ABT Fall 2023

[California]

6 minutes ago, Becki Lee said:

James just posted on his Instagram story…

 

“New Choreography Alert!

COME SEE MY NEW BALLET

"DANZÓN NO. 2" AT ABT'S FALL GALA OCTOBER 24TH STARRING

ISABELLA BOYLSTON &

ARAN BELL“

Yes - and it's great to see Aran practicing with Boylston! Fingers crossed!

[DPell]

Maria Brea, who some might remember as the soprano soloist in Like Water For Chocolate, will be singing Depuis Le Jour October 27,28, and 29. https://www.instagram.com/p/CyglMsqx_zm/?igshid=MzRlODBiNWFlZA==

[ABT Fan]

Did anyone go last night on opening night?

[matilda]

I went! I thought the program was really strong and stood out from some of the dud programs of past fall seasons. My favorite piece was Petite Mort and I thought Cassandra Trenary and Chloe Misseldine in particular were standouts (and very sultry). Since becoming a principal Trenary has naturally been cast in some of the big classical ballets with varied success, but in my view she's best in these more edgy modern works. The whole cast was great. 

No doubt the star of the night was Jake Roxander, however. This guy is unreal and has it all. I felt he had his "star is born" moment with the Giselle peasant pas earlier this year; last night he had much more material to show off his talent. In both Etudes and Piano Concerto 1 (yes, both in one night!) he displayed stunning high jumps, clean landings, and incredibly fast and controlled turns. Beyond the marvel of his technical and artistic abilities, he really knows how to project and connect with the audience too. Both ballets had some challenging partnering, so he's getting  more experience in that department. Other than a precarious moment in Etudes when Teuscher jumped into his arms and he looked like he was about to drop her (but didn't!), the partnering went pretty well. He's doing both ballets again on Friday; do NOT miss him! 

Unfortunately Roxander's brilliance made Ahn's issues in Etudes look more glaring, in contrast. Ahn has a very nice jump, always looks dashing, and is a decent partner. But he struggled with nearly all of his turning and made virtually zero connection with the audience. I was really bummed that Camargo got pulled out of this. 

I liked Teuscher in Etudes for the most part. She's a superlative turner so the ballerina role was a good fit. Two particular moments stand out in my mind: when she finished a sequence with a series of chainé turns that were among the fastest I've ever seen (like Tiler Peck level but maybe faster), and when she ended another long and difficult turn section with what looked like six or seven pirouettes. Yes, there were times when I wanted to see her leg go higher in the adagio moments, but her turning alone was worth seeing her performance. Eager to hear reports of Hurlin and Han. 

Piano Concerto 1 reminded me of Concerto DSCH across the plaza -- both feel like fun, creative plays on Soviet athleticism -- although I prefer the latter ballet. This one felt more frenetic and I often find that in Ratmansky ballets, the dancers look out of sync because the movement doesn't always correspond well to the music. But overall it's a strong piece and last night was a good performance, and I was reminded how good Royal is in more neoclassical and contemporary pieces relative to Petipa. He and Shevchenko have a strong partnership. Brandt was also strong in the Osipova role. 

For some reason, the floor sounded super loud compared to the NYCB performances on the same stage over the last few weeks. Do they put down a new floor for ABT? It was bizarre because I'm not used to noise from jump landings and pointe shoes being a problem in this theater. 

Edited October 19, 2023 by matilda

[laurel]

1 hour ago, ABT Fan said:

Did anyone go last night on opening night?

Yes, I was there last night.  It was a wonderful evening, with three well programmed ballets.  In Ratmansky's Piano Concerto No. 1, Skylar Brandt and Jake Roxander were paired, and they were the most remarkable duo I've seen since the days of Lane and Cornejo.  They are so well matched in size, speed and sizzle, it's almost as if Brandt has been waiting for him to appear in order to bring out the deeper, more penetrating performances we know she's capable of.  I'd really love to see them tackle Theme and Variations!  Last week I thought I'd seen the ne plus ultra T&V with Tiler Peck and Joseph Gordon - especially Peck, who was so comfortable and confident with the choreography.  But I think that Brandt and Roxander would bring to it the kind of energy, skill and attention that's been missing from ABT dancers for so long.  Also think they'd be great together in Ratmansky's Nutcracker!

I enjoyed Petit Mort, but Etudes was a major showstopper in which everyone appeared to be dancing full out.  Devon Teuscher, slender, tall, moving like the wind!  This was the best performance I've seen from her.  Jake Roxander nearly burned up the stage in this, and if he isn't promoted before the end of this month, there would have to be an administrative or budgetary reason for it.  This one evening made me feel that Susan Jaffe really has an understanding of what kind of dancers she has, their potential, and how best to use them.  I have confidence that she'll be showing us much more in the spring, and also hopeful that maybe some of the elder statespersons in the company will feel more comfortable about stepping aside and letting the new generation take over.  This is definitely an exciting time to be part of the ABT audience!  Finally!

 

[abatt]

In agreement that Roxander was the star of the evening.  He was brilliant in both ballets in which he was cast, except for that one partnering moment with Devon referenced above.  He made Ahn look like an amateur in Etudes.  Ahn, as noted above, is a very mediocre dancer.  His role is supposed to be a show stopper, but he is not up to the level required.   So disappointed that Ahn is doing almost all of the Etudes and Carmago was removed.  Devon was also terrific in Etudes.

For me, Petit Mort is big on gimmicks but low on impressive choreography.  It was well danced, but really there isn't that much dancing.

The Ratmansky work was well done, but the standouts were Roxander and Brandt.  Put these two together in a Don Q!  Hopefully Roxander will get out of the corps ASAP.

 

[matilda]

Agree with the comments above in that I'm dying for a regular Brandt / Roxander partnership! She can't be paired with Cornejo forever, and she's a perfect size for Roxander. Just think of the great Don Q's, Giselles, etc. in store. 

[California]

No real disagreements. Roxander was the star of the evening and I can't wait to see him again in the same roles Friday. He commands the stage whenever he appears. Head-to-toe presence in everything he does. You can't look away (which gave me memories of what it was like when Baryshnikov appeared on-stage). I almost felt sorry for Ahn when they were on-stage at the same time in Etudes. Ahn does the steps (not always competently) but you never feel any dynamism or presence. Roxander has been in the corps for one year! I can't imagine he'll be overlooked for a promotion. Ahn is on-stage tonight with Murphy and Cornejo and I imagine he'll look as disappointing as he was Wednesday. On Friday Roxander is back with Hurlin and Han. 

I love Etudes -- guilty pleasures with so many technical demands as the ballet progresses. All the dancers seem exhilarated trying to meet the challenges. 

I remember Piano Concerto No. 1 well from the premiere in 2013 as part of Ratmansky's Trilogy (with Vishneva and Osipova! - those were the days). He never helps us understand all the subtle symbolism and apparent story telling that I guess only people who grew up in the Soviet Union would fully grasp. No real hints in program notes or interviews. Why does the Shevchenko dancer shelter and protect the Brandt dancer? Sheltered from what? What is the meaning of all the red symbols hanging from the ceiling? Other than the Soviet star, what are they? But as with Ratmansky's other ballets in this "genre," we are left to just grasp what we can and focus on the movements, which are daring, imaginative, risky, exciting to watch. I yearn for a gifted dance writer to give us more of a roadmap to what it all means. And I wish someone would revive the first one, Symphony #9. 

I'm tired of Petite Mort. Colorado Ballet has done it twice in the past decade and is bringing it back next spring. It seems the dancers love to perform this, but it's tiring to sit through the gimmicks with the swords and black "dresses" when you know what's coming.  PNB does this with the companion piece (Six Dances), also to Mozart and with the black dresses, but other North American companies don't, for whatever reason. The abrupt ending with the dresses pushed back on stage is disappointing. I really loved Kylian's Sinfonietta last year (and which was also performed in spring 2023 by Colorado) and hope they bring that one back.

Edited October 19, 2023 by California

[nysusan]

I so agree that Roxander lit up the stage whenever he appeared, and Teuscher did those chaines at lightning speed.

 

Other than that I found the program pretty boring. Petite Mort was ok, but only because the music was beautiful and the piece itself was brief.

 

58 minutes ago, California said:

I remember Piano Concerto No. 1 well from the premiere in 2013 as part of Ratmansky's Trilogy (with Vishneva and Osipova! - those were the days). He never helps us understand all the subtle symbolism and apparent story telling that I guess only people who grew up in the Soviet Union would fully grasp.

 

California, I also remember the premier of Piano Concerto #1 and not only did it feature Vishneva & Osipova but also Ivan Vasiliev (and Cory Stearns). I remember it being exhilarating back then but much more subdued this time around. For me it only came alive in the last few minutes.

 

Here is a link to a Times review where Macaulay discusses some of the "shadows" in the pieces.

 

https://www.nytimes.com/2013/06/03/arts/dance/ratmanskys-shostakovich-trilogy-at-american-ballet-theater.html

 

I know I saw Etudes at ABT back in the day, also saw the RDB and I think I've seen video of the Mariinsky ( I particularly remember Sarafanov in it). I loved it and was very much looking forward to it but (except for Roxander) it felt flat to me. I know the steps are hard but the corps looked so effortful and it just seemed like it went on forever.

[cobweb]

I also was there last night and agree with everyone that Jake Roxander (who I've only seen once before, summer of '22 doing an impressive Neapolitan) is a star. Agree that he made Ahn look like an amateur. He is a young guy but seems ready for everything they are throwing at him. I couldn't help but think, his parents must be very proud! It seems embarrassing for ABT that they are relying on such a young guy for so so much. I mean, it's great for the audience and he seemed to be loving it, but they need a deeper roster. I also agree Devon Teuscher is a lovely, lovely dancer who really shone in Etudes. Overall I enjoyed Etudes, it's hard to resist as it plows along with increasing intensity. But I seriously disliked Petite Mort, and found Piano Concerto No. 1 interesting, but not something I need to see again. 

[ABT Fan]

So marvelous to hear about last night and how amazing Roxander was (not surprising but still….!). I can’t wait to see him and this program tomorrow!

[Helene]

12 minutes ago, nysusan said:

Other than that I found the program pretty boring. Petite Mort was ok, but only because the music was beautiful and the piece itself was brief.

The dancers at PNB rave about how much they love and love to do Petite Mort.  In addition to the music, what I find worthwhile out here is seeing different partnerships, because the height differences aren't critical. 

1 minute ago, cobweb said:

I also was there last night and agree with everyone that Jake Roxander (who I've only seen once before, summer of '22 doing an impressive Neapolitan) is a star

It can run in families, not just talent, but seeing what it means to be a professional and to have a realistic sense of what the profession entails, because they see the difficult sides, emotionally and physically, while growing up.

[California]

40 minutes ago, nysusan said:

. . . video of the Mariinsky ( I particularly remember Sarafanov in it). 

Here's the Etude final with Tereshkina, Sarafanov, and Skylarov (very poor quality, alas). The lift where Roxander almost dropped Teuscher is at 3:15.

 

Edited October 19, 2023 by California

[California]

Roxander posted a rehearsal clip of one of his solos in Etudes. He no doubt knows he's being taped, so it's full out. But for those who haven't seen him yet, you do see his power and presence in this. (At the very end, over on the right, is a glimpse of Bell watching. I do hope we get to see him in this role someday! )

https://www.instagram.com/p/Cyd_nxlgaQj/

[abatt]

By  using Petite Mort as a filler ballet, it gives people who are not virtuosos an opportunity to have featured parts.  For example, Blaine Hoven was cast last night, and I think Luciana Paris (who should retire already)  has a part tonight.  

[Papagena]

3 hours ago, cobweb said:

It seems embarrassing for ABT that they are relying on such a young guy for so so much. I mean, it's great for the audience and he seemed to be loving it, but they need a deeper roster. 

They have some amazing up-and-comers! But there are a lot of unexciting men at/near the top (Stearns, Ahn, Forster, Hoven) that they can't sideline completely. I feel bad saying this as Stearns and Forster are the type of likable, workmanlike principal males every company needs to have on hand, but unlike Roxander who can turn a ballet newbie into a fan with one solo, they aren't likely to convert new audiences. 

Maybe I'm just on a high from spectacular newcomers like Roxander and Roman Mejia, but perhaps we're on the cusp of another era of male dancers who are worth shaping ticket purchases around? 

Until then we're probably in for a couple more awkward transitional seasons. 

Edited October 19, 2023 by Papagena

[aurora]

1 hour ago, abatt said:

By  using Petite Mort as a filler ballet, it gives people who are not virtuosos an opportunity to have featured parts.  For example, Blaine Hoven was cast last night, and I think Luciana Paris (who should retire already)  has a part tonight.  

Blaine Hoven was not one of the dancers last night. The male dancers were:

joão Menegussi (w/ Erica Lall)

Carlos Gonzalez (w/ Betsy McBride)

Joseph Markey (w/ SunMi Park)

Herman Cornejo (w/ Cassandra Trenary)

Corey Stearns (w/Chloe Misseldine)

Joo Won Ahn (w/ Hee Seo)

 

Perhaps you confused Markey for Hoven.

 

For those who are interested, the alternate cast seems to be (based on the dress rehearsal yesterday):

Zimmi Coker and Jacob Clerico

Kanon Kimura and Kento Sumitani

Breanne Granlund and Sung Woo Han

Fangqi Li and James Whiteside

Katherine WIliams and Thomas Forster

Luciana Paris and Andrii Ishchuk

 

[abatt]

Yes, I did make a mistake.  Hoven was not cast.  Thanks.

[lmspear]

7 hours ago, California said:

Here's the Etude final with Tereshkina, Sarafanov, and Skylarov (very poor quality, alas). The lift where Roxander almost dropped Teuscher is at 3:15.

 

For history, nostalgia, comments, whatever here's the finale danced by ABT for a 1973 PBS special:

https://youtu.be/P1Bxh4vcmzk?si=OOch5bRxn0xySDDJ

[California]

Just a few quick comments on the Thursday night performances of the same program:

Piano Concerto No. 1: The principals (Seo-Forster and Hurlin-Curley) were fine. [Some time ago, somebody asked on this site why Hurlin and Bell were not being cast together. In the original casting announcements, they were cast for two performances of this one and one of Etudes, so it doesn't seem that ABT had some kind of bias against this pairing. Too bad we won't be able to see it this week.]

Petite Mort: The highlight was Whiteside's strong and seemingly happy performance, after his long, well-publicized serious injury and recovery. (I like this ballet less and less every time I see it...)

Etudes: As Cornejo has noted in his social media, this was his debut as a principal in this ballet, after 20 years as an ABT principal. His turning sequences were remarkable, but the height and other details in jumps, etc. were not as impressive - as you might expect from a 42-year-old! Gillian Murphy is showing her age, too -- fast chaine turns but not knock-outs, etc., etc. Ahn seemed a little stronger tonight, perhaps after last night's embarassingly stark contrast with Roxander.

[abatt]

I thought the opening night cast was almost uniformly better in every ballet.  The surprise for me was how well Forster performed in the Ratmansky work.  

Curley doesn't have the same level of virtuosity as either Vasiliev or Roxander.  As a result, the role he danced looked diminished in comparison to other interpretations. 

Yes, Whiteside was terrific in PM.

I thought both Murphy and Cornejo were showing their age in Etudes.  Cornejo, in particular, no longer has the spectacular qualities  of speed, elevation and precision that made him a superlative dancer.

Edited October 20, 2023 by abatt

[California]

14 hours ago, lmspear said:

For history, nostalgia, comments, whatever here's the finale danced by ABT for a 1973 PBS special:

https://youtu.be/P1Bxh4vcmzk?si=OOch5bRxn0xySDDJ

Thanks for posting this! Today's corps is better than this one, which was sloppy, out-of-sync, etc. This was just one year before Baryshnikov defected in June 1974. I remember in the years following that we groaned when we saw that D'Antuono or Kivitt were cast in principal roles. Everyone wanted to see Baryshnikov, Kirkland, Makarova! But I also remember that ABT visits to the Kennedy Center (twice a year, for several weeks at a time) sold out before casting was even announced -- everyone was so eager to see Baryshnikov! Hard to imagine a "ballet boom" like that again our lifetimes. 

[ABT Fan]

It was Jake Roxander's night tonight! After seeing him over the summer in Giselle peasant pas and as Mercutio, reading everyone's reports from Thursday night and watching the rehearsal clips on IG of him in Etudes, I wondered if he was going to live up to my extremely high expectations. Well, he surpassed them. He exploded onto the stage for his climatic solo in Etudes and blew everyone away. Han did a fine job as the other principal, though he lacked finesse and presence. Hurlin was gorgeous and commanding, although she had a little trouble with her fouettés. But, Roxander was the clear star. He also did extremely well in Piano Concerto, keeping up with Brandt quite well, and I think those two will have an electric partnership. I can easily see them in Don Q and Giselle.

I loved Petit Mort so much it ended way too quickly for me, but this was also the first time I've seen it live. Trenary and Cornejo got all of the sultriness and nuances just right, while I thought Seo/Ahn and Misseldine/Stearns struggled and looked a bit too balletic. 

The corps in Etudes must also be commended - I was impressed and I thought overall they were strong and executed the difficult choreography well.

A nice bonus: I was seated directly behind Roxander's parents, younger brother and extended family (they all look alike!) and it was so wonderful to see (and hear!) their excitement!

 

[griffie]

It was indeed Roxander's night tonight, making the most of his first lead role! His turns and jumps are dazzling and he's got tons of charisma and stage presence already. It's been a while since ABT had a new male virtuoso, and perhaps even longer since a truly home-grown American one. I can't wait to see him in the major roles - and Tarantella too. I was thrilled and impressed. Welcome to the big leagues, Mr. Roxander.

 

[MRR]

Shostakovich PC #1 checks off pretty much all the Ratmansky traits: choreographically obtuse, wall-to-wall with difficult steps, partnering, and formations, and rich in subtle, almost indiscernible symbolism. Watching from the sixth row makes it all but impossible to keep track of everything and I'm curious if sitting higher up for tomorrow (and repeated viewing) will help.

Christine Shevchenko is striking with a robust, elegant technique, but as with her Swan Lake last year, I don't find her especially imaginative or unique. Skylar Brandt lacks a beautiful line but she is forceful and exceptionally committed, and Jake Roxander matched her step for step. Calvin Royal is lithe and agile in contemporary and more adept at partnering than Roxander at this stage, but his jumps look earthbound in comparison (I guess most anyone's would).

As for Petite Mort, the opening male sextet did not suffer disaster with dropped swords or falling behind the curtain a la Breaking Pointe. However, a sword mysteriously ended up near center stage when one of the corps men (Joseph Markey?) ran from the wings, all the way across stage right to left to retrieve it before the women's entrance. A nightmare if it remained considering the mannequins.

Cassandra Trenary despite not being the 32 fouette or hops en pointe type of ballerina is highly effective here. Every step has intention and clarity, and the music seems to come inside of her. Chloe Misseldine is lovely but her movement felt stick straight with not enough pliancy in her torso, ditto Hee Seo. The men don't have much dancing after the opening but my eye always went to Herman. Such presence and command that is befitting of an artist over 40.

Now, for the "pièce de résistance": Etudes. I love this ballet for being transparently kitsch: it never pretends to be high art or anything other than entertainment (and a monster technical obstacle course). Catherine Hurlin had a great debut that overcame two smallish mistakes: dropping off pointe after the arabesque balance switches (unsteady from the start), and her ensemble fouettes under rotated with a visible shuffle to the side. She was rapturous and whimsical in the Sylphide solo, and her allegro had plenty of charm with excellent hops en pointe. Her solo fouettes were nailed, doing single-single-double, and jump variations. She is not the purist classical dancer with tension creeping into the wrist and not enough bend at the below, but her attack, charisma, forward momentum, and speed are wondrous. The audience was completely behind her.

This ballet is all tricks and hamming it up, and Roxander understood the assignment. A master class of bravura: his a la seconde turns pull in for five or six on a dime, all perfectly sustained, and he has ballon for days.  Double cabrioles and consecutive double tour pose no challenges; he also has tremendous use of weight and depth to his mazurka.  Sung Woo Han was predictably more subdued, if mostly clean in the endless pirouettes with decent enough feet and petite batterie. His double-double tour to knee was his weakest moment, cheating an entire revolution on the way down.

Props to Lea Fleytoux for executing possibly the cleanest double pirouette from fifth I've ever seen. One of the women in the back, possibly Fangqi Li, came to grief on the ensemble fouettes. Luigi Crispino stood out among the corps men.

Edited October 21, 2023 by MRR