Last night’s performance of ABT’s Sylvia saw Michele Wiles in the title role with Roberto Bolle as Aminta, the shepherd. Cory Stearns was Orion; Daniil Simkin, Eros. Veronika Part and Alexandre Hammoud were Terpsichore and Apollo. The goats were Misty Copeland and Craig Salstein.
Roberto is no ordinary Bob. There’s not one Bob thing about him. Every measure of his dancing bears the message: Don’t call me Bob. So we won’t. He was, in fact, quite magnificent and lived up to all the expectations Haglund had from watching the Sylvia DVD of the Royal Ballet with Darcy Bussell and Roberto in the leads. The elegant and lyrical qualities of his solos and the unforced power of his jumps were so beautiful. The man looks like a god, dances like a dream, and some how holds on to his wholesome image in spite of all the seductive but tasteful images of him naked that are floating around on the internet and on Haglund’s screensaver. He’s been a spokesman for UNICEF for a decade and features the organization prominently on his own website. He’s was Alessandra Ferri’s gift to us. He’s the gift that goes on giving. Tick tick tick.
Haglund is replacing the name on his No. 18 Yankee’s jersey with Bolle. When Roberto’s eyes start fluttering in the light, he doesn’t drop his pirouettes. He’s man enough to drink Italian espresso, too. Welcome to the team, Roberto!
Michele’s Sylvia was quite lovely with Act I her strongest showing. Her Ashtononics flowed clearly like a cool drink of water. She looked sensational in the costume. Looked fierce while flexing a hunting bow over her head. Michele’s Act III PdD with Roberto just confirmed what everyone has been saying about how she and Hallberg, while good technical companions, actually cancel each other out with their blondness. Michele and Roberto were very attractive together, although she appears a bit taller than he is when she is on full pointe. The fish dives were darned good, but Michele seemed to lack some of the acute, split second coordination that is required to keep the lifts and shoulder sits from looking labored.
Cory Stearns as Orion danced his variations the same as every other role he danced in this year. While he can skulk around effectively and look mean, when it comes time to dance, everything looks the same as in every other ballet. Last night his Orion had a lot time to lie around on the scenery while others were dancing. Haglund would have liked to see him get up and practice his eschappes with beats.
Daniil Simkin surprisingly did not compare favorably to Arron Scott in the Eros role the night before. He executed all of the steps cleanly, but they weren’t easy for him. He’s a small dancer who was masterfullly trained to dance like a large person. Now he has to dial it back in order to deliver Ashton and Bournonville, and to some extent, Balanchine. Looks cute with wings, though.
Veronika Part and Alexandre Hammoudi led the gorgeous ensemble in Act III with confidence and lyricisim. The ensemble work in all three acts is startling in its complexity and musicality. What a genius Ashton was. It boggles the mind how he thought up such brilliant combinations and then embellished them with props and character.
Take the goats, for instance. It’s not hard enough to goat around in pointe shoes, but you have to hold your little goat hands up in front of you the whole time you're dancing. Very good goatwork from Misty Copeland and Craig Salstein last night.
And the Huntresses in Act I – what kind of mind thinks up group fouettes while flexing hunting bows?
So you think you can jete battu? Try it with a shovel.
A terrific performance last night from the dancers. Truly enjoyable. Haglund awards this little heel, ball, change Pump Bump to one and all:
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