Even consumption is beautiful at the ballet.
If you love theater, if you love drama, if you love ballet, if you love Chopin, you'd better beg, borrow, or steal your way to The Metropolitan Opera House for ABT's production of Lady of the Camellias this week. They'll never tour this piece. They'll probably never film it. They may not present it next season for a third time in a row. So, as Oleta Adams sings, "Get here if you can." Order your ticket here and get one within the forward half of the house even if that means the side tiers.
You'll never read a positive review of Lady of the Camellias in The New York Times while Macaulay is around for a couple of reasons: First, the ballet is the famous story of Marguerite and Armand (aka Violetta and Alfredo in La Traviata), but it is not the Frederick Ashton ballet of that name that Macaulay wishes ABT would present instead of this fine production by John Neumeier; second, the ballet was originally premiered only months after Kenneth MacMillan premiered his controversial Mayerling in 1978, which Macaulay hates even though MacMillan dedicated it to Ashton and premiered it on Valentines' Day, and which like Camellias begins the telling of the story following the death of a main character and utilizes flashbacks. Neumeier's Camellias begins at an auction of Marguerite's possessions following her death from consumption whereas MacMillan's Mayerling begins with the nighttime burial of Baroness Mary Vetsera. Both ballets utilize the highly dramatic and athletic PdDs which are stunning in their creativity and beauty and rely heavily on the dramatic acting skills of the cast. So, just ignore Macaulay and the Times and understand that Camellias has been thrilling audiences at La Scala, Paris Opera Ballet, Stuttgart, and Hamburg for many years, and we're lucky to finally have gotten it last year. Get here this year if you can.
Once again this year there were blue ribbon performances by Julie Kent, Roberto Bolle, Gillian Murphy, David Hallberg, Xiomara Reyes, Victor Barbee, Jared Matthews, Hee Seo, Mary Mills Thomas – and this was just the first night. Add to this mix some of the most gorgeous, breathtaking piano artistry imaginable by Koji Attwood, Nimrod Pfeffer, and Emily Wong, and an orchestra that put so much love and passion into playing Chopin that they all should have been up on the stage, too.
Everyone who reads this blog knows that Haglund has been following Jared Matthews' progress for the last two or three years. Well, tonight he had such a spectacular, polished, successful performance as Gaston Rieux to Xiomara Reyes' Prudence that he probably even surprised himself. His pirouettes had easy quadruple revolutions with stylish finishes. His energetic variation which he danced while exercising a rider's whip combined comedy with virtuosity. So very, very good. It is so very enjoyable to watch this young man's development.
The company celebrated Julie Kent's 25th anniversary this evening with many bouquets and floral salutes. Her performance tonight alone earned this type of celebration and was one of her richest portrayals of character. She and Roberto Bolle delivered drama that did more than just tug at the heart strings; it tore your heart out and then pummeled it.
Haglund can't write anymore tonight. He's got to get some sleep in order to get through both performances of Lady of the Camellias on Saturday. Yes, it's that good. The Camellia Pump Bump Award is bestowed on all the dancers and especially the musicians who took the evening to such an unexpected high: