. I was one of many who felt like they would go mad with this noise in their heads. :wacko: I do think this is the main reason I did not enjoy myself as much as I thought I might.

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nysusan, I'm so glad I had influence! I really hope it is as amazing as it was opening night- they just really gave their absolute all. I'll be there, too- looking forward to hearing what you thought of it!!

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"It was Ms. Murphy's first time as Medora and Mr. Lopez's first Birbanto. Both dancers had great performances but I will say it's not my favorite role for Ms. Murphy. It's hard for me to imagine any young woman with that much power to ever be enslaved."

Actually, PAMom, this interpretation might be right in character for this character in this ballet. Medora is a free spirit and a born survivor - she can never really be held in slavery. The whole ballet is about her escapes from her captors and her choice to love a pirate. Takes a tough woman to love a pirate.

Altynai Asylmuratova in the Kirov video (available now on Kultur DVD) is very forceful in her first act solo letting every man in that slave market know that she may be captured but her soul isn't broken. No man will possess her by force!

Of course this has nothing to do with Byron's original narrative poem - where Medora dies of a broken heart believing herself abandoned by her Corsair.

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ABT's website says that last Saturday's matinee was also the first time for Stella Abrera to dance the part of Gulnare. Can anyone tell me how she did? :clapping:

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ABT's website says that last Saturday's matinee was also the first time for Stella Abrera to dance the part of Gulnare.  Can anyone tell me how she did?  :clapping:

To Amy'sMom - Stella didn't dance on Saturday. She was replaced by Maria Riccetto.

To everyone writing these wonderful posts - I don't post very often, but I was so wound up after the first 3 performances of Le Corsaire, that I wanted to share in everyone's excitement. I saw Thursday, Friday and the Saturday matinee of Le Corsaire. I'm enjoying reading everyone's reviews. Thursday nights all star male cast of Bocca, Corella, Carreno, and Cornejo was too good to be true. I am still pinching myself! I have not seen Bocca dance so well in years. Angel always leaves me screaming, and Thursday night was no exception. Wow! All of the men were to die for. Carreno danced gorgeously, and Cornejo seemed to just fly. Reyes was lovely as Gunare. Friday night's Corsaire was sans Solymosi. Gomes replaced him, and was wonderful as Conrad. Wiles was very nice as Medora and Riccetto was lovely as Gunare. Acosta was spectacular as Ali. What gorgeous turns! On Saturday, Murphy made a lovely Medora, as did Riccetto as Gunare again. Angel's Ali left me SCREAMING (again!) and Gennadi Saveliev was absolutely wonderful as Lankendem. I have never seen Gennadi dance so brilliantly. Maxim danced Conrad on Saturday, and while he did an admirable job, he did not match Gomes or Bocca as far as virtuosity and technical brilliance. As strange as it seems, I am not even sick of the ballet! I wish I was able to attend the Tuesday night performance! To those of you who are going, ENJOY!

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I just came back from tonight's performance (Tuesday, June 28th). First of all - what a hokey plot - pirates, pashas, slave girls, magic flowers, a dream sequence, and a shipwreck. It was like The Pirates of Penzance meets La Bayadere. But you know what - I LOVED IT!!!!!

This is the first full-length ballet that I have ever seen. The audience was really rowdy. I sat in the Balcony section, but there was a group of teenagers who were in Family Circle that screamed through the whole ballet, but it made the night really exciting!

What a cast - Julio Bocca as Conrad the Good Guy, Herman Cornejo as Birbanto the Bad Guy, Angel Corella as Ali the Slave, and Jose Carreno as Lankendem the Slave Trader. Can you imagine all that Hispanic testosterone on one stage? Each of them was amazing in their solo dances.

And Julie Kent as Medora and Xiomara Reyes as Gulnare were lovely, but kind of overshadowed. Le Corsaire seems to be a man's ballet.

There were many brilliant moments in this performance. The Dance of the Odalisques was performed beautifully by Melanie Hamrick, Maria Bystrova, and Veronika Part. And the Act I pas de deux between Carreno and Reyes brought the house down.

The only part of Le Corsaire I knew was the famous Act II pas de deux, but this was done as pas de trois between Bocca, Corella, and Kent. Again, the roof was raised, especially Corella's solo numbers. And then when Kent reappeared, she had a lovely, romantic dance with Bocca.

As Medora, Julie Kent was beautiful. This is the first time that I have ever seen her dance and I was impressed by her performance. She had some pretty impressive moments of her own which got tremendous applause. But again, the night belonged to the men. But here's something that really impressed me - on one of her curtain calls, she caught a boquet that was flung at her - and that made everyone clap even louder.

Of the other five principals, the only one I had never seen before was Julio Bocca.

I saw Xiomara Reyes, Herman Cornejo, and Angel Corella back in February at the Stars of the 21st Century Gala. Reyes and Cornejo danced to the Diana and Acteon pas de deux and Corella danced to Le Corsaire. I saw Carreno four weeks ago at the All-Star Tchaikovsky when he again brought the house down with Paloma Herrera in the Swan Lake Act III pas de deux.

I did not want to miss this ballet or this cast. One of the most exciting nights of ballet that I have had the pleasure to attend!

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Ceeszi is right, it was a wild night at the Met. The house was very full, the family circle looked like the only section that had more than a few empty seats. The crowd was definitely ready to rumble, they started roaring early on. But why not? Bocca,Carreno, Corella & Cornejo are something to see. Each one of them was really on tonight, it was fun to watch them trying to outdo each other.

I was also very impressed with Reyes, she has developed a great deal in the past few seasons. I was not prepared for how sharp & precise her technique was, and she really gave Gulnare a very layered personality, lots of charm & flirtatiousness, but more multidimensional than I might have expected. Kent was quite lovely. She’s not one of my favorites but she’s great in certain types of roles, and this is one of them. Tonight I noticed what beautiful line and soft port des bras she has.

I thought the Odalisques looked a little out of synch when they danced together, but their individual variations were great. Hamrick’s dancing is very light & delicate, Bystrova was good and Part was incredible. So regal and expressive. Hamrick & Bystrova were lovely,I mean to take nothing away from them, but Part simply dances on an entirely different level. She is a ballerina, from head to toe & no matter how small the role.

Giselle05 - thanks again for giving me the push I needed to go see this cast, I would have regretted missing them!

Edited by nysusan

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nysusan- I'm so glad you liked it! I was there as well. I think it is one of those historical performances that people will be talking about years from now- "Wow, you were there when Bocca, Corella, Cornejo and Carreno did Le Corsaire?" :) ...It was just amazing. Bocca attempted the triple tour again, and was successful, if not as spontaneous as last Thursday. :rolleyes: Corella was unbelievable, as was Cornejo and Carreno, who I enjoyed more than on opening night. Reyes was great, and Kent just beautiful! Really an improvement from the first night, everything was very clean; she seemed to have gotten all the technical elements under her belt, and looked much more free. She looks so beautiful on stage.

The pas de deux in Conrad's cave really moved me- Kent and Bocca have this joy that permeates their dancing and they obviously enjoy dancing together- what an amazing rapport. Looking forward to Swan Lake and Giselle! :)

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Le Corsaire Wednesday June 29th - Ethan is back!

The audience was having a really good time last night though the house was about 75% full (better sold in the orchestra than upstairs). Gillian was a marvel of joyous virtuosity - in the pas de trois she did some quadruple and probably quintuple fouettes. Moreover, she gave a very joyous and varied dramatic interpretation. Concern, passion, mischief, contempt, joy, defiance - all were very clearly delineated in her face and she had charm. A friend I spoke with felt that her Gaynor Minden shoes inhibit the flexibility through the foot - her feet kind of pop up into pointe with no working through the foot. However, once she gets up there she can do anything and for a very long time! I also love the fact that Gillian has a very womanly body - a noticeable bust and normal slim fit figure with some curves - not anorexic and yet is such a dynamo. Really a rebuke to the idea that you have to be flat-chested and 90 lbs to be able to achieve anything as a dancer.

Maxim Belotserkovsky was a bit more passionate and involved than he can be as Conrad. He seemed to be pushing for a virtuosity and attack that is not natural to his inherently lyrical and smooth long line. He is a true danseur noble in a company of virtuosos - I like it when people stress their unique qualities rather than compete with the herd. Ethan Stiefel as Ali came back from injury in fine form with a very giving and well-controlled performance. His hair is quite long now - almost shoulder length. His jumps were not as high as they were in the past but his turns and foot work were strong. He is definitely back. He did the little hop up on one leg during the turns a la seconde in the pas de trois and attempted Gennadi Saveliev's one leg over the other barrel turn with partial success. He threw in some extra jetés in exits and curtain calls to the audience's audible pleasure.

Gennadi was a huge hit with the audience as Lankendem. His demi-caractere flashiness really suited the part and he reveled in the wily sleaziness of the character. Gasps at his trick jumps in the "Pas D'Esclave" and a big hand at the final curtain call. Carlos Lopez as Birbanto had more weight and maturity than I am used to seeing from him (he is usually cast in boyish roles). Very quick footwork and light darting attacks but with force. He was surprisingly effective as a villain.

Maria Riccetto replaced Stella Abrera (injured?) as Gulnare. Her solo in the "Pas D'Esclave" was ravishing - beautifully phrased and poetic but with strong technique behind it. Riccetto is a good turner and her traveling series of alternating pirouettes with fouettes in the coda were successful. She is maturing beautifully. The Odalisques were Melanie Hamrick (sweet but a little green and shaky in places), Carmen Corella (the turning role - well-done but pushing for power and control) and Maria Bystrova (enchanting - lovely smile, total control, clean steps and crisp footwork, joy in dancing - more please!).

The audience was in a very good mood during the intermissions - this certainly is a crowd pleaser!

BTW: Diana Vishneva has a new picture in the program (one that doesn't make her look 13 years old) and is no longer listed as a Guest Principal 2005. It now says she joined ABT as a principal in 2005. Will she be a regular member of the company from now on with yearly visits? Very good news for her fans!

Faux Pas

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Wed. Matinee.........Corsaire was a delight :D ! The cast was Gomes as Conrad, Pastor as Birbanto, Acosta as Ali, Radetsky as Lankendem, Herrera as Medora, Riccetto as Gulnaire, Salazar as the Pasha, and Butler as the Lead Pirate.

Some observations of this and the other casts........

1- It goes without saying that most if not all other ballet companies would kill for any of the casts ABT has presented for Le Corsaire.

2- Gomes and Herrera make a fine team. He draws more out from her, with great results. And his dancing is fine by any means, even with a bad back :tiphat:

3- Conrad is one of the most difficult roles in ballet to me. :sweatingbullets:

4- If you get to tonite's last perf. of Corsaire, Acosta's Ali alone is worth the price of admission!!!!! What he does is off the charts and :jawdrop: !!! And you still get the rest of the cast too!!!!!!!!! Amazing :yahoo: !!!!

5- Whereas I loved Acosta's Ali for overall excellence, all of the Alis brought something special with each Ali interpretation. All were exciting!! Carreno: surperb

and elegant virtuosity. Turns that 99% of the time end in a wonderful dance pose or position. Corrella: virtuosity with a heavy dose of danger. Your hairs on your skin are at attention when he dances Ali.

6- Special kudos to Ethan Stieffel, who came back for the 1st time this season as Ali. Even during his warmups before the show you could tell he was not going to be easy on himself or his knees!!!! Not his usual elevation. But, those hops during those a la second turns were amazing!!!!! Wonderful comeback performance!

7- Riccetto is an amazing dancer, who will become a principle in the next couple of years. If not before!!!! :wink::wub:

8- Herman Cornejo as Ali in the full-length or PDD. Plllllllleeeeaaassseeee :beg: !!!

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BTW:  Diana Vishneva has a new picture in the program (one that doesn't make her look 13 years old) and is no longer listed as a Guest Principal 2005.  It now says she joined ABT as a principal in 2005.  Will she be a regular member of the company from now on with yearly visits?  Very good news for her fans!

Faux Pas

I finally caught Corsaire last night and enjoyed it a lot. Acosta was really the big deal for me, wow. And Marcelo Gomes again looked like a "bad boy". What a charmer.

FauxPas mentions the new Vishneva photo and the change in wording underneath it. So I agree it looks like the same format as all the other principals, hence she must be one.

Same thing with Carlos Acosta, he's no longer listed as a guest, but rather

"joined ABT as Principal 2002"

I'm happy about both these changes myself. It looks like ABT got two new terrific dancers

The only dancer still showing as "guest" is Tamas Solymosi. He is listed in the casting for Japan on the ABT site.

One last thing I noticed with the photos and roster. Nina Ananiashvili's photo is gone, no more "on leave". Also she's off the roster.

Richard

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Hans I agree with you -- let's see more of Bystrova!!

A lovely dancer. She began her schooling at the Vaganova Academy but soon moved to Wash, DC's Kirov Academy of Ballet (now Universal Ballet Academy), graduating ca 1998, when she won a Hope Prize at the Jackson IBC. Bystrova danced leading roles (Kitri, Giselle) as a guest with with Korea's Universal Ballet before joining the ABT Studio Co. and slowly moving her way up the ranks to apprentice & corps. Glad to read that she is finally getting some classical solo roles with ABT. Perhaps we'll see some movement further up the ladder soon?

We 'DC Old Timers' have very fond memories of Bystrova in Kirov/UBA holiday & graduation concerts. :)

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Nina's picture has been gone since the beginning of the season - ditto her name on the roster. She has been dancing in Russia a bit but has taken the time to spend as the new artistic director of the State Ballet of Georgia and to spend more time with her family. This comes from interviews on her website.

I saw "Le Corsaire" last night too. A friend compared Acosta to Nureyev citing the elegance mixed with animal magnetism. He did leaps with his leg bent and the feet touching creating a diamond shape and did the revoltade leap multiple times.

Michele Wiles did look radiant as Medora and the pristine elegance and proportion (with sparkle and speed as well) of her dancing is very right for Petipa style. Her steps always look very finished and complete. She certainly radiated gracious charm and held her own with some high powered men.

Marcelo Gomes as Conrad was the best-acted impersonation I have seen of this part so far (with a nod to Julio). He just brought out the piratical, dangerous side of the character. He really wupped some pirate butt when he fought his mutinous crew - throwing those corps boys around. Max is very much a gentleman and Ethan is kind of breezy and laid-back onstage. Marcelo brought a little touch of Byronic sex appeal and danger to the part and it needed it. He also didn't fade out dancewise beside Acosta and had great energy onstage. He has a way of shaping leaps that is very exciting.

Sascha Radetsky danced very well as Lankendem but wasn't particularly sleazy or dangerous - he read too young and essentially good-humored. Maria Riccetto again impressed as Gulnare. Jesus Pastor acted well but didn't have the dance dynamism that Cornejo, Lopez and previously Joaquin de Luz have brought to Birbanto.

Karin Ellis-Wentz (crisp and clear), Kristi Boone (really strong and dynamic) and Anna Liceica (excellent multiple pirouettes and fine control) were the Odalisques. Flavio Salazar was hilarious and convincing as the Pasha - more weight and maturity than Roman Zhurbin the night before who reads too young and lightweight.

"Le Corsaire" really shows off the strength of the company even with injuries and absences.

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