Angel Corella has been sorely missed. But he's back and was in fine form as Albrecht in last night's performance of Giselle. Handsome as ever. Charismatic. Lean. Fast. Held nothing back. Turns were spot on – although, we know, not always classical. Jumps healthy – maybe 1/2 notch below what he had when we last saw him more than a year ago, but still bigger than the newest and youngest principal. And he was EXCITING.
Thank goodness Mr. Excitement is back.
This deserves its own paragraph:
Angel's Act II vertical lifts of Xiomara Reyes to the layout position
were INCREDIBLE! Straight-armed INCREDIBLE!
Of course, Angel, Xiomara, and the music under the baton of David LaMarche sped along as they generally do. But hey, life's tragedies happen fast and furiously just as often as they unfold slowly. If ABT is willing to slow down the music for the tall guys, there should be no complaining when they speed it up for the not-so-tall guys.
Angel totally inspired Xiomara last night. She seemed very happy to be working at his speed. They were very lively in Act I. The mime was so filled with details and charm. Xiomara's Giselle had a lot of country peasant girl in her and her Albrecht just couldn't stay away. After an uncertain arabesque that nearly went over the top in Act I, Giselle relocated her center and proceeded without further incident. Her Act II awakening spin was fantastic and ended with Giselle ascending to relevé for a couple of revolutions. Her entrechat quatre and sautes passe were fast, furious, and low to the ground LIKE MAKAROVA'S WERE. When did Giselle start boinging up to the rafters on this part of the ballet? Oh wait, the answer is: Osipova does it, so some of ABT's less confident ballerinas want to copy her bad taste. If a ballerina is not aspiring for Makarova-like perfection in Giselle, she should just give it up.
Did Haglund forget to mention that Angel's Act II vertical lifts of Xiomara Reyes to the layout position were INCREDIBLE! Straight-armed INCREDIBLE!
Simone Messmer danced a fine Myrtha. She doesn't have the length in the arms that the other current Myrthas have nor the quiet jumps, but she certainly was stern last night. Patrick Ogle substituted for Sascha Radetsky as Hilarion. Haglund doesn't recall seeing Ogle in this role. He was best when engaged with Angel and weakest during his solo mime passages. The dancing in Act II was too classical with not enough exhaustion conveyed. Yuriko Kajiya and Joseph Phillips had a pretty good Peasant PdD, but I'm not sure the matchup did anything for either of them. Haglund would rather see Phillips with Sarah Lane and Kajiya with either Jared Matthews or perhaps some day – if we all can live long enough – Sean Stewart.
Where the evening performance was exciting and dramatic, the matinee performance was bland and dull except for the spectacular performances of Stella Abrera as Myrtha and Jared Matthews as Hillarion. Abrera simply out-danced the world yesterday. She was like her own jet-stream. Grand jetes came shooting out of the mist with extraordinary speed and landed so quietly that they confirmed her otherworldliness. This was a Myrtha who long ago chose the path of non-forgiveness and was in such pain from all her anger. Matthews was beyond outstanding in Act II. As he danced to his death, he responded to the music as though being pummeled by the wilis. He was the most desperate and exhausted Act II Hilarion that Haglund has ever seen. Oh, this guy is good.
Giselle and Albrecht – Hee Seo making her debut and David Hallberg – were the Cliff's Notes version of their characters. Clinically perfect steps. Clinically executed mime. A lot of standing around not knowing what to do. Oh, but there was much smiling. At times, it was like Cyndi Brady meets Opie Griffith – but less interesting.
To be fair, the steps, for the most part, got what they deserved. However, Hallberg so missed making both of the overhead lifts in Act II that it looked like Hee Seo was in danger. These lifts were the absolute worst that Haglund has ever seen in a professional production. Hallberg pushed her up just above his face and then she came sliding down and he did this little spin around to try to cover up the atrocity but it stunk. Pure and simply, it stunk, and Hallberg needs to do something about his upper body strength before he hurts a ballerina. Frankly, Haglund prefers not to see him trying to lift Abrera or Riccetto or Part or Herrera or Murphy or anyone again until he addresses his upper body weakness. No excuses accepted. Right now, his lifting is a disaster waiting to happen. His acting yesterday was odd. When he bore his eyes into Giselle, it looked like he was Dracula ready to take a bite out of her neck. His hysteria when Giselle died was over the top without being the least bit convincing. His own variations, however, were superb.
Hee Seo's Giselle knew how to dance but didn't have a clue as to how to act. Not a clue. So why were there three other more seasoned soloists (Abrera, Lane, Kajiya) on stage better equipped to handle both the dancing and the acting, but were not given the opportunity? Quite frankly, Seo visually resembles one of McKenzie's favorite partners and that is the only reason she is getting these opportunities ahead of anyone else. And that is not a good enough reason. McKenzie thinks that if he can recreate himself in Stearns and his Marianna Tcherkassky in Seo, then he can recreate the old glory days. Newsflash: those weren't the glory days and nobody wants to see them come back. But if history holds true, we'll now see Hee Seo in a host of bland but efficient performances of Marianna's roles and she'll be anointed as a principal ahead of many far better dancers who deserve the opportunities. McKenzie and his team have got to go. His artistic decisions are having a cancerous effect on the company.
Yesterday at the matinee, we saw nothing that came even close to equaling this:
Photos by Nancy Loch
Yes, that's Sarah Lane as Giselle with the LakeCities Ballet several seasons ago.
Complaining aside, Haglund was so happy and relieved to see Angel Corella back where he belongs and to see Stella Abrera and Jared Matthews turn out such fine performances in the afternoon. Hopefully those three will not mind sharing the coveted Pump Bump Award:
38 responses to “ABT – Mr. Excitement is back – 6/1”
“This was a Myrtha who long ago chose the path of non-forgiveness and was in such pain from all her anger.” One wonders where that may have come from-poor Stella.
I’m so glad to hear that Corella was wonderful with Reyes, she always looks her best with him, imo. I agree with the platitudes for Sean Stewart, I was taken aback with his classicism when I saw him last year.
From everything I’ve seen and read it seems like Hallberg still needs a Ballerina with a capital B to excel and work off of at this point in the full-lengths. When I saw him with Ricetto in Giselle last year, she was throwing a lot of things at him and he wasn’t catching them (or her) all too well.
Thanks so much for your reporting-I await it eagerly!
“This was a Myrtha who long ago chose the path of non-forgiveness and was in such pain from all her anger.” One wonders where that may have come from-poor Stella.
I’m so glad to hear that Corella was wonderful with Reyes, she always looks her best with him, imo. I agree with the platitudes for Sean Stewart, I was taken aback with his classicism when I saw him last year.
From everything I’ve seen and read it seems like Hallberg still needs a Ballerina with a capital B to excel and work off of at this point in the full-lengths. When I saw him with Ricetto in Giselle last year, she was throwing a lot of things at him and he wasn’t catching them (or her) all too well.
Thanks so much for your reporting-I await it eagerly!
So agree with your comments on McKenzie – I’d love to see Stella as Giselle and Yuriko as Giselle or Myrtha! And can someone please give David Hallberg a gym membership for his birthday or something? His solo work is so beautiful but other than in Meadow a few years ago with Stella I find his partnering so unmemorable. Sigh. So looking forward to Camellias!
So agree with your comments on McKenzie – I’d love to see Stella as Giselle and Yuriko as Giselle or Myrtha! And can someone please give David Hallberg a gym membership for his birthday or something? His solo work is so beautiful but other than in Meadow a few years ago with Stella I find his partnering so unmemorable. Sigh. So looking forward to Camellias!
I’ve so been waiting for your review, Haglund! I absolutely agree 100% (well, maybe 99% because I really love Gennadi Saveliev as Hilarion). But Stella was BREATHTAKING! IMPERIOUS, IMPLACABLE, and out for the kill. I bravo-ed like never before. I was waiting for everyone to break out into the Stell-a chant but no one did.
As for Seo, I wondered whether I was missing something by sitting up in the Grand Tier instead of the Orchestra, but I guess I wasn’t. Her performance was “correct,” but without personality. For me, Stella carried the performance.
I’ve so been waiting for your review, Haglund! I absolutely agree 100% (well, maybe 99% because I really love Gennadi Saveliev as Hilarion). But Stella was BREATHTAKING! IMPERIOUS, IMPLACABLE, and out for the kill. I bravo-ed like never before. I was waiting for everyone to break out into the Stell-a chant but no one did.
As for Seo, I wondered whether I was missing something by sitting up in the Grand Tier instead of the Orchestra, but I guess I wasn’t. Her performance was “correct,” but without personality. For me, Stella carried the performance.
In my haste to post earlier, I forgot to mention the Peasant PdD with Sarah Lane and Daniil Simkin, which was nothing short of spectacular. I am falling in love with Sarah Lane. Isn’t it wonderful when you find a new dancer to love?
In my haste to post earlier, I forgot to mention the Peasant PdD with Sarah Lane and Daniil Simkin, which was nothing short of spectacular. I am falling in love with Sarah Lane. Isn’t it wonderful when you find a new dancer to love?
Curious, have you seen Hee Seo dance Juliet? I thought her interpretation of that role was far from a “bland but efficient performance”–I’ve seen Vishneva, Dvorovenko, and Royal Ballet ballerinas Tamara Rojo and Mara Galeazzi dance Juliet and I thought Seo had the best Juliet out of all those women. That performance demonstrated great acting ability IMO, and I thought (based off that performance) she would make a good Giselle, but I didn’t see her performance so I can’t comment.
Curious, have you seen Hee Seo dance Juliet? I thought her interpretation of that role was far from a “bland but efficient performance”–I’ve seen Vishneva, Dvorovenko, and Royal Ballet ballerinas Tamara Rojo and Mara Galeazzi dance Juliet and I thought Seo had the best Juliet out of all those women. That performance demonstrated great acting ability IMO, and I thought (based off that performance) she would make a good Giselle, but I didn’t see her performance so I can’t comment.
Angelica, yes the Peasant PdD with Sarah Lane and Daniil Simkin was fantastic. Misty Copeland’s with anybody is also especially wonderful.
Angelica, yes the Peasant PdD with Sarah Lane and Daniil Simkin was fantastic. Misty Copeland’s with anybody is also especially wonderful.
Hi LKR. No, I haven’t seen Hee Seo’s Juliet. I heard it was very lovely. Her Giselle was very technically lovely, too, but there was so much missing, making the end result a very under-cooked performance.
Hi LKR. No, I haven’t seen Hee Seo’s Juliet. I heard it was very lovely. Her Giselle was very technically lovely, too, but there was so much missing, making the end result a very under-cooked performance.
Rachel, you’re right, Hallberg’s solo work is almost unimaginably beautiful. Seo’s technique was for the most part exceptional, but when you’re dancing the greatest ballet ever (I know, “arguably”) then you have to have more than technique and a winning smile.
Rachel, you’re right, Hallberg’s solo work is almost unimaginably beautiful. Seo’s technique was for the most part exceptional, but when you’re dancing the greatest ballet ever (I know, “arguably”) then you have to have more than technique and a winning smile.
I did see Hee Seo in a dress rehearsal of R&J and thought she was sensational, brilliant, dancing like her life depended on it. So I, too, expected her Giselle to be exceptional. Alas, I was underwhelmed. Perhaps she will develop the role in time.
I did see Hee Seo in a dress rehearsal of R&J and thought she was sensational, brilliant, dancing like her life depended on it. So I, too, expected her Giselle to be exceptional. Alas, I was underwhelmed. Perhaps she will develop the role in time.
As the season progresses I keep having a mental image of a picket line outside ABT with people holding placards of the many beautiful photos of Stella in all her roles. Silly I know….but McKenzie is really starting to make me mad! 🙂
As the season progresses I keep having a mental image of a picket line outside ABT with people holding placards of the many beautiful photos of Stella in all her roles. Silly I know….but McKenzie is really starting to make me mad! 🙂
Angelica–Yes, that was exactly what I thought when I saw her MET debut of Juliet two years ago. Hopefully her Giselle can get to that level in time.
Angelica–Yes, that was exactly what I thought when I saw her MET debut of Juliet two years ago. Hopefully her Giselle can get to that level in time.
I’ve seen Hee Seo as both Juliet and Giselle in performance. I absolutely loved her Juliet. I thought it was one of the best I’ve ever seen (and, yes, I’ve seen Ferri and Bocca) and eagerly went to see her Giselle, which left me disappointed. I bring this up because I would like for those with an open mind to give her a chance because I have seen her dance as good as the best. Her Giselle with David was not in that league, sadly.
Agree regarding Stella–superb. I saw her Saturday night with Cojocaru and thought she was spectacular then. Wonderful dancer. I even loved Stella more than Veronika because Stella’s jumps were just so ethereal. She’s a gorgeous, gorgeous dancer.
As for the Marianna Tcherkassky comment–that’s interesting. Had never thought of it that way. But I do hope you don’t allow this concept to prevent you from giving Hee a chance re Juliet–she can be a spectacular dancer. I do hope that in time–and maybe with a different partner–her Giselle will equal her Juliet.
I’ve seen Hee Seo as both Juliet and Giselle in performance. I absolutely loved her Juliet. I thought it was one of the best I’ve ever seen (and, yes, I’ve seen Ferri and Bocca) and eagerly went to see her Giselle, which left me disappointed. I bring this up because I would like for those with an open mind to give her a chance because I have seen her dance as good as the best. Her Giselle with David was not in that league, sadly.
Agree regarding Stella–superb. I saw her Saturday night with Cojocaru and thought she was spectacular then. Wonderful dancer. I even loved Stella more than Veronika because Stella’s jumps were just so ethereal. She’s a gorgeous, gorgeous dancer.
As for the Marianna Tcherkassky comment–that’s interesting. Had never thought of it that way. But I do hope you don’t allow this concept to prevent you from giving Hee a chance re Juliet–she can be a spectacular dancer. I do hope that in time–and maybe with a different partner–her Giselle will equal her Juliet.
Forgot to add–I was dazzled by Yuriko Kajiya. I feel like she is just really coming into her own. So much confidence, such variety in her performances, such magic. So excited for her and hope she continues to receive more opportunities …. (one can hope).
Forgot to add–I was dazzled by Yuriko Kajiya. I feel like she is just really coming into her own. So much confidence, such variety in her performances, such magic. So excited for her and hope she continues to receive more opportunities …. (one can hope).
Hi, Marie. If we all saw what was lacking, I’m sure the artistic team did, too. Hopefully they won’t just expect her to figure it all out on her own. I remember seeing the Giselle debut of Natalia Sologub at the Met decades ago when the Mariinsky came to town. It was an extremely POLISHED performance and she was very well prepared. I just saw Chase Finlay’s debuts in Apollo and Duo Concertant — again, very well prepared for the debut. His DC was much better than Hallberg’s debut in Washington DC this past winter – even though we know which one is the better dancer. Hee Seo wasn’t adequately prepared by the staff. Cory Stearns wasn’t adequately prepared by the staff for the majority of his debuts, either. Time for a change.
Hi, Marie. If we all saw what was lacking, I’m sure the artistic team did, too. Hopefully they won’t just expect her to figure it all out on her own. I remember seeing the Giselle debut of Natalia Sologub at the Met decades ago when the Mariinsky came to town. It was an extremely POLISHED performance and she was very well prepared. I just saw Chase Finlay’s debuts in Apollo and Duo Concertant — again, very well prepared for the debut. His DC was much better than Hallberg’s debut in Washington DC this past winter – even though we know which one is the better dancer. Hee Seo wasn’t adequately prepared by the staff. Cory Stearns wasn’t adequately prepared by the staff for the majority of his debuts, either. Time for a change.
I saw Chase’s debut in Apollo-and the rehearsal the day before. You could tell how much work had gone into ensuring he would do the best job possible.
In an interview from a few years ago with Hee Seo, she mentions that she was given an unprecedented three months to learn Juliet. She joked that such a thing is “unheard of” at ABT. And, given her injuries, I wonder if her preparation was even shorter. One thing occurred to me as I watched her-it was an uneven performance and uneven preparation could have contributed.
I always want dancers to do well and don’t take pleasure when they don’t. Still….I hope for the best for Hee Seo…..anyway I’m ready for Saturday’s matinee now (the performance, not the matinee audience….)
I saw Chase’s debut in Apollo-and the rehearsal the day before. You could tell how much work had gone into ensuring he would do the best job possible.
In an interview from a few years ago with Hee Seo, she mentions that she was given an unprecedented three months to learn Juliet. She joked that such a thing is “unheard of” at ABT. And, given her injuries, I wonder if her preparation was even shorter. One thing occurred to me as I watched her-it was an uneven performance and uneven preparation could have contributed.
I always want dancers to do well and don’t take pleasure when they don’t. Still….I hope for the best for Hee Seo…..anyway I’m ready for Saturday’s matinee now (the performance, not the matinee audience….)
You’re probably right, Marie. I, too, want the debuts to go well since there are so damn few of them. They should put together a debut subscription package and reallocate resources away from guest stars in order to pay for the debutantes three, four, or six months of rehearsal time to get it right. Putting a half-baked performance on the stage when you’re asking audience members to fork over a half of a day’s take-home pay for the ticket is pretty bold, but maybe not bright.
You’re probably right, Marie. I, too, want the debuts to go well since there are so damn few of them. They should put together a debut subscription package and reallocate resources away from guest stars in order to pay for the debutantes three, four, or six months of rehearsal time to get it right. Putting a half-baked performance on the stage when you’re asking audience members to fork over a half of a day’s take-home pay for the ticket is pretty bold, but maybe not bright.
A debut subscription package is a really good idea. Someone ought to propose that to ABT management. If I see Kevin MacKenzie, Martine Van Hamel, or Rachel Moore at the Met, I’m going to make that proposal. Perhaps others of us might join in and do the same thing.
A debut subscription package is a really good idea. Someone ought to propose that to ABT management. If I see Kevin MacKenzie, Martine Van Hamel, or Rachel Moore at the Met, I’m going to make that proposal. Perhaps others of us might join in and do the same thing.
They could promote it for months with website video pieces showing the “new class” progressing e.g., from not being able to execute something to fully conquering it. It would take some of the pressure off those debuting because ABT would in effect be managing our expectations. And how about getting one extra debut performance for free in the subscription?
They could promote it for months with website video pieces showing the “new class” progressing e.g., from not being able to execute something to fully conquering it. It would take some of the pressure off those debuting because ABT would in effect be managing our expectations. And how about getting one extra debut performance for free in the subscription?
Haglund, You are a GENIUS!
Haglund, You are a GENIUS!