ABT Met Season 2023

[nysusan]

I enjoyed it. I would have enjoyed it more if there had been more traditional ballet dancing and less gestural dancing/plot/characters (as absolutely everyone has said) - especially in the first act. The 2nd and 3rd acts weren't more than 1/2 an hour each but the first act was almost an hour long. I very muck liked the music and scenery and the way they handled the scene changes.

 

Although I enjoyed it I look at this as a missed opportunity for both Wheeldon and ABT - if he cut 15 minutes of exposition from the first act and added maybe 5 minutes of ballet divertissment or expanded on some of the Tita/Pedro pdd (with actual ballet) I think they would have a huge hit on their hands. As it is, the conversations I heard between acts were totally positive, I didn't hear any negative comments. And I heard a ton of Spanish being spoken all around me so ABT may have succeeded in bringing in a  new audience, though not necessarily a Broadway audience.

 

I saw the Park/Camargo and Trenary/Cornejo casts and thought that with a few exceptions the Trenary/Cornejo cast was far superior. For me Camargo & Cornejo were both wonderful. Camargo is the better actor with warmer stage presence, but Cornejo's acting was good enough and he & Trenary had wonderful rapport. Camargo's dancing was more lyrical, though he still executed what little ballet there was very well. Cornejo, despite his advancing age, is still a great dancer with bravura technique but there was so little opportunity for him to use it that I'm not sure it mattered.

 

I thought Park was a fine Tita but Trenary was exceptional. Having seen her recently in the Tharp City Center program I think this is her wheelhouse - dramatic dance. I preferred Shevchenko to Davison as Mama Elena, she was much sterner and more dominating but I loved Davison and Tristan Brosnan as young Elena and Jose. They were just wonderful in their pdd in the second act fantasy scene at Mama Elena's wake. In fact the second act was definitely my favorite as it contained a lot of dancing!

 

I loved, loved loved Bell as Juan Alexandrez in the second act. My goodness - pirouettes, tours, jetes and blazingly done! Carlos Gonzalez was much more subdued in the same role. I liked both Hurlin and Brandt as Gertrudis and in fact, that was my favorite female role.

 

While Dr Brown may be a small role it has as much or more ballet dancing as any of the other male roles. Royal was ok but Forster was beautiful, and very sympathetic.

 

Tita & Pedro had a great intense & sensual pdd in the last act and I thought the ending was spectacular.

 

FYI - both performances I saw started at 7:35 and ended at 10:15

[MarzipanShepherdess]

Saw the Trenary/Cornejo cast Saturday evening. I enjoyed this ballet and think it's a good addition to ABT's rep, despite its flaws. Give me this over "Of Love and Rage" any day.

I too wish this ballet had more, well, full-on ballet--especially ensemble dances. It feels like a missed opportunity not to have had any dancing for the wedding guests in the first act, for example. Still, the roles are quite rich dramatically and this is a real opportunity for the company's dancers with acting chops to shine. Christine Shevchenko was a forceful and imperious Mama Elena, and Catherine Hurlin gave the finest dance-drama performance I've seen from her. I remember being struck when I saw her dance the lead in "Of Love and Rage" at how one-note she was; here she brought Gertrudis's full character arc to life very vividly (from sidelined middle child to wanton sexual awakening to proto-feminist leader boldly taking up space and claiming her place in the family on her own terms). Trenary is a dancer who has not made much of an impression on me as a principal but here she really delivered a nuanced, powerful characterization through her dancing that was genuinely moving. She has good chemistry with Herman, who is always a joy. The final pas de deux has many very tricky lifts that must require immense trust and seamless coordination to execute and she and Herman delivered them with aplomb. 

The first act is long, but for me it didn't drag because so much was happening. Definitely read the plot synopsis ahead of time; my friend didn't and found herself squinting at it during the first act trying to make sense of what was happening on stage. I think they could have profitably cut the first act plot line about the baby, which takes up two whole scenes.  From a dance perspective, it was limiting (not much you can do dance-wise with a baby), and as they were already departing from the novel there I think they could have just streamlined things and created more room for "pure dance" moments by saying that Mama Elena ordered Dr John Brown to take Tita away to Texas to get her away from Pedro. 

As far as sets/costumes/staging goes, this is far above almost everything else in ABT's rep (with the exception of Whipped Cream, which is visually quite delightful). The sets are creative and impactful: I'm thinking particularly of the moment at the end of the first act where the papel picado backdrop becomes a blanket that Dr John wraps around Tita's shoulders. I also loved the opening image of the row of bridal Catrinas who turn around to become old ladies in black knitting, and then settle in the back of the stage. And I loved the judicious use of stage magic in the ballets very last moments. I also enjoyed the score and thought the orchestra sounded great under the guest conductor. 

Audience reaction seemed very positive; I imagine this will have good word of mouth. But it was noticeable to me from where I was sitting in the parterre that the parterre was VERY poorly sold (maybe half the boxes were totally empty). Orchestra looked reasonably full, though. 

I'd like to see this one again, I'd enjoy seeing how different dancers interpret the characters. 

[NinaFan]

I attended the Saturday matinee and thoroughly enjoyed the performance.  The passion the cast brought to all of their roles was outstanding.  Dancing was solid and I particularly enjoyed the frenzy of exciting dance in the campfire scene.   

Lincoln Center went full out by providing a very enjoyable Mariachi band outdoors (next to the MET) prior to the performance.  A very nice touch.

Like some others on BA, I felt Act I was a little too long and there could have been more dancing throughout, however on a whole I thought it was done very well.   

As some others have already mentioned, perhaps Mr. Wheeldon was successful in bringing in some new audiences as I also heard a lot of Spanish being spoken.

[Dale]

From the company:

CASTING ANNOUNCED FOR FINAL THREE WEEKS OF AMERICAN BALLET THEATRE’S 2023 SUMMER SEASON AT METROPOLITAN OPERA HOUSE 

 

NEW YORK, NY (June 26, 2023) – Casting for the final three weeks of American Ballet Theatre’s 2023 Summer season at the Metropolitan Opera House was announced today by Artistic Director Susan Jaffe. 

 

Eight performances of the classic Giselle will begin on Monday, July 3, led by Hee Seo in the title role, Cory Stearns as Albrecht, and Chloe Misseldine in her New York debut as Myrta. Devon Teuscher will make her New York debut as Giselle on Tuesday, July 4, opposite Aran Bell as Albrecht. On Wednesday, July 5, the matinee will include New York debuts by Catherine Hurlin as Giselle and Daniel Camargo as Albrecht, alongside Fangqi Li in her debut as Myrta, while Zhong-Jing Fang will make her New York debut as Myrta at the evening performance. Joo Won Ahn will make his New York debut as Albrecht on Friday, July 7. 

 

Staged by Kevin McKenzie with choreography after Jean Coralli, Jules Perrot, and Marius Petipa, Giselle is set to music by Adolphe Adam, orchestrated by John Lanchbery, with scenery by Gianni Quaranta, costumes by Anna Anni, and lighting by Jennifer Tipton. The world premiere ofGiselle, one of the oldest continually performed ballets, occurred at the Theatre de l’Academie Royale de Musique in Paris on June 28, 1841. The ballet was first presented by ABT (then Ballet Theatre) at the Center Theatre in New York City on January 12, 1940, with choreography by Anton Dolin and scenery and costumes by Lucinda Ballard. The leading roles were danced by Annabelle Lyon and Anton Dolin. ABT’s sixth production, featuring scenery by Gianni Quaranta and costumes by Anna Anni, was created for the film Dancers, produced in 1987 by Cannon Films. This production’s first public performance was given on March 20, 1987, at the Shrine Auditorium in Los Angeles, California, with Marianna Tcherkassky as Giselle and Kevin McKenzie as Albrecht. The current staging is by McKenzie, using the Quaranta and Anni designs. 

 

The fourth week of ABT’s 2023 Summer season will include eight performances of Swan Lake, beginning on Monday, July 10, with Isabella Boylston as Odette-Odile, Daniel Camargo as Prince Siegfried, and Jose Sebastian as von Rothbart. Joo Won Ahn will make his debut as von Rothbart on Tuesday June 11. Set to music by Peter Ilyitch Tchaikovsky, Swan Lake is choreographed by Kevin McKenzie after Marius Petipa and Lev Ivanov. The ballet features scenery and costumes by Zack Brown, and lighting by Duane Schuler. This production of Swan Lake premiered on March 24, 2000, at The John F. Jennedy Center for the Performing Arts in Washington, D.C. with Julie Kent (Odette-Odile) and Angel Corella (Prince Siegfried).  

 

Kenneth MacMillan’s Romeo and Juliet will complete the 2023 Summer season with seven performances beginning Tuesday, July 18, led by Devon Teuscher and Aran Bell in the title roles and Carlos Gonzalez in his New York debut as Mercutio. Catherine Hurlin (Juliet) and Tyler Maloney (Mercutio) will make their New York debuts at the matinee performance on Wednesday, July 19, while Jake Roxander will make his New York debut as Mercutio on Thursday, July 20. Set to the score by Sergei Prokofiev, Romeo and Juliet features scenery and costumes by Nicholas Georgiadis, and lighting by Thomas Skelton. Romeo and Juliet received its World Premiere by The Royal Ballet in London on February 9, 1965, and was given its ABT Company Premiere at The John F. Kennedy Center for the Performing Arts in Washington, D.C. on January 3, 1985, with Leslie Browne and Robert La Fosse in the leading roles.  

 

Tickets for American Ballet Theatre’s 2023 Summer season at the Metropolitan Opera House begin at $30 and are available online, at the Met box office, or by phone at 212-362-6000. The Metropolitan Opera House is located on Broadway and 64^th street in New York City. For more information, visit ABT’s website at www.abt.org. 

 

[abatt]

Did anyone notice either Blaine Hoven or J. Gorak cast in any minor roles in LWFC?  They are still listed on the website, but not listed for any upcoming assignments. 

I'm a little surprised and disappointed by the Myrta casting for Giselle.  Teuscher, Shevchenko and Hurlin seem very well suited to the role.   Did everyone see those incredibly fast bourees when Shevchenko danced Mama Elena in LWFC?  

 

Edited June 26, 2023 by abatt

[ABT Fan]

12 minutes ago, abatt said:

Did anyone notice either Blaine Hoven or J. Gorak cast in any minor roles in LWFC?  They are still listed on the website, but not listed fro any upcoming assignments. 

I'm a little surprised and disappointed by the Myrta casting for Giselle.  Teuscher, Shevchenko and Hurlin seem very well suited to the role.   Did everyone see those incredibly fast bourees when Shevchenko danced Mama Elena in LWFC?  

 

Same goes for Shayer, but he hasn’t performed at all this season. I’m expecting him to disappear from the roster after this season.

Also a bit disappointed in the Myrtha casting, but with Shev and Hurlin dancing  Giselle I guess they’re spreading the love around. Hope I’ll get to see Misseldine or Li. Teuscher is doing Myrtha on the last night for the Lupe Serrano tribute.
 

Edited June 26, 2023 by ABT Fan

[MRR]

Shevchenko has a busy week and a lot of frequent flyer miles ahead.  Between her scheduled performances of LWFC (June 28th mat, July 1st eve), she dances Giselle at Orange County with United Ukrainian Ballet on June 29th.

https://www.scfta.org/events/2023/united-ukrainian-ballet

[Josette]

8 minutes ago, MRR said:

Shevchenko has a busy week and a lot of frequent flyer miles ahead.  Between her scheduled performances of LWFC (June 28th mat, July 1st eve), she dances Giselle at Orange County with United Ukrainian Ballet on June 29th.

https://www.scfta.org/events/2023/united-ukrainian-ballet

I will be in the front row with three friends to see Shevchenko as Giselle on Thursday. 

[MarzipanShepherdess]

2 hours ago, abatt said:

Did anyone notice either Blaine Hoven or J. Gorak cast in any minor roles in LWFC?  They are still listed on the website, but not listed for any upcoming assignments. 

 

Neither was in the premiere (Cornejo/trenary) cast. 

 

[MoMo]

1 hour ago, MarzipanShepherdess said:

Neither was in the premiere (Cornejo/trenary) cast. 

 

Blaine played Mama Elena’s lover, a small role. He is performing that role tonight. 

[nysusan]

I saw my 3rd and last performance of LWFC for this season last night. The Brandt/Gonzalez/Fang/Coker/McBride/Curley/HOVEN cast was fine, but the first cast - Trenary/Cornejo et al was the best. If only Bell was the revolutionary that cast would have been perfect.

I didn't enjoy it last night as much as I did the first 2 times but I think that was more due to overkill that any fault of the cast.

If they do this in future seasons I think 1 performance will be enough for me😀

[abatt]

I think that the feeling of overkill on LWFC goes back to the weakness of the choreography.  This wears out its welcome much faster than things like Swan Lake, Giselle, Sleeping Beauty and the like because those are much deeper vehicles for great dancing and great dramatic insight.   In contrast, LWFC really doesn't pay dividends with repeat viewing.  How many times can you see people rolling around on the floor, on a table and still be interested.  

[TheAccidentalBalletomane]

I saw the Camargo/Park LWFC cast on Friday (which I liked) and the Brandt (Tita)/Gonzales last night and can say with 100% assurance that the energy and general audience appreciation was  superior last night than the earlier one last Friday.  Other than Brandt, it was a case of non-principals.  And I never got to see the first cast (I am sure that Trenary/Herman one was superb).  After last night's performance, I spoke briefly to Chis W. by the stage door.  He indicated to me he was thrilled with the performance although he used more flourishing words.  Brandt to me gave an emotional, yet mature and confident interpretation of Tita and I believe she energized the production last night.  But congratulations to Gonzales for a great debut of a huge role for him as a core member (I don't believe he is a soloist)..  And, I give further credit to Brandt for seeming to easily partner with him and instill confidence in Gonzales who must have been quite nervous. Zimmie Coker was a  standout to me too.  In essence, very solid for the "4th cast", I liked it a lot.  I agree with so many of you that the first act, especially could have had more interesting dancing etc...  Really liked the music generally and the vocal solo in the final scene.  I hope to hear from you all about Giselle, since I will be out of town, but back for SL.  

[Anthony_NYC]

I’d thought Alondra de la Parra was supposed to conduct all performances of LWFC. Does anybody happen to know why she was out tonight?

[MoMo]

43 minutes ago, Anthony_NYC said:

I’d thought Alondra de la Parra was supposed to conduct all performances of LWFC. Does anybody happen to know why she was out tonight?

No. It was always on the schedule that she would just do the first few performances. Then to regular ABT conductors. I saw Ormsby Wilkins conduct in Orange County. 

[MarzipanShepherdess]

10 hours ago, MoMo said:

No. It was always on the schedule that she would just do the first few performances. Then to regular ABT conductors. I saw Ormsby Wilkins conduct in Orange County. 

Alondra de la Parra is leading an arts festival in Mexico City, which Sara Mearns is participating in--so she wasn't available for the full run.

https://www.instagram.com/festivalpaaxgnp?hl=en

[Becki Lee]

Christine just posted that she is out for remaining LWFC performances “due to a fall.” 

[abatt]

8 minutes ago, Becki Lee said:

Christine just posted that she is out for remaining LWFC performances “due to a fall.” 

Oh no.  I hope this does not jeopardize her upcoming performances with the Ukranian Ballet in Giselle, or the rest of her ABT season.

[matilda]

She's actually still listed for the Saturday evening performance of Like Water for Chocolate (and for tomorrow evening's Ukrainian Ballet Giselle in CA) as of now 

[NinaFan]

4 hours ago, Becki Lee said:

Christine just posted that she is out for remaining LWFC performances “due to a fall.” 

Thanks for updating us all.  I hope she's okay and that the fall was not serious enough to keep her from dancing in the other ballets.  

[NinaFan]

20 hours ago, TheAccidentalBalletomane said:

....But congratulations to Gonzales for a great debut of a huge role for him as a core member (I don't believe he is a soloist).. 

Yes, Gonzalez is in the corps.   I didn't see him in LWFC, but based on your review I am really looking forward to his Mercutio!

[lacdescygnes]

2 hours ago, NinaFan said:

Yes, Gonzalez is in the corps.   I didn't see him in LWFC, but based on your review I am really looking forward to his Mercutio!

He danced Mercutio at the Kennedy Center and I was impressed. Not up to my gold standard (Cornejo in his younger days) but very good technique and presence. Miles above Gorak or Shayer - glad he got cast in the role.

[MoMo]

12 minutes ago, lacdescygnes said:

He danced Mercutio at the Kennedy Center and I was impressed. Not up to my gold standard (Cornejo in his younger days) but very good technique and presence. Miles above Gorak or Shayer - glad he got cast in the role.

Gorak never performed Mercutio. He was usually cast as Benvolio. There will be three other Mercutios: Jonathan Klein, Tyler Maloney and Jake Roxander. Should be very entertaining! 

[NinaFan]

7 minutes ago, lacdescygnes said:

He danced Mercutio at the Kennedy Center and I was impressed. Not up to my gold standard (Cornejo in his younger days) but very good technique and presence. Miles above Gorak or Shayer - glad he got cast in the role.

Thanks, impressive works for me!  

[Drew]

My reactions to Like Water for Chocolate were close overall to @nysusan ‘s. I will add that I found sections of it quite moving and enjoyed the range of women’s experiences and relations to each other that it captured. All three casts I saw did an effective job putting the ballet over —though of course each cast was stronger in some roles or some aspects of the choreography than others. 

Having seen the ballet live, I am also not sure I agree that the first act lacks dancing, though it certainly lacks set pieces let alone pauses for applause. There is even quite a bit of dancing but it is completely submerged in carrying the story. Say, when Nacha dances a solo as she remembers the past and dies, she isn’t performing a classical variation but she IS dancing —and  not just miming distress or some such. (I thought Courtney Lavine was especially powerful in this solo.) Tita and Pedro don’t dance a full scale pas de deux until the end—that’s even the point of the plot. (The book’s plot anyway.) But they do dance together quite a bit, including in Act I, with each segment marking a different moment in their relationship and then dramatically always blending into the next section of the story. 

The ballet was warmly received and warmly spoken of by people around me. “Amazing” and “mesmerizing” were two adjectives I heard on Tuesday. And at different performances I attended several people I spoke with expressed pleasure that ABT was doing something “new.” But following the story definitely seemed to be daunting to some of the audience whether sitting near me or overheard at intermission.

In thinking about whether I would want to see the ballet again, or whether the choreography repays repeated viewing etc, I don’t think nineteenth-century classics are the right comparison to make. I would compare this to other literature-based full-length story ballets in ABT’s repertory —that is those developed in the mid-twentieth century. It is tricky for me because I personally have no interest in sitting through Onegin or Romeo and Juliet, and even less in sitting through Manon, without a superstar cast. As a new full-length work with a lot of featured roles for ABT’s dancers, Like Water for Chocolate was of more real interest to me than any of those would have been. If it stays in the repertory, then I think I would return to it with interest too though I suppose I would get fussier about casts as well. (Unfortunately I have yet to see Of Love and Rage.)

On the subject of casts, I don’t want to get too caught up in giving impressions of individual performances here, but I will say that Wed evening at the end of Act I Devon Teuscher as Tita and Zhong-Zhing Fang (replacing Shevchenko) as Mama Elena really looked as if they were going to kill each other. I was not sitting that close and it was still electric.

 

 

Edited June 29, 2023 by Drew