ABT To Unveil New Sleeping Beauty For 75th Anniversary

[Josette]

I have a distinct memory of reading an article, likely in Dance Magazine several decades ago when the magazine spotlighted The Sleeping Beauty (a Fonteyn headshot in profile was on the cover), and it stated that Tchaikovsky had Natalya Rostova from War in Peace in mind when writing the music for Aurora. Natalya Rostova was an impulsive, romantic, high-strung young girl at the outset of the novel and arguably could be called "giddy" if a pejorative term were substituted for "impulsive."

I saw Vishneva dance the role twice in the early 2000's with the Mariinski, and she was, memorably, the epitome of joy in the first act. I respect Vishneva's re-thinking her characterization and not presenting a well-behaved, docile, shy princess with lowered eyelids. Aurora could conceivably be excited and, yes, even giddy to be the center of attention of four handsome princes who are vying for her hand, and, at age 16, she could well be a bit of a coquette - like her charming mother is in this production. It is always a relief to see a characterization and not a dancing doll. I do hope that each of the other four Auroras this week will be uniquely true and alive in characterization. I regret that Sarah Lane is not dancing it here.

It's so interesting reading all the comments posted here and I'm looking forward to the reports from all of you when the production is in New York.

[doug]

The Sergeyev [stepanov] notation doesn't mention flirting, etc. There is a note to the effect that the "4th suitor is the best," referring, presumably, to the fact that Aurora does most of her partnered dancing with him. That said, the dance is indeed a pas d'action in which the 4 four suitors court Aurora, and in Ratmansky's staging, the suitors and Aurora interact to this end.

[Helene]

I've always been disappointed that Gary Avis doesn't have a chance to get chosen in the Royal Ballet DVD...

[volcanohunter]

I have a distinct memory of reading an article, likely in Dance Magazine several decades ago when the magazine spotlighted The Sleeping Beauty (a Fonteyn headshot in profile was on the cover), and it stated that Tchaikovsky had Natalya Rostova from War in Peace in mind when writing the music for Aurora. Natalya Rostova was an impulsive, romantic, high-strung young girl at the outset of the novel and arguably could be called "giddy" if a pejorative term were substituted for "impulsive."

That's interesting, because I have to admit that I've always been a little put off by "giddy" Auroras. I was strongly persuaded by Élisabeth Platel's argument that the Rose Adagio, like the variation that follows, is a reflection of her self-possession and poise. But I will try to be more open-minded about more exuberant interpretations in the future!

I've always been disappointed that Gary Avis doesn't have a chance to get chosen in the Royal Ballet DVD...

Presumably all of those suitors went off and found different princesses for themselves. Perhaps you can think of Federico Bonelli as Avis' great-grandson, so in a way, his line gets the prize in the end.

[Helene]

Presumably all of those suitors went off and found different princesses for themselves. Perhaps you can think of Federico Bonelli as Avis' great-grandson, so in a way, his line gets the prize in the end.

Well, they had to: after everyone woke up, Bonelli got the girl.

In the Hynd production that PNB uses, one of them gets stabbed to death. Batkhurel Bold made wonderful sense of the scene. He had no problem dispelling the snakes and Carabosse's minions, but when he looked upstage at the castle, he turned his head simply from side to side to drink in the enormity of what was in front of him: it was much more than an enemy to fight. IWhen he encountered the dead suitor and carefully picked up the fallen man's sword, you could imagine that it had blood and guts on it: he didn't just flick it on his jacket like it was simply dusty, and the dead body was no big deal. The "What do I do now?" had a hint of "That's too easy, there must be a catch."

[volcanohunter]

In Nureyev's version the suitors go chasing after Carabosse and draw their swords, but she confuses them and they inadvertently run each other through, after which they kindly fall into the wings, where their remains will presumably decay out of sight. I don't know what happens to them in the Royal Ballet's version after they carry Aurora up the staircase, but I'm pretty sure they're not around when she comes to. I'd sort of assumed that the Lilac Fairy sent them back home to get on with their lives. It would seem very unfair to keep them around to watch another prince get the princess.

[Helene]

That makes sense: most of them do go offstage and, if they live, are never put to sleep, hence, they're long dead before everyone is woken again. In the Hynd version, only the dead one remains.

[Natalia]

Isn't Aurora a Royal princess? Giddy with googly eyes wouldn't work...unless the true Aurora was switched at birth for a Troll Maiden, a-la Bournonville 's A FOLK TALE.

[Helene]

Princess Margaret wasn't the first boy-crazy Royal princess.

[choriamb]

.

[Joseph]

Just a note that the Sergeyev [stepanov] notation doesn't mention flirting, etc. There is a note to the effect that the "4th suitor is the best," referring, presumably, to the fact that Aurora does most of her partnered dancing with him. That said, the dance is indeed a pas d'action in which the 4 four suitors court Aurora, and in Ratmansky's staging, the suitors and Aurora interact to this end.

That's cool and explains a lot! I always wondered why the fourth guy gets the most attention in the Rose Adagio.

[FauxPas]

Just a note that the Sergeyev [stepanov] notation doesn't mention flirting, etc. There is a note to the effect that the "4th suitor is the best," referring, presumably, to the fact that Aurora does most of her partnered dancing with him. That said, the dance is indeed a pas d'action in which the 4 four suitors court Aurora, and in Ratmansky's staging, the suitors and Aurora interact to this end.

I probably read this in Roland John Wiley's "Tchaikovsky's Ballets" where the direction that Aurora flirts with each suitor may come from the detailed libretto by Petipa and Vsevolozhsky.

[Natalia]

Flirtatious charm is ok. Ditzy, mocking faces are wrong. So far, only Vishneva acted that way. Choices.

[sandik]

I like an Aurora that reflects her age and situation in the first act -- she's excited about the party when she enters, fillial with her parents, and increasingly confident and expressive as the Rose Adagio continues until the end where she's practically triumphant -- it's in the music, and I think in character as well.

[volcanohunter]

Just to be certain that I'm not misrepresenting her point, Platel made a similar observation. She basically stated that the Rose Adage, with its transition from unaccompanied harp to full orchestra playing at something like fff, is where Aurora's transition from adolescence to womanhood is accomplished.

[angelica]

Just to be certain that I'm not misrepresenting her point, Platel made a similar observation. She basically stated that the Rose Adage, with its transition from unaccompanied harp to full orchestra playing at something like fff, is where Aurora's transition from adolescence to womanhood is accomplished.

That's a wonderful observation, volcanohunter. I can't wait to watch for it in the spring season. One reason I love this forum is that I learn things that deepen my understanding of ballets I've seen many times in the past but with less insight.

[Mme. Hermine]

I have to confess, I'm unimpressed with what I've seen of the costumes. I've seen what there is to see of the original designs, and they really couldn't have made them exactly like that, either in terms of the fabrics or the designs. But I don't think they are all intelligent adaptations of them either. Find a picture of the original design for the Act 1 costume for Aurora, for instance, then put it next to the photo I saw of Vishneva in her entrance. I don't like either one, and I don't think the new one does anyone any favors. That's just that one in particular. Strangely enough also, I think the men were better served; I liked Gomes' hunting jacket a great deal, for instance. Just my opinion of course.

[sandik]

I'd have to see them in motion to really have an opinion.

[mussel]

Did anyone notice if anything was cut?

[ksk04]

Very few cast changes from opening night to the Friday show with Herrera/Nedak, so I struck the repeat cast (hopefully will see some new faces on Sunday). Everything except Diamond Fairy (Shevchenko), The Countess (Luciana Voltolini), and Red Riding Hood/Wolf (Nicole Graniero/Arron Scott) were the same, I believe.

There were a few things that were immediately noticeable as changed. First, the curtain doesn't open in the prologue to reveal the castle backdrop. The Lilac variation was scrubbed and replaced for Part; instead of the complicated turns that seemed to falter on opening night there was a more expansive variation with posing attitudes and some jetes. I don't think it showed her off to any better effect, but she certainly didn't stumble in it. The Lilac entourage also made it on in the opening of Act III--I thought it was weird on opening night that they only brought her out to pose in the last 10 seconds, but this time she was carried out along with Carabosse, and then they both came out at the ending as well.

I thought Sarah Lane was even more expressive in her Breadcrumb variation; her arms sang beautifully and I wished I could see her perform Aurora's Act III solo. Cassandra Trenary was still as lovely as on opening night and I hope her Aurora is not too far off and that she doesn't get caught in the death knell that is the ABT corps. She partners Simkin well, and perhaps this will secure her assent. Shevchenko was much, much more effective as the Diamond Fairy, stylistically fitting into the production better with beautiful head placement in her giant crown and soft jumps.

I stuck with these tickets despite the main casting; I've never had strong feelings toward Herrera beyond thinking she was technically well-equipped and had gorgeous feet, but I wanted to see her once more before retirement. She is not as expressive as Vishneva, but you never feel like she is going to have trouble doing anything--and she didn't. She was pitch perfect technically in all acts and I think she was more relaxed than I've seen her in the past (though I enjoyed her in the Bright Stream quite a bit). It's hard to understand her retirement when she is capable of a role like this still. Her Rose Adagio was without fault, but my heart did not beat faster (as it often does) before that last crescendo of attitudes in promenade and maybe this is down to her technical excellence: I don't expect her to falter. Notably, she didn't bend her foot in B plus (croisse derriere) as is the norm for the production. Nedak was essentially forgettable, and given how little the prince has to do in this (and the fact that he wasn't impressive) I don't understand why he was brought in--though he appears to be a fine dancer, just nothing special. He and Herrera have no real chemistry and I thought the fish dives (especially bringing her out of them) were a bit precarious.

Onto Seo/Stearns and GOMES as Carabosse.

[Josette]

I was also at the Friday night Herrera performance and found her lacking in any investment of thought and heart. It was an empty performance with no characterization discernable from my second-row orchestra seat. There was no story told, there was no Aurora. What a disappointment. Her dancing was without strain but there was no phrasing. By the time we got to Act III After two acts with a lackluster leading ballerina, it made Cassandra Trenary's vibrancy an utter joy in the Bluebird pas de deux - and what a relief that was as she displayed all the qualities you'd expect in an Act I Aurora: warmth, charm, effervescence. Hopefully Herrera will be more emotionally committed at her ABT farewell performance in New York. I agree with ksk about Nedak in this role and the lack of chemistry between the two leads - really, it is unforgivable, sloppy, and unprofessionable on the part of ABT management to let this occur.

The Bluebird solo is the shorter version musically. Victor Barbee obviously worked on manipulating his King's royal robe in the Prologue, for which I appreciated his professionalism.

From her entrance on, Veronika Part was in luxurious, unrushed command as the Lilac Fairy. As ksk wrote, the last third of her variation was completely simplified into a series on alternating sides of pique (sorry I can't get the accent over the e on my IPad) en attitude ouvert derrière, coupe, jete en avant, which she danced with great beauty.

Then I saw the Isabella Boylston/Joseph Gorak performance, which was the Saturday matinee. Boylston made her entrance with energy and a smile. I had such a sense of total emotional support for her from four suitors before the Rose Adagio began. She performed the Rose Adagio credibly, but, right before stepping onto pointe for the final set of promenades en attitude followed by the balances, her face tensed, and after the final balance, her face registered clear relief. Her Act I was her best act. She had no lyricism or mystery or beauty needed in the Vision scene that would make her fascinating such that the Prince would seek her. And then, we had a repeat of what happened in the previous show: Princess Florine exemplified the qualities you expect from Aurora, except, in this case, it was the exquisite and graceful Stella Abrera. Boylston has faulty port de bras, in particular, fussy hands, that marred her dancing in this most classical of ballets.

Joseph Gorak had princely restraint and danced an excellent solo. He had to use both hands to literally grab Boylson and turn her for the fish dives, which was a distraction.

Melanie Hamrick was a lovely Candide. Devon Teuscher was the Lilac Fairy and danced the difficult version of the solo which Part attempted opening night. Teuscher was exquisite in the second act. I absolutely loved Courtney Lavine who performed as Cinderella with Calvin Royal as Prince Fortune. She told an entire story with such engaging vulnerability and loveliness. Roman Zhubin is magnetic on stage and created a real person of the King. His Queen, Karen Uphoff was a beauty, and there was a loving communication between them. Cassandra Trenary's made her mark on the audience as Canary. Craig Salstein was a terrific Carabosse- his mime was both big and subtle.

Tomorrow I see See/Stearns and then Murphy/Hammoudi.

[Josette]

And yes, it's late and I meant "unprofessional" and not "unprofessionable," plus some other "fautes de frappe" in my post above.

[Natalia]

I have to confess, I'm unimpressed with what I've seen of the costumes. I've seen what there is to see of the original designs, and they really couldn't have made them exactly like that, either in terms of the fabrics or the designs. But I don't think they are all intelligent adaptations of them either. Find a picture of the original design for the Act 1 costume for Aurora, for instance, then put it next to the photo I saw of Vishneva in her entrance. I don't like either one, and I don't think the new one does anyone any favors. That's just that one in particular. Strangely enough also, I think the men were better served; I liked Gomes' hunting jacket a great deal, for instance. Just my opinion of course.

I'm totally with you Mme. H. Based only on the photos, the men's outfits appear to be more substantial and crafted with luxurious fabrics, while many of the tutus have an Art Stone Recitals Catalog air to them... Is it satin or sateen? Final verdict will come when I see them 'live' on the stage of the Met.

[Barbara]

A question about the Lilac Fairy variation: from the photos I've seen her costume appears to have a long skirt with a very tall head dress. I was picturing this costume and Veronika trying to pirouette in it. Was this the case? How did Devon Teuscher accomplish it? Or perhaps there is also a tutu costume for this variation? I can't wait to see this production during the Met season!

[ksk04]

A question about the Lilac Fairy variation: from the photos I've seen her costume appears to have a long skirt with a very tall head dress. I was picturing this costume and Veronika trying to pirouette in it. Was this the case? How did Devon Teuscher accomplish it? Or perhaps there is also a tutu costume for this variation? I can't wait to see this production during the Met season!

There is a tutu costume for the Prologue for the variation, rather than the long dress/giant headdress. She also wears pointe shoes in the Prologue, versus character heels for the rest.

Josette: thank you for your report. Could you say who all the Fairies were in the Prologue for the Boylston cast? I see you listed Trenary as Canary, but I'm wondering who else was in the line-up.