Just a few comments regarding the opening night of Le Corsaire at the Kennedy Center. Haglund had to leave at the second intermission to make the last train out of town and is presently on the Amtrak #66 sitting directly behind NY Senator Chuck Schumer who is talking a little loud on his cell phone. But the first two acts of Le Corsaire were totally worth all the inconvenience and expense to get to DC. The new costumes (by Anibal Lapiz) and scenery (by Christian Prego) are gorgeous: beautiful wine palettes for the principal men and blue for the women.
In the refurbished production, the pirates now seem to be highly successful pirates of great (stolen) wealth. Their everyday wear is lined with jewels; their slaves sport sparkles, too. Conrad arrives on the scene in white tights and a mauve colored shirt. Later for the Act II bedroom scene, he wears a sheer white shirt that is very sexy. Lankendem's costume is similar to the style in the original production, but it is a cabernet color with new sparkle and has less in the way of sleeves. Ali's pants are a wine color, too. Birbanto has a gold top with reddish trim and now sports a long black ponytail. He also acquired some fabulous wine colored high boots which he wears over the customary black tights. Tonight they made Craig Salstein's already popping bravura technique look blistering hot.
Medora and Gulnare sport bare midriffs and stiff pancake tutus with not much flounce in them — light blue and white for Medora, blue violet and teal for Gulnare. Gulnare's veil is a little funky — short chin length with jewels weighting the hem. Tonight it didn't seem to be functioning like it was intended and the jewels looked like they were getting in Gulnare's mouth. Medora's tutu in Act II is a gorgeous light blue.
The new sets are spectacular. The opening boat scene shows the bow instead of the starboard side of the pirate ship with Conrad and Ali right there in front. The Act II set shows the back of the stage filled with jagged rocks that form a huge picture frame through which you see a ship off in the distance — it's like you're looking out from inside the pirates' hideout.
Haglund is going back for the full Saturday matinee and will report on the shipwreck and the rest of Act III at that time.
Beautiful dancing tonight from most everyone in Acts I and II. Marcelo Gomes was flying as Conrad. Sascha Radetsky had superb leaps and sneers as Lankendem. Herman Cornejo as Ali was bloody brilliant in Act II — a combination of the highest standards of classical dancing and jaw-dropping bravura. We are being robbed by not seeing him as Ali during the Met Season. Craig Salstein, already mentioned, delivered a fierce performance as Birbanto. Paloma Herrera as Medora was charming with rock solid technique. Her bedroom scene has come a long way over the years and conveyed a nice amount of passion tonight. Stella Abrera was a stunning Gulnare in Act I, suffering in love while delivering spectacular classical dancing.
The Odalisques got off to a rough start during the opening few seconds of Act I when Isabella Boylston tripped while running across the front of the stage with the others. She's been trying to incorporate throwing her face to the ceiling into every role as some dramatic maneuver just like Susan Jaffe tried to do toward the end of her career when everything else wasn't so easy any more. Her variation as the 3rd Odalisque was serviceable, but not more. Luciana Paris fared well in the 2nd variation. Sarah Lane was superb in the 1st variation – bright, articulate, energetic, very secure, and she looked fabulous in the new costume with bare midriff. When the three of them danced together, it became especially noticeable in the entrechat jumps the way Isabella drops her chest when she jumps which creates a horsey quality in her movement. In contrast, Sarah and Luciana held their torsos the way one expects classical dancers to do.
So, we'll see what Saturday brings. It's going to be exciting to finally be able to see Joe Phillips as Ali. He's been preparing it for years. Also, Luis Ribagorda will debut as Birbanto.
12 responses to “ABT – Le Corsaire with new costumes & sets”
Abrera was exquisite. My companion could not believe that she was not a principal. Cornejo epitomized the highest standard of classical bravura. The 4 leads all showed exquisite taste, e.g Paloma opting for line and only using the 180 when acceptable.
They were all good- well, Boylston. I felt guilty about not giving money the past year because of “artistic differences”. I feel like I have to support the true artist in the company, many of whom danced last night.
Abrera was exquisite. My companion could not believe that she was not a principal. Cornejo epitomized the highest standard of classical bravura. The 4 leads all showed exquisite taste, e.g Paloma opting for line and only using the 180 when acceptable.
They were all good- well, Boylston. I felt guilty about not giving money the past year because of “artistic differences”. I feel like I have to support the true artist in the company, many of whom danced last night.
Hi dc.
Agree about the horns last night in Le Corsaire as you mentioned in the Symp in Zzzz comment. They were bad, but at least they were a bit more timid about it.
The thing about Paloma’s extensions is that when she slowly opens to a 90 degree developpe, it is more meaningful, more beautifully shaped, more classical, more bang for the buck than anybody else’s obnoxious kick in the air. The way she pushes the instep to its maximum stretch makes me feel it in my own foot.
Don’t feel bad about not giving money to ABT. You are in fact supporting their great homegrown artists by not doing so at this time in history. The only power that the audience has is with its pocketbooks. When ABT’s wallet finally understands that their bread & butter audience wants to see homegrown artists and will not support the import business, things will change. Spend non-donated money on the homegrown artists’ performances.
I spent about $500 this week on Amtrak fares and other expenses to see our own fine artists. I paid less money for KC tickets than I would at the Met and had a better seat. It’s all money that is not going to be spent on ABT at the Met. They’re not just losing money to competitive arts groups, they’re losing it to Amtrak. How stupid is that?!
Hi dc.
Agree about the horns last night in Le Corsaire as you mentioned in the Symp in Zzzz comment. They were bad, but at least they were a bit more timid about it.
The thing about Paloma’s extensions is that when she slowly opens to a 90 degree developpe, it is more meaningful, more beautifully shaped, more classical, more bang for the buck than anybody else’s obnoxious kick in the air. The way she pushes the instep to its maximum stretch makes me feel it in my own foot.
Don’t feel bad about not giving money to ABT. You are in fact supporting their great homegrown artists by not doing so at this time in history. The only power that the audience has is with its pocketbooks. When ABT’s wallet finally understands that their bread & butter audience wants to see homegrown artists and will not support the import business, things will change. Spend non-donated money on the homegrown artists’ performances.
I spent about $500 this week on Amtrak fares and other expenses to see our own fine artists. I paid less money for KC tickets than I would at the Met and had a better seat. It’s all money that is not going to be spent on ABT at the Met. They’re not just losing money to competitive arts groups, they’re losing it to Amtrak. How stupid is that?!
Wow, that was certainly a good introduction to ABT! The Odalisques definitely seemed a little off in the beginning and I thought Paloma Herrera looked tight in her leaps after her first entrance, but she quickly smoothed out. Other than that, everything was amazing! Stella Abrera outshone everyone else every time she was on stage. I also noticed how much both she and Herrera attended to the details of their dancing. For example, there were a couple instances where both of them extended to a perfect developpe a la seconde, and then brought the leg back with such slow precision and delicacy that somehow it added a little extra magic.
I also thought that Marcelo Gomes was truly fantastic. I’ve never seen Le Corsaire live before, but in the videos, Conrad always seemed a little bland. This Conrad was definitely not bland! I loved the piratical bravura.
Also, in a strange turn of events, I may have been seated next to you. I was wondering why the gentleman next to me left at the second intermission and was trying to figure out whether he didn’t like the show.
Wow, that was certainly a good introduction to ABT! The Odalisques definitely seemed a little off in the beginning and I thought Paloma Herrera looked tight in her leaps after her first entrance, but she quickly smoothed out. Other than that, everything was amazing! Stella Abrera outshone everyone else every time she was on stage. I also noticed how much both she and Herrera attended to the details of their dancing. For example, there were a couple instances where both of them extended to a perfect developpe a la seconde, and then brought the leg back with such slow precision and delicacy that somehow it added a little extra magic.
I also thought that Marcelo Gomes was truly fantastic. I’ve never seen Le Corsaire live before, but in the videos, Conrad always seemed a little bland. This Conrad was definitely not bland! I loved the piratical bravura.
Also, in a strange turn of events, I may have been seated next to you. I was wondering why the gentleman next to me left at the second intermission and was trying to figure out whether he didn’t like the show.
Hi Kit.
Thanks much for your comments. In case anyone read them a bit too quickly and missed this, I want to point out Kit’s fourth sentence:
“Stella Abrera outshone everyone else every time she was on stage.”
Yes, she did.
Kit, can you share anything about the third act with us? How was the shipwreck?
I was sitting on the aisle next to a young man who was happy to replace me in my seat when I left. The Kennedy Center crowd is known for leaving at intermissions. Many of them have a lot on their minds these days and often can only afford a 45 minute respite before returning to attend to the messy condition of this country. But they’re always courteous about it: “Well, this has been a lovely treat” while exiting at the first intermission is pretty standard.
Hi Kit.
Thanks much for your comments. In case anyone read them a bit too quickly and missed this, I want to point out Kit’s fourth sentence:
“Stella Abrera outshone everyone else every time she was on stage.”
Yes, she did.
Kit, can you share anything about the third act with us? How was the shipwreck?
I was sitting on the aisle next to a young man who was happy to replace me in my seat when I left. The Kennedy Center crowd is known for leaving at intermissions. Many of them have a lot on their minds these days and often can only afford a 45 minute respite before returning to attend to the messy condition of this country. But they’re always courteous about it: “Well, this has been a lovely treat” while exiting at the first intermission is pretty standard.
Ah, then I must have been next to someone else. I admit I was taken aback by the exits (and by the people leaving before and during curtain calls), but it helps to know that this is usual.
As for act three, I admit that I enjoyed it a little less than the others, mainly because so much of it was taken up by the flower garden dream. Although the dancing was lovely and I found myself imagining Stella as Medora and not Gulnare, I am not really fond of seeing children showcased in adult ballets. Unfortunately, at times it was hard to see the female corps because they were constantly hidden by a line of young dancers. That said, I thought the shipwreck was fantastic, with very clever use of scenery and lighting to convey the storm and the sinking ship. And the ending pose with Conrad and Medora was a lovely final image.
Ah, then I must have been next to someone else. I admit I was taken aback by the exits (and by the people leaving before and during curtain calls), but it helps to know that this is usual.
As for act three, I admit that I enjoyed it a little less than the others, mainly because so much of it was taken up by the flower garden dream. Although the dancing was lovely and I found myself imagining Stella as Medora and not Gulnare, I am not really fond of seeing children showcased in adult ballets. Unfortunately, at times it was hard to see the female corps because they were constantly hidden by a line of young dancers. That said, I thought the shipwreck was fantastic, with very clever use of scenery and lighting to convey the storm and the sinking ship. And the ending pose with Conrad and Medora was a lovely final image.
Agree about the children.
Agree about the children.