Yesterday's performances of Don Quixote at the Met had their ups and downs. The ups of the afternoon performance belonged to Veronika Part in her debut as Kitri. It's been a while since we've seen such a statuesque Kitri at ABT — Cynthia Gregory and Martine van Hamel were the last ones, possibly. The statuesque Kitris always have to avoid trying to be the cute, perky characters that one sees in the smaller dancers. They tend to be more sophisticated, scheming, and in Veronika's case, delightfully bossy.
Conductor David La Marche granted barely an extra smidgen in the tempo to allow those glorious legs of Veronika's to unfold in saute de chats. Once they did, however, it was like watching a narrow-body 747 glide over the Met stage on its way to a soft, smooth landing. In the Act III fouettes, however, Veronika took the 32R runway instead of the 32C, but managed to get to the correct gate without incident. While some of the trickier footwork wasn't as articulate as hoped for – the pas de cheval in Act I didn't have much pawing to them – the overall dancing was finely detailed with the technique serving the story, not vice versa.
The authority of Veronika's acting made the afternoon performance a hit. We don't often get to see her comedic side. It was devilish and slightly domineering. When kneeling before Lorenzo in order to beg him to let her marry Basilio, she motioned for Basilio to join her by stabbing her finger to the floor which in dance-speak was an unmistakable, no-nonsense "Get. here. right. now!" Her comedic skills almost even overshadowed her Act II Dream sequence when she danced as Dulcinea. This was the Veronika to whom we are accustomed: luscious musicality, flowing lines.
James Whiteside's Basilio was far from the caliber deserved by Veronika. He could lift her and hold her in the air – with two hands. He could partner her in pirouettes – for two revolutions. He could balance her – for two seconds. He had more eye makeup and lipstick on than Veronika. His acting had too much of his flamboyant, clownish JBDubbs schtick with the cutesy Shirley Temple surprised lips and raised eyebrows. After five minutes, it all seemed like so much Autotone. His own variations were uneven in quality with some being good and others not. He occasionally pushed for extra revolutions in turns when it was apparent he shouldn't have, and ended up falling out of them – like a soloist trying to get a promotion by being lucky with his pirouettes instead of consistent. His back was as stiff as a board and his arabesque was limited.
Kristi Boone and Jared Matthews were excellent as Mercedes and Espada. Each had loads of Spanish flair and sported a mature and authoritative technique. There was no guesswork from these two pros.
The evening's performance saw the return of Gillian Murphy who last danced in New York in ABT's 2012 Met Season. She looked rejuvenated by the several months respite from the turmoil at ABT. Her time in New Zealand seems to have relaxed her and made her dancing more joyful. By the way, the Royal New Zealand Ballet's feature film Giselle is nearly finished and will be distributed later this year. You can follow the progress and get updates on the special Giselle the Movie Facebook page.
Gillian's technique was on fire last night. The sometimes stern determination which we've seen in previous seasons has been replaced with a joy and an excitement about being on stage. Her pick work with her pointes was alive and vibrant without being noisy or over-done. During fouettes, she opened the fan over her head and then lowered it down the front, all the while daintily fanning her smiling face. It was technique-as-gift-to-the-audience as opposed to blasting it at their faces. Her Act II Dulcinea wasn't as dreamy as it was efficient, but that act belonged to Stella Abrera anyway. More below.
Gillian's Basilio was Denis Matvienko, the estranged Mariinsky principal who was recently unceremoniously fired as the AD of the Kiev Opera Ballet in the midst of some Russian political drama. Who can keep up with it all? A superb partner, Matvienko deserved every bit of the great confidence that Gillian gave him. They appeared to enjoy dancing with each other, and his frisky, cheeky manner seemed to inspire Gillian to the same. He had expression and mime in spades, and it all came across without him having to wear much makeup. What a lesson it was for any dancer on stage who was watching him. Unfortunately, a lot of his solo dancing was considerably less than great and was a disappointment. His head and neck sunk into his shoulders when he turned and jumped — exactly like a turtle. He spun some big en dedans pirouettes with his knee parallel instead of turned out, but most anyone can do that. His legs didn't always extend fully when they should have. He's only 34 years old. Maybe running the Kiev instead of dancing every day has something to do with it, but he should be better technically.
Stella Abrera and Sascha Radetsky delivered sizzling performances of Mercedes and Espada that probably made some of the audience want to follow them home last night. Incredible technique and character from both, but literally peerless work from Stella. Such elegance and purity of line. Such aplomb. Such crystalline positions. Her Italian fouettes in Act II were so perfect and effortless that they could only have been done in Don Quixote's dream. Her grand jetes streamed forward and landed silently. As the others who Kevin McKenzie is pushing forward ahead her fumble and bumble around blindly, Stella is the epitome of elegance and accomplishment. Every one of her glorious performances now make McKenzie look more ignorant and disrespectful of her artistry for not promoting her to principal.
Joseph Phillips and Simone Messmer were an intense and smoldering Gypsy couple. Phillips – aggressive and brilliant. Messmer, a riveting performer with the technical chops of three dancers. Both of these artists continue to be sadly under-used. Their talents are so obvious, and yet they are not being given enough performances to stay alive, let alone thrive. It would be a shame and a black eye for management if ABT were to lose either of them.
Craig Salstein, Roman Zhurban, Victor Barbee, and Arron Scott as Gamache, Lorenzo, Don Quixote, and Sancho Panza delivered hilarious performances with Salstein being especially disruptive wherever he went.
Amour at both performances was danced by Gemma Bond with sparkling beauty and pristine classical form. When she exited downstage with a series of jetes, the shapes were exquisite – fingers, hands, wrists, arms, feet, the carriage of the neck, the height of the body in the jump. What a beautiful example of how it all should be done.
The orchestra in the evening (Wilkins) was a lot more robust than the afternoon (La Marche). The trumpets sounded pretty good which bodes well for the upcoming Shostakovich Trilogy. There will be a lot of tricky, tricky trumpet tickling required in the music for Act III of the Trilogy.
Wednesday's Pump Bump Award, from Alejandro Ingelmo, is bestowed upon Stella Abrera for her unwavering focus, admirable stamina, elegance, and beauty in all of her work.
50 responses to “ABT – Don Q – 5/29 mat & eve”
Oh I’m so mad I didn’t know Stella was doing Mercedes last night – otherwise I definitely would have gone! Her dryads is always WORLD CLASS.
Oh I’m so mad I didn’t know Stella was doing Mercedes last night – otherwise I definitely would have gone! Her dryads is always WORLD CLASS.
Yes, it was WORLD CLASS. ABT used to post the Espada/Mercedes casting on the casting sheets when Gomes, Part, Stearns and whoever were dancing. They were always principal roles. Not so, now. At least Stella got a nice bouquet of flowers along with enormous audience appreciation. She and Part are the company’s top classicists now. What a shame she can’t get McKenzie’s respect.
Yes, it was WORLD CLASS. ABT used to post the Espada/Mercedes casting on the casting sheets when Gomes, Part, Stearns and whoever were dancing. They were always principal roles. Not so, now. At least Stella got a nice bouquet of flowers along with enormous audience appreciation. She and Part are the company’s top classicists now. What a shame she can’t get McKenzie’s respect.
I loved reading this review, Haglund. I so much wish I could have done a double-header. I truly enjoyed Veronika’s performance. I didn’t know she had so much range in her acting. I haven’t often seen joy lighting up her face as it did in yesterday’s matinee. So much of the time she is cast in serious roles, such as Odette/Odile (where her eyes do light up menacingly), Nikiya, The Moor’s Pavane, and Symphony No. 9. What’s left for her to tackle? Do you think she could do R&J with the right partner? Both Ferri and Dvorovenko (I think) did it in their later years. I don’t think she was right for La Sylphide or is right for Coppelia. But yesterday was a great triumph, both technically and theatrically. If only she could have the partner she deserves.
I loved reading this review, Haglund. I so much wish I could have done a double-header. I truly enjoyed Veronika’s performance. I didn’t know she had so much range in her acting. I haven’t often seen joy lighting up her face as it did in yesterday’s matinee. So much of the time she is cast in serious roles, such as Odette/Odile (where her eyes do light up menacingly), Nikiya, The Moor’s Pavane, and Symphony No. 9. What’s left for her to tackle? Do you think she could do R&J with the right partner? Both Ferri and Dvorovenko (I think) did it in their later years. I don’t think she was right for La Sylphide or is right for Coppelia. But yesterday was a great triumph, both technically and theatrically. If only she could have the partner she deserves.
I wish that I had been able to stay to see Stella and Sascha. Word on the street has it that ABT is afraid to promote Stella to principal dancer because she was out for so long with a serious injury and might be susceptible to another injury because of that. All of which seems to me paternalistic (“it’s for her own good”) or a fear of an increase in workers compensation rates for ABT. The reasoning here doesn’t hold up, especially against the background of her Aurora performances in New Zealand. “Though the mills of God grind slowly; yet they grind exceedingly small.” Someday there will be divine justice and Stella will get her Giselle. I don’t know how or when, but I cannot give up hope.
I wish that I had been able to stay to see Stella and Sascha. Word on the street has it that ABT is afraid to promote Stella to principal dancer because she was out for so long with a serious injury and might be susceptible to another injury because of that. All of which seems to me paternalistic (“it’s for her own good”) or a fear of an increase in workers compensation rates for ABT. The reasoning here doesn’t hold up, especially against the background of her Aurora performances in New Zealand. “Though the mills of God grind slowly; yet they grind exceedingly small.” Someday there will be divine justice and Stella will get her Giselle. I don’t know how or when, but I cannot give up hope.
Well, a long and serious injury did not prevent them from promoting Hee Seo. She got injured immediately after being promoted to soloist. She was gone from the stage for almost a year. Then when she came back, she didn’t even carry a full soloist workload for a year before they promoted her again.
Do you recall when Stella had her first big injury when we were all waiting for her to dance her first Gamzatti? She was carrying a full soloist load, preparing principal roles, and covering corps. At one point during that season, they showed her scheduled to dance Gamzatti at Wed mat, Wed eve, and Thurs eve consecutively. I remember thinking how crazy that was. She never got to dance the role that year, but the point is that ABT worked her into her first big injury, and yet they pampered Hee Seo with a light workload. And still are.
Talking about a light workload. What about Julie Kent’s? It’s not only light, but she only dances with Gomes and Bolle, because they make it easy on her.
I read that Stella’s big back injury (an over stretched sciatica, if I recall correctly) was mis-diagnosed for a long time. Back injuries to dancers and gymnasts are not uncommon and they all are not serious or potentially career ending. Many have cracked vertebrae, a slipped L5/S1, a little scoliosis, sciatica or stenosis. Much of it is manageable like any other injury.
McKenzie may be using Stella’s injury as an excuse, but it’s a lame one. She has proved herself time and time again. What is she supposed to do – Myrtha and Big Swans for the next 6 or 7 years?
If McKenzie thinks it’s too late to promote her, that’s just ridiculous. VAGANOVA was promoted to the highest rank and promptly retired after one year. VAGANOVA. Let’s get real here. McKenzie perceives that he is deriving some benefit from holding this artist back. He’s making some kind of example out of her for the others, and it is a crying, disgusting shame that he has decided to hurt this beautiful artist and deny her audience a chance to see her dance the roles that she has always been destined to dance.
Well, a long and serious injury did not prevent them from promoting Hee Seo. She got injured immediately after being promoted to soloist. She was gone from the stage for almost a year. Then when she came back, she didn’t even carry a full soloist workload for a year before they promoted her again.
Do you recall when Stella had her first big injury when we were all waiting for her to dance her first Gamzatti? She was carrying a full soloist load, preparing principal roles, and covering corps. At one point during that season, they showed her scheduled to dance Gamzatti at Wed mat, Wed eve, and Thurs eve consecutively. I remember thinking how crazy that was. She never got to dance the role that year, but the point is that ABT worked her into her first big injury, and yet they pampered Hee Seo with a light workload. And still are.
Talking about a light workload. What about Julie Kent’s? It’s not only light, but she only dances with Gomes and Bolle, because they make it easy on her.
I read that Stella’s big back injury (an over stretched sciatica, if I recall correctly) was mis-diagnosed for a long time. Back injuries to dancers and gymnasts are not uncommon and they all are not serious or potentially career ending. Many have cracked vertebrae, a slipped L5/S1, a little scoliosis, sciatica or stenosis. Much of it is manageable like any other injury.
McKenzie may be using Stella’s injury as an excuse, but it’s a lame one. She has proved herself time and time again. What is she supposed to do – Myrtha and Big Swans for the next 6 or 7 years?
If McKenzie thinks it’s too late to promote her, that’s just ridiculous. VAGANOVA was promoted to the highest rank and promptly retired after one year. VAGANOVA. Let’s get real here. McKenzie perceives that he is deriving some benefit from holding this artist back. He’s making some kind of example out of her for the others, and it is a crying, disgusting shame that he has decided to hurt this beautiful artist and deny her audience a chance to see her dance the roles that she has always been destined to dance.
I totally agree, Haglund, that it’s a crying, disgusting shame. But what kind of example would he be making by holding her back? What kind of benefit could he possibly derive? Other than “My company. My decisions.”
I totally agree, Haglund, that it’s a crying, disgusting shame. But what kind of example would he be making by holding her back? What kind of benefit could he possibly derive? Other than “My company. My decisions.”
There is a rumor from another ballet site, that another ABT soloist will be leaving at the end of the season. I hope it in not Stella.
There is a rumor from another ballet site, that another ABT soloist will be leaving at the end of the season. I hope it in not Stella.
Exactly, Angelica. My company. My kingdom. In conjunction with his effort to plug the drain on ticket sales and donations, McKenzie is trying to remake ABT into a Met Opera model of having all international guest principals whose talent and media followings were cultivated at someone else’s expense, and a bunch of nameless chorus/corps and soloists who nobody cares about whether they perform or not. In other words, sales will be driven by big names, not necessarily big talent, that have nothing to do with ABT. And ABT’s own dancers, the ones who joined the company after winning gazillions of medals and competitions, and are already at an elite level, will wither and die on the ABT vine.
What stupid fools on ABT’s board thought that ballet could function on an opera artistic model? Mariinsky doesn’t. POB doesn’t. NYCB doesn’t. These are the three greatest companies in the world, and they all rely on the organic development of their talent. It’s the 2nd- and 3rd-tier companies in the world who are trying to play “catch-up” by siphoning off ill-fitting principals who they think will plump up their profits.
McKenzie has been trying to sell the idea that being one of his hopeless “flagship soloists” is an acceptable termination point in a career of an uber talented “house” dancer so that he can justify not having to spend any money on artistic development – artistic development that he, himself, is incapable of providing.
The idea of terminating the career progression of a world class dancer because he/she had an injury serves as an example to all of the other dancers not to push hard to excel because they might suffer an injury that would prevent them from completing corps/soloist assignments. If they can’t complete their assignments, McKenzie has to hire/train/develop substitutions – you know, understudies. If you’re in the corps or a soloist, be happy and don’t strive for more because the top level is going to be mostly imports anyway.
It really makes you wish that ABT had been combined with the Joffrey 20 years ago – which McKenzie claims he prevented. The artistic integrity of the institution would have fared much better under Gerald Arpino than McKenzie. Much better.
Exactly, Angelica. My company. My kingdom. In conjunction with his effort to plug the drain on ticket sales and donations, McKenzie is trying to remake ABT into a Met Opera model of having all international guest principals whose talent and media followings were cultivated at someone else’s expense, and a bunch of nameless chorus/corps and soloists who nobody cares about whether they perform or not. In other words, sales will be driven by big names, not necessarily big talent, that have nothing to do with ABT. And ABT’s own dancers, the ones who joined the company after winning gazillions of medals and competitions, and are already at an elite level, will wither and die on the ABT vine.
What stupid fools on ABT’s board thought that ballet could function on an opera artistic model? Mariinsky doesn’t. POB doesn’t. NYCB doesn’t. These are the three greatest companies in the world, and they all rely on the organic development of their talent. It’s the 2nd- and 3rd-tier companies in the world who are trying to play “catch-up” by siphoning off ill-fitting principals who they think will plump up their profits.
McKenzie has been trying to sell the idea that being one of his hopeless “flagship soloists” is an acceptable termination point in a career of an uber talented “house” dancer so that he can justify not having to spend any money on artistic development – artistic development that he, himself, is incapable of providing.
The idea of terminating the career progression of a world class dancer because he/she had an injury serves as an example to all of the other dancers not to push hard to excel because they might suffer an injury that would prevent them from completing corps/soloist assignments. If they can’t complete their assignments, McKenzie has to hire/train/develop substitutions – you know, understudies. If you’re in the corps or a soloist, be happy and don’t strive for more because the top level is going to be mostly imports anyway.
It really makes you wish that ABT had been combined with the Joffrey 20 years ago – which McKenzie claims he prevented. The artistic integrity of the institution would have fared much better under Gerald Arpino than McKenzie. Much better.
Hi Jose. Who would blame any of them for leaving? They all should leave. The malfunctioning board is going to have to euthanize ABT soon if they don’t take it away from the incompetent and neglectful director.
Hi Jose. Who would blame any of them for leaving? They all should leave. The malfunctioning board is going to have to euthanize ABT soon if they don’t take it away from the incompetent and neglectful director.
I understand that it is Simone Messmer that will be leaving, not Stella – from what I heard going to SFB. Not a first-hand source, though.
I understand that it is Simone Messmer that will be leaving, not Stella – from what I heard going to SFB. Not a first-hand source, though.
I’m happy for her. Were it not for Ratmansky these past few years, she’d have had nothing to do. At least SFB is acquiring more of his works, and she will excel in those. Their whole rep suits her. Maybe she’ll be featured in something when SFB comes to NYC in October.
I’m happy for her. Were it not for Ratmansky these past few years, she’d have had nothing to do. At least SFB is acquiring more of his works, and she will excel in those. Their whole rep suits her. Maybe she’ll be featured in something when SFB comes to NYC in October.
Oh excellent for Simone. If true, SFB will make great use of her talents as they need a new dynamic female dancer, as many in the soloist ranks aren’t obvious candidates to make the leap to principal. Thrilled for her (and me!) if true.
Oh excellent for Simone. If true, SFB will make great use of her talents as they need a new dynamic female dancer, as many in the soloist ranks aren’t obvious candidates to make the leap to principal. Thrilled for her (and me!) if true.
Well, if the rumor is true, I am personally happy to think that I will get to see Ms. Messmer thrive and develop at SFB, where I go often! SFB’s repertoire is significantly better than ABT’s.
Well, if the rumor is true, I am personally happy to think that I will get to see Ms. Messmer thrive and develop at SFB, where I go often! SFB’s repertoire is significantly better than ABT’s.
I’ll count on you two, K & J, to bring us reports. SFB is getting a very dynamic dancer – if the rumor is true.
I’ll count on you two, K & J, to bring us reports. SFB is getting a very dynamic dancer – if the rumor is true.
Yes – have since learned Simone will be doing Giselle at SFB – maybe a group outing to the west coast will be in order??
Yes – have since learned Simone will be doing Giselle at SFB – maybe a group outing to the west coast will be in order??
Rachel, do you mean Giselle or Myrtha? If the former, wow, just wow, and wow, again.
A west coast trip in Jan/Feb will definitely be in order if we can find out far enough ahead of time when she will debut.
Rachel, do you mean Giselle or Myrtha? If the former, wow, just wow, and wow, again.
A west coast trip in Jan/Feb will definitely be in order if we can find out far enough ahead of time when she will debut.
GISELLE!
GISELLE!
Jesus! Are you going to blog about that?! It needs to get out there. Not only a wonderful testament to and confirmation of Simone’s extraordinary talent, but what a bold and direct statement from Helgi to McKenzie.
Jesus! Are you going to blog about that?! It needs to get out there. Not only a wonderful testament to and confirmation of Simone’s extraordinary talent, but what a bold and direct statement from Helgi to McKenzie.
Yep – woefully behind on my blogging but it’s on the list. (Have 3 performances to recap too! Week got away from me.) Think it’s also a testament to the dancers longing for some real coaching, in addition to just opportunities!
Yep – woefully behind on my blogging but it’s on the list. (Have 3 performances to recap too! Week got away from me.) Think it’s also a testament to the dancers longing for some real coaching, in addition to just opportunities!
No kidding.
I wonder where else we’ll have to fly to this coming year. Hopefully, ABT will give Stella, Sarah, and Yuriko chances to dance Giselle in Minneapolis, and then clean out the old horse stalls during the Met season and let them dance it again. Now that would be worth spending money on.
No kidding.
I wonder where else we’ll have to fly to this coming year. Hopefully, ABT will give Stella, Sarah, and Yuriko chances to dance Giselle in Minneapolis, and then clean out the old horse stalls during the Met season and let them dance it again. Now that would be worth spending money on.
Good luck with anticipating casting–SFB announces so so late; it’s frustrating when trying to avoid 2 dancers I don’t enjoy there, who seem to casted in everything. How exciting for Simone! Good on Maria for paving the way last year.
Good luck with anticipating casting–SFB announces so so late; it’s frustrating when trying to avoid 2 dancers I don’t enjoy there, who seem to casted in everything. How exciting for Simone! Good on Maria for paving the way last year.
I’ve seen Stella twice and both times I was very underwhelmed. Gamzatti and 1st movement Symphony in C. Am I missing something? Have I only seen her on an off night? Also I really dislike Gaynor Minden pointe shoes. They creat an ugly line on otherwise lovely feet and impare a dancers ability to roll through the feet. Why do so many dancers wear them? I don’t get it… Rant over!
I’ve seen Stella twice and both times I was very underwhelmed. Gamzatti and 1st movement Symphony in C. Am I missing something? Have I only seen her on an off night? Also I really dislike Gaynor Minden pointe shoes. They creat an ugly line on otherwise lovely feet and impare a dancers ability to roll through the feet. Why do so many dancers wear them? I don’t get it… Rant over!
Hi Minnie. Let me quickly join your rant on the Gaynor Mindens. Very few dancers have the ultra narrow feet that one must have in order to wear GMs without looking atrocious. But Stella doesn’t wear them. I believe she wears Capezios.
I don’t know why you were underwhelmed by in her Gamzatti and Symphony in C. With regard to the latter, only Ana Sophia Scheller at NYCB currently does that movement better than Stella, IMO.
With regard to Gamzatti, most view that as one of her best roles. I’ve seen probably all of her performances in that role and have found them superior in classical technique to all others offered by ABT. The only one theatrically better in my estimation is Murphy.
Hi Minnie. Let me quickly join your rant on the Gaynor Mindens. Very few dancers have the ultra narrow feet that one must have in order to wear GMs without looking atrocious. But Stella doesn’t wear them. I believe she wears Capezios.
I don’t know why you were underwhelmed by in her Gamzatti and Symphony in C. With regard to the latter, only Ana Sophia Scheller at NYCB currently does that movement better than Stella, IMO.
With regard to Gamzatti, most view that as one of her best roles. I’ve seen probably all of her performances in that role and have found them superior in classical technique to all others offered by ABT. The only one theatrically better in my estimation is Murphy.
The Gaynor Minden rant was an aside from being underwhelmed by Stella…
I just noticed a lot of them on stage in my last few visits to ABT.
The problem I had with Symphony in C was that her partnered turns looked unsecure. The tempo also seemed to drag so I didn’t see any sparkle from her. Just a pleasant smile throughout. I also saw Boston Ballet’s Misa Kuranaga in this role a few weeks ago and was very impressed so it was hard not to make comparisons. When I saw her in Gamzatti it was opposite Vishnevas immaculate Nikiya. Her turns again seemed less than secure. Dramatically she was good but again I felt like she lacked a certain spark. My eye was being drawn to other dancers in the pas de action… I want Gamzatti to comand the stage! If I give her another try what do you suggest? I’m certainly open. Thanks so much.
The Gaynor Minden rant was an aside from being underwhelmed by Stella…
I just noticed a lot of them on stage in my last few visits to ABT.
The problem I had with Symphony in C was that her partnered turns looked unsecure. The tempo also seemed to drag so I didn’t see any sparkle from her. Just a pleasant smile throughout. I also saw Boston Ballet’s Misa Kuranaga in this role a few weeks ago and was very impressed so it was hard not to make comparisons. When I saw her in Gamzatti it was opposite Vishnevas immaculate Nikiya. Her turns again seemed less than secure. Dramatically she was good but again I felt like she lacked a certain spark. My eye was being drawn to other dancers in the pas de action… I want Gamzatti to comand the stage! If I give her another try what do you suggest? I’m certainly open. Thanks so much.
Minnie, you’re right about the tempo of ABT’s Symphony in C dragging. It is a dreadful effort when compared to what NYCB or MCB presents and looks like a JC Penney knockoff of Balanchine’s masterpiece. ABT should not be dancing it any where near New York.
But I think you should take in another performance of Stella’s. She is what they call “a dancer’s dancer” meaning that she commands unusual respect for what she puts on the stage. It may be that she’s just not your type of performer. But for my money, I’d rather see her any day of the week than Osipova.
Minnie, you’re right about the tempo of ABT’s Symphony in C dragging. It is a dreadful effort when compared to what NYCB or MCB presents and looks like a JC Penney knockoff of Balanchine’s masterpiece. ABT should not be dancing it any where near New York.
But I think you should take in another performance of Stella’s. She is what they call “a dancer’s dancer” meaning that she commands unusual respect for what she puts on the stage. It may be that she’s just not your type of performer. But for my money, I’d rather see her any day of the week than Osipova.