ABT Met Season 2023

[Golden Idol]

Astonished ABT is not offering anything on TDF. For tonight and tomorrow's performances, the Orch is well sold (or perhaps papered) but other levels? Lots of available seats. Giselle, almost the same thing. Once again, they're shooting themselves in the slipper.

[California]

1 hour ago, Golden Idol said:

Astonished ABT is not offering anything on TDF. For tonight and tomorrow's performances, the Orch is well sold (or perhaps papered) but other levels? Lots of available seats. Giselle, almost the same thing. Once again, they're shooting themselves in the slipper.

Just posted on Facebook:

Join ABT on the Fourth of July at our 2 PM matinee performance of GISELLE at the Metropolitan Opera House! Purchase tickets using the promo code ABTFOURTH for 50% off select orchestra tickets. Limit of 4 tickets per order available through phone, web, or at the box office.

[FauxPas]

1 hour ago, Golden Idol said:

Astonished ABT is not offering anything on TDF. For tonight and tomorrow's performances, the Orch is well sold (or perhaps papered) but other levels? Lots of available seats. Giselle, almost the same thing. Once again, they're shooting themselves in the slipper.

TDF had "Like Water for Chocolate" up two different times and it sold out.  They also offered "Giselle" for most performances and several "Romeo and Juliet" shows.  Nothing from ABT is up now.  "Swan Lake" is selling well and wasn't offered.  I want to see the Hurlin and Brandt Odette/Odile performances.

I must also mention that they have daily rush tickets available:  https://www.metopera.org/Season/Tickets/Rush-Page/

I went to yesterday's matinee of "Like Water for Chocolate" with the Trenary/Cornejo/Seo/Hurlin/Davison (replacing Shevchenko)/Forster/Paris cast.

What I have to say is that I think LWFC is more dance theater than classical dance, though it was choreographed for top classical ballet companies.

It reminded me more of something like Twyla Tharp's "Movin' Out", the Eifman ballet and even Matthew Bourne's shows.  Wheeldon is very dramatic here but a lot of the story is shown not just in pantomime but also dramatic tableau - visual arrangements and symbolic images that tell the story.  I think it is done VERY well but it is the opposite of what Petipa or Balanchine called ballet.  Even Grigorovich and his Soviet "Drambalet" uses more classical vocabulary and ballet steps to develop character and relationships in extended dance episodes.

Frankly I found most of the pointe work ornamental and think that a company like Ballet Hispanico or Alvin Ailey could do this work on demi-pointe and nothing would be lost.

Only in Act II with the characters of Gertrudis and Juan did we get some bravura ballet dancing (excitingly performed by Carlos Gonzalez and especially Catherine Hurlin).  But that again seemed mainly ornamental, not intrinsic.

However, much of the theatrical tableaux were thrilling including the finale.  But again I think most of us Ballet Talk members want to see the dancers - especially the superb Trenary and Cornejo - set the stage on fire with brilliant choreography and dazzling combinations and lifts (there were lifts but cribbed from Cranko and MacMillian R&J, etc.) rather than beautifully done projections and stage effects.  Wheeldon choreographed these roles on Francesca Hayward and Marcelino Sambé, both very virtuosic dancers.  The characters of Tita and Pedro are the center of the story could have done more throughout.  A lot of other characters had to have their stories kept in diluting the central narrative - always a danger in adapting a long, episodic novel to the stage.

I have to praise Wheeldon for his acting direction - Hee Seo who is usually mild was truly demonic as Rosaura tormenting her daughter in the last act.  Trenary's face was a mirror reflecting the soul of her character and her face and body projected all the subtle and profound changes in her character.  Cassie was deeply sympathetic and compelling. I wasn't bored by her extended mime scenes AT ALL.  And I could go on - the abandoned Cate Hurlin, the noble self-effacing but heartbreaking Tom Forster.  All the acting performances were specific, telling, full of significant pose and gesture and highly theatrical.  Only Claire Davison as Mama Elena was lacking in force though often elegant and intriguing to watch.

There was also beautiful design full of variety and imagination.  I enjoyed Joby Talbot's Mexican flavored score which I didn't think I would.  I thought they should have used Mexican music or a Mexican composer's commissioned score.

But my ultimate takeway is that "Like Water for Chocolate" is for a Broadway or City Center modern dance crowd.  Not the hard core ballet group.  The production would actually fit perfectly on the City Center stage.  Many of those who loved it - including a friend I spoke to - liked it because it was NOT "too ballet" but more theatrical and spectacle driven.  Another friend who saw it last week is a Broadway and opera person and loved it too.  

 

Edited June 29, 2023 by FauxPas

[Golden Idol]

2 hours ago, California said:

Just posted on Facebook:

Join ABT on the Fourth of July at our 2 PM matinee performance of GISELLE at the Metropolitan Opera House! Purchase tickets using the promo code ABTFOURTH for 50% off select orchestra tickets. Limit of 4 tickets per order available through phone, web, or at the box office.

Alas I already bought for the 4th. But thanks for the info!

[matilda]

I saw Like Water for Chocolate last night. I liked the campfire scene and rose petal orgy, and the final pas de deux. So maybe 30 minutes total. I didn't care for the rest of the "ballet" at all, for reasons mentioned in other people's posts and in Gia Kourlas' review. In fact, this is the only show I've attended anywhere in years that I just didn't enjoy. My companion felt the same way. If ABT is planning more works like this, I'll be saving lots of money in the future. 

I'm not sure if seeing the "A cast" with Trenary would have made me feel any different. I 100% agree with the comment above that this belonged more at City Center. It reminded me of the Matthew Bourne "Red Shoes" that came in 2017, but I preferred that work over this. The show would work better in a venue where the audience is closer to the stage. The grand tier, usually a great spot for ballet, felt too far away for such an acting-dominant piece. 

The music was fine but got repetitive and belonged more in a movie... probably an animated movie at that. I know Wheeldon was concerned about "cultural appropriation" but some parts of the music called for Latin dance and this felt like a missed opportunity. 

I'm glad I got to see SunMi Park and Daniel Camargo and I'm excited to see more of them in the future (but definitely in more "pure dance" works!). Despite her lack of experience, Park showed some early star quality and I could see her leading the big classics at some point. Brandt, who I normally love, got a little lost on stage. Classical works are her forte, not so much this. I agree with all of the praise for Aran Bell.

The brief film in the beginning felt so unnecessary -- like the company felt the need to make loud and clear that "the Mexican author and guest conductor approve of this!!!!" -- and made the evening feel longer. 

Side note: I knew the ballet would be a little racy but wasn't expecting clothes to come off, lol. Have Tita's breasts been briefly exposed in all of the shows? (at the end of the steamy Act II pas de deux). I wasn't 100% sure if I was seeing a wardrobe malfunction or if it was choreographed that way. The sexual parts felt kind of overly literal, like the rest of the ballet. 

The grand tier was maybe 50% full last night. I think dress circle was around the same. Orchestra section was full but, given the other sections, was likely papered or full of discounted tickets. Not sure what the company's box-office expectations were, but Like Water for Chocolate has been (predictably) unable to fill the Met for 12 shows.

 

Edited June 30, 2023 by matilda

[maps]

Compare to great dance dramas?

• Prodigal Son-Balanchine 1929. 40 minutes.
• Anna Karenina- 2019 for Joffrey/Hallberg. 100 plus 1 20 minute intermisson.

Did ABT commit to LWFC before Wheeldon developed the show for the ROH tech specs? What are tech capabilities at the Koch? LWFC would have needed the 4rth ring open. Bourne's Red Shoes -choreography was elevated when Gomes guested and assume the same if Mearns guested in NYC.  

Edited July 12, 2023 by maps
clarity

[Olga]

Mearns was one of the best things in Red Shoes.

i sincerely hope next year’s ABT Summer programming is more thought out. I hope they are not planning to dilute their storied history even more than they already have with more and more “dance theater.” Among other things,  the vacuum created by the drop off in foreign tours to New York City makes it more important than ever for ABT to be viable and attractive. 

Edited July 1, 2023 by Olga
Addition

[NinaFan]

On 6/30/2023 at 8:47 AM, matilda said:

 Side note: I knew the ballet would be a little racy but wasn't expecting clothes to come off, lol. Have Tita's breasts been briefly exposed in all of the shows? (at the end of the steamy Act II pas de deux). I wasn't 100% sure if I was seeing a wardrobe malfunction or if it was choreographed that way.

Tita's breasts were not exposed when I saw the ballet last week.  Her top was pulled off as she melted into Pedro's arms, but you could only see her bare back. 

[aurora]

5 hours ago, Olga said:

 I hope they are not planning to dilute their storied history even more than they already have with more and more “dance theater.”

 

"Dance theater" is an intrinsic part of that storied history.

[Helene]

I watched the Royal Ballet filmed performance as part of my subscription to BBC streaming.

I do want to watch it again to absorb more of what is going on, but my first impression was that the storytelling was superb and my favorite part.  I thought Chencha's solo was a knockout, and was thrilled to see four great roles for women, each of them very different.  I loved the dramatic interaction among the characters, the range of emotions afforded the women*, and how Wheeldon conveyed a lot of nuance, because two hours of "she rushes towards him, she pulls away in agony" would have been relentless punishment, and he approached it as part of a social drama, where so much of it was played out in public.  And I never would have been forgiving of Mama Elena, even if I thought the diary reinactment scene was a gem.  What a role that is.

*Not so much the men, which I guess was part of the point, because they were love interests and/or dancing eye candy, except for John Brown, who made me think of Anthony Edwards' comment that once he saw he was the nice guy in the Top Gun script, he knew he'd be dead by the middle of the movie.  Of course, that's not the plot here, but you know he's not getting what he wants, and he's not going to go around making anyone miserable when he doesn't get it.

During some parts of the score, I expected to see Jets and Sharks flying around the stage, and mostly found it meh.  (That's a technical term.)  There were some parts of the choreography that really grabbed me, some that seemed to mimic the imagery that Duato used in Jardi Tancat and Arenal, and other parts that would have made me wish my phone wasn't powered down, but if ABT toured it here to McCaw Hall, I'd certainly go at least once, whereas if they brought Macmillan's Romeo and Juliet, I'd happily pass, despite the phenomenal score.  I also thought the Mama Elena/Jose pas was the part that brought the sizzle, moreso than Tita and Petro's finale.   I loved the unabashedly uninhibited dancing for Gertrudus and squire.  They really let the light in.

I thought that the transformation of the swaddling cloth into dough was enchanting, and the use of the ribbon as a betrothment ritual very clear and beautiful.

[Olga]

9 minutes ago, aurora said:

"Dance theater" is an intrinsic part of that storied history.

Not sure we are talking about the same thing, but in any event note phrase “more and more.”  

[aurora]

1 hour ago, Olga said:

Not sure we are talking about the same thing, but in any event note phrase “more and more.”  

Noted. 

[Olga]

Aurora, i think we may just have different views about “dance theater” but in any event I certainly didn’t and don’t mean to offend.  Sorry if I did. 

[Becki Lee]

When do they announce promotions?

[nanushka]

35 minutes ago, Becki Lee said:

When do they announce promotions?

Traditionally in the final week of the Met season — but the company is now under new artistic management, and the Met season now extends into late July (with new contracts, I believe, starting August 1). So the pattern may change or remain as it was.

[ABT Fan]

I was not able to catch LWFC, so I greatly appreciate everyone's reviews (I'd appreciate them anyway...). Seems like a lot of mixed reactions. I wonder if they'll bring it back next year. It didn't seem to sell well either. If they do, I hope it doesn't take up 2 full weeks again, even if it's something I love. The season is now so short, the dancers (and the audience) need more variety.

[BalletFan]

I wasn't expecting to, but I very much enjoyed LWFC. I reluctantly attended my first performance because it was the gala and I never miss ABT's spring/summer gala. To my surprise, I enjoyed LWFC much more than I thought I would, and I ended up going back for two more performances. Altogether, I saw two casts: Trenary & Cornejo and Teuscher & Ahn. (Both casts were good, but Trenary & Cornejo really had a special magic.) The three performances I saw were all well attended and very well received. I heard nothing but positive comments from the people around me. Personally, I wasn't crazy about the music, but I heard several people say that they loved the music. Do I wish there had been more actual dancing, particularly in the first act? Yes. Nonetheless, I thought the overall story was very moving. I realize that LWFC isn't going to be everyone's cup of tea, but I applaud ABT for taking a big risk and putting on a production of such high quality. It's obvious that a lot of care and thought went into this ballet. I really hope it does come back next year or maybe the year after, with perhaps a few minor tweaks.

Edited July 4, 2023 by BalletFan

[MRR]

Also saw the final performance of LWFC on Saturday evening.  It was a packed house at least at orchestra level, and I spotted Wendy Whelan, Daniel Ulbricht, and Alastair Macaulay in attendance.

I did a bit of a 180 with this ballet mid-performance.  Much of Act I felt tedious, plodding, and void of real dancing even with the numerous scene shifts and storytelling going a mile a minute.  There's only so many times you want see someone roll over a table with legs in a V, or worse, perform ensemble choreography with chairs.  However, the very end of Act I, and the major parts of Act II/IIII proved a big payout:  this was inspired work, from the visuals and dramaturgy to the choreography.  Wheeldon really knows how to end an act, if not necessarily to begin one, and the final images for each were memorable.  The revolutionary scene was choreographically his best; the ensemble lit up the stage.  The final pas de deux was more effective on a scenic and musical level than perhaps a choreographic one, but the lasting image of Tita and Pedro rising in the flames drew gasps from all around the theatre.  It may have been kitsch, but I found it one of the most visually powerful ends to a ballet I've ever seen.

Don't have much to add about the comments about the first cast, but Cassandra Trenary and Catherine Hurlin were far and away the standouts.  Trenary immersed herself in what is a technically light, but emotional and physical marathon of a role who appears in practically every scene.  After this performance I wanted to see her Juliet or Giselle:  she ran the whole gamut of emotions and brought Tita to life.  Catherine Hurlin blew me away as Gertrudis, even if per Wheeldon's interpretation she is the thinnest dramatically of the three sisters (in the book, she is the oldest, but here she's interpreted as the middle and we don't see that she was the daughter of Elena's first lover).  She made something worthwhile of the "Roxy Hart" number in the first act, which without having seen other casts, I suspect many ballerinas couldn't.  Her dancing alongside Juan Alejandrez and the ensemble men was highly virtuosic and entertaining.  Herman Cornejo as Pedro was ardent and precise, but not employing some of the flexibility and expansiveness of the choreography at this stage in his career.  Hee Seo as Rosaura has one great scene before perishing in the third act; otherwise I found her forgettable, perhaps more the fault of the choreography.  Claire Davison held her own with a principal cast, but she wasn't genuinely terrifying or menacing at any of the point despite her imperious posture.  Carlos Gonzalez as Juan was good and capable, but this is a role that really needs a Cesar Corrales or Aran Bell to fully realize its power.  

Talbot's music was not something I would ever listen to on its own except maybe two scenes (revolutionary and last PDD).  It is atmospheric enough to create a sense of setting without overwhelming the ballet, and perhaps that was the point.  The soprano in the last PDD was very impactful.

[Anthony_NYC]

On 6/28/2023 at 12:17 AM, 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. 

Thanks for the information. 

[ABT Fan]

Someone mentioned on one of the ABT threads about Teuscher getting outside coaching from Isabelle Guerin, for SL I think. I noticed in last night’s program that she’s now listed as a company teacher. I think that’s new or has she been a teacher for awhile? I have also seen Paloma Herrera in the audience several times including last night. I’d love to see her come on for coaching. It would be marvelous, and is needed, if Marcelo Gomes could return to coach the men on partnering and such. Maybe someday enough time will have passed for him to be able to do that, especially with McKenzie gone.

Edited July 23, 2023 by ABT Fan

[bingham]

6 hours ago, ABT Fan said:

Someone mentioned on one of the ABT threads about Teuscher getting outside coaching from Isabelle Guerin, for SL I think. I noticed in last night’s program that she’s now listed as a company teacher. I think that’s new or has she been a teacher for awhile? I have also seen Paloma Herrera in the audience several times including last night. I’d love to see her come on for coaching. It would be marvelous, and is needed, if Marcelo Gomes could return to coach the men on partnering and such. Maybe someday enough time will have passed for him to be able to do that, especially with McKenzie gone.

In her IG acct, Isabelle G.stated she did her last weekly Class for the ABT dancerThe dancers seem To like her classes. As everyone know s, she was one of the Etoiles during  RNureyev’s directorship. ABT is lucky To have her.Hoping , Susan can convince her To be a regular coach for the company..

[matilda]

The Kourlas season review is out: https://www.nytimes.com/2023/07/24/arts/dance/american-ballet-theater-summer-season.html

It's revealed that Gabe Shayer and Connor Holloway are leaving the company, in addition to Gorak. 

[abatt]

No surprise about Shayer, after that NY Times hit job he wrote.

[fondoffouettes]

24 minutes ago, matilda said:

It's revealed that Gabe Shayer and Connor Holloway are leaving the company, in addition to Gorak. 

Not surprising, but I'm glad the messy situation with Shayer didn't get dragged out any longer. I remember several months ago on Instagram, Holloway stated that they were taking a leave from ABT to explore new things. They used to masterfully manage ABT's Instagram, and I've missed their posts. 

Edited July 24, 2023 by fondoffouettes

[abatt]

I thought Luciana Paris and/or Blaine Hoven might also depart.  Paris only does character roles now, and she's not particularly impressive in them either.