Oh my goodness. What an evening last night at the ballet! Totally worth the overdraft charges incurred in order to get there.
Sarah Lane and Herman Cornejo quite outdid themselves as Giselle and Albrecht. They delivered an emotional wallop to an unsuspecting audience, most of whom were there just to see Herman anyway. Slipping Sarah Lane into the cast at the last minute was sweet – yeah, sweet like little Sugar Ray Leonard pummeling your heart. Oh my word, while Haglund was clutching his own chest, he looked over to see a man gasp and grab his left arm. Thank goodness it was all in delight, but truthfully, Sarah and Herman stopped a lot of hearts last night.
What a remarkable performance indeed. While Sarah’s performance on Saturday was outstanding in every way, last evening’s was simply astonishing. She gave everything that she had to give to her Giselle, to Herman, and to her audience.
The Act I was filled with superlative dancing – lovely held arabesques, easy hops on pointe, jumps that soared, ballonnes that skipped with joy, the wonderful characterization, the sense that these two were made for one another – it was so incredible and anxiety-creating at the same time. The audience was thinking how absolutely wonderful it all was but knew what was on the horizon. We knew that the life of this perfectly beautiful young Giselle who we wanted to watch happily dance all night was about to go spiraling downward out of control. We hated ourselves for wanting to see it happen, but hey, that’s Gisellephilia. No doubt about it, we loved watching her misery as she went bonkers. And what an outstanding, heartbreaking descent into madness and death. Giselle’s soul crushed before our very eyes. And Albrecht nearly died from the horror of watching it. Oh, such great, great theater.
Act II was overwhelming in its beauty. Albrecht bent to his knee with his forehead in his hand as Giselle circled him with high developpes that paused at their peaks before slowly lowering. These were simply astonishing in their strength and control. Sarah’s port de bras throughout the night was heavenly, and many times in Act II it became the focus of our attention. Toward the end when Albrecht collapsed, Giselle hovered behind with her arms motioning him, pleading for him to get up and keep trying. The desperation in that moment has never been more heartfelt. While her little entrechats moving backwards were fine, it seemed at first that Sarah wasn’t sure what tempo she would get from Maestro Wilkins. We weren’t sure either, but had an immediate flashback of when he mangled much of the music for Irina Dvorovenko’s last Giselle. We’ll never forget that or forgive it.
Herman was in this performance, too. Definitely. Even though Sarah is the focus of our excitement, Herman was outstanding. We know that he just had to exit a performance early due to injury; so, it was not surprising that he didn’t push himself in Act I like he might have. But Herman at 95% is 150% for most anyone else. Toward the end of Act II, he felt well enough to launch a diagonal of sissor-like cabrioles that were ker-ray-zeeeee. His emotion reached a depth that we hadn’t remembered from his first few performances as Albrecht. He and Sarah were living their roles like the very greatest couples have before them.
Christine Shevchenko’s Myrta has certainly benefited from a couple of extra performances. Her theatricality is growing so very quickly. We just loved the way she approached with her stick as Giselle guarded Albrecht. When she flung the myrtle branch after failing to break their love and bond, she then turned and gasped in disbelief and hurt. This was one of the most fabulous theatrical moments of Act II.
We also want to mention the fine jobs that Kaho Ogawa and April Giangeruso did as Moyna and Zulma. The H.H. Ogawa scouting notepad now shows: incredible pirouettes ☑️ ; excellent grand jete ☑️; stunning arabesque line ☑️; impressive balance ☑️; petit allegro [?]; adagio [?]; special musicality [?]; theatricality [?] We’re halfway to somewhere very promising.
Craig Salstein’s Hilarion was even stronger last night. We never felt that he deserved what he got from the Wilis. He was simply in the wrong place at the wrong time. Kelly Potter’s Berthe had our close attention and was pleasantly watchable. The Peasant PdD was nicely performed by Cassandra Trenary and Gabe Stone Shayer, both extremely likeable. Cassandra had the technical matters pinned down more solidly than Gabe did. That wonderful confidence and determination to stick his finishes that we saw in Gabe's Gypsy Camp in Seville did not make it to the little village on the Rhine. Hopefully, he will bring them to Turkey next week.
The excitement of the first few weeks of ABT's season has been provided by the soloists who have stepped in for injured dancers and have clearly shown that they deserve to stay under the spotlight. Unfortunately, ABT has been keeping the substitutes under wraps until it has been almost too late to buy tickets. Hopefully, that will not happen again next week if it becomes necessary to replace a Medora or two with a brilliant and deserving soloist. ABT needs to get this information up on its published schedules pronto.
So, for this most magnificent night of Giselle, we bestow upon Sarah Lane the most sparkling HH Pump Bump Award in our closet at the moment, a diamond Borgezie with a red, heart-shaped sole.
50 responses to “ABT 5/31 – Giselle – Lane & Cornejo”
Sarah’s technical confidence allows for so much artistic space, pause, and connection with those around her. She’s always struck me as a generous dancer, à la Marcelo, who doesn’t just hog the spotlight, but rather layers performances with her surroundings. Her dancing transformation from act I to II was so profound. Common earthiness to near-flawless weightlessness.
I can’t wait to see more of Christine’s Myrta in the coming years. Those high cheekbones and wild eyes! Ive seen a lot of ‘Queen Bitch’ Myrtas, but very few scary ones, and last night hers was scary.
My only complaint was that the last 10 seconds before Giselle dies are my some of my favorite in Act I, and I wanted to see more from Giselle than a tight hug with mom.
Sarah’s technical confidence allows for so much artistic space, pause, and connection with those around her. She’s always struck me as a generous dancer, à la Marcelo, who doesn’t just hog the spotlight, but rather layers performances with her surroundings. Her dancing transformation from act I to II was so profound. Common earthiness to near-flawless weightlessness.
I can’t wait to see more of Christine’s Myrta in the coming years. Those high cheekbones and wild eyes! Ive seen a lot of ‘Queen Bitch’ Myrtas, but very few scary ones, and last night hers was scary.
My only complaint was that the last 10 seconds before Giselle dies are my some of my favorite in Act I, and I wanted to see more from Giselle than a tight hug with mom.
My favorite activity today has been re-reading the cast-change slip of paper from last night’s program: “Maria Kochetkova is injured and unable to dance. In this evening’s performance, Giselle will be danced by SARAH LANE.” This was a dream-come-true performance for me, with my dream team dancers from 9 years ago. While I could never really revel in someone else’s physical suffering, the presence of Kochetkova at ABT has precluded any kind of real opportunity for Lane to advance. I’ve enjoyed meeting and speaking with so many people at these Giselle performances who are also fans of Lane – I never knew there were so many out there – as well as those I spoke with last night who were there for Maria but couldn’t believe how amazing Sarah was. The internet buzz in the ballet world seems to be on her side and growing. Sarah Lane deserves every good thing that might come her way, as do all of us in the audience who take pleasure in the art & beauty of dance.
My favorite activity today has been re-reading the cast-change slip of paper from last night’s program: “Maria Kochetkova is injured and unable to dance. In this evening’s performance, Giselle will be danced by SARAH LANE.” This was a dream-come-true performance for me, with my dream team dancers from 9 years ago. While I could never really revel in someone else’s physical suffering, the presence of Kochetkova at ABT has precluded any kind of real opportunity for Lane to advance. I’ve enjoyed meeting and speaking with so many people at these Giselle performances who are also fans of Lane – I never knew there were so many out there – as well as those I spoke with last night who were there for Maria but couldn’t believe how amazing Sarah was. The internet buzz in the ballet world seems to be on her side and growing. Sarah Lane deserves every good thing that might come her way, as do all of us in the audience who take pleasure in the art & beauty of dance.
I was so glad to see Sarah Saturday. Thrilled she is at the the top of her game . Promotion way overdue.
I was so glad to see Sarah Saturday. Thrilled she is at the the top of her game . Promotion way overdue.
It was a fabulous performance. The only glitch was the shakiness and early “come down” of the first of the two tabletop lifts in A2. For a second, I thought that Herman might drop our precious Sarah, but she held on. Among the featured smaller roles, I was most impressed by April Giangeruso’s powerful Zulma. She even got applause after her solo moment. Future Myrtha?
It was a fabulous performance. The only glitch was the shakiness and early “come down” of the first of the two tabletop lifts in A2. For a second, I thought that Herman might drop our precious Sarah, but she held on. Among the featured smaller roles, I was most impressed by April Giangeruso’s powerful Zulma. She even got applause after her solo moment. Future Myrtha?
I am on Team Sarah!
I am on Team Sarah!
Jeannette, I don’t think that Herman straightened his arms enough on the first table top lift. The second was much more forceful and his arms were straighter.
Agree that April G. is a future Myrta. Sometimes she seems to dance apologetically for being tall. It shows across her shoulders and back. I don’t think that ABT has the same high appreciation of statuesque ballerinas that NYCB does. Dancers can sense that sort of negativity, and it affects them.
Jeannette, I don’t think that Herman straightened his arms enough on the first table top lift. The second was much more forceful and his arms were straighter.
Agree that April G. is a future Myrta. Sometimes she seems to dance apologetically for being tall. It shows across her shoulders and back. I don’t think that ABT has the same high appreciation of statuesque ballerinas that NYCB does. Dancers can sense that sort of negativity, and it affects them.
You were so fortunate to be there Haglund! I wish I could have seen her dance with Herman, but she and Simkin were magical as well. She’s a truly special dancer. Hopefully, McKenzie has realized that.
You were so fortunate to be there Haglund! I wish I could have seen her dance with Herman, but she and Simkin were magical as well. She’s a truly special dancer. Hopefully, McKenzie has realized that.
I’m happy that Lane had another performance to show off her beautiful work on Giselle. I wish I could have seen it.
I’m happy that Lane had another performance to show off her beautiful work on Giselle. I wish I could have seen it.
Was so impressed with the Wilis performance. Have never seen such choreography.
They were perfect implementing difficult synchronization on pointe!
Love the quality of talent ABT Dancers give to their audiences!❤️❤️❤️⭐️⭐️⭐️
Was so impressed with the Wilis performance. Have never seen such choreography.
They were perfect implementing difficult synchronization on pointe!
Love the quality of talent ABT Dancers give to their audiences!❤️❤️❤️⭐️⭐️⭐️
Haglund, I’ve been reading your blog for a few weeks since moving to New York – it’s been so helpful in getting reacquainted with the ballet scene here. Thank you for all you do!
I went to this performance thanks to your review of the Saturday matinee, Haglund, and your post about the cast change. I had also gone to Saturday night’s performance with Gillian and David and while it was wonderful, Sarah’s performance was even more moving. I teared up several times during both acts, and I heard the audience around me gasp and moan (for lack of a better word) a few times at the most beautiful parts of Sarah and Herman’s dancing. I keep thinking about her dancing days later. I’m a Sarah Lane fan now. I want to see her in more!
I’m curious about the symbolism of the flowers and branches in this ballet. Albrecht places lilies on Giselle’s grave, Giselle throws some kind of white flowers I can’t identify (lilies that look different from Albrecht’s?) to Albrecht, Myrta’s various branches… Does anyone here know what they mean?
Also, does anyone know about the stories of Myrta, Moyna, and Zulma? I wonder if there is any lore about them. The only information I’ve been able to find has been one forum post that says that Zulma threw herself off a cliff, and Moyna drowned in a river rip current. I haven’t found any backstory on Myrta. I’d love to know more about these three!
Haglund, I’ve been reading your blog for a few weeks since moving to New York – it’s been so helpful in getting reacquainted with the ballet scene here. Thank you for all you do!
I went to this performance thanks to your review of the Saturday matinee, Haglund, and your post about the cast change. I had also gone to Saturday night’s performance with Gillian and David and while it was wonderful, Sarah’s performance was even more moving. I teared up several times during both acts, and I heard the audience around me gasp and moan (for lack of a better word) a few times at the most beautiful parts of Sarah and Herman’s dancing. I keep thinking about her dancing days later. I’m a Sarah Lane fan now. I want to see her in more!
I’m curious about the symbolism of the flowers and branches in this ballet. Albrecht places lilies on Giselle’s grave, Giselle throws some kind of white flowers I can’t identify (lilies that look different from Albrecht’s?) to Albrecht, Myrta’s various branches… Does anyone here know what they mean?
Also, does anyone know about the stories of Myrta, Moyna, and Zulma? I wonder if there is any lore about them. The only information I’ve been able to find has been one forum post that says that Zulma threw herself off a cliff, and Moyna drowned in a river rip current. I haven’t found any backstory on Myrta. I’d love to know more about these three!
I wonder if Maria Kochetkova will appear for her Swan Lake this month. That would be a perfect spot to slip Sarah in if she doesn’t!
I wonder if Maria Kochetkova will appear for her Swan Lake this month. That would be a perfect spot to slip Sarah in if she doesn’t!
Sarah was absolutely breathtaking. She radiated joy in Act I, and her love and forgiveness were so moving in Act II. Her penche arabesques hovering over him in Act II were so beautiful.
I feel like Sarah “goes for broke” every time she’s given an opportunity on the stage, in contrast to the other Giselles I saw this run including Gillian (who was nursing an injury) and Stella (who was glorious, but didn’t quite rise to the level of “leaving it all on the Met stage” that I saw with Sarah).
She and Herman make lovely partners, and I’d echo the applause of his Act II variations.
This was the cherry on top of a wonderful run of Giselle for ABT.
Sarah was absolutely breathtaking. She radiated joy in Act I, and her love and forgiveness were so moving in Act II. Her penche arabesques hovering over him in Act II were so beautiful.
I feel like Sarah “goes for broke” every time she’s given an opportunity on the stage, in contrast to the other Giselles I saw this run including Gillian (who was nursing an injury) and Stella (who was glorious, but didn’t quite rise to the level of “leaving it all on the Met stage” that I saw with Sarah).
She and Herman make lovely partners, and I’d echo the applause of his Act II variations.
This was the cherry on top of a wonderful run of Giselle for ABT.
Hi, April.
The myrtle flower is associated with love and is often in bridal bouquets. Sometimes Myrta’s myrtle branch is pretty dead or thin on flowers. So there’s a hint. The lily is considered to mean purity, beauty of youth, renewal, rebirth. The white roses signify true love, spirituality, and also a gesture of remembrance. I’m sure the associations go much deeper in the story of Giselle, but I can’t remember it.
I don’t know how Moyna and Zulma came about but suspect that their names were added long after the ballet was first created. This 1949 summary of the story by Gladys Davidson from her book Stories of the Ballets doesn’t even mention their names. http://www.giselle-ballet.com/about/story.shtml I’m sure, however, that every dancer who performs either must give her character quite the background story.
Hi, April.
The myrtle flower is associated with love and is often in bridal bouquets. Sometimes Myrta’s myrtle branch is pretty dead or thin on flowers. So there’s a hint. The lily is considered to mean purity, beauty of youth, renewal, rebirth. The white roses signify true love, spirituality, and also a gesture of remembrance. I’m sure the associations go much deeper in the story of Giselle, but I can’t remember it.
I don’t know how Moyna and Zulma came about but suspect that their names were added long after the ballet was first created. This 1949 summary of the story by Gladys Davidson from her book Stories of the Ballets doesn’t even mention their names. http://www.giselle-ballet.com/about/story.shtml I’m sure, however, that every dancer who performs either must give her character quite the background story.
April, I don’t remember where I read it, but I think Myrta’s story is perhaps abandoned at the altar on the day of her wedding, but then her distrust of men and love in general has heightened over time as she’s seen more and more Willis join her ranks. She’s completely shut her heart off to love as a concept, and it throws her for a loop when Giselle shows continued devotion to, and forgiveness of, Albrecht. Depending on the characterization of a particular ballerina, you can see her slightly soften sometimes over the course of Act II.
Oddly – I’ve never picked up on the “luring Albrecht away from the cross, which protects him” angle, which the article HH provides above, notes. I’ve interpreted it as Giselle’s love weakening Myrta’s hold over Albrecht. You learn something new every day!
April, I don’t remember where I read it, but I think Myrta’s story is perhaps abandoned at the altar on the day of her wedding, but then her distrust of men and love in general has heightened over time as she’s seen more and more Willis join her ranks. She’s completely shut her heart off to love as a concept, and it throws her for a loop when Giselle shows continued devotion to, and forgiveness of, Albrecht. Depending on the characterization of a particular ballerina, you can see her slightly soften sometimes over the course of Act II.
Oddly – I’ve never picked up on the “luring Albrecht away from the cross, which protects him” angle, which the article HH provides above, notes. I’ve interpreted it as Giselle’s love weakening Myrta’s hold over Albrecht. You learn something new every day!
Haglund and Rachel, thank you for the information! 🙂
Haglund and Rachel, thank you for the information! 🙂
Well, they were at least a bit more timely with their announcement this time…! (regarding the just-posted Medora casting update)
Well, they were at least a bit more timely with their announcement this time…! (regarding the just-posted Medora casting update)
Brandt will debut as Medora next week! I will definitely have to see her and the rest of the cast.
Brandt will debut as Medora next week! I will definitely have to see her and the rest of the cast.
I echo everything that Haglund and commenters have posted in praise of Sarah and Herman’s Giselle. I was on the edge of my seat the entire time and for the duration of the performance, for me, Time. Stood. Still.
I only want to add that not one single time did Sarah’s arabesque go below 90 degrees, and most of the time it was well above that.
I echo everything that Haglund and commenters have posted in praise of Sarah and Herman’s Giselle. I was on the edge of my seat the entire time and for the duration of the performance, for me, Time. Stood. Still.
I only want to add that not one single time did Sarah’s arabesque go below 90 degrees, and most of the time it was well above that.
Moyna and “Zulmé” are named in the original 1841 book. You can find it online or in translation (but not online, apparently) in Cyril Beaumont’s 1944 “The Ballet Called Giselle.” According to Gautier et al., Myrtha “plucked a branch of rosemary” and whenever she touched a “plant, bush, or tuft of foliage” with it, she “freed a Wili.” Moyna, an odalisque who performed an oriental dance, was first, followed by “Zulmé,” a Bayadère who danced the Malapou (that’s from another source–the original just says she “displayed Indian poses”),then two French girls who danced a “bizarre minuet,” some waltzing German girls, and finally the whole Wili band, which apparently included a “fiery Andalusian” and other national types.
I’m not sure it matters whether it’s rosemary or myrtle (Balanchine was content with “fern branches” in his ballet story book). I think mostly a magic wand to summon the spirits made for effective drama (and had been used before). I’m glad they’ve dispensed with the multinational Wili corps but think it’s nice that the names of Moyna and Zulma have survived all these years, even if the original significance has been lost.
Moyna and “Zulmé” are named in the original 1841 book. You can find it online or in translation (but not online, apparently) in Cyril Beaumont’s 1944 “The Ballet Called Giselle.” According to Gautier et al., Myrtha “plucked a branch of rosemary” and whenever she touched a “plant, bush, or tuft of foliage” with it, she “freed a Wili.” Moyna, an odalisque who performed an oriental dance, was first, followed by “Zulmé,” a Bayadère who danced the Malapou (that’s from another source–the original just says she “displayed Indian poses”),then two French girls who danced a “bizarre minuet,” some waltzing German girls, and finally the whole Wili band, which apparently included a “fiery Andalusian” and other national types.
I’m not sure it matters whether it’s rosemary or myrtle (Balanchine was content with “fern branches” in his ballet story book). I think mostly a magic wand to summon the spirits made for effective drama (and had been used before). I’m glad they’ve dispensed with the multinational Wili corps but think it’s nice that the names of Moyna and Zulma have survived all these years, even if the original significance has been lost.
THANKS, Dave!
THANKS, Dave!
Myrta carries rosemary (which is branch-like, but can have small flowers) because it is the symbol of remembrance: she ensures that the Willis and never forget the men that betrayed them and consigned them to their fate. It is, in effect, a symbol of vengeance in this ballet. The white lily is its dramatic and symbolic foil, because it is the flower of rebirth and new beginnings, and in Christianity often associated with repentance.
Myrta carries rosemary (which is branch-like, but can have small flowers) because it is the symbol of remembrance: she ensures that the Willis and never forget the men that betrayed them and consigned them to their fate. It is, in effect, a symbol of vengeance in this ballet. The white lily is its dramatic and symbolic foil, because it is the flower of rebirth and new beginnings, and in Christianity often associated with repentance.
Thanks, Melissa. I wish today’s choreographers gave this depth of thought to the meaning of the props that they use in their ballets, when/if they bother to use any props. It’s a lost art.
Thanks, Melissa. I wish today’s choreographers gave this depth of thought to the meaning of the props that they use in their ballets, when/if they bother to use any props. It’s a lost art.
Haglund, thanks for the spot on review! I completely support everything you’ve said here. Sarah’s Giselle was the most beautiful, spiritual, transcending experience I’ve ever been privileged to witness. I only started going to the ballet last year and until Wednesday, I honestly had no idea that ballet had the power to move me like Sarah and Herman did. I’m still on a high from it.
Until last week, I had NEVER seen Giselle. So I had to make up for that. Thus, I saw five Giselles in total: Seo/Stearns (he looked exhausted in Act II, at stage door his mother said that he had injured himself in Act I and debated pulling out), Lane/Simkin (wonderful Met debuts from them both), Murphy/Hallberg, Boylston/Whiteside (she injured her ankle during Act II but bravely carried on) Abera/Gomes and finally Lane/Cornejo. Like you said Haglund, I only went to see Herman and was prepared to suffer through Kochetkova. I was thrilled to see that Sarah got a second Giselle with Herman. Their partnership is one of my favorites.
You basically said it all Haglund. Sarah gave the performance of a lifetime. I could tell she really gave it her all and didn’t hold anything back. Everything had meaning. When Herman knelt in front of her and she poured flowers on him, it was like she was showering her forgiveness over him. When she declared her fealty to him, it was a clear declaration of her love. When she gave him that final flower, it was like she was giving him a piece of her heart. And I could be wrong, but I thought I saw a small smile on her face as she departed the stage for the final time. It was like she knew she had saved him and they could both go on.
Anyway, thanks for the spot on review.
Haglund, thanks for the spot on review! I completely support everything you’ve said here. Sarah’s Giselle was the most beautiful, spiritual, transcending experience I’ve ever been privileged to witness. I only started going to the ballet last year and until Wednesday, I honestly had no idea that ballet had the power to move me like Sarah and Herman did. I’m still on a high from it.
Until last week, I had NEVER seen Giselle. So I had to make up for that. Thus, I saw five Giselles in total: Seo/Stearns (he looked exhausted in Act II, at stage door his mother said that he had injured himself in Act I and debated pulling out), Lane/Simkin (wonderful Met debuts from them both), Murphy/Hallberg, Boylston/Whiteside (she injured her ankle during Act II but bravely carried on) Abera/Gomes and finally Lane/Cornejo. Like you said Haglund, I only went to see Herman and was prepared to suffer through Kochetkova. I was thrilled to see that Sarah got a second Giselle with Herman. Their partnership is one of my favorites.
You basically said it all Haglund. Sarah gave the performance of a lifetime. I could tell she really gave it her all and didn’t hold anything back. Everything had meaning. When Herman knelt in front of her and she poured flowers on him, it was like she was showering her forgiveness over him. When she declared her fealty to him, it was a clear declaration of her love. When she gave him that final flower, it was like she was giving him a piece of her heart. And I could be wrong, but I thought I saw a small smile on her face as she departed the stage for the final time. It was like she knew she had saved him and they could both go on.
Anyway, thanks for the spot on review.
Lena, thanks much for visiting HH. The news that Stearns debated about pulling out after Act I because of an injury is certainly interesting.
It’s so great that you have found Giselle. I hope that you get to enjoy many, many more performances.
Lena, thanks much for visiting HH. The news that Stearns debated about pulling out after Act I because of an injury is certainly interesting.
It’s so great that you have found Giselle. I hope that you get to enjoy many, many more performances.
Thanks Haglund for the excellent report! Go Sara!
Thanks Haglund for the excellent report! Go Sara!