ABT Fall 2022 season

[ABT Fan]

2 hours ago, cobweb said:

Agree with everyone about last night's performance of The Dream. Cassandra Trenary and Daniel Camargo were wonderful. This is only my second time seeing Camargo, but I think I'm in love with him. He's a large guy who effortlessly eats up the stage, with large, lush movements. He fully inhabited Oberon, with an otherworldly intensity. I'm slightly cooler on Elwince Magbitang than others here. Yes, he has the technique and charm for Puck, and was clearly enjoying himself. I think a few years of maturity will give him a deeper presence, and I also thought he has more work to do to pull Puck together seamlessly and make it more about Puck, rather than Elwince having fun. Still, for such a young guy (is he even 20?) in his debut, it was very promising. As a side note, I had not seen Chloe Misseldine before, and having heard so much about her I was on the lookout for her as one of Titania's fairies. Easy to spot! She sure is beautiful. 

 

Camargo has quickly become one of my favorites. I don't know if you saw his Dionysius or his Romeo, but those two roles could not be more different yet he disappeared into each character and was utterly believable.

I agree with your assessment of Magbitang - I'm over the moon about him because I see his raw potential, his technique in spades, and like you ask is he even 20? He joined as an apprentice last November and was promoted to the corps last month. So, he's not only incredibly young but has done so much already in so little time. 

 

Edited October 30, 2022 by ABT Fan

[abatt]

12 hours ago, ABT Fan said:

Trenary was absolute heaven as Titania. It's a natural fit for her - lush, expansive, technically brilliant, charming and graceful. She and Camargo had wonderful chemistry and I'd love to see them paired together more. He was an excellent Oberon and I saw none of the excessive grinning that someone else mentioned the other night. Camargo was commanding and conniving, with great footwork and excellent partnering. As I saw in Love and Rage over the summer, he has great dramatic presence. Magbitang was a fleet-footed, flying and mischievous Puck - a fantastic debut! He barely touched the ground. My mind is working overtime imaging all the other roles he'll hopefully have in his future. McBride was funny and endearing as Helena; I've never seen her in a comic role before and she's a natural. Misseldine stands out even in the corps of fairies. I would love for them to bring The Dream back again next year.

The Seasons is still problematic in many places - the dance recital costumes for some of the roles, the busyness, the too short Autumn section. But, as a Ratmansky, it provides great opportunities for corps and new soloists. Curley was a real Prince of Winter - he has better stage presence than some of the principals. He handled the tricky partnering brilliantly and is so gallant. Coker was lovely as Frost. Park did very well as Hail, but she lacked the speed and attack that Hurlin brings to it. McBride as Rose and Li as The Swallow were great together. Seo was quite beautiful as Sprit of the Corn, but she had a bit of difficulty with some of the more difficult parts of the choreography - Boylston was pretty flawless when I saw her in it at the premier. Autumn did not go so well. Ratmansky usually gets the casting right, throwing young and inexperienced dancers who posses great potential into meaty roles where they flourish, but Shealy was out of her depth. She botched the end of a series of difficult turns in her solo, not completing the last one, and she fell when about to go into a turn with Hoven. This is the first soloist role she's been given to my knowledge so maybe just needs more time, but even the parts that went well she lacked polish and authority. 

I'm sad that the Fall season is now over; It's just too short and the Met season is too far away.

Completely agree with everyone about last night's show.  First, Camargo was much better last night than in his debut on Wednesday.  It's like someone gave him small corrections, and that made all the difference to take his performance to the next level.  Titania suits Trenary very well. And Magbitang!  Whew.   Very impressive.  As a I watched the performance I envisioned him as a future lead in Don Q. 

 

Agree that Curley was much better than Ahn as Winter.  I hope to see Curley in many more new roles.

Sadly, Shealy was definitely out of her depth.  

If anyone goes this afternoon, I'd be curious to know whether Stearns appears, or whether Camargo does his third Oberon in five days!

I missed the mixed bill due to a medical issue on Friday.  But based on what multiple friends have told me, it sounds like I didn't miss much. Hopefully Sinfonietta will return soon, on  a stronger program.

 

Edited October 30, 2022 by abatt

[WLH]

1 hour ago, abatt said:

Completely agree with everyone about last night's show.  First, Camargo was much better last night than in his debut on Wednesday.  It's like someone gave him small corrections, and that made all the difference to take his performance to the next level.  Titania suits Trenary very well. And Magbitang!  Whew.   Very impressive.  As a I watched the performance I envisioned him as a future lead in Don Q. 

 

Agree that Curley was much better than Ahn as Winter.  I hope to see Curley in many more new roles.

Sadly, Shealy was definitely out of her depth.  

If anyone goes this afternoon, I'd be curious to know whether Stearns appears, or whether Camargo does his third Oberon in five days!

I missed the mixed bill due to a medical issue on Friday.  But based on what multiple friends have told me, it sounds like I didn't miss much. Hopefully Sinfonietta will return soon, on  a stronger program.

 

Exactly that, abatt. It’s not that I find Magbitang perfect or that I want to fast forward through his career, but his technique and presence especially in a debut is thrilling. Hard not to look to the future. Your Don Q idea for him will now have me smiling too  

Interesting to consider Camargo’s progress in a v short period of time. I also didn’t notice any out of place smiling last night. Camargo and Trenary both bring drama without compromising on technique. Whereas Ahn and to some extent Seo didn’t have that same emotional quality for me. I’ve never seen him before, so maybe I’m being harsh or would prefer him in another work.

[ABT Fan]

OK, since some of us are dreaming about what Magbitang could do in the future, how about: Basilio, Golden Idol, Mercutio, The Boy, Bluebird, Harlequin, Colas, Ali, Franz, Rose, James.

Further down the line, hopefully other lead principal roles. 

[MarzipanShepherdess]

Saw 2/3 of the Children's Songs/LIFTED/Sinfonietta bill (jetlag caused me to bow out at the second intermission, unfortunately).

Children's Songs: well, it's a big step up from Zig Zag and yes that is damning with faint praise. It's not a groaner, but this didn't feel all that substantial to me. I was most engaged when Lang was most obviously taking inspiration from "childish" movements and the work felt more playful (for a work inspired by children it felt quite sleepy at times). I agree with others who say the stated theme of showing the progression from childhood into maturation via movement didn't feel fully realized. The highlight for me was unquestionably Sunmi Park, particularly in the big pas de deux. I was looking forward to seeing Elwince in a more featured role, but he didn't have much to do here.

LIFTED: I look forward to seeing this again (especially when not feeling so jetlagged). THIS felt substantial, with lots of layers in the interplay between the five dancers and also the way in which they interacted with the set (which is a T-shaped set of mirrored walls that get rotated by the dancers throughout the performance). I thought the set design was used to  moving and powerful effect throughout the piece, both as a means for the dancers to interact with their own images in the beginning, and later on when all five dancers were leaping across the stage and the mirrors gave the audience a vision of what a future ballet world with a greater number of Black dancers might look like. I thought the whole cast performed beautifully, but especially Calvin who is such an exceptionally emotive dancer. He was transfixing. I appreciated the opportunity to see Erica Lall in a meatier role than I've seen her in previously, and she certainly made the most of the opportunity, by turns regal and tender. The work held my attention and I hope they bring it back in the spring. It feels like a piece that would reward further viewings, which is for me one of the hallmarks of good ballet.

[abatt]

After a Severe Injury, James Whiteside Is Dancing on a New Knee - The New York Times (nytimes.com)

 

Here is an article about James Whiteside's recovery process from knee surgery.

[coffeelover]

I saw this afternoons performance of The Dream/Seasons. I thought The Dream was lovely. Gillian Murphy was stunning, her turns were fantastic as usual. I didn’t think that “lack of flexibility” affected my enjoyment of her performance at all, as some comments above said. I thought all four of the lovers were forgettable, and I hated the two women’s wigs. The corps de ballet was amazing per usual. 

I did not particularly enjoy Seasons. It was my first time seeing the ballet: I will not see it again. Winter was boring, but Williams and Misseldine were lovely. Sunmi Park was a standout for me, a beautiful performance by her. Joo Won Ahn was forgettable, but I think it was more the role than him. Spring/Autumn were fine, Zimmi Coker is a star and deserves to be a soloist. Summer was not my favourite. Isabella Boylston was lovely, but the whole movement was way too long! And one of the “cornflower” ladies was really off the timing of the others and it was so distracting! I thought it was stupid that the cornflower woman partnered the poppies, it also lowkey flopped. 

Certainly a mixed opinions for me, but overall a nice afternoon. 

[fondoffouettes]

I was in awe of Cornejo today; he exceeded my expectations, even with images of his youthful Puck still in my mind.

The production of The Dream was so much more visually compelling when all the fairies (soloists, corps, Titania) weren't all in nearly identical Oberon-green costumes. The whole production looks so murky and un-magical now. Plus, is it too much to ask for Bottom's eyes to actually open? The donkey head didn't function properly the last time they staged The Dream, and it still doesn't.

A reminder of how this production once shimmered:

[JuliaJ]

Yesterday was my first time seeing The Dream and while I found the set and costumes gorgeous, the lighting was way too dark (not helped by the uniformly green costumes that matched the background). Neither Gillian Murphy nor Herman Cornejo danced like 40+ year olds -- they were both wonderful. Cornejo's jumps in particular were fantastic, so weightless and bouncy, and possibly better than what I saw him do during the spring season. Agree with previous commenters about Camargo, who was excellent as Oberon and really fills up the stage. Tyler Maloney was hilarious as Bottom. 

I do like the Seasons despite its flaws and felt it held up well on a third viewing. Standouts were Chloe Misseldine (truly jaw dropping lines and elegance) and Sunmi Park in Winter,  Zimmi Coker in Spring (how did Granlund get promoted before her??? Granlund is also great but Coker was the stronger Spring girl), and most of all Hurlin and Royal in fall. Was nice to see Carlos Gonzalez back, although he fudged the end of his solo as the Faun.

ABT did a much better job with programming (and perhaps casting) this fall season than past Koch seasons, and the audience clearly showed their appreciation with a nearly sold-out house and standing ovations. Although I wish they would not allow infants and toddlers in the audience. 

[abatt]

9 hours ago, fondoffouettes said:

I was in awe of Cornejo today; he exceeded my expectations, even with images of his youthful Puck still in my mind.

The production of The Dream was so much more visually compelling when all the fairies (soloists, corps, Titania) weren't all in nearly identical Oberon-green costumes. The whole production looks so murky and un-magical now. Plus, is it too much to ask for Bottom's eyes to actually open? The donkey head didn't function properly the last time they staged The Dream, and it still doesn't.

A reminder of how this production once shimmered:

I didn't realize that the costumes had changed until you pointed out.  Now I do recall the costumes in the above photo.  Yes, the similarity of costumes of all performers were a problem.  The old costumes were better.  The lighting was too dark.  And the steam machine made too much noise and at times it was too smoky to see the choreography.

[California]

I attended the three weekend performances of ABT. Not much to add - just a few points:

• After The Dream on Sunday, principals took bows before the curtain (which nobody did on Saturday), a la NYCB. I wondered if this was a little extra tribute to Cornejo and Murphy, who almost certainly won't be doing those roles again.
• I didn't see the Cornejo performances 20 years ago, as many did. Yes, spectacular, but the Saturday evening Puck (Elwince Magbitang) was even more astonishing, especially in the chaines across the front of the stage.
• At the company class on stage for Friends Saturday morning, Jaffe taught the class. I have no idea how often she's doing that or if she's been hanging around for the entire season. But she's getting a good idea of the current capabilities of her dancers.  (I hope that means we'll be getting news about the Met season soon!)
• Sinfonietta just blows me away - gorgeous music, windswept choreography. I saw it in the early 80s at the Kennedy Center with Kylian's company and watch for it. It's also available on Medici for subscribers. Through a happy coincidence, Colorado Ballet is doing it next April. 
• The contrast of Sinfonietta made The Seasons less interesting to me -- the latter has such frenetic choreography. "What can we do to make this harder, if not necessarily more interesting to see?" A real contrast with Kylian's approach. I saw Seasons once pre-pandemic and again last spring at San Francisco Ballet (it was a co-production). Although I'm usually fascinated with Ratmansky's innovations, it wore me out this weekend.  And those hideous dance recital costumes, as somebody else noted! Yuk! 

Edited November 1, 2022 by California
added name of Saturday Puck

[Kamicos]

I saw the performance Sunday afternoon. Gillian Murphy was lovely. She may be near the end of her career, but she’s definitely the reigning ballerina at ABT. Cornejo too, though not as incredible as he was in his heyday, he still commands the stage. This performance was the first time I’ve seen Carmago. Oberon is a good role for him and while I enjoyed his performance, I was a little disappointed in his jumps that I thought were a bit floor bound. The corps looked good, the four fairies were excellent and Mahoney was good as Bottom. The only sections of The Dream that I disliked are the two couples. I think it actually takes very high caliber dancers to pull those roles off, and unfortunately the dancers on Sunday were not able to do that. I agree with other posters that the fairy costumes were all too similar and would’ve preferred more delineation  between the corps fairies, four fairies and Tatiana. 

 

This was actually the first time I saw The Seasons. While I enjoyed the first half, the second half was a bit chaotic and didn’t really make sense to me. Of the women: most enjoyable were Misseldine (I see Nikiya in her future), Coker (remind me again why she wasn’t promoted? I really hope Jaffe corrects that and quickly!), and Hurlin (just, wow). Of the men: I thought for the most part they looked good, some better than others. I thought Forster did a good job, I’m not a big fan of Royal but he did well with Hurlin. Although he had issues with the end of his solo, Gonzalez impressed. Really good jumps I hope he stays healthy and gets better roles in the future. 

 

Now…those costumes! I didn’t mind Winter that much, the Spring trio was ok as was the Autumn lead couple but my lord, the others were truly hideous. I can’t believe they were allowed on stage. Yikes! 

Edited October 31, 2022 by Kamicos

[Royal Blue]

I have had a most rare vision. I have had a dream, past the wit of man to say what dream it was.

Both A Midsummer Night's Dream and The Dream are magnificent ballet adaptations which enhance our understanding of Shakespeare's magical play.

Through this fantastical play —with its abundant humorous aspects and inspired whimsy— the playwright gently prods us to reflect on the connection between life and a dream, the state of wakefulness versus being asleep, between imagination, memory and reality. At the same time, this work represents one of the wisest and most salutary efforts in art to deal with that ubiquitous human affliction of —unrequited love. In light of its noblest incarnation in The Sleeping Beauty, furthermore, it is fascinating to observe the playwright's multiple use in the play of the motif of falling in love with the first being seen when awakened (a variation, obviously, of the notion of falling in love at first sight).

Before attending the last two ABT performances of The Dream this season, I watched the video from 2004 a couple of times. Two moments in Ashton's version had a profound impact on me this fall: the instant Titania and Bottom respectively awakes after their "affair". Following Sunday’s matinee, I felt compelled to look up the speech cited above, in addition to revisiting these moments on the DVD. Julio Bragado-Young's interpretation of this pivotal spell is unforgettable and splendidly filmed. Ditto for Alessandra Ferri's stellar enactment of the affecting part in question. At the theater, I observed carefully how Cassandra Trenary and Gillian Murphy handled this section. Trenary’s Titania appeared to recollect the amorous episode with a mixture of sadness and remorse, and turned to gaze at Oberon afterwards with a sense of guilt. In contrast, Murphy’s reminiscences elicited a smile on her face, and —despite turning over the Indian boy to him— she peered at her consort proudly and suspiciously. (As indicated earlier in the thread, Daniel Camargo portrayed Oberon in both performances.) To be sure, the pas de deux for Titania and Bottom in NYCB's A Midsummer Night's Dream is marvelous and hilarious, and the minute the latter rejoins his mates is touching. The significant aftereffect of the relationship between the Queen of the Fairies and the weaver, however, is comparatively abrupt and lacking in Balanchine's version.

When awakened by Oberon, Titania in Balanchine's ballet views with consternation an ass next to her. In The Dream, significantly, the Queen at that exact moment is surprised and embarrassed to find a strange fellow lying beside her. Certainly, there are references in the play to the royal couple's infidelities, and Oberon manipulates Titania in the episode with Bottom. Nevertheless, would the affair have been any more proper if the name had been "Beauman" or "Longhard", and the weaver happened to be the handsomest and sturdiest man not only in Athens but the entire world? Clearly, the metamorphosis of Bottom into an ass does not occur simply for the audience's amusement. Four centuries plus later and counting, the biting social criticism the playwright implied here is unlikely to ever date, and will therefore forever sting.

During the course of the tale, each of the four young lovers —Helena, Demetrius, Hermia and Lysander— experiences heartbreak, and is responsible for breaking the heart of another. Initially, Helena is lovelorn while two men pursue her friend Hermia. Later, the same two men chase Helena, while Hermia is suddenly the one who is lovelorn. In Balanchine's version, we witness at one point a string of rejections within the space of a single minute. Before everything sorts itself happily and there are handshakes, hugs and kisses, the two males and the two females in both ballets want to kill each other. Throughout, the two women remain constant in their affection for the man each loves. On the other hand, the men come across as foolish, fickle and prone to violence. Both A Midsummer Night's Dream and The Dream portray all this action humorously yet beautifully. In accordance with Puck's "Lord, what fools these mortals be!", Ashton depicts the four lovers in a buffoonish manner. There are moments in Balanchine's ballet, by contrast, when the plight of Helena and Hermia is quite moving. Regardless, both great choreographers succeed brilliantly in conveying through their sublime adaptations the play’s message that humans should view the twists and turns of their love affairs philosophically.

From the Fourth Ring, ABT's production of The Dream appeared mesmerizing, and the dancing by the corps was scintillating. (Greater differentiation in the costumes, of course, would be fine also.) Likewise, several posters rightly highlighted Gillian Murphy's spectacular dancing as Titania. Although on Sunday afternoon Daniel Camargo executed some steps in Oberon's dazzling but exacting choreography more effectively, his interpretations so far of at least three roles suggest that he is a splendid acquisition for ABT. Even at this late stage of his career, Herman Cornejo is ideal as Puck —his performance being phenomenal both in terms of characterization and dancing.

There were many children at ABT's final performance of its fall season. One little girl on crutches seated directly behind me made not a single sound throughout The Dream. Contrariwise, the youngest child in a family of four in the row in front (another little girl) talked and could not sit still the entire time. No doubt, NYCB’s A Midsummer Night's Dream boasts some of the finest use of children in the whole repertory. Yet both of these ballet versions of Shakespeare's play contain so many comical elements as to justifiably qualify them as being "family shows". Additionally, they are great for teenagers and young people as a means of teaching them to put any love-related pangs they may be experiencing into perspective. Nothing could be clearer, nonetheless, than that A Midsummer Night's Dream and The Dream are wondrous ballets for people of all ages, and that the combined work of Shakespeare, Mendelssohn, Balanchine and Ashton constitutes one of the greatest artistic triumphs of the human spirit and imagination.