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Romeo and Juliet ABT Met 2022

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I was sorry to have missed Hee Seo this year, but having seen her in R&J before, I would agree that R&J is her best full length. (I would also add Eugene Onegin and A Month in the Country to that list, assuming those ever return to ABT.)

I too was surprised at how much detail was in Trenary's performance.  I think she may have observed some Ferri details, or else maybe  dancing with Herman enabled her to pick up some details. (Herman danced this with Ferri, and I think that experience elevated his understanding and performance of certain details. It is possible that he imparted some of this to Trenary during their rehearsals.)  The example of using her hand to unequivocally stretch her hand to the window  (mentioned above) was one such detail that Ferri used to use.  Trenary's debut was very good.

I was less impressed with Royal for some of the reasons discussed above.  His line is frequently not impressive.  In the big solos in Act II he needed to dance big.  He danced small. (When Aran Bell danced it earlier in the week, he danced with precision, height and speed.) Also, Royal's solos were sometimes choppy.  Spin. Stop.  Preparation for next spin.  This phrasing destroys the momentum.  

I did not like Trenary's decision to die on her side.  I think it is more impactful to die on your back.  By curling up into a fetal position it looked  like she was taking a nap.

I find Friar Lawrence is now unwatchable after seeing Franklin for so many years.

Every partnership this season was, I believe, a new partnership in this ballet, except for Devon and Bell, who danced this together once in 2019 or 2018.  I'm not sure we are going to see another Ferri - Bocca or Vishneva - Gomes level performance against at ABT, but we can hope...



Edited by abatt
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12 hours ago, choriamb said:

Trenary is the best Juliet I have seen...I think she will have the most complete interpretation of her generation. Her dancing was both pristine and completely through-acted...

I agree that Trenary has the making of one of the best Juliet's ever (with Ferri being the high-water mark for me). Cassie's technique is so solid that she was able to "make classical ballet look completely natural." (Stealing this phrase from Peter Wright speaking of Osipova dancing Giselle in a youtube clip.) Of course, Trenary has aspects of her characterization she'd probably want to further flesh out, as all great artists do. Here's hoping she gets many more opportunities to do just that (certainly more chances than she got this season 😏).

I thought Trenary and Royal had beautiful chemistry. They had the same energy level -- both young, exhuberant and lively.  I'm big fan of Royal. For me it goes beyond just technique. I've seen so many dancers with perfect technique and very little heart. Calvin has heart and warmth and beauty to spare, and his movement quality is so grand and sweeping and elegant. I'll pretty much watch him in anything at this point.


16 hours ago, ABT Fan said:

One thing Trenary did artistically that I really respect - as she was dying her final collapse was in a semi fetal position partially face down, not the common and overly-dramatic "let me roll over onto my back while I'm bleeding to death and do an extreme backbend over the concrete slab to show off how flexible my back is because this looks so cool".

I agree. I thought this was a really smart and moving choice. It fit with the highly naturalistic approach Cassie brought to the role. A young girl who knows she's dying would most likely curl up like a baby, reaching for her beloved. The pose on the back has always seemed a bit theatrical to me, probably just not my cup of tea.


16 hours ago, ABT Fan said:

The biggest revelation of today was the completely outstanding Jonathan Klein as Mercutio. I'd love a good explanation as to why this man is still in the corps. He danced like a principal - far surpassing any hope I had of him, and I thought he'd make a strong debut. Everything about his performance was extraordinary - I am still thinking of the Mandolin dance. One or two of those super fast jumps he couldn't get his left arm position up quite fast enough, but other than that this man has a huge jump, gorgeous, fast pirouettes, beautiful feet, the ability to execute difficult jumps with ease, and dramatically it was if he has been doing this role for many years instead of debuting it this week with wonderful, intelligent theatrical choices. He alone was worth the entire afternoon.

I wholeheartedly agree!!! Klein has never before been on my radar and when he started dancing I said to myself, "Who is this guy??" He was amazing. He should be promoted today. I would buy a ticket just to see him. 

Usually I can't stand anything that goes longer than two hours (yes, I have a very short attention span), but I found myself riveted from start to finish during this performance. I thoroughly enjoyed every minute and didn't want it to end. 





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5 hours ago, angelica said:

Does anyone know the dates of the fall season?


I just received a press release about the Fall Season, which will be October 20 - 30 (easy to remember!) The calendar is supposed to be online as part of the Master Calendar, but so far my computer isn't picking it up.

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9 hours ago, WLH said:

Did anyone see see Teuscher/Bell on Saturday night? 
Hope everyone enjoyed the Met season, I’m curious to see what’s in store for the fall.. 

I did and it was divine.  It was nearly a full house and a very appreciative one. "JuliaJ" upthread said that Devon Teuscher was becoming a dancer to really seek out this season and I agree wholeheartedly. She's always been a wonderful and reliable dancer but her artistry seems to have gone to next-level lately. Her Juliet was beautifully acted. Her every movement was either liquid or clear as the choreography called for. Her arms were willowy and tender with longing. Teuscher's technique is so secure she's at the point now where she makes it all look effortless. Bell's Romeo was fantastic. His boyishness, and the obvious youth of his friends (Garegin Pogossian as Mercutio and Sung Woo Han as Benvolio) made it so believable that these were all just teens full of pent-up energy. The men danced well in their pas de trois, the part that sounds a bit like Peter and the Wolf). Bell handled all the choreography and partnering with ease, including the three press lifts from the knees. He and Teucher have beautifully matched lines and physiques. The balcony pas de de deux ended with the the swooniest kiss I've seen yet - it certainly looked like Aran Bell really knows how to kiss a woman. The audience sighed out loud. Utterly romantic.

Pogossian knocked all our socks off - not just blazing through the jumps with splendid height and technique, but great dramatic presence onstage. Where has he been, able to develop such assurance and command of the enormous Met stage with so little exposure? A wonderful new talent. His smaller stature means he might not have the danseur noble career, but I'm hoping he's given a Puck in the fall season's The Dream.  If he does, mark your calendar. Thomas Forster was a fine and menacing Tybalt, with a splendid-looking sword fight with Romeo and died magnificently. Forster is every inch a world-class principal dancer in every respect. He's been superb in everything I've seen him in the last few years. Andrii Ischuk, as Paris, again makes the most of a small role. He too has personality to burn. The way he walks has such grace and power (reminds me of Cornejo and Gomes who would just walk into position for their variation and I'm already entranced). Sung Woo Han as Benvolio danced crisply, beautiful feet; but in an evening where the magic happens from the storytelling, his was the only performance that I felt had room for character development. Roman Zhurbin was his usual impressive work as Lord Capulet, and (if I have it right) Alexandra Basmagy as Lady Capulet was heartrending in her grief for Tybalt. Wonderful acting.

R&J is never my favorite ballet as I'm not much a fan of the Prokofiev music. The score is often dissonant, frenetic, or both. But when the Macmillan choreography is performed not only skillfully but with so much heart and emotion, it's a magnificent night of theater.  

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52 minutes ago, griffie said:

Pogossian knocked all our socks off - not just blazing through the jumps with splendid height and technique, but great dramatic presence onstage. Where has he been, able to develop such assurance and command of the enormous Met stage with so little exposure? A wonderful new talent. His smaller stature means he might not have the danseur noble career, but I'm hoping he's given a Puck in the fall season's The Dream. 

So happy to hear this. I first noticed Pogossian a few years ago (right before the pandemic) when he was paired with Lane in Brahms-Hayden Variations and then saw him again in AFTERITE. I thought the same as you then.

One thing to keep in mind, we all know Cornejo probably won't be around much longer and Brandt will need a new partner. Sure, she can dance with taller guys, but the opportunity will be there for Cornejo-sized talents like Pogossian, Klein, Crispino, Gonzalez, Magbitang.

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