Giselle - July 2008

[carbro]

Thursday: Xiomara Reyes, Herman Cornejo

Wow!

Carbro, please give us more details

I haven't forgotten your request, bingham, and all I can say is that ten days later, the feelings from this performance are still fresh. I've spent some time wondering how this jaded viewer could be so profoundly affected and I have a few possible explanations.

I went in with somewhat middling expectations from Reyes. She made a very negative first impression on me, but over her time in ABT, she has shed her annoying mannerisms. But that's not enough. As Giselle, she shed everything and, in this era bereft of innocence she found a way to put herself aside, to not "do" anything, to not lay an interpretation over the steps, but to let the choreography flow through her and tell Giselle's story. I think Reyes found within herself the kind of egoless innocence and purity as an artist to trust the material to convey an innocent and pure character.

I also credit her Cuban heritage, her training from one of the great Giselles of all time, Alonso, for this self-effacing approach to this sacred touchstone of Cuban ballet.

Cornejo's performance surpassed hers in terms of technical polish (not to imply that she was a slouch), but she (properly) was its heart.

I am so eager to see their Giselle next spring.

[cubanmiamiboy]

[i also credit her Cuban heritage, her training from one of the great Giselles of all time, Alonso, for this self-effacing approach to this sacred touchstone of Cuban ballet.

I'll take this personal. (It's really sacred over there), so Thank you!

BTW...now i can't really wait to see her Giselle when they'll do it down here next...

[Adam]

Actually, none of this surprises me (or, I take it, cubanmiamiboy), because I've liked Xiomara since the first time I went to a ballet. Actually, it wasn't that long ago. 2005. It was Bocca's last Don Q, and Xiomara was Kitri. That was what brought me to the ballet.

I stopped reading Gottlieb, because he never passed up an opportunity to take a cheap shot at her (and any other women who aren't Vishneva, for that matter).

[canbelto]

Actually, none of this surprises me (or, I take it, cubanmiamiboy), because I've liked Xiomara since the first time I went to a ballet. Actually, it wasn't that long ago. 2005. It was Bocca's last Don Q, and Xiomara was Kitri. That was what brought me to the ballet.

I stopped reading Gottlieb, because he never passed up an opportunity to take a cheap shot at her (and any other women who aren't Vishneva, for that matter).

That's not true. Gottlieb is a fan of Murphy (not many critics are), and his assessment many of the NYCB ballerinas has always been very enthusiastic (Ashley Bouder, Sara Mearns, etc.) even as he deplores some of the decisions Peter Martins has made.

[cubanmiamiboy]

I stopped reading Gottlieb, because he never passed up an opportunity to take a cheap shot at her (and any other women who aren't Vishneva, for that matter).

Oh, whatever...let'im be.

[strikermcgee]

Actually, none of this surprises me (or, I take it, cubanmiamiboy), because I've liked Xiomara since the first time I went to a ballet. Actually, it wasn't that long ago. 2005. It was Bocca's last Don Q, and Xiomara was Kitri. That was what brought me to the ballet.

I stopped reading Gottlieb, because he never passed up an opportunity to take a cheap shot at her (and any other women who aren't Vishneva, for that matter).

That's not true. Gottlieb is a fan of Murphy (not many critics are), and his assessment many of the NYCB ballerinas has always been very enthusiastic (Ashley Bouder, Sara Mearns, etc.) even as he deplores some of the decisions Peter Martins has made.

I would tend to dispute your throwaway remark that not many critics are fans of Murphy.

It seems to me that over the years professional reviews by a wide variety of

critics covering a wide variety of roles have been overwhelmingly positive.

For example, even the recent largely negative NYT review of the ABT season discussed

in an adjoining thread singles her out for praise.

[Roberto Dini]

That's not true. Gottlieb is a fan of Murphy (not many critics are), and his assessment many of the NYCB ballerinas has always been very enthusiastic (Ashley Bouder, Sara Mearns, etc.) even as he deplores some of the decisions Peter Martins has made.

Yes, Gottlieb loved her in Don Quixote:

But Gillian Murphy and Ethan Stiefel ignited the whole ballet—they just nailed it. Murphy’s acting gets better and better, and her technique and phrasing are so strong that she can play with the music (Minkus’ delightful oom-pah-pah score) in a way that hides the lack of variety of the actual steps Kitri is given. And Basilio is the perfect naughty-boy vehicle for that devil Stiefel.