Once a fail-safe mainstay at American Ballet Theatre, now even Giselle can disappoint.
On Wednesday evening, Julie Kent, who is forging her way toward completing a third decade of performing when two were her limit for acceptable classical work, danced a Giselle of watered-down content that was mostly disappointing in front of a house that was nearly half empty. During the past decade, we’ve seen other of Julie’s late-career performances in Petipa ballets that should never have made it to the stage. Her insistence on dancing a last Le Corsaire and La Bayadere some years ago when she had failed to maintain physical conditioning yielded embarrassing results. Wednesday night, as in the past several seasons of Giselle, Julie offered compromises and impressionistic sketchings of steps by a dancer who clearly was lacking in requisite balletic physical conditioning.
In Act I, Julie omitted the penches that conclude the pique arabesques in profile as has been her practice for the past several seasons. In their stead, she stepped to a pique arabesque with her arms in high fifth position and looked out over her shoulder with a pretty smile and raised eyebrows — like something one might see in an Ashton ballet. Surely much of the casual audience must have thought that it was very sweet and girl-like. The problem with the substitution (other than it had less technical value) is that the connection between Giselle’s happy penches in profile in Act I and her deep, sadly spiritual arabesque penche in profile in Act II was lost. Actually, Wednesday night, we didn’t even get the deep, spiritual penche arabesque from Julie in Act II. Rather, we got a slight tilting forward position with major wobbling in the supporting foot. The wobbling in the supporting foot continued through much of Act II. When Alessandra Ferri and Nina Ananiashvili performed Giselle while in their 40s, each still had sufficient strength and stability to pull off the penches and other technical challenges in the ballet. Not so with Julie.
One doesn’t go to Julie’s performances expecting to see great jumps, but her grand jetes in both acts were mere markings of what they should have been and were accompanied by terrific strain in the upper body. The saute ronde de jambe in Act II looked like Julie was flicking some crap off the end of her shoe. In Act I, she fumbled her second attitude turn badly. A simple left footed releve with the other leg in attitude en avant proved problematic for this principal dancer. There were enough bizarre accommodations for her in the tempi that the orchestra sounded like a wind-up Victrola being cranked by a sore arm.
Julie’s lovely arabesque line of past years no longer has the stretch, length, or height that it once had. Even when she was gallantly carried around by Robert Bolle, her arabesque did not sing the pure note that it did in years past. How much more of this do we have to put up with while ABT's talent defects to other companies for chances to dance the iconic roles or dancers stay while hopelessly locked out of opportunities? We, the audience, are being gypped and gypped out of seeing brilliant performances in iconic roles so that a prima who passed her prime long ago can chase after her last hurrahs.
In contrast, the 39-year-old Roberto Bolle has kept his instrument in tip-top dancing shape while he has continued to build his dramatic abilities. His daily investment in training to maintain his flexibility, strength, and balletic technique still yields very admirable results on the stage. It is much less common to see a 39-year-old man dancing at the top of his game in classical works than it is to see a woman. The stress from lifting hundred-pound ballerinas and grand allegro take their tolls on the male dancer’s back and knees early in the career. Over at NYCB, 38+ year old Joaquin De Luz is still shaming the young ones into trying harder. But Bolle and De Luz are exceptions, and we are the lucky beneficiaries of their commitment to the physical prep work that goes into maintaining their instruments.
Roberto’s Albrecht was neither cad nor innocent – perhaps something in between. He was a good sport to carry Julie for the performance, but there was no chemistry between the two of them. His dancing was remarkable in the attractiveness and tastefulness of every phrase, every turn, every jump, every extended leg and pointed foot. Truly a pleasure to watch in all respects. The Act II overhead lifts of Giselle were spectacular. His series of entrechat sixes seemed to go on forever – of course, until he slumped to the ground. While his face conveyed that he was exhausted, his legs could have done 24 more sixes easily.
On Monday night, Diana Vishneva and Marcelo Gomes transported us into a dream from which none wanted to wake. All expectations met. Period.
The ethereal grace of Diana’s Giselle, light and airy and yet so potent with love and forgiveness, spun a simple solution to Albrecht’s complex crisis: redemption. In Act II, so beautiful was the arc of the skirt when Giselle bent forward into a deep penche that you wished for that iconic image to last through another musical phrase or two. The spaciousness of her port de bra as a picture frame around her face or when leaning forward in a supported arabesque was gloriously Romantic.
To conclude the first part of the Act II PdD, Giselle bourreed up behind Albrecht who was on one knee. As she slowly lifted her back leg to arabesque, she lowered her head pressing it against Albrecht’s cheek. It was a little indulgent, perhaps, and a departure from one of the iconic poses to which we are accustomed, but this was Diana & Marcelo who, as we well know, do not shy away from indulgence. There were times in Act II, however, when Haglund wished that Diana’s Giselle had not crossed over into conveying passionate ecstasy with her mouth and eyes while being caressed by Marcelo’s Albrecht. At this point in the ballet, Giselle knows only pure love and pure forgiveness. She wants nothing from Albrecht, and only wants to save him. Diana’s Giselle, on the other hand, seemed passionately to want what Manon and Juliet got. We don’t have to talk about technique but to say that it was impressive and formidable and was used strictly to convey the character.
ABT missed a perfect opportunity to honor its past while honoring its present by dedicating the opening night Giselle to the memory of Ivan Nagy, the company’s great danseur and perhaps its greatest partner – that is, until Marcelo Gomes came along. (The Wednesday evening performance was, instead, chosen as the commemorative for Nagy who expired earlier this year.)
Partnering is for Marcelo, as it was for Nagy, a high calling and a path to heroism on stage. In his career, he has had two partners with whom the chemistry and emotional wattage have overwhelmed anyone who sat in a theater seat to watch them: Veronika Part and Diana Vishneva. Diana was the lucky object of his ardent expression on Monday night.
Marcelo’s Albrecht was cad to the bone. But when his Giselle went insane and died after learning that Albrecht was a Count engaged to a gorgeous lady in an expensive red dress, Marcelo had a terrific little mad scene of his own to bring the curtain down on the first act. His solo dancing was as strong and finely tuned as it has ever been. It seems that with each performance, he reaches for a little more stretch, a little more speed, a little more power. What a joy and privilege it has been to watch Marcelo’s entire career.
On Thursday evening, Xiomara Reyes and Jared Matthews danced the roles of Giselle and Albrecht together for the first and last time. Jared, who also danced a superb Hilarion on Monday night, is fed up with ABT’s lack of confidence in his abilities, and will decamp to Houston Ballet with Yuriko Kajiya at the end of the season. It will be a huge loss to ABT where much talent has defected because of Kevin McKenzie’s practice of substituting mediocre, incompatible, obnoxious guest artists for ABT’s own dancers.
Thursday's outstanding performance gave us Xiomara’s Cuban version of the variations and Jared’s Baryshnikov-based interpretations which merged for a most satisfying evening of clear dancing and intense drama. Giselle's happy, generous penche arabesques in Act I foreshadowed the slow and controlled penche expressions of the spirit in her Act II. The happy racing allegro in Act I foreshadowed the desperate allegro racing against the clock to save Albrecht in Act II. In Xiomara’s interpretation, one could still see a few signs of the wildness of the peasant girl in Act II, and we knew that she was somehow different from the rest of the cold-hearted wilis.
While Marcelo’s Albrecht was pure cad and Roberto’s was not quite cad but not quite innocent, Jared made it clear from the outset that he truly loved his Giselle and that his deception was his only choice if he wanted to keep her. In Act I when Giselle saw clearly that the daisy which she was plucking foretold that Albrecht did not love her, Jared quickly plucked a petal to change the natural outcome, not with fraudulent intent but with determination to show that all signs pointed to his true love of Giselle.
Throughout the evening, his dancing was beyond wonderful – that of a true artist of principal stature who has sadly been wasted by the incompetent artistic management at ABT. Jared’s choice to reprise many of Baryshnikov’s elements from Giselle were good choices that fit him like a glove, but likely chaffed against the raw egos of ABT’s impotent artistic management that still toils and roils in Baryshnikov’s shadow – and always will.
Jared's sequence of blazing brises followed by wild temps de fleche traveling upstage perfectly conveyed the character’s desperate, out of control dancing that was forced upon him by Myrtha. His ultimate exhaustion was conveyed not by a sprawling to the floor after a double tour but by a swift and sudden fall to one knee that struck such stillness in expression one thought surely he had died.
Jared’s partnering of Xiomara was faultless. His overhead lifts in Act II were heroic and the slowness with which he lowered Giselle made her appear light as air. Even though this remarkable overhead lift didn’t work its way into the choreography until the 1950s or so with a Bolshoi production, it is clearly the universal standard of today. Danseurs who don’t want to invest what it takes to gain the strength to do it should pass up Albrecht. In other words, if one doesn’t have the correct change in one's pocket, one should not climb on the bus, and sure as hell should not expect to be given a window seat.
Haglund wishes that Jared would dial back the use of his halting walk that works exceptionally well when used sparingly. It is an effective theatrical tool but was overused in the performance.
Highlights of the week included Myrtha as performed by Gillian Murphy on Monday and Stella Abrera on Wednesday night. Here’s hoping that their performances, both spectacular, were final kiss-offs of this secondary role that has stood between them and the title role of Giselle far too long.
Gillian’s Myrtha was a stinging cold, uncompromising executioner whose smack of the myrtle branches left welts on all men everywhere. Stella’s Myrtha, icy and authoritative, still showed signs of hurting from being jilted in her mortal life. She was slightly misunderstood, but still dangerous. Gillian’s grand jetes vaulted powerfully into the air while Stella’s streamed up and fast foward with the back of her skirt looking like wispy contrails behind a jet. To prepare for the hunting and dispatching of their victims, each Myrtha unloaded a manege – no, make that unloaded a magazine of saute de basque with the fiery force of The Terminator and concluded it by exiting with a sustained arabesque balance and a cold look in her eyes that said, “I’ll be back.”
Thursday evening’s Myrtha was “exchange artist” Amy Watson from the Royal Danish Ballet. This “exchange,” like the “exchange” that brought Australian Ballet’s Kevin Jackson here for Manon, is unreciprocated. No one from ABT has been designated to go anywhere in “exchange” for the de facto imported guest artists. It was just ABT’s way of trying to disguise the fact that it was importing inferior dancers from foreign companies instead of giving its own dancers opportunities to perform. What a disappointment to see such mediocrity in a principal role on ABT’s stage. It was worse than the fiasco with Tamás Solymosi who McKenzie tried to force on us ten or so years ago. Ms. Watson, who sports lovely shaped feet, was graceless above the ankles. She nearly collapsed on the first set of arabesque promenades. Her arms looked like something out of rural regional ballet school. There are many ABT dancers in the corps de ballet who would have delivered a much better Myrtha.
The Peasant Pas de Deux was danced by Sarah Lane and Joseph Gorak on Monday and Wednesday nights to spectacular effect. They now look like a true partnership, and Gorak has easily surpassed Daniil Simkin in partnering skills. So, hopefully, this all points to more Sarah & Joe instead of Sarah & Daniil. Sarah’s triple pirouettes from the knee into supported arabesque promenade were easy, breezy beautiful by a dancer who should be an ABT Cover Girl, not one who bears the false flattery of “flagship soloist.” Her balances were like little surprise gifts as opposed to calculated bribes for applause. Every phrase, every segue, every step, every partner connection exceeded what either Isabella Boylston or Misty Copeland, who the company is unwisely pushing to the forefront long before they are ready, have been able to deliver. Misty and Blaine Hoven, who performed the Peasant PdD on Thursday night, were an odd match except for the bulk of their muscles. They did not dance badly, but they did not compare favorably to the highly polished product that Sarah and Joe delivered.
There are some things to talk about with regard to Moyna and Zulma. Yuriko Kajiya’s Zulma on Monday has become the Gold Standard as far as Haglund is concerned. The weightlessness, length of line, and musicality in this dancer are something to behold. Her renverses spoke with a sweep and airiness that Haglund cannot remember seeing before. She is, of course, one of ABT’s best interpreters of Giselle. Sadly, New York has never been given the opportunity to see how she and Jared triumph when dancing together in this ballet. The Zulmas on Wednesday and Thursday were Zhong-Jing Fang and Stephanie Williams, both of whom performed very well. Fang has been dancing this role for a while and has made great progress in smoothing out her musicality and modulating her energy and power which was very nice to see.
The Moynas for Monday, Wednesday, and Thursday were Misty Copeland, Christine Shevchenko, and Melanie Hamrick. While Misty is a stunner in nearly all of the contemporary work that ABT puts on the stage, the classical works of Petipa simply are not a good fit for her. The contemporary works happily exploit and can make beautiful the substantial bulk in her upper body, but the physique is a misfire in romantic tulle. And it was especially unfortunate when the dancer was paired with the lithe Yuriko as Zulma. Misty has indicated a disdain for being told that she needs to lengthen her lines; but it is the truth that she needs to do it. If she can’t or won't, ABT should not just give up and say, “Oh, you can dance anyway.” Also, the heavy force which she applies to Petipa is akin to a jackhammer going through rock.
Christine Shevchenko also needs to lengthen the lines in her upper body which looked a little mushy. Her Moyna Wednesday was a work in progress. We’ll keep checking back regularly, however, because her Fairy of Joy in Sleeping Beauty was very pleasing and suggested that she has much to give an audience.
Melanie Hamrick – okay, okay, she needs a scolding for calling in sick to work and then tripping off to Zurich to meet with "His Majesty," "that bitch Brenda” as Keith calls him – but her Moyna on Thursday night was beautiful. Just exquisite. This dancer has more quality and classical bearing than Isabella Boylston could ever hope to have. And she has a beautiful, expressive face, scrupulously classical leg lines and feet, lovely arms and hands, and untapped technical potential. Why isn’t this dancer getting more soloist roles? ABT needs to keep her occupied so that she doesn’t skip down a wayward trail and out of her career.
We mentioned above that Jared Matthews was Hilarion on Monday night. Patrick Ogle danced the role on Wednesday night and Thursday and was very good, too – much better than the last time we saw him do it. Shortly after he was chased by the wilis into the scene in Act II, he delivered a desperate tour jete/legs in attitude leap into the air in which it looked like his back foot nearly met his head – a la Malakhov.
Back in the 1980s when Baryshnikov ran ABT, Manolo Blahnik was the go-to shoe designer for the biggest names in fashion. He was respected and admired for his superior aesthetic, a quality that has never gone out of style. One could not go wrong in wearing Manolo Blahnik. The Pump Bump Award of the week, from a more recent Blahnik collection, goes to Jared Matthews for his extraordinary performance of Albrecht and to Xiomara Reyes, who this season is turning into something of a Heroine to some very talented men at ABT.
32 responses to “ABT – Giselle – 6/16, 6/18 eve, 6/19”
Woof. You put the boot in harsh on Kent, but it’s hard to take issue with it.
For example, my friend and I were at Wednesday’s performance, as well. After intermission, she was very complimentary of Kent’s abilities at her age, as the steps “still looked like nice ballet”. And they were. There was definite merit to what Kent did, and the audience seemed to like the show. I would just expect that ABT would be striving to put forward dancers that, as you put it nicely, do more than “impressionistic sketchings”. But perhaps that isnt necessary under ABT’s business model?
But you’ll appreciate this: at dinner after, before I started explaining to her why Kent’s choices weren’t quite in keeping with what I expected based on my (very small) handful of Giselles, my friend said that she thought Abrera was awesome, and we would amazing as Giselle, as she seemed to have a “more expressive range of dancing.” She then asked if Giselle’s dancing was supposed to be more simple than Myrthas…
If a non-dancing lawyer who has only gone to ballet 5x ever (NYCB, with me over past season, and I’m hardly an expert) can see this, one’s really gotta question why the guy who runs ABT can’t.
Woof. You put the boot in harsh on Kent, but it’s hard to take issue with it.
For example, my friend and I were at Wednesday’s performance, as well. After intermission, she was very complimentary of Kent’s abilities at her age, as the steps “still looked like nice ballet”. And they were. There was definite merit to what Kent did, and the audience seemed to like the show. I would just expect that ABT would be striving to put forward dancers that, as you put it nicely, do more than “impressionistic sketchings”. But perhaps that isnt necessary under ABT’s business model?
But you’ll appreciate this: at dinner after, before I started explaining to her why Kent’s choices weren’t quite in keeping with what I expected based on my (very small) handful of Giselles, my friend said that she thought Abrera was awesome, and we would amazing as Giselle, as she seemed to have a “more expressive range of dancing.” She then asked if Giselle’s dancing was supposed to be more simple than Myrthas…
If a non-dancing lawyer who has only gone to ballet 5x ever (NYCB, with me over past season, and I’m hardly an expert) can see this, one’s really gotta question why the guy who runs ABT can’t.
The Monday evening performance of Giselle with Marcelo and Diana was THE event of ABT’s spring season. If you could attend only one performance this season, that was the one to see. As you write: Marcelo and Diana “transported us into a dream from which none wanted to awake. All expectations met. Period.” I agree 100%. There’s really nothing else to say. It was heavenly.
The Monday evening performance of Giselle with Marcelo and Diana was THE event of ABT’s spring season. If you could attend only one performance this season, that was the one to see. As you write: Marcelo and Diana “transported us into a dream from which none wanted to awake. All expectations met. Period.” I agree 100%. There’s really nothing else to say. It was heavenly.
Hi Bored_on_Wall_Street.
It’s true that Julie offered lovely port de bras and looked ethereal when being partnered by Bolle.
Your friend’s experience is kind of like when you go to a high-end fancy restaurant once in a while, you really don’t know if the chef is substituting cheap ingredients in the beef wellington. But you do know that you’re paying high prices and the atmosphere is lovely and the service is attentive; so, you will expect to have a good time. If you suddenly learned that you weren’t eating what you thought you were eating, you might be a little disappointed. If, on the other hand, you went to this restaurant regularly and beef wellington was your favorite dish, you would probably know immediately if it wasn’t up to par and might be a little indignant.
I think that the guy who is running ABT sees what is going on but there are personal, political, and financial factors that persuade him not to do a better artistic job.
Hi Bored_on_Wall_Street.
It’s true that Julie offered lovely port de bras and looked ethereal when being partnered by Bolle.
Your friend’s experience is kind of like when you go to a high-end fancy restaurant once in a while, you really don’t know if the chef is substituting cheap ingredients in the beef wellington. But you do know that you’re paying high prices and the atmosphere is lovely and the service is attentive; so, you will expect to have a good time. If you suddenly learned that you weren’t eating what you thought you were eating, you might be a little disappointed. If, on the other hand, you went to this restaurant regularly and beef wellington was your favorite dish, you would probably know immediately if it wasn’t up to par and might be a little indignant.
I think that the guy who is running ABT sees what is going on but there are personal, political, and financial factors that persuade him not to do a better artistic job.
Do you have any insights as to why Xiomara Reyes and Herman Cornejo have been paired together so infrequently this season? I always thought they were lovely together.
Do you have any insights as to why Xiomara Reyes and Herman Cornejo have been paired together so infrequently this season? I always thought they were lovely together.
Hi Jennifer.
I don’t know why Xiomara and Herman haven’t been paired other than McKenzie is desperate to find uses for guest artists like Alina Cojocaru, who I’ve read really bombed last night in Giselle and couldn’t muster much of the technique. Based on what I’ve read about last night, it seems that Alina should immediately drop out of Swan Lake. Sarah Lane stands ready to step in and make Swan Lake what it should be — with ALL the steps.
Hi Jennifer.
I don’t know why Xiomara and Herman haven’t been paired other than McKenzie is desperate to find uses for guest artists like Alina Cojocaru, who I’ve read really bombed last night in Giselle and couldn’t muster much of the technique. Based on what I’ve read about last night, it seems that Alina should immediately drop out of Swan Lake. Sarah Lane stands ready to step in and make Swan Lake what it should be — with ALL the steps.
Hi, B!
Doesn’t it seem like Marcelo has a penchant for delivering THE event of the season a lot?
Hi, B!
Doesn’t it seem like Marcelo has a penchant for delivering THE event of the season a lot?
Alina didn’t bomb last night, she was wonderful and there are many positive comments/ reviews on her performance. Of course people’s tastes and opinions vary but I do believe there are those who decide beforehand that they will dislike anyone who is a guest. I do think the role should have gone to sarah in the first place but I’m not going to take that out on Alina. I thought she gave a very moving and beautiful performance, as did many others I have spoken to, and the crowd’s reaction on the whole was very favorable.
I also wonder why Xiomara & herman have not been cast together this season, not even once.!! I love them together also.
Alina didn’t bomb last night, she was wonderful and there are many positive comments/ reviews on her performance. Of course people’s tastes and opinions vary but I do believe there are those who decide beforehand that they will dislike anyone who is a guest. I do think the role should have gone to sarah in the first place but I’m not going to take that out on Alina. I thought she gave a very moving and beautiful performance, as did many others I have spoken to, and the crowd’s reaction on the whole was very favorable.
I also wonder why Xiomara & herman have not been cast together this season, not even once.!! I love them together also.
Good to hear, Robin. I’m sure that there were many people who enjoyed the performance immensely just as there were people who enjoyed Julie Kent’s Giselle.
Expectations are high when a guest artist waltzes in and supplants ABT’s own wonderful artists. I’m not sure that we should cut them any slack or ignore it when they don’t meet the technical demands of the role. That’s what the outrage on Twitter and elsewhere is about last night’s performance — not that Alina didn’t offer beautiful artistry; just that her artistry was no substitute for low technical marks in Act I. But ABT has the last laugh, because they got the money of everyone who is complaining.
You have to wonder what the Swan Lake will be like. When she & Kobborg cancelled their last RB performance of S.L., Alina acknowledged that she had made so many alterations to the choreography to compensate for her foot that it no longer looked like Swan Lake. Someone will have to tell me how their performance goes….
In addition to Xiomara and Herman not having any performances, Veronika and Marcelo were not cast together at all this season. I don’t think that has helped attendance.
Good to hear, Robin. I’m sure that there were many people who enjoyed the performance immensely just as there were people who enjoyed Julie Kent’s Giselle.
Expectations are high when a guest artist waltzes in and supplants ABT’s own wonderful artists. I’m not sure that we should cut them any slack or ignore it when they don’t meet the technical demands of the role. That’s what the outrage on Twitter and elsewhere is about last night’s performance — not that Alina didn’t offer beautiful artistry; just that her artistry was no substitute for low technical marks in Act I. But ABT has the last laugh, because they got the money of everyone who is complaining.
You have to wonder what the Swan Lake will be like. When she & Kobborg cancelled their last RB performance of S.L., Alina acknowledged that she had made so many alterations to the choreography to compensate for her foot that it no longer looked like Swan Lake. Someone will have to tell me how their performance goes….
In addition to Xiomara and Herman not having any performances, Veronika and Marcelo were not cast together at all this season. I don’t think that has helped attendance.
I took my cousin’s wife to the Cojocaru-Hallberg Giselle. I am no fan of Alina but mainly got tickets for the show to suit our schedules, and because I thought since she is new to ballet attending, Giselle would be a nice ballet to give her more appreciation of ballet aside from the easy crowd pleasing shows like Don Q.
I was quite shocked at how steadily and quickly Alina’s technique has degraded. It’s not a temporary thing either, it seems to be in decline since just prior to leaving Royal Ballet. I knew not to expect much of her Act 1 as I heard she hasn’t done balloné en pointe fully as dictated in choreography, for few seasons now. She was only able to do a few and even those showed strains in her ankles and her feet encased in ever widening pointe shoes. But it was not only that, there is something “off” about her technique, it’s more befitting of a 45 year-old ballerina on her farewell season. I had to look up her age and sure enough she is only 34. There is now a brittleness to the way she uses her legs, going back to Act 1 variation and hops on pointe/ balloné, i thought she sank into her shoes the way a student would get corrected in class for doing so. Willi Giselle was artistically not true to the canon of the ballet in my opinion. Facially her Willi Giselle has always been too emotive, wearing a furrowed browed, outwardly sad expression throughout important parts of the PdD. Contextually, Willi Giselle must project tinge of sadness behind her new persona free of worldly emotions. She is a Willi, she is beyond all of that, yet there is still a tinge of feeling there, a regret which leads to forgiveness. Alina’s Giselle was not otherworldly in this regard, it was too actor-like emotive for my taste and understanding of the history and background of Giselle.
So she was technically subpar in Act 1 and artistically not to my taste in final act. Hallberg though seems to enjoy partnering the more petite ballerinas like Alina. I did not see the strains in his lower back he sometimes has when partnering tall ballerinas. I thought he looked great with Alina especially in final act. Hallberg, I’m beginning to think, is a more receptive partner and looser dancer when paired with more artistically emotive ballerinas who are on the petite side. It somehow takes the edge off of his sometimes calculating, cool danseur noble exterior.
Going back to why ABT gives Alina full length ballets unsuitable to her current level of technique, I mean I can definitely see why she is considered artistically a world class ballerina. But like you say, even her artistry is starting to become affected by glaring deficiencies in technique. I would love to see her in works such as Manon where precise technique isn’t needed, but not in another Giselle. I had heard good things about her Nikiya though in recent run so maybe all is not lost.
I took my cousin’s wife to the Cojocaru-Hallberg Giselle. I am no fan of Alina but mainly got tickets for the show to suit our schedules, and because I thought since she is new to ballet attending, Giselle would be a nice ballet to give her more appreciation of ballet aside from the easy crowd pleasing shows like Don Q.
I was quite shocked at how steadily and quickly Alina’s technique has degraded. It’s not a temporary thing either, it seems to be in decline since just prior to leaving Royal Ballet. I knew not to expect much of her Act 1 as I heard she hasn’t done balloné en pointe fully as dictated in choreography, for few seasons now. She was only able to do a few and even those showed strains in her ankles and her feet encased in ever widening pointe shoes. But it was not only that, there is something “off” about her technique, it’s more befitting of a 45 year-old ballerina on her farewell season. I had to look up her age and sure enough she is only 34. There is now a brittleness to the way she uses her legs, going back to Act 1 variation and hops on pointe/ balloné, i thought she sank into her shoes the way a student would get corrected in class for doing so. Willi Giselle was artistically not true to the canon of the ballet in my opinion. Facially her Willi Giselle has always been too emotive, wearing a furrowed browed, outwardly sad expression throughout important parts of the PdD. Contextually, Willi Giselle must project tinge of sadness behind her new persona free of worldly emotions. She is a Willi, she is beyond all of that, yet there is still a tinge of feeling there, a regret which leads to forgiveness. Alina’s Giselle was not otherworldly in this regard, it was too actor-like emotive for my taste and understanding of the history and background of Giselle.
So she was technically subpar in Act 1 and artistically not to my taste in final act. Hallberg though seems to enjoy partnering the more petite ballerinas like Alina. I did not see the strains in his lower back he sometimes has when partnering tall ballerinas. I thought he looked great with Alina especially in final act. Hallberg, I’m beginning to think, is a more receptive partner and looser dancer when paired with more artistically emotive ballerinas who are on the petite side. It somehow takes the edge off of his sometimes calculating, cool danseur noble exterior.
Going back to why ABT gives Alina full length ballets unsuitable to her current level of technique, I mean I can definitely see why she is considered artistically a world class ballerina. But like you say, even her artistry is starting to become affected by glaring deficiencies in technique. I would love to see her in works such as Manon where precise technique isn’t needed, but not in another Giselle. I had heard good things about her Nikiya though in recent run so maybe all is not lost.
Forgot to point out Stella’s batterie and her precise feet were a revelation. Seriously on par with those Paris Opera Ballet ballerinas. Her legs and feet spoke of authority, so much that by the time your eyes follow up along her torso and arms, the whole effect was pure Myrtha.
Forgot to point out Stella’s batterie and her precise feet were a revelation. Seriously on par with those Paris Opera Ballet ballerinas. Her legs and feet spoke of authority, so much that by the time your eyes follow up along her torso and arms, the whole effect was pure Myrtha.
Hi Genna.
While I didn’t see the Saturday evening performance, I did see Stella’s Myrtha Wednesday night and totally agree with your description.
I think that a significant element that people mistakenly think of as Alina’s artistry is her girlishness – the perpetually upturned eyebrows, her petiteness, the cute factor, if you will. Kevin McKenzie has stated that he prefers a dancer who has a child/woman quality, which I find a perverted view of what a professional female dancer should be. He didn’t say adolescent/woman quality or teen/woman quality or someone who can effectively act like both. He specifically said child/woman. So at ABT, if you either look like a child or act like one, it will get you far these days with Daddy McKenzie. One time at a Donors’ Dress Rehearsal, I saw him greet Paloma Herrera by taking hold of her shoulders and kissing the top of her forehead. I can just imagine what would happen if anyone tried that in my workplace. The idea of the boss wanting to be Daddy to the female employees doesn’t fly in most of corporate America. Sadly, right now in ABT there is a tiny corps dancer who has gotten McKenzie’s attention and is now dancing nearly every step with ridiculously raised eyebrows – to emulate you-know-who.
Genna, take a look at the video of Stella with Tom Forster for which I provided a link in the post above this one.
Hi Genna.
While I didn’t see the Saturday evening performance, I did see Stella’s Myrtha Wednesday night and totally agree with your description.
I think that a significant element that people mistakenly think of as Alina’s artistry is her girlishness – the perpetually upturned eyebrows, her petiteness, the cute factor, if you will. Kevin McKenzie has stated that he prefers a dancer who has a child/woman quality, which I find a perverted view of what a professional female dancer should be. He didn’t say adolescent/woman quality or teen/woman quality or someone who can effectively act like both. He specifically said child/woman. So at ABT, if you either look like a child or act like one, it will get you far these days with Daddy McKenzie. One time at a Donors’ Dress Rehearsal, I saw him greet Paloma Herrera by taking hold of her shoulders and kissing the top of her forehead. I can just imagine what would happen if anyone tried that in my workplace. The idea of the boss wanting to be Daddy to the female employees doesn’t fly in most of corporate America. Sadly, right now in ABT there is a tiny corps dancer who has gotten McKenzie’s attention and is now dancing nearly every step with ridiculously raised eyebrows – to emulate you-know-who.
Genna, take a look at the video of Stella with Tom Forster for which I provided a link in the post above this one.
Oho, Haglund, so that explains Isabella Boylston. Also Hee Seo, who does, however, on the plus side, use her upper body quite expressively. You can really see that up close in the studio rehearsals. It also explains Veronika Part’s history as well as that of Stella Abrera.
Oho, Haglund, so that explains Isabella Boylston. Also Hee Seo, who does, however, on the plus side, use her upper body quite expressively. You can really see that up close in the studio rehearsals. It also explains Veronika Part’s history as well as that of Stella Abrera.
I think your fine dining comparison is apt. However, if i get a nice prime rib at a gastro pub for $25, regardless of how often i go to more upscale places, I don’t think the chef would think he’s serving up something you’d get at Wolfgang’s or something. They won’t pretend to be something they’re not. So, as the director of what styles itself as the country’s ballet company, one should expect more of KM. It’s obviously a complicated job, with a ton of varied concerns, but there has to be a fidelity to the basic mission of what I presume to be a non-profit corporation. Giving agreeable product to those who paid for what they thought was top shelf and “classical” quality is just….unfortunate, and not sustainable.
I think your fine dining comparison is apt. However, if i get a nice prime rib at a gastro pub for $25, regardless of how often i go to more upscale places, I don’t think the chef would think he’s serving up something you’d get at Wolfgang’s or something. They won’t pretend to be something they’re not. So, as the director of what styles itself as the country’s ballet company, one should expect more of KM. It’s obviously a complicated job, with a ton of varied concerns, but there has to be a fidelity to the basic mission of what I presume to be a non-profit corporation. Giving agreeable product to those who paid for what they thought was top shelf and “classical” quality is just….unfortunate, and not sustainable.
Hi Bored on Wall Street.
Given the swaths of empty seats at performances this year, I’d say that people are fairly fed up with the chef. But there seems to be no end to the ABT board’s willingness to bail out McKenzie. The Board has a stronger devotion to McKenzie, who is one of its members, than it has to ABT.
Hi Bored on Wall Street.
Given the swaths of empty seats at performances this year, I’d say that people are fairly fed up with the chef. But there seems to be no end to the ABT board’s willingness to bail out McKenzie. The Board has a stronger devotion to McKenzie, who is one of its members, than it has to ABT.
I have been going to ABT since 2001. I am no expert and do not really know any technical names and terms for the dance steps or movements. That being said, after averaging 30 performances every spring I can tell good from bad.
I saw Giselle 5xs last week. I totally agree that Monday Diana and Marcelo were outstanding. Xiomara and Jared were a close second. Xiomara’s footwork was outstanding and Jared was wonderful. I’ve been wanting to see him dance Romeo for years. I thought Julie Kent, while she still did most of the steps and was lovely, even I see that this should be her last Giselle. Roberto Bolle is outrageous and totally saved this night for me. He is on fire this year and for me his performance even had and edge over Marcello’s. I would love to see Him dance opposite Veronica Part or Paulina as Giselle. I LOVE David Hallberg but while he was very good on Tuesday I’ve come to expect wonderful or better. I felt that he just went through the motions most of the night. He was much better, more present on Saturday. If it weren’t for him that night would have been a total bomb. Alina Cojocaru left so much out or shorten what she steps she did I wondered if she was dancing a version I didn’t know about. It is sad when great dancers have physical problems that effect their ability but they should know to leave while on top. I saw her dance about 3 yrs ago and the difference was glaring. What about David dancing with Hee Seo again or Gillian Murphy as Giselle.
The corp was pretty much perfect on all the nights I was there. Gillian and Stella were perfect. Sorry but Amy Watson was boring and couldn’t keep pace with the corp.
I have been going to ABT since 2001. I am no expert and do not really know any technical names and terms for the dance steps or movements. That being said, after averaging 30 performances every spring I can tell good from bad.
I saw Giselle 5xs last week. I totally agree that Monday Diana and Marcelo were outstanding. Xiomara and Jared were a close second. Xiomara’s footwork was outstanding and Jared was wonderful. I’ve been wanting to see him dance Romeo for years. I thought Julie Kent, while she still did most of the steps and was lovely, even I see that this should be her last Giselle. Roberto Bolle is outrageous and totally saved this night for me. He is on fire this year and for me his performance even had and edge over Marcello’s. I would love to see Him dance opposite Veronica Part or Paulina as Giselle. I LOVE David Hallberg but while he was very good on Tuesday I’ve come to expect wonderful or better. I felt that he just went through the motions most of the night. He was much better, more present on Saturday. If it weren’t for him that night would have been a total bomb. Alina Cojocaru left so much out or shorten what she steps she did I wondered if she was dancing a version I didn’t know about. It is sad when great dancers have physical problems that effect their ability but they should know to leave while on top. I saw her dance about 3 yrs ago and the difference was glaring. What about David dancing with Hee Seo again or Gillian Murphy as Giselle.
The corp was pretty much perfect on all the nights I was there. Gillian and Stella were perfect. Sorry but Amy Watson was boring and couldn’t keep pace with the corp.
Hi Eliza.
As you pointed out, Roberto is really giving us his most extraordinary performances this season. I, too, would like to see him paired once again with Veronika. Their one Swan Lake was quite beautiful.
Hi Eliza.
As you pointed out, Roberto is really giving us his most extraordinary performances this season. I, too, would like to see him paired once again with Veronika. Their one Swan Lake was quite beautiful.