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ABT 2017 Swan Lake


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3 minutes ago, ABT Fan said:

(Why doesn't Odette get a running start like Siegfried?) 

 

I do like, though, that Odette gets a nice moment to pose in pathos at the top of the cliff. It seems okay to me that Siegfried gets to show off while Odette gets to be gorgeous for one last moment.

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3 minutes ago, alexL said:

So out of all female dancers I've seen during this season, the dancers who completed 32 fouettes have been all soloists except Masha: Teuscher in SL, Brandt in Le Corsaire, and Shevchenko in DonQ AND Le Corsaire! I hope to see Shevchenko as O/O one day! 

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So are the fouette sequences in Don Q and Corsaire actually 32 as well? I've always felt like there are more in SL, but it could just be that there's so much anticipation for those ones.

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4 minutes ago, ABT Fan said:

But Gorak had a new weird big fake smile throughout.

 

Yes, it was almost as if Sarah's awkward smile from the past got transplanted onto him. I remember seeing her generally lovely first Aurora in 2008 or so, which was marred mostly just by that smile. But of course it doesn't fit here for either Odette or Odile. And she's grown out of it. So Benno apparently got stuck with it!

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25 minutes ago, fondoffouettes said:

So are the fouette sequences in Don Q and Corsaire actually 32 as well? I've always felt like there are more in SL, but it could just be that there's so much anticipation for those ones.

 

Yes - 32...as there are in some choreographies of the Coppelia and Harlequinade PDD's codas (competition editions). Oh...let's not forget the coda of Paquita Grand Pas, another vital set of 32s.

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7 minutes ago, sidwich said:

I actually as concerned when Lane started the fouettes with the single-single-double because honestly, they looked labored to me and didn't have the "snap" that I would want to see with such an attempt.  I'm not sure if the conductor actually slowed down to accommodate her lack of velocity in the turns.  That being said, she was actually quite close to completing the full sequence.  

 

 

I wasn't concerned when Lane started because of her style of turning. Some people are "spinners," these dancers rely on velocity. Other people are what I would describe as "balancers." There is more rotating that spinning. I don't know if that make sense to anyone in the way I'm describing it so I'll give one example. Cynthia Gregory was a "balancer." She did multiple turns because she could stay on her leg for a long time. She didn't take a lot of force and spin. Lane tends to be the balancer kind of turner. Some people combine both attributes.

 

All that said, if tonight Lane had just pumped out maybe 3 more and pulled in for a finish she would have been fine. I think she lacked confidence in it. Also, I think she was tiring at that point, probably from lack of experience in doing that role.

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4 minutes ago, vipa said:

Also, I think she was tiring at that point, probably from lack of experience in doing that role.

 

Great point. It's easy to forget how much of a difference it must make to have the actual experience of dancing all three of O/O's acts in "real time." That's one really big reason why ABT dancers who do principal roles are really facing a distinct challenge (since they have so few opportunities to do that). 

Edited by nanushka
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3 minutes ago, vipa said:

I wasn't concerned when Lane started because of her style of turning. Some people are "spinners," these dancers rely on velocity. Other people are what I would describe as "balancers." There is more rotating that spinning. I don't know if that make sense to anyone in the way I'm describing it so I'll give one example. Cynthia Gregory was a "balancer." She did multiple turns because she could stay on her leg for a long time. She didn't take a lot of force and spin. Lane tends to be the balancer kind of turner. Some people combine both attributes.

 

All that said, if tonight Lane had just pumped out maybe 3 more and pulled in for a finish she would have been fine. I think she lacked confidence in it. Also, I think she was tiring at that point, probably from lack of experience in doing that role.

 

Actually, no that doesn't make any sense to me.  By "snap", I mean I don't think she was cutting her turns in enough.  It's really not a speed or force thing, although it does result in speedier turns because the energy isn't being dispersed outside of the circle of the turn.  It also makes the turns "easier" because it doesn't require as much force to get them around which may have resulted in her tiring before the end of the sequence.

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I think I'm diverting from the main topic but I know a dancer who might be able to do all 32 in singles= Bolshoi's Krysanova! She usually does doubles and triples combined with singles but her single pirouettes were the fastest ones I've ever seen in my life. That didn't make her look like the greatest o/o though.

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Just got back to Philly.  I loved loved loved Sarah tonight.  I don't have much to add that hasn't already been said.  I agree that there were a few technical miscues (ahh..those fouettes!) however if I could describe her Odile in one word it would be S E X Y (and I'm a straight woman)!  She toyed with poor Siegfried's heart like a cat about to pounce on a defenseless mouse.  It was stunning to watch.  I wish she could have capped it off with a strong coda, because it would have been the cherry on the sundae.  As mentioned by others, her Odette was beautiful.  She has such a lovely back and arms.  Like everyone else, I hope for two things:  1) That she dances this role again and 2) that she is promoted to principal, because she deserves it.

 

The only other person I want to mention is Alban Lendorf.  During the Ken Center run, I wasn't that impressed with him, but he surprised me tonight.  I thought he was a perfect Rothbart.  I didn't know he had that in him, but he owned the stage tonight.

 

On a sour note, there was a really smelly person sitting a few seats away from me.  It was nearly killing me.  I also saw one girl wearing the shortest shorts I've ever seen.  I'm going to sound like an old curmudgeon, but why can't people at least look presentable when they go to someplace as cool as the Met Opera House?  I"m not expecting gowns and suits, just clean pants and a shower.

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15 minutes ago, alexL said:

I think I'm diverting from the main topic but I know a dancer who might be able to do all 32 in singles= Bolshoi's Krysanova! She usually does doubles and triples combined with singles but her single pirouettes were the fastest ones I've ever seen in my life. That didn't make her look like the greatest o/o though.

 

Another zippy-singles, perfectly-centered fouetté queen: Olga Chenchikova!!! She was a "turning beast" even more so than Tatyana Terekhova, who was also spot-on. Saw them both in the Kirov's '86 Wolf Trap tour - Olga in SL, Tatyana as Paquita. Those were THE days!

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13 minutes ago, Natalia said:

 

Another zippy-singles, perfectly-centered fouetté queen: Olga Chenchikova!!! She was a "turning beast" even more so than Terekhova, who was also spot-on.

Don't forget our own Nina!

 

 

Edited by aurora
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26 minutes ago, Natalia said:

 

Another zippy-singles, perfectly-centered fouetté queen: Olga Chenchikova!!! She was a "turning beast" even more so than Tatyana Terekhova, who was also spot-on. Saw them both in the Kirov's '86 Wolf Trap tour - Olga in SL, Tatyana as Paquita. Those were THE days!

Wish I could've seen them live. I only saw them through Youtube!

 

And how come I forgot about Nina! I'm not qualified to call myself her fan anymore :(

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41 minutes ago, Kaysta said:

On a sour note, there was a really smelly person sitting a few seats away from me.  It was nearly killing me.  I also saw one girl wearing the shortest shorts I've ever seen.  I'm going to sound like an old curmudgeon, but why can't people at least look presentable when they go to someplace as cool as the Met Opera House?  I"m not expecting gowns and suits, just clean pants and a shower.

 

That happened to me yesterday, except the really smelly person was right next to me and spoiled the performance for me. What could I say? She was disabled and had brought her own seat cushion, so maybe that was it. So I said nothing and took out a piece of Trident Tropical Twist. It helped only a little.

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1 hour ago, alexL said:

I think I'm diverting from the main topic but I know a dancer who might be able to do all 32 in singles= Bolshoi's Krysanova! She usually does doubles and triples combined with singles but her single pirouettes were the fastest ones I've ever seen in my life. That didn't make her look like the greatest o/o though.

 

Krysanova when she performed on the Bolshoi tour in London, August 2013, executed a sequence of single fouette, single in front attitude, double in passe, repeat, only she could do the double fouettes in one count.  It was impressive, albeit jarring musically, as she would complete each sequence in three counts, thus beginning the next sequence of single, single, double on the count of "4" instead of "1" of the next phrase.  It was exciting but I didn't love it.  She switched to singles after the halfway point and pulled in for a rock solid triple.

 

I personally don't care for double fouettes; they're just so hard to make musical.  Triples are fine when done as part of a single-single-triple sequence, and I even liked Murphy's doubles when she added the swan arms as it slowed down the rotation.  But there is no shame in a clean, musical set of 32 singles with minimal traveling, as Nina demonstrated.  In fact, often that is more thrilling and enslaving than the fouette sets with multiple turns.  It tells the story better than a bravura act of multiples, which for 30 seconds can make the step seem like it exists outside the ballet.

Edited by MRR
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11 hours ago, NinaFan said:

 

laurel - I take great offense to your comment “The audience where I was seated in the orchestra was filled with the elderly folks who were upbeat and happy to be there, far preferable to the mothers with very young children”.    How nice that I didn’t interfere with your afternoon.  I made a point of going to see Teuscher on Wednesday afternoon.  I also happen to be a recently retired senior who has been attending ballet performances (both in the US and Europe) for over thirty years.  I am not a once in a while balletomane, but as others on here, I am someone who goes frequently just to see different casts.   My age does not negate all of my knowledge, ballet or otherwise.  You too will become a senior one day.   I doubt it would please you to be characterized the same way as you’ve described seniors at the ballet.

My apologies, NinaFan, I meant no offense and sorry if I sounded callous.  Wednesday matinees nothwithstanding, I have two elderly parents who are homebound (they live in another state) and everyone in my family is more than familiar with the needs/problems/indignities of the elderly and geriatric care.  We do not take these things lightly, and are well aware of what lies ahead for all of us.  (I consider the word "senior" offensive and always use "elderly" instead.)  Were they able to leave home and attend a theatrical performance, as the rest of us are still lucky enough to do, I'm sure my parents would attend a Wednesday matinee.  Like others their age, they do better during the day.  Wish they could have seen Sarah Lane tonight, or Devon Teuscher yesterday.  They would have been greatly cheered knowing such great artistry remains in this world.

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7 hours ago, onxmyxtoes said:

She did sort of stumble out of it, didn't finish in a pirouette, maybe sort of hit a fourth position.

 

at first i thought she was going to run off to the side but she ended up doing a long pique attitude (back bent, swan style) to fill the music. hope that helps?? Hard to describe. It was less "disasterous" than what Hee Seo did last night.

I actually feel the opposite.  Sarah may have done more and better quality fouettes than Hee, but Hee never looked defeated or dejected after the fouette section.  She remained entirely in character.  In contrast, Sarah was visibly upset and distraught, which took the audience entirely out of the character and story.  I thought Sarah's reaction compounded the problem.

Edited by abatt
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I wonder if it would fit the music to add the little pick-up steps (my mind's blank...are they emboites?) with the fouettes like in the coda of Balanchine's Tchaikovsky Pas De Deux. They look great but they are a little easier than just fouettes because the dancer can put her other foot down for a millisecond and catch her balance. Might be the solution for these ABT women that have trouble. By the by, this isn't just an ABT problem. I've seen both Teresa Reichlen and Sara Mearns fall out of them recently in Swan Lake. They are a killer!

 

 

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11 minutes ago, Fleurfairy said:

I wonder if it would fit the music to add the little pick-up steps (my mind's blank...are they emboites?) with the fouettes like in the coda of Balanchine's Tchaikovsky Pas De Deux. They look great but they are a little easier than just fouettes because the dancer can put her other foot down for a millisecond and catch her balance. Might be the solution for these ABT women that have trouble. By the by, this isn't just an ABT problem. I've seen both Teresa Reichlen and Sara Mearns fall out of them recently in Swan Lake. They are a killer!

 

 

I actually think those little pickup steps are beautiful and I much prefer when a dancer elects to do those in the Tchai pas rather than focus on throwing in multiples; it's much more musical. I can sort of imagine them being incorporated into Swan Lake, alternated with traditional singles, maybe.

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1 minute ago, fondoffouettes said:

I actually think those little pickup steps are beautiful and I much prefer when a dancer elects to do those in the Tchai pas rather than focus on throwing in multiples; it's much more musical. I can sort of imagine them being incorporated into Swan Lake, alternated with traditional singles, maybe.

 

There's a delicacy to them, though, that I'm not sure fits with Odile or the Black Swan coda music; it's much more in the style of that moment in the Tchai Pas music. (Typical Balanchine, to perfectly illuminate the musical effect with his steps.)

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1 hour ago, abatt said:

I actually feel the opposite.  Sarah may have done more and better quality fouettes than Hee, but Hee never looked defeated or dejected after the fouette section.  She remained entirely in character.  In contrast, Sarah was visibly upset and distraught, which took the audience entirely out of the character and story.  I thought Sarah's reaction compounded the problem.

That's true, but Seo has nothing to lose. She's been flubbing choreography for years, before and after becoming a principal, and it's had no negative impact on her career. She still gets cast frequently.

 

I'm sure Lane felt like a lot was riding on last night, and she was also sick. I thought she held it together pretty well, all things considered. I wouldn't go so far as to say she broke character.

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20 minutes ago, Fleurfairy said:

 By the by, this isn't just an ABT problem. I've seen both Teresa Reichlen and Sara Mearns fall out of them recently in Swan Lake. They are a killer!

 

 

 

Nothing tops the nightmare of Maria Kowroski's fouettes in 2010 (I think it was) when she did very few off balance turns, and then attempted a few, frantic, dizzy looking arabesques, and then just stood at the corner of the stage as the music played on interminably. It was excruciating.

 

 

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36 minutes ago, Fleurfairy said:

I By the by, this isn't just an ABT problem. I've seen both Teresa Reichlen and Sara Mearns fall out of them recently in Swan Lake. They are a killer!

 

 

That's true, but my expectations for an ABT SL are quite different from my expectations for a NYCB SL.  Full length productions are the bread and butter of ABT, and I hold them to a higher standard in full length productions.  Similarly, I hold NYCB to a higher standard than ABT in Balanchine rep.

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