I can't believe there were no reviews from last night's opening, with... was it Irina/Max/Hallberg? I'm starting the topic with hopes somoene will let us know how it went last night and tonight, with Vishneva/Gomes/not sure who.

There usually is at least a 2-day lag time for reviews--so look for Monday's performance to be reviewed in tomorrow's paper (Wed.). Funny that in our high-tech age reviews never appear the next day.

I attended Monday and was impressed by Irina/Max/Hallberg. I never saw the Black Swan female solo variation and fouetees done so fast (no time to fall?)! Act 4 oh-so-funky (when is it not?); Act 1 dances way too fussy, but, again, well executed. A hoot to see Freddie Franklin onstage, moving about very spryly! Some innovative stuff in Act 3 with Neopolitan (2 men) and the waltz; the national dances were completely uninspired, as per convention (too bad--such great music).

More later if I get inspired.

Ray, I think she meant on here not in the paper (hence the topic starting)!

I am going to bed now, but Diana Vishneva was amazing and the audience was very demonstrative of their feelings. Marcello gave his usual performace... but he appeared a little less engaged than usual. Diana on the other hand was so intense and she appeared to dance with her eyes closed in Act II at times, completely immersed in her role. Her back is amazingly flexible and her hands and arms are just exquisite.

The corps seemed a bit off in the first half of the ballet. It was nice to see Misty Copeland do some solo work; she performed beautifully, Stella was not as stellar as usual and Sasha didn't have much too work with as Rothbart, but his solo was exellent.

The production is gorgeous, costumes, sets, lighting and of course the music and the choreography. Diana was as believable a swan as a human could be. I think she nailed the role, but I would have liked to see more expression in her face and eyes. Or was I just looking at her body moving and not noticing it? When she does, it is very powerful.

One thing about the top ballerinas... their arms and hands are amazing to watch. Diana is a perfect example of this.

One thing which struck as odd... why would a swan "jump" as she does in the end? Yea, I know they call it a swan dive (why?)... but to my eye it looked strange... it reminded me of Tosca jumping to her death off the Castille in the final scene after she realized she had been double crossed.

Not a great review, but I loved the performance.

Just got home from tonight's SL with Vishneva, Gomes and Saveliev. I thought this performance was much better than the one Vishneva did with ABT last year, although it was her Odile that sparkled and seduced (her Odette is still not poetic enough for me). Gomes was fine as the Prince but I didn't feel much chemistry between him and Vishneva (unlike in Manon). The pas de trois, with Abrera, Riccetto and Saveliev, was cleanly danced but nothing special. Really, except for the Black Swan PdD, I would characterize this performance as quite good but nothing extraordinary. And with this performance we bid adieu to Vishneva at ABT for the year.

Misty in pd3, cygnet or queen wannabe? Stella as a lead swan?

Thanks, SanderO. Don't be so modest; you did just fine. I'd just like to know the pd3 casts (for both Monday and Tuesday) and in which role Misty excelled.

Thanks to you, too, Amour, who was posting same time I was.

I'd like to know the pd3 casts for ALL WEEK (affects my ticket purchase habits) and I always enjoy Misty! I say this, but after god only knows how many SLs in the past few years, I may be approaching exhaustion.

Vishneva was on fire tonight. One of the most intense performances I have ever seen. She wobbled and almost lost ger footing during the fouettes, but otherwise was a delight to watch. True, her Odette is not poetic enough, because she's a real girl. Not an otherworldly creature, but very much flesh and blood. Passionate, desperate, doomed. Her black swan, on the other hand, is evil incarnate. It's quite easy to turn Odille into Salome (as most do), but Vishneva turns her into Herodiade.

Gomes, I thought, was exquisite - a true prince and a great partner for her.

Everybody else - an extremely poor showing. Especially, Abrera, Saveliev, and the corps.

But it all didn't matter with D.V. on stage. Breathtaking...

Saw Vishneva/Gomes tonight. I was glad I went. I loved Visnheva's Odette. I thought she used her flexability very expressively and musically. Her variation was ravishing. Her Odile fell a little short for me. The ppd went well but I thought that in her variation she was not able to use the choreography to portray her character - she was just trying to do the steps. I am not a fouette counter, but I feared at one point that she would not make it on to pointe to continue turning. I am probably unintentially making it sound worse than it was. Nothing was bad and Odette was wonderful. Veshneva, who I've never seen before is clearly a world class ballerina. It is just that one goes to the ballet hoping for that transcedent experience and this wasn't that for me. It was enjoyable, it had transcendent moments but wasn't the total experience that keeps us all returning to the ballet to find.

Gomes was practially flawless. I found his partnering a little "handy" in turns. You saw him really turning her (this is an area in which I really love Steifel). But that is really nit picking. I thought his characterization and dancing really wonderful. As far as his solos went, it doesn't get better.

I liked Radetsky as Von R.

Pas de trois Ricctto, Abrera and Saveliev - very good, clean and enjoyable. I particularly liked Abrera for her beauty, rock solid technique and joy.

Two swans - Thomas and Corella unfortunately were not so good.

Misty Copeland had some nice moments and I did notice Sarah Lane in the corp of the Prologue as the one most likely to stay on pointe to finish a movement.

I know this wasn't directed to me, but Misty, Sarah Lane, Renata Pavam and Yuriko Kajiya were the cygnettes Tuesday night. I actually think they all did well, especially Sarah and Misty.

I also liked her Odette, feeling it was her most successful so far with ABT. The Russian back and arms were convincingly swan-like, and her dancing was especially pure, allowing the story to be expressed primarily in the clarity and inflection of her miming, and in interactions with Marcelo Gomes. He is the first ABT Siegfried to really connect with her method.

Tonight she chose to counter-balance her pure and refined Odette with a wildly powerful and erotic seductress of an Odile. To me Odile had been her problem here until now, but this was the most thrilling and engaging Odile I have seen perhaps since the very young Sylvie Guillem. The opening adagio was a miracle of connection: every step was a part of this seduction, so focused upon Marcelo. And especially her eyes and lips. She was not just looking at him to make sure her moves were serving their purpose, but to suck his eyes into hers; and his slightest erotic response woud be amplified in return by hers, in a way that told him he was turning her on: Ms. Vishneva understands men. When she kissed him just below the nose, well, he was one doomed sucker! As the PdD went on, her wildness and risk-taking increased beyond bounds of safety, so that she indeed needed a couple of saves during her 45 rotations, but after each she dared to go wilder still: it was all to him, he was her purpose and she became his universe. By the end of her display, as the audience shouted and screamed and applauded, he grabbed her hand and seemed to try to swallow her whole arm in an erotic fervor that surely crossed that line of dancer/partner reality that is central to her way (one might think of Ferri's words regarding her partnership with Bocca). I have never seen him so captured beyond control by a ballerina, and of course he already is our best at that! So, an utter triumph for Marcelo; in just two performances (Manon and this), such fabulous chemistry. What makes her great, he gets. To me the "if or how fouettees" is secondary for Odile (unless, of course they achieve classical purity, or joy of virtuosity--a la Murphy). What matters was her wild passion that would not stop powering up, no-matter-what. It was a brilliant and daring and risky way of telling this night's living story of Odile, they were both fully committed to their plan, they lived it and rocked the house. She's got her partner, and earned her triumph.
Their final act brought back her purity, as together they made the McKenzie version stuff invisible.

The other casting showed exactly why, in addition to the AD's total corruption of the greatest classics (What will he do to Giselle? This is more than a parenthetical issue.), I have lost hope for the company's future under McKenzie. In such roles as those in the PdT, where are the budding hopes for the company? This is where the next generation needs to show its stuff, so that they can prove they're ready for the next level. And burn hope in the hearts of the fans. Sure, some of our favorites from the soloists level might give us some pleasure, but such roles are not tests for soloists to become principals. They are the life-blood of possibility for the corps. Let them be danced by dancers for whom they are career life-or-death matters, portals to stardom that will of necessity be danced with all-out effort. I mean this as no disrespect to Riccetto, Abrera, and Saviliev. They are already there, and these roles just don't lead to where they might wish to go.

Thank you all for your insight. Had work not been a priority, I would have been there. Knowing both dancers, I was hoping the partnership could be the beginning of something special. I remain hopeful!

McCauley obviously doesn't care for the ABT as his review in the NYTimes today makes perfectly clear.

One thing which stikes me as odd about ballet productions/critique is the focus on the authenticity of period architecture and costuming. I am not certain about how time specific and location specific the classic story ballets are, but in a sense does it really matter? It's an illusion, not a museum display.

We know that R&J took place in Verona. Does the set have to be actually a copy of some street in Verona? Surely not. And Swan Lake is yet another fairy tale... and it doesn't neet to have the verismilitude that one might expect from a play or a movie which aims at being a "period piece". All ballet is other worldy... people don't dance through life.

I don't mind the mixing up of classic styles of architecture and costumes... if it is done with finessse. One thing which I find beautiful is the color pallet of the set and costume designers at the ABT in productions such as Swan Lake, Manon and R&J. I don't imagine everyone showed up at a ball color coordinated, but perhaps in Italy they might have. But the image/illusion is lovely to behold.

A skillful set designer can employ classical motifs with some artistic license (they are artists and not historians) and create a "mood" of a historic time. I found the ABT's R&J worked and the NYCB's was a dismal failure. NYCB was trying to be new and colorful, but they missed because they has one leg in the uncertain past.

The ABT Swan Lake sets are stunning. The lake water in the background literally glistens in the glow of the moonlight. I have seen that gliustening on the water and the designers pulled that off perfectly. Hat tip to them.

As fas as historical accuracy of costumes and architecture... I could care less as long as the illusion works for me and provides the proper setting for the choreography. When the curtain rises I have to suspend disbelief and let the artists take me away.... all of them... the choreographer(s), designers, lighting and set carpenters, the whole crew and of course the dancers.

Vishneva, Gomez and the ABT made me a believer for a few hours. It made my day. McCauley is jaded despite the fact that he has seen thousands of ballet performances... Bad on him. He could only dream to have the talent Ms Visneva has in her pinkie.

First, just because Macaulay has a strong and different opinion from yours doesn't make him jaded. There's a very good reason he's been brought here to write for the NYTimes....

I thought Macaulay's review today was bull's-eye on target about Monday night's performance.

Irina started out with a fresh, breathtaking huge stag leap onto the stage as White Swan followed by a couple of stunningly lyrical arabesques that suspended the audience's belief she was Irina and a beautiful, fantasy woman-swan instead. That lasted about 5 minutes... Then it was back to Irina being Irina, pretty much manufactured (well programed) in her execution. She took few risks Monday night but she is strong and commanded the stage, dancing well, her way.

As far as costumes go..... come on.... what purpose do those ugly Star-Wars headpieces serve? The ones the female peasants in Act 1 wear. And the dresses on all the females in Act 1, including the pas de trois are much too long. Can't see enough of the dancing action. Meanwhile the male peasants wore tight shorts....Ugh.

The illusion worked for you, that's fine. It didn't for me, though I enjoyed Sarah and Yuriko in the pas de trois, but I wouldn't again put them together with Radetsy. Sarah belongs with a shorter cast, hello Herman!..... Yuriko is an amazing (big, strong, and light) jumper, and she is quite a bit taller than Sarah. Looked odd to see those two ladies as opposites.... like putting a small swan right next to a big swan in the white section. Yuriko danced exceptionally well making her difficult (man-ish) solo look completely effortless. Sarah was so lovely, so feminine with her gorgeously warm, upper body and very secure turning variation.

I plan to see Hallberg and Murphy tonight in the leads. Both are still maturing as dancers/actors, and I always look forward to seeing their progress with each season.

There is nothing wrong with a critique delivered in an objective, gracious way. But I agree SanderO. Arch, sarcastic comments merely make the reviewer sound bitter and jaded - they are a reflection on what's missing in him (and how his jaded personality gets in the way of seeing a performance) not the production. I certainly think that the NYTimes could have found SOMEONE who knows dance well (after all, Macauley's background is as a dance historian, not a critic) but is more objective and could see things with a trained, yet objective eye. Personally, I'd rather read a review from someone with a fresh, enthusiastic viewpoint (who might have less experience) than a bitter, pre-programmed one.

And if I have to read any more references to Brits (Fonteyn, Markova, and Harold Bloom in this article, alone) I'm going to [figuratively] scream.

Honeymoon's over for Macaulay, eh?

Shall we call Rockwell and ask him to take his job back?

. . .

I thought so.

[added]

I have a feeling Macaulay will be like Gottlieb and stimulate vehement discussion, and maybe a foodfight or two.

Seriously, it seems most of the objections to Macaulay, no matter how couched, even when talking about his tone or writing, actually come down to not liking his opinions. I don't agree with most of them either. There are people with whom I disagree, but they teach me something, and people with whom I just disagree. With the latter, I just don't read them.

Maybe, but I'm not sure. The problem for me is not so much the content as the the tone. Snippy barbs, sarcasm and rudely expressed opinions turn me off - they sound like personal attacks, not criticism. I actually agree with some of Macauley's opinions but, for example, today when I read the unnecessarily snide remarks about Georgina Parkinson or Irina Dvorovenko (or talk about "hammy ritual") I simply put the paper down, having lost all respect for the writer.

I certainly noticed the bicycle shorts and that looked weird as hell. That sure crashes the illusion. But any lycra tights seem anachronistic to me. I also don't like long dressed and "thick" costumes on dancers because it hides their bodies and movements as opposed to revealing them. The very thin fabic such as Juliet wore for longish skirts sometimes even add something to the movement and don't conceal the legs. I think call dance costumes need to defer to movement.

My memory is failing, but I don't think this was exactly the same production as last year. I don't recall the star wars head gear SZ mentions from previous years... and I don't remember seeing the swan head dresses last night. If they were there I was not looking at their heads... or maybe I was lost in the entire illusion of a swan.

The illusion of illusion also depends on on deep your knowledge and experience are with a particular ballet and your expectations. I'm a novice ballet goer and have only seen the same ballet a few times at most... and except for Manon, separated by a year or many months at least. When you have a history with a ballet or any "experience" you see more, and certainly see more nuance.

This is what you more experienced people are for... to see things and point them out for those who not there yet... and that is why Ballettalk is such a valuable resource to anyone interested in ballet. Thanks again.

But that's Macaulay's background.... He does mention other dancers in the more recent past too....
Is that so awful? Perhaps he is in the early stages of trying-to-impress-NYC-readers-mode (and his bosses, editors) with his past knowledge(?) while at the same time absorbing the present state of the NYC ballet world...

Please, no more Rockwell *ballet* reviews.... yawn.

Macaulay, however pointed at times, is a big improvement.
He certainly has brought about much "debating" on this website(!).... and I can just imagine all the backstage talk... and that's important for the future of ballet, I think.

I share that sentiment except that Bloom is from the Bronx (although he does write about British literature).

Also want to point out that today's review of Monday's performance is really a double-whammy against Georgina: she performs (badly, according to AM) and also coaches the leads (to bad ends, again according to AM). All of which to say is that I think his criticism of the production in general (and, implicitly, ABT's artistic methods & choices) is well founded, even if the tone in re particular performers is questionable.

I saw Dvorovenko's and Beloreskovsky's Swan Lake on Monday night. It was a wonderful performance overall. I watched McKenzie's production on PBS last year and wasn't impressed. Maybe it was Murphy's performance that turned me off, but Monday night was altogether different.

Dvorovenko is a glamorous beauty. Her Odette was regal, stoic and thankfully she didn't overdo the swan mannerisms of arm flapping, etc. I wanted more pathos from her Odette, but she was still beautiful to watch. It was as Odile where she really came into her own; from the moment she came onstage she owned the theatre. She looked stunning in her black tutu and headdress. She was also imperious, sexy and untouchable as ice with fabulous technique. It was no wonder that her husband looked intoxicated by her. What totally floored me were her fouettes. Apart from Plisetskaya and Terekhova, I've never seen a ballerina attack, and I mean attack, fouettes as Dvorovenko did. They were lightning fast, precise and breathtaking. Beloreskovsky performance was excellent. He's elegant, a fine partner, a solid technician and so handsome. What a gorgeous couple he and his wife make.

I liked the production overall, though Act IV was anticlimactic as usual. Like Amour, I enjoyed Yuriko in the Act I Pas de Trois. She has strong, lovely jumps and an appealing stage presence. I hope she goes on to continued success in her career. Hallberg was a good Von Rothbart even though I don't like his Russian Dance on principal.

I respectfully disagree that the fouettees were a dramatic choice (if that's what you mean). To me it looked like she starting turning with a lot of force hoping that she could muscle her way through, which is actually the only way to do it with Russian style fouettes. I looked at her ability to continue not as wild passion but as a dancer survival instinct; keep going no matter what. For me, as soon as she started I knew it was not likely to go well, so I forgot characterization and kept my fingers crossed!

Tonight was Gillian Murphy's night. She was so amazing I could hardly believe what I was seeing! Her technique in the blac swan pdd -- oh my GOD -- the crowd went wild way before the final pose. Lots of triple fouettes and with her arms in fifth! Balances that seemed to last forever. And her Odette was heartbreaking, she was much more engaged than I've seen her before. It was truly a special performance. Wow.

I totally agree, Balanchinette! Murphy has just rocketed to the top of my must-see list. She's always been a joy to watch for her technique, but tonight she added two qualities I never expected to see in her, depth and lyricism! Thank you Gillian!!! And while I've seen her fouettes before and been dazzled, I've never seen ANYTHING like what she pulled off tonight! She perhaps overdid it -- let's call it fouette overkill -- and had to come out of it a tad early, perhaps due to the sheer excitement of what she'd pulled off. I know I could hardly breathe.
Both she and Hallberg pulled off final leaps so intense and high it was rather frightening. I was a little worried about how they would land and was relieved to see them looking just fine at the curtain call.
And oh, yeah... there were other people on stage too.
Let's see -- Jared Matthews as Benno, looking very confident, secure in his technique, and an attentive partner. Very good overall! A future prince?
Hee Seo in the pdt was wonderful, someone I look forward to seeing again. She is so crisp and smooth, finding her position easily and holding it like a rock. What I like most of all, though, are those fluid arms and flowing movement.
Sarah and Misty must be getting tired of doing those princess roles. I have concluded, however, that Misty has the most beautiful extension of anyone in the company.
Veronika Part looking very beautiful in her far-too-brief "big swan" role. Somehow she makes it heartbreaking.
What a night!
On to Paloma Herrera on Saturday night! I have avoided her over the past few seasons, annoyed with her lackadaisacal performances. She's gotten such good reviews this season, though, that I'm going to try her again. Murphy was the very model of a committed performer tonight, I only hope Paloma gives half as much.

I don't disagree at all with what you say. In rehearsal Vishneva (in cooperation with her partner) creates a whole dramatic arc for a given performance (and, as she often says, always rejects it as soon as the performance ends, and will start from scratch for the next performance)*. Whenever I've seen at least two of her performances of a given role this has been evident; I've certainly no reason to doubt what she says. In fact my favorite way of enjoying her work is trying to discover the arc she has created.
So I suppose that her approach to the fouettees for this particular Odile would be consistent with her story arc, and agree with you that it was not a dramatic choice for just the fouettees in isolation. As you say, she started turning with fearsome force (IMO consistent with her dramatic vision for this performance's Odile). From the way I've learned to see her performances, I appreciated her holding on to her dramatic intent (because that is what I was watching, it is how I enjoy her unique art), while I think you appreciated (from an actual dancing point of view) the survival realities involved in these fouettees. I think the "no matter what" is something we were both grateful for! Thanks for crossing your fingers, I just quit breathing. Whatever we can do to help! She is exciting, isn't she?

* She gives remarkably many interviews on what she does, her method. This one, at the end of her previous ABT season, gets nicely into these matters, partially in context of last summer's performances. Also includes a comparative analysis of the many versions of Swan Lake that she's danced. (I'm sorry that this is in Russian, but if you let both altavista and google translate it, and put them side by side, you can get a lot of the content.)
http://www.russian-bazaar.com/Article.aspx?ArticleID=8848

l loved both of them, Gillian M. and David H. -- both gave such sensitive, emotional (for each other) performances. And all that outstanding dancing. Gillian surpassed herself in Black Swan including a series of hops on pointe backwards in arabesque that normally females do on flat foot after a very tiring section of choreography (and the entire night). It's a tough trick to execute without looking heavy or tired, and I've not seen it done that well in years. Just when you think you've seen most of Gillian's fabulous tricks!! She has endless energy and strength it seems... but is also becoming a gorgeous White Swan minus just a couple of tomboy moments a good coach ought to quickly catch and fix. Gillian only needs the tiniest bit of polish at this point... She's really amazing with her style of feminine powers. Yes, very engaged.

Ditto Hallberg! He will get stronger in time for the Black Swan section..no doubt... it got a bit weak in technical fireworks required for the man's role....but Hallberg is clearly untouchable with his stunningly beautiful lines and graceful, accessable elegance, a soulful faun of manliness. Very special. And you totally believe his acting, from beginning to the bows....My, oh my, what a sensual and poetic, and divinely handsome prince he is. Wow!

So yes, indeed, an incredibly exciting and moving night..., and the orchestra sounded its best too, so far this week. An overall great performance.

Oh, and Jared Matthews in the pas de trois of Act 1 -- he danced so fully and brightly, youthfully without being cute, and with so much energy - especially loved his clean jumps and his speedy turns at the end of that pas -- so many I lost count with one preparation. Another very handsome and talented, tallish male dancer at ABT. Can't wait to see more from Jared in further solo/principal parts. He's got what it takes, sexy too.

I'm sorry, but I just didn't connect with Gillian tonight. I rarely do, though. I thought she gave a very dutiful, letter-perfect, cold-as-ice Odette. Poor David Hallberg, having to provide all the emotion give and take for both of them.

Gillian's timing, positions, everything was there. She obviously put a lot into preparing for tonight. Ballet is not an easy profession. You really need to love what you're doing. Until she got to the razzle-dazzle of the Black Act, I saw no evidence of this. She looked like she was taking her SATs, trying to make sure every answer was correct, and blacking in the little marks on the answer sheet.

David, on the other hand, is one argument in favor of the US developing its own monarchy, and what a prince he'd be! What a prince he IS! From the moment he enters, his bearing sets him apart from the other aristos (except his mama). Elegant, always dignified. And beautiful.

Yes, Christine, Hee Seo was a standout. What lightness! She was like a helium balloon that had to be held down to earth.

I hate this production , cutting out all that front-of-curtain business would be such an improvement. Some music is just fine with no dancing. Yes, I know this invites whispering and noisy candy wrappers, but all that swanny stuff is like cut glass as the setting for Ivanov's diamond.

I was bored to tears by Murphy's too-perfect Odette , and oh, by the way, could they play the Second Act any slower?

Thursday, June 28, 2007

Nina, not Nina-44

Frederic Franklin starred as the Tutor tonight, guaranteeing total clarity for Act 1's story of the Prince. The new, noble Angel Corella took care of the rest. Again no corps people were allowed the chance to step up in the PdT, but at least it was much better danced than on Tuesday. Angel's spiritual longing for what-he-did-not-know after being given that doomsday message from Queen Bystrova was transformed into dance in the soliloquy, vituosity now hidden, or serving, eloquence. He was to be an outstanding partner for Nina in the dance and drama that followed.

When Nina leaped out on the lakeside it was the beginning of one of the best (sorry for that word) performances of the season. At no time would we see that amazing 44-year old Ananiashvili that we enjoyed in the Gala. All we got was the amazing Nina Ananiashvili, just the same one we loved years ago. Her mime echoed and rippled through her body as she told of her capture and confinement. Her Odette was as before, although it seemed decades since La Swan's wings were so real. The adagio tingled the spine with its effortless poetry, her flexibility, the perfect fit with Angel. A roar errupted as the adagio ended. The variation too gave no sense of a three year pregnancy leave, it was so simple, so effortlessly flown. Once she'd gained Angel's pledge, the Swamp Thing aspect of the Evil Magician jolted his control through her almost free human body, leashing it back inside the swan, she turned her Russian back (as she's said, she's Georgian, but a Russian Ballerina) to us center stage, and made that rippling wings exit seem more generous in time than ever. I hope that Diana Vishneva was lucky enough to still be here to see this. This, of course in her own way, is what she needs to fulfill her Odette. Other than Ms. Part, that is so for all ABT Swans...

Of course there was no hope that Ms. Ananiashvili could pull off Odile's pyrotechnics so effortlessly. OK, so the adagio gave no hint of age, she was very hot and had Angel quickly hypnotised. So real was her deception that Angel stroked each of her wings so erotically that you hoped her arms weren't ticklish. And yes, when he set her on balance there was no wobble, no sense that she'd ever need to leave that graceful position, just old Tschaikovsky forced her on. So she pulled that off, but the variation? Well that scored another 100%. But surely she'd be too tired for the fouettees. 32, right in place, with a few arm tosses just to keep her from being bored with too much ease. And all this perfection fully in character, with panting hot Angel so taken that he tossed off what looked like a 33-tuple pirouette in response. She rejoiced with such total glee as her deception crushed poor Mr. Corella. I'd like to think that glee was also being felt by that mighty woman inside the birdsuit. Surely it filled the hearts of the screaming audience. Nina Ballerina tonight turned pure evil into pure love. Jared Matthews, by the way, was quite a fine (was this a debut?) Evil Magician. A good omen for him, especially as it follows his great success in Romeo and Juliet's mandolin solo, inasmuch as great Rothbarts Gomes and Hallberg have graduated to Siegfried. It will be a farce if he is not promoted to soloist.

Back on the lake, Nina and that new and perfected Angel were in such tragically romantic harmony that poor Swamp Thing might as well have got out of that uncomfortable costume two acts earlier. Angel gave not a hint of acting, just a pure simplicity of expression that told he'd fully grasped his error, sin, and now hopeless love. Yet when Swampy dared to part them a kind of anger crossed his face, with the Power of an Old Testament Prayer; I got the feeling it was answered. But offstage in a higher place, not in that cheapening apotheosis.

Around 10 curtains.

...And the most unusual curtain call - as the curtain split she boureed out as Odette,
rippling those swan arms, with a very unswan-like grin on her face!
What a magnificent performance from Nina and Angel!!

I will still dare, even though probably will make everyone hate me ;-(( (and I have to admit i am a russian classical school and ballet fan).....
1) Nina was WONDERFUL, her arms were heavenly, And she's a GREATEST actress. I'm totally happy that I gave myself another chance of seeing her (this is the first year i saw her, and my 3rd time of seeing her)....
2) I didn't count 32 fouettees, sorry but she finished before the score and it was only 30 (however, I may have been mistaken)
3) There were several, but NOT 10 curtain calls (unless you count Angels and Nina's appearances separately).
4) Angel seems to have lost some weight (good for him)... however, I can't help remembering Nina's pairing with FILIN (in Giselle, at New Haven, just 2 weeks ago).... Had I not seen Filin's lift's and support, I would not have dared saying that Angel struggled lifting Nina (and she's tiny, tiny tiny). And Filin has the perfect turn out, perfect 5th position landings, and Great Extensions (a female balerina can envy)....
Overall, bravo to Nina!!!!! bravo to the "russian" swan arms!!!!

No doubt, Nina's Swan is one for the ages---what a pleasure to see a TRUE ballerina dance the role. I loved her demeanor for the Black Swan---she was toying with the Prince and enjoying it immensely--rather than just being villianous. (Ah, the eternal female!). While watching her I couldn't help thinking how I wish there was another recording of her Swan Lake...the Perm recording is from 1992 and she has added so very much to her performances over the years. I also wished she had another Prince---Corella is not danseur noble enough for Nina.....

Should I conclude that I was the only person who liked Irina's Odette/Odile on Monday night?

I don't think anyone will hate you, though some of us may disagree just a little....

I thought Nina was wonderful last night. Definitely better than her Bayadere earlier this season and better than the New Haven Giselle (although conditions here were more in her favor - in New Haven she had to contend with a tiny cramped stage, very bright lighting for the first act & an auditorium where people in the first rows of the orchestra & mezzanine were practically close enough to kiss her).

I love both Filin & Corella but they are completely different in technique, temperament etc. I won't compare them but I agree that Angel did seem to have a tiny bit of trouble in some of the lifts. I don't even know if I'd call it trouble, just a little more effort showing than I would have liked. But they were both exciting & fearless in their dancing and I found Nina to be very moving as Odette and perfectly seductive as Odile. Their chemistry together was great. What I love about Nina in SL is that she doesn't just trade on her soulful face, she really shapes her movement and her phrasing to express Odette's feelings which is the kind of expressiveness I want to see in this ballet. The only thing I don't like about her interpretation is that I think she overdoes the swan arms, especially in the first lake side scene. It has to be very tempting for her since the audience bursts into applause each time she does it but I find it distracting when done so often and I think it dilutes the power of the imagery.

In the black swan pdd it looked like she did 32 fouettees to me, with multiples thrown in and several changes in arm position. Her fouettees didn't start out as fast as some, they did slow towards the end and the leg worked it's way down a bit as she approached the finish but these are all such minor flaws, they really don't matter to me anyway. She didn't travel side to side, or fall off point, or panic, or grind them out, she finished in control and facing forward and that's more than good enough for me. What matters to me is that she danced it well, with confidence and in character. I don't think I've ever seen a "perfect" Black Swan pas de deux in the full length ballet (not even from Murphy or Bouder) and I think it's unrealistic to judge a live performance against a classroom conception of perfection.

Abrera was lovely in the pdt and I think this is also one of Saveliev's better roles. Misty Copeland continues to charm in the first act as the woman who flirts with the prince's friend & winds up with the prince, and I couldn't take my eyes off of Fang as one of the Princesses. She has such a special quality I hope she doesn't get lost in the shuffle if promotions are made this year. Speaking of soloist candidates - it was great to see Jared Matthews as von Rothbart, he is really developing wonderfully. All in all it was a very exciting evening.

+1

Well, not quite! I always enjoy Mr. Franklin's intense concentration as the Tutor. While Misty dances with the Prince he watches with such stern disapproval, even commenting on the Prince's misbehavior to some people near him. But once the Prince leaves, it is Mr. Franklin, grinning happily, who, arm around Misty's waist, leads her off. So, score one for the faculty!
It has been another of those seasons where everyone notices Misty, but will management ever? Promotions, so many are deserved...

Yes, the tutor was upset, the Prince was amused, the other aristoctrats were jealous, but I was still charmed

Regarding those promotions, I'm sure management notices Misty, and all the other talented dancers in the corps. Problem is there are so many who deserve a promotion! The soloist ranks are looking pretty thin at this point so hopefully there will be a few promotions soon. I think Lane and Matthews are the ovbious front runners, I'm also betting on Misty, Fang & Issaac Stappas

Well, I didn't see her on Monday, but I'll bet you get lots of feedback after Irina & Max sub for Part & Gomes at tomorrrow's matinee!

No, I enjoyed her Odette/Odile immensely.

David Hallberg was wonderful as von Rothbart. When he made Siegfried swear his love for Odette, Hallberg got this positively crazy look in his eyes. It was brilliant. Oh, yeah, his dancing was pretty good too.

Hallberg, Wiles, Saveliev (a brief review)

David's performance was beautiful from his port de bras to his (always beautifully pointed) feet. His leaps have such lift to them!

Michelle Wiles danced very well, but I wish she'd give more emotion and drama in her performance. In her entrance as Odette, I thought she didn't have the "Russian Back" to do the step--I don't know the name, but the one with the leg in attitude with the arms arched back--because her back was not arched as much as Nina's or Diana's; however, she displayed this flexibility later.

Her Odile definitely had more of a spark. Unfortunately, she fell when her shoe slipped during her Black Swan solo, but she got right up and continued dancing. Suddenly her dancing had this intensity and beautiful flexibility and control (especially her back), that she seemed to be lacking before. The turns in attitude (en déhors?) were amazing. Her back was beautiful and she seemed to do them so slowly yet perfectly balanced, and held the leg in attitude all the way around. (I don't know whether I'm describing the step well. I don't know the name of it, but I always think Carmen Corella does this step beautifully in her solo as one of Myrtha's minions in Giselle because she keeps her leg in attitude all the way through the turn.) At any rate, the audience was completely with her (which they were anyway) and she finished the solo beautifully with a a series of fast chainées into one of those balances that stop on a dime without any rotation.

Her fouettés in the finale were wonderful with some triples thrown in. (I wasn't counting how many she did.)

David's variation and his turns in the finale were wonderful too. This was the last performance for me of the season b/c I really don't care for the Cinderella production. Although I might break down and see it just to see ABT once more before the season ends.

Herrera/Corella/Saveliev
... Herrera just doesn't do it for me, I guess. I've avoided her in the past few seasons, but decided to try her out again, based on the reviews she got this season (including the New Yorker asking, "Is she in love?"). But I won't be doing that again. For technique, give me Gillian Murphy, who does what Herrera does, but in a more precise, crystalline, and committed manner; and for interpretation, give me anyone else.
Loved Corella.
Saveliev doesn't do it for me as von Rothbart either. Would have greatly preferred Hallberg or Gomes.
Sarah Lane (pdt) is a lovely dancer, but that bright and artificial smile is getting on my nerves. As Princess Florine in SB, I assumed she'd been coached to smile in that bright way, while always looking upwards, but she did it again tonight, and it distracts from my enjoyment of her dancing! Yuriko Kajiya (also pdt) also smiled to excess in SB, I felt, but tonight was much more natural, and I enjoyed her very much.
Hee Seo, as one of the princesses, was outstanding. She is having a great season, and I look forward to more.
So my ABT season draws to a close. (I don't need to see Cinderella -- not enough dancing, and I hate to see the ABT talent pool, so impressive, not doing what they can do). My favorite this year: three performances of Manon, and in particular the two with Gomes, Gomes/Kent, and Gomes/Vishneva.
I look forward to City Center!

Saturday night's Swan Lake was beautiful - not without problems - but beautiful. Herrera's articulate feet and gorgeous legs etched out every step with clarity and strength. In a series of supported developees a la second, Odette slowly, slowly opened the leg to the most beautiful and perfect 90 degree position I've ever seen. Pushing the arches on those feet to the extreme and powering the leg with such slowness, it took my breath away. This is why I go to see Paloma. As a youngster, she flashed her technique and threw her legs around; as a mature artist, she dances with an uncommon sense of values.

I spent a lot of time focusing my binocs on her face, and she was one very convincing Odette. Passionate. Vulnerable. Distressed. Resigned. Most other Odettes dive off the cliff as though they have Olympic aspirations. Herrera's Odette stood at the edge, looked back and focused on Siegfried, and she was gone. A great death.

Herrera's Odile is less about meanness and evil, and more about mischievously toying with Siegfried. Perhaps this Odile could use a little more hiss and spit, but it seems always to have been Herrera's choice not to make Odile someone who the audience could dislike - even though she must know by now how much we love and cheer our evil characters.

Corella topped off a remarkable season last night with a powerful and dramatic performance. No problems whatsoever partnering Herrera, who allows him 100% of her confidence. And the guy is great in the passion department, no doubt about that. I lost count of the revolutions in his final pirouettes in the Black Swan pdd, but it went way past seven, and the audience went insane. It seems these days that there is no one who can match Corella's turning and jumping speed followed by those dead-in-his-tracks stops -- absolutely thrilling. He got so many bouquets and loose flowers thrown at him when he came before the curtain that he seemed embarrassed.

Saveliev as VonRothbart had the character down pat, but his dancing was not nearly aggressive enough. His innate elegance got in the way, and he approached a lot of the great Von Rothbart moves sectionally: careful preparation stop controlled multiple pirouette stop open arabesque stop, instead of crazy-mulitple-pirouette-open-arabesque. What a let down when the strobe flash and smoke didn't go off when Von Rothbart exited up the steps to the doorway where it was revealed that he was Swamp Thing. Speaking of S.T., Jared Matthews handled this role well and gave us a good death at the end, but not before getting his cape-fin-wing appendage caught on the rock.

The Pas de Trois was well-danced by Lopez, Kajiya and Lane. I have to agree with Christina174 regarding Lane's use of looking up at the ceiling on her pirouettes. It's a good trick and nice to see once in a while, but doing it every time gets tiring. Kajiya's phrasing in this variation blows me away every time I see her. Last night she found an arabesque balance that not only lasted forever, but continued to breathe and grow and fill the music extraordinarily. She was so lovely without a bit of showiness. I'm still waiting to see Lopez have a good night. I know he's been injured and thus is not at 100%, but his lumpy line and lax feet do not make me happy.