Forgiveness used to work. That’s what Giselle reminds us. It was sometimes a path to realizing one’s deepest single love. Not so these days, though. “So long” is an easy no-fault click away online. Everyone senses they have options that are better than what they have.
So why does Giselle still resonate? For starters, it’s easy to understand. It has love, betrayal, revenge, and forgiveness in equal amounts which are equally beautiful and justifiable. Viewers don’t have to pick sides. We can like and admire everybody: the victims, the perpetrators, those dishing out life sentences, the King, and the poor. It’s a relief of sorts.
ABT opened its generous run of ten performances of Giselle last Saturday. Each of its nine principal women will get a chance to dance the role of Giselle, and guest artist Olga Smirnova is the tenth. The company’s production is and always has been fulfilling but it needs refurbishing of its costumes, sets, and lighting. The peasant costumes in Act I look like rejections from the free box at Goodwill that some local ballet school picked out for their amateur production. They’re horrible. They’re tasteless. They shouldn’t be tolerated. The lighting dims the production for all but the first dozen rows in the orchestra.
Saturday’s matinee featured Christine Shevchenko and Calvin Royal III as Giselle and Albrecht. Both artists are long in line, elegant, and possess the same type of introspective reserve. This lack of contrast didn’t always serve the performance. Shevchenko’s Giselle was a classical beauty whose refined phrasings were akin to those of Olga Smirnova in the evening’s performance. Her detailed competence never came off as dry as some of ABT’s Giselles have been, but rather, Shevchenko’s Giselle was heartfelt and genuine. In Act II, especially, she floated like wispy cirrus clouds signaling the approach of severe weather.
There’s something to be said for a ballerina’s spiritual devotion to academic standards. Olga Smirnova, a messenger of Vaganova Academy’s values and peerless training, boasts physical blessings of length and line that almost look like they were created from a Prequel app that Disneyfies photos into perfection. In her Act I solos, her arms astonished for their length and their refusal to cross that invisible plane in front of her. She seemed intent on showing her artistic heritage and how the choreography can be beautiful without adding Western sauce. Except for some extraordinary albeit unnecessary detailing in Giselle’s mad scene, Smirnova came off as a thoroughly charming and naive Giselle. She already comes equipped with huge wondering eyes. When she stretched her eyelids open even wider to denote her descent into madness, she looked ophthalmic-ly weird. More importantly, while the insanity came through loud and clear, her victimization did not. After all, Giselle goes mad because she’s a victim of Albrecht’s fraud. The hurt and victimization should show through in addition to the insanity. Smirnova’s Act II easily met the bar for being hauntingly beautiful. Every shape we expected was there. Every moment we anticipated fulfilled our expectations. We’ve never been a fan of having the tempo slowed to a crawl during Giselle’s entrechat quatre so that she can jump higher. The fast, low to the ground entrechat quatre are far more theatrical and ghost-like.
Calvin Royal III as Shevchenko’s Albrecht was a sturdy partner with beautiful lines and picturesque leaps, but he muddled and shortchanged the entrechat six. There’s only one way to unload a full magazine of entrechat six when needed and that’s to practice them everyday. Royal’s Albrecht was sincere without an ounce of intentional cheat. He was a nice guy, but we never saw Albrecht’s flawed character. His overhead lifts of Giselle were exceptionally stirring and beautiful. All of the partnering including the lifted arabesque hops across the stage were gorgeous.
Daniel Camargo was a fully-considered Albrecht whose technique was impressively used to further his story. While we can’t say that Camargo and Smirnova approached our memories of that other Brazilian-Vaganova pair of Gomes & Vishneva, there was enough rapport between them to suggest that a couple of more Giselles might build into something extraordinary. Camargo’s Act I Albrecht was sufficiently ambiguous when it came to the question of dalliance or devotion. His choice in Act II of combining a diagonal run of brises followed by the circling sautes in attitude was pleasant to watch but not as thrilling as a double dose of brises where Albrecht desperately falls to his knees so close to Myrta that her lowering spectered arm nearly meets him between the eyes. We’re recalling just such a performance of Stiefel’s Albrecht and Abrera’s Myrta that made us gasp and nearly stopped our hearts.
Chloe Misseldine’s Myrta in the Smirnova/Camargo cast had much more authority than when we first saw her in the role. Fangqi Li in the Schevchenko/Royal cast had some lovely moments that conveyed spectral intent but her overall dancing was small and ineffective for a Myrta. Neither artist evoked the horizontal wind-shearing effect in her grand jetes. Both seemed more intent on landing big jumps rather than long jumps that covered distance like a ghostly avenging spirit whistling through the wind. Again, we point to Abrera’s Myrta.
In both performances, Zulma and Moyna were disappointments. Zulma’s reversés by Zimmi Coker and Sierra Armstrong which are supposed to be huge and lingering were nothing to write home about. Nor were the pique penche arabesques. Here, we point to Leeann Underwood as having set the high bar for this role. Moyna as danced by Breanne Granlund and Remy Young could not have looked smaller or more unimportant. The expected artistry simply was not present.
Both Andrii Ishchuk and Joseph Markey were fine Hilarions—Ishuchuk was the more genuinely in love whereas Markey was more about rightful possession of Giselle.
The Peasant Pas de Deux was danced brilliantly by Lea Fleytoux and Jake Roxander. We hate how ABT is wasting Fleytoux’s value and career time on these secondary roles. This season should have been her Giselle debut under a huge spotlight. Ditto with the criminal underuse of Elisabeth Beyer.
The Corps de Ballet was mostly well-drilled but the mishmash of sizes and silhouettes disrupted visual continuity. A few did have a problem holding the arabesque line without wobbling in Act II.
The HH Pump Bump Award, a stiletto of simple elegance by Jimmy Choo, is bestowed upon Christine Shevchenko for her beautiful interpretation and clear dancing in Giselle.
32 responses to “ABT Giselle 6/21 Mat & Eve
She keeps forgiving him”
I wonder what promotions will be given this Summer. It seems that none of the female soloists are dancing principal roles to be prepared to move into the vacancy soon to be left by Gillian Murphy and then Misty Copeland in Fall. Will there be any spots open in the Soloist category for deserving corps members? There are, however, some male dancers who might be better prepared for promotion. That said, it is good to see that Susan Jaffe is giving more performance opportunities to the corps dancers.
BTW, lovely review, Haglund!
I wonder what promotions will be given this Summer. It seems that none of the female soloists are dancing principal roles to be prepared to move into the vacancy soon to be left by Gillian Murphy and then Misty Copeland in Fall. Will there be any spots open in the Soloist category for deserving corps members? There are, however, some male dancers who might be better prepared for promotion. That said, it is good to see that Susan Jaffe is giving more performance opportunities to the corps dancers.
BTW, lovely review, Haglund!
Oh, I forgot to mention the vacancy that will be left by Cassandra Trenary’s move to Vienna State Opera Ballet after this season. That will leave three Principal openings.
Oh, I forgot to mention the vacancy that will be left by Cassandra Trenary’s move to Vienna State Opera Ballet after this season. That will leave three Principal openings.
Georgiann, I wouldn’t hazard a guess about movement within the women’s ranks. Susan seems to be holding back Lea Fleytoux and Elisabeth Beyer. I’m very interested in seeing what Atau Watanabe has to offer. Coming up eventually thru ABT Stu Co is Viktoria Papakalodouka. But that’s it for the moment with respect to potentially spectacular ballerinas–none of whom will be able to slog their way to principal any time soon, the way things stand now.
Georgiann, I wouldn’t hazard a guess about movement within the women’s ranks. Susan seems to be holding back Lea Fleytoux and Elisabeth Beyer. I’m very interested in seeing what Atau Watanabe has to offer. Coming up eventually thru ABT Stu Co is Viktoria Papakalodouka. But that’s it for the moment with respect to potentially spectacular ballerinas–none of whom will be able to slog their way to principal any time soon, the way things stand now.
Re: promotions, the only soloist dancing principal roles this season is Roxander. But I think Markey, de la Nuez, and Miyake will likely move up to soloist. Not sure what to think about potential female promotions at this point.
Re: promotions, the only soloist dancing principal roles this season is Roxander. But I think Markey, de la Nuez, and Miyake will likely move up to soloist. Not sure what to think about potential female promotions at this point.
Lina, I totally agree with your assessment.
Lina, I totally agree with your assessment.
Thanks Haglund and Lina!
Thanks Haglund and Lina!
Haglund, I salute your salute to Shevchenko. She was a sublime Giselle. Brava, diva! And thank you for the clarity of your superbly educated and refined perceptions that with every post of yours educate your grateful readers.
Haglund, I salute your salute to Shevchenko. She was a sublime Giselle. Brava, diva! And thank you for the clarity of your superbly educated and refined perceptions that with every post of yours educate your grateful readers.
Their lack of shows creates an interesting problem. They don’t need any more principals to replace the ones leaving because I’m sure ballerinas would like to dance more than once a week. But the younger ranks also never get a shot. Really hope they can flesh out their calendar.
Their lack of shows creates an interesting problem. They don’t need any more principals to replace the ones leaving because I’m sure ballerinas would like to dance more than once a week. But the younger ranks also never get a shot. Really hope they can flesh out their calendar.
Eulalia, thank you!
Eulalia, thank you!
BalletomaneBK — all true.
BalletomaneBK — all true.
Well, I live in Texas and am not traveling to NYC this summer for the ABT met shows. Sadly, I must say. Nevertheless, I can’t help but throw in my two cents after reading Haglund’s informative review. First, Misty selfishly took up space on the ABT roster for five years, which denied a promising or deserving dancer that principal spot. It is shameful on both her and ABT’s part to do such a thing. I am a former professional dancer who has followed ABT since its Barishnikov days back in the 80s when 90% of the company members were stars in their own right. Unfortunately, that is not the case anymore. There are a handful of standouts, but otherwise it is a company full of well-trained technicians who lack unique qualities that makes you want to jump to your feet. For instance, Breanne Granlund. I still scratch my head as to how and why she was promoted to soloist as her dancing fails to impress me. As for the corps ladies, I agree with Haglund’s observation. There is a huge variation of sizes and capabilities. Some have potential to move up the ranks eventually while others are obviously destined to spend their entire career in the background. The body types also draw a big question as there is a spectrum ranging from long, elegant and lean to slightly thick or borderline overweight. It really is obvious and makes a huge difference on the uniformity and visual aesthetics of the corps. Last, I must also agree with Haglund on the costumes. They are long overdue for a refresh. The “white” Willi costumes are so dingy they look yellow/brownish in photos. The peasant costumes . . . well, they do look peasanty to say the least. The development team at ABT really needs to launch a capital campaign to raise funds for a new “Giselle”, especially since this is a ballet that is performed yearly. Imagine how those costumes smell. Whew!!!
Well, I live in Texas and am not traveling to NYC this summer for the ABT met shows. Sadly, I must say. Nevertheless, I can’t help but throw in my two cents after reading Haglund’s informative review. First, Misty selfishly took up space on the ABT roster for five years, which denied a promising or deserving dancer that principal spot. It is shameful on both her and ABT’s part to do such a thing. I am a former professional dancer who has followed ABT since its Barishnikov days back in the 80s when 90% of the company members were stars in their own right. Unfortunately, that is not the case anymore. There are a handful of standouts, but otherwise it is a company full of well-trained technicians who lack unique qualities that makes you want to jump to your feet. For instance, Breanne Granlund. I still scratch my head as to how and why she was promoted to soloist as her dancing fails to impress me. As for the corps ladies, I agree with Haglund’s observation. There is a huge variation of sizes and capabilities. Some have potential to move up the ranks eventually while others are obviously destined to spend their entire career in the background. The body types also draw a big question as there is a spectrum ranging from long, elegant and lean to slightly thick or borderline overweight. It really is obvious and makes a huge difference on the uniformity and visual aesthetics of the corps. Last, I must also agree with Haglund on the costumes. They are long overdue for a refresh. The “white” Willi costumes are so dingy they look yellow/brownish in photos. The peasant costumes . . . well, they do look peasanty to say the least. The development team at ABT really needs to launch a capital campaign to raise funds for a new “Giselle”, especially since this is a ballet that is performed yearly. Imagine how those costumes smell. Whew!!!
Thanks, Arneita! But let’s be careful about suggesting a Giselle costume capital campaign. You may recall several years back when ABT, in a fit of what’s-the-opposite-of-genius, decided to force every ticket buyer to contribute to its new costume campaign by adding a compulsory costume surcharge onto each ticket. It so infuriated some that they refused to go to ABT. I cut back half my tickets and refused to donate otherwise. Further, there’s always the issue with ABT of whether they really use the money they raise for the purpose advertised.
They could borrow some company’s costumes for a while. The Nat’l Ballet of Canada has some nice Giselle costumes.
Thanks, Arneita! But let’s be careful about suggesting a Giselle costume capital campaign. You may recall several years back when ABT, in a fit of what’s-the-opposite-of-genius, decided to force every ticket buyer to contribute to its new costume campaign by adding a compulsory costume surcharge onto each ticket. It so infuriated some that they refused to go to ABT. I cut back half my tickets and refused to donate otherwise. Further, there’s always the issue with ABT of whether they really use the money they raise for the purpose advertised.
They could borrow some company’s costumes for a while. The Nat’l Ballet of Canada has some nice Giselle costumes.
Arneita, I don’t agree with your assumption that Misty Copeland’s name on the ABT principal roster has denied anyone a chance at promotion. There is no rule that says ABT can only have a set number of principal dancers; if there were, Chloe Misseldine could not have been made a principal last year.
Arneita, I don’t agree with your assumption that Misty Copeland’s name on the ABT principal roster has denied anyone a chance at promotion. There is no rule that says ABT can only have a set number of principal dancers; if there were, Chloe Misseldine could not have been made a principal last year.
True, but having Misty on the roster is a sticky situation since she is not on maternity leave and not injured. Hopefully, ABT is not shelling out compensation or benefits. If they are, however, the current budget might not be able to accommodate additional principals. “We don’t have the money” can be a valid reason for not having more principals, but “We don’t have the money because we’re paying Misty to have her picture on the principal roster” is not, IMO, a valid reason. That said, at the moment I don’t see any women soloists who are ready to be principals. The slow progressions of Lea Fleytoux and Elisabeth Beyer suggest that ABT is trying to store candy for a later day, which is not fair to the artists or to the audience.
True, but having Misty on the roster is a sticky situation since she is not on maternity leave and not injured. Hopefully, ABT is not shelling out compensation or benefits. If they are, however, the current budget might not be able to accommodate additional principals. “We don’t have the money” can be a valid reason for not having more principals, but “We don’t have the money because we’re paying Misty to have her picture on the principal roster” is not, IMO, a valid reason. That said, at the moment I don’t see any women soloists who are ready to be principals. The slow progressions of Lea Fleytoux and Elisabeth Beyer suggest that ABT is trying to store candy for a later day, which is not fair to the artists or to the audience.
While I am far from an expert (and perhaps far from a novice!) with respect to finance as it relates to a ballet company, it strikes me that, given Valentino D. Carlotti’s contributions to the Dancer’s Fund in re Misty, ABT is effectively net neutral (if not significantly net positive) as it relates to keeping her on “payroll.” I don’t mean to suggest that he’s writing her checks, but his charitable giving to ABT is tied to her being a member of the company. Moreover, I’m sure ABT’s health insurance, etc. is acceptable, but I’d suspect she and her husband are likely not accessing health insurance outside of that being provided by ABT. I can’t speak to other benefits, but, again, I don’t think ABT is draining money by keeping her on the roster.
I should also note (I have thoughts about it all, but will keep them to myself) that Misty is set to bring in a huge amount of money to ABT in re the Fall Gala which is focused entirely on her. I understand tables are starting at $50,000, which I suspect is (again, I have thoughts) quite a bit hire than those for the Golden Circle luncheon that was held honoring Gillian Murphy on the occasion of her retirement, so ABT certainly continues to benefit from Misty’s association.
Presumably with the retirements of Murphy and Copeland and the impending departure of Trenary for Vienna, we will see some promotions at the end of this season, though I echo the thoughts of many in this chat as to whether there are some corps members who likely deserve to be given the chance at principal roles ahead of their soloist colleagues.
While I am far from an expert (and perhaps far from a novice!) with respect to finance as it relates to a ballet company, it strikes me that, given Valentino D. Carlotti’s contributions to the Dancer’s Fund in re Misty, ABT is effectively net neutral (if not significantly net positive) as it relates to keeping her on “payroll.” I don’t mean to suggest that he’s writing her checks, but his charitable giving to ABT is tied to her being a member of the company. Moreover, I’m sure ABT’s health insurance, etc. is acceptable, but I’d suspect she and her husband are likely not accessing health insurance outside of that being provided by ABT. I can’t speak to other benefits, but, again, I don’t think ABT is draining money by keeping her on the roster.
I should also note (I have thoughts about it all, but will keep them to myself) that Misty is set to bring in a huge amount of money to ABT in re the Fall Gala which is focused entirely on her. I understand tables are starting at $50,000, which I suspect is (again, I have thoughts) quite a bit hire than those for the Golden Circle luncheon that was held honoring Gillian Murphy on the occasion of her retirement, so ABT certainly continues to benefit from Misty’s association.
Presumably with the retirements of Murphy and Copeland and the impending departure of Trenary for Vienna, we will see some promotions at the end of this season, though I echo the thoughts of many in this chat as to whether there are some corps members who likely deserve to be given the chance at principal roles ahead of their soloist colleagues.
Just for clarity, how much has Valentino Carlotti contributed to the Dancer’s Fund “in re Misty” and what’s the source for the numbers? I’ve only seen mention of the same type of support that all the principals receive, nothing particularly more significant. Yes, he has to pay money and recruit donations in order to stay on the board, but so does every other board member–except perhaps for Jaffe.
Just for clarity, how much has Valentino Carlotti contributed to the Dancer’s Fund “in re Misty” and what’s the source for the numbers? I’ve only seen mention of the same type of support that all the principals receive, nothing particularly more significant. Yes, he has to pay money and recruit donations in order to stay on the board, but so does every other board member–except perhaps for Jaffe.