Onegin is about living with the decisions that you've made regardless of their consequences. Pushkin's famous poem, Eugene Onegin, on which this ballet is based, delves into the noble feelings of honor and pride, the difficult sorrow that sometimes comes after having made eternal vows, and the inability to back down from challenges that have been thrown at you in haste or those which you, yourself, have thrown – "But the world's savage indoctrination fears the false shame of reconciliation." It's a terrific poem that has a terrific stage life as both an opera and a ballet.
John Cranko's ballet version is a masterpiece from curtain-up to curtain-down. It is built around two PdD for Onegin and Tatiana, a solo for Lensky, and a duel between Lensky and Onegin. A scrupulously mannered community of nobles and countryfolk portray the society's calm surface beneath which the passions of the principals roil.
The first major PdD occurs in Tatiana's dream in Act I. Onegin swirls her around and she is flying on top of the world emotionally as she dreams of the passion she would have with Onegin. At the music's climax, Onegin lifts Tatiana high into the air as she sits vertically on his hand. At the exact same musical moment in the final heart wrenching PdD in Act III before Tatiana throws Onegin out the door, she is no where near on top of the world. Instead, she's horizontally bent back on the floor under the weight of Onegin's desire and he yanks her up into a passionate sissonne momentarily breaking her emotional resistance.
Wednesday's matinee was as nearly a perfect ensemble performance as one could ask for and all the players on the stage enjoyed great chemistry. Irina Dvorovenko, in her penultimate appearance with ABT, lived her Tatiana with honesty, depth, and passion. Her early infatuation with Cory Stearns' Onegin was played with sincerity without trying to be too girlish. The excellent chemistry between Irina and Stearns was theatrically transforming throughout the evening. Irina's face has always been one of the more beautifully expressive faces in the company since she joined ABT – never less than fully invested in her character's emotions and story – and it has been sad to see ABT sideline her these past few years despite the fact that her technical and theatrical skills have seemed to be at their twin peaks.
Stearns extracted significantly more theatrical juices than in last year's performances even if they did sometimes look like they came from stage directions instead of from the fruit of the poem. Rather than instantly becoming angry with Tatiana for being so persistent about her love for him, his character seemed to understand the fragile nature of her young feelings and tried to turn her down with some compassion. There were noticeable improvements in his partnering, and he no longer looked like he was ready to collapse under the physical pressure of the choreography. A couple of lifts where Tatiana was supposed to twist into a jump to Onegin's shoulder appeared to be modified or perhaps weren't as clearly implemented as they should have been. Here's hoping that Stearns is on his toes for whatever Irina may throw at him tonight in her Farewell.
It was a thrill to watch Blaine Hoven and Gemma Bond in their debuts as Lensky, Onegin's poet friend, and Olga, Tatiana's pretty and flirtatious younger sister. A few nerves took a couple of Blaine's turns off course at the very beginning of the evening, but his solo of lament in Act II was exceptional. That was preceded by a fine dramatic confrontation with Onegin over his flirtation with his fiancé, the really-up-for-game Olga. This cast was in tune with Pushkin's idea that Onegin flirted with Olga not just out of boredom but in order to show Lensky the fickle nature of Olga's commitment to him.
Vitali Krauchenka was pitch-perfect as Prince Gremin who Tatiana married for love and convenience but who didn't provide the passion that Tatiana had dreamed about since reading her romance novels as a young girl.
Friday night's cast of Onegin had really, really high points and a few really, really low points, but it averaged out to be a pretty good evening thanks to the masterfully detailed and nuanced performances of Diana Vishneva and Marcelo Gomes. They have a way of calmly and patiently enticing us into their beautiful world, and then suddenly, they're ripping our hearts out as they scream-dance This is what our world is reeeeally like. Jesus. Last night's Act III PdD left the audience pretty wrung out and needing a drink. Just as it oughta be.
Jared Matthews reprised his superb Lensky from last year. This guy has got it all – lines, technique, drama – and it all worked together brilliantly last night in his portrayal of Lensky as a somewhat naive poet who was finally pushed over the edge by Onegin's attention toward Olga.
Unfortunately, Isabella Boylston's debut performance as the pretty younger sister of Tatiana didn't add up to much. First, according to Pushkin, Olga is supposed to be pretty while Tatiana is the bookworm. Second, Olga's variations have a lot of jumps in them, and Isabella's dumping of her upper body does not a pretty jump make. Why hasn't someone insisted she fix this? How difficult is it to say, "Your arms and elbows fly up way too high when you jump and it makes you look dumpy. Fix it by tomorrow. If you do it again on stage, you're demoted or fired." What is so hard about saying that? It's not a matter of Isabella not being able to fix it; it's a matter of her neglect and ABT's coddling attitude that causes them to look the other way because a perfectly formed jump might be a slightly lower jump. Circus trumps artistry – again. Nor was Isabella's acting serviceable, and she frequently licked her front teeth like she was trying to get lipstick off of them. Her best theatrical moment of the evening was when she ran across the stage to hug Martine van Hamel's Madame Larina.
James Whiteside's Prince Gremin was like something out of the spook house. In Act II, it was painfully clear why Tatiana was so repelled by him. Act III saw adequate partnering from him, but the strain on his face when he picked up the tiny Vishneva doesn't bode well for Veronika Part who has to dance with him in her debut as Kitri or Gillian Murphy who has to dance with him in Swan Lake. What politics came into play that allowed this gothic-looking dancer from a less-than-top tier regional ballet company to waltz into ABT principal roles while the very capable and very handsome Eric Tamm and Roddy Doble waste away in the corps?
It's not a Dance 10, Looks 3 world in New York – no matter how high the jump, how flexible the limbs, or how hard one cultivates celebrity.
Friday night delivered disappointments that dampened the high successes of Vishneva and Gomes. The standout debut performances of Blaine Hoven and Gemma Bond at the Wednesday matinee were not surprises at all because the audience has known for years how talented these two are. The H.H. Pump Bump Award, some true Louboutin poetry, is bestowed upon them.
28 responses to “ABT – Onegin – 5/15 mat & 5/17”
You really have a way with words, Haglund! I love your descriptions… makes me feel like we’re all right there in the audience with you.
I’m going tonight to see Irina’s farewell performance with ABT. I’m looking forward to it, but it’s also going to be a sad occasion…
You really have a way with words, Haglund! I love your descriptions… makes me feel like we’re all right there in the audience with you.
I’m going tonight to see Irina’s farewell performance with ABT. I’m looking forward to it, but it’s also going to be a sad occasion…
Hi B.
For tonight, everyone needs to “Keep Calm and Carry On” on stage and off, because Irina is going to take it to the limit, and perhaps beyond.
Hi B.
For tonight, everyone needs to “Keep Calm and Carry On” on stage and off, because Irina is going to take it to the limit, and perhaps beyond.
“Circus trumps artistry – again.”
I’m beginning to think you’re not too bright. Did you check the audience at Irena’s farewell on the night of the 18th. Maybe 70-75% full would you say ?
Check it when Osipova and chunky Ivan perform. It will be packed. You give the people what they want. Unless you want to pay for the losses.
“Circus trumps artistry – again.”
I’m beginning to think you’re not too bright. Did you check the audience at Irena’s farewell on the night of the 18th. Maybe 70-75% full would you say ?
Check it when Osipova and chunky Ivan perform. It will be packed. You give the people what they want. Unless you want to pay for the losses.
Thanks for your comment, Mr. Slate.
Thanks for your comment, Mr. Slate.
Haglund,
Regarding the “comment” by a “Mr.Slate” about your intelligence – we have now reached the nadir regarding discussions of ballet on the internet. Instead of giving reasons why he disagrees with your view , he makes insulting personal attacks . It could be worse…there is one ballet nutcase on Youtube who labels everyone who disagrees with him/her as a “moron”….. I think that posters who use epithets like that should be warned….and if they continue , be blocked .
Haglund,
Regarding the “comment” by a “Mr.Slate” about your intelligence – we have now reached the nadir regarding discussions of ballet on the internet. Instead of giving reasons why he disagrees with your view , he makes insulting personal attacks . It could be worse…there is one ballet nutcase on Youtube who labels everyone who disagrees with him/her as a “moron”….. I think that posters who use epithets like that should be warned….and if they continue , be blocked .
Thanks, Fred. Will do.
Thanks, Fred. Will do.
I was at the Met last night. While the theater was certainly not sold out, I don’t think it was as bad as Mr. Slate makes it out to be. Nonetheless, it’s really a shame that Irina’s farewell performance was not sold out. Everyone I spoke with said that the Met has been like a ghost town all week. (I heard that the house was particularly empty on Thursday night.) Onegin is a hard one to sell. Audiences will flock to Romeo & Juliet or Sleeping Beauty. But Onegin is not everyone’s cup of tea and many people are unfamiliar with it. Also, the ABT marketing department really needs to start doing more.
Irina may not have been everyone’s favorite ballerina. But personally, I’ve always admired her work ethic, grace, elegance and beauty. It’s sad that we won’t see her on the Met stage anymore.
I was at the Met last night. While the theater was certainly not sold out, I don’t think it was as bad as Mr. Slate makes it out to be. Nonetheless, it’s really a shame that Irina’s farewell performance was not sold out. Everyone I spoke with said that the Met has been like a ghost town all week. (I heard that the house was particularly empty on Thursday night.) Onegin is a hard one to sell. Audiences will flock to Romeo & Juliet or Sleeping Beauty. But Onegin is not everyone’s cup of tea and many people are unfamiliar with it. Also, the ABT marketing department really needs to start doing more.
Irina may not have been everyone’s favorite ballerina. But personally, I’ve always admired her work ethic, grace, elegance and beauty. It’s sad that we won’t see her on the Met stage anymore.
All true, B.
Several of the Onegin performances were on TDF for more than a month, and ABT was giving away lots of tickets through its website, FB, and Twitter pages.
And while 70-75% of capacity sounds bad – and certainly is bad compared to the huge audiences of six or seven years ago – it still is equivalent to a full house at the Koch Theater or London’s Covent Garden.
A big part of ABT’s core audience is tired of seeing guest artists trotted in here and represented as being better than what we can create ourselves. The biggest indicator of that is that the DonQ, starring Osipova&Vasiliev in their greatest roles on a SATURDAY NIGHT, is far, far from being sold out. Demand for those two is clearly waning rapidly. Thankfully. Can’t wait for ABT to stuff Beyonce in a tutu and throw her on stage – you know, just to give the people what they want.
All true, B.
Several of the Onegin performances were on TDF for more than a month, and ABT was giving away lots of tickets through its website, FB, and Twitter pages.
And while 70-75% of capacity sounds bad – and certainly is bad compared to the huge audiences of six or seven years ago – it still is equivalent to a full house at the Koch Theater or London’s Covent Garden.
A big part of ABT’s core audience is tired of seeing guest artists trotted in here and represented as being better than what we can create ourselves. The biggest indicator of that is that the DonQ, starring Osipova&Vasiliev in their greatest roles on a SATURDAY NIGHT, is far, far from being sold out. Demand for those two is clearly waning rapidly. Thankfully. Can’t wait for ABT to stuff Beyonce in a tutu and throw her on stage – you know, just to give the people what they want.
Regarding poorly sold houses : the “dance boom” is over : most everyone agrees that this is true. First of all , the economy is very poor, and young people cannot afford the high prices. There are no “stars” like Fonteyn and Nureyev who were in the popular media quite often….there is almost nothing on the major networks on the ballet – unlike in many European countries- whenever there is a new production of an opera and ballet , television news shows feature a few minutes of the principals rehearsing , interviews , etc . R. Bolle has been quite often on popular TV shows in Italy . Here , nothing. When there are promotions to Etoile at the POB ,it is shown on national TV in France . In addition, prices of tickets have risen dramatically for the ballet – especially at NYCB – they have totally alienated the core dance audience …and eliminated standing room. the $29 tickets ( they really cost $31 with fees) are very few , and the company has introduced “dynamic pricing” – something the airlines do….prices constantly change…the tickets for “The Nutcracker” cost up over $200 – for that threadbare , ratty production ( I am referring to the ugly sets and costumes- not the wonderful choreography). Another factor is that the audiences are dying – literally. Last year the Wednesday ABT matinees – mainly older people- were almost sold out , Now ? Wednesdays matinee at ABT was sparsely attended . P. Martins tried getting new audiences by hiring McCartney of the Beatles to “compose” a score – this from a pop singer who after all these years cannot write or read music ! So who really “composed” that piece of treacle ? …Attracted by a big “name”…they came , and never returned . As to the “foreign” guests at ABT…they have always been there , and I agree that I. Vasiliev is a “circus act”…and if you remember , last year the audiences went bananas over his dancing . (The only interesting “Le Corsaire” is the version that the Bolshoi currently does – Ratmansky and Burlaka based that version on the Stepanov notations : it can be seen complete on Youtube – and it is truly magnificent.) The ABT version is pathetic…even with new sets and costumes.Perhaps ABT should drop all full-length ballets , and put on just excerpts from their favorite ballets – using the latest “circus acts”…and they can all yell and scream and go home in one and a half hours….better yet – have the performance in the arena at Penn Station: “And now – Vasiliev and Osipova in the spectacular , death-defying pas from Le Corsair ….he will show you his latest tricks which will make you all dizzy and have you screaming for more …!” Most come for some “sensation” , ballet as an art form does not interest them….sadly….
Regarding poorly sold houses : the “dance boom” is over : most everyone agrees that this is true. First of all , the economy is very poor, and young people cannot afford the high prices. There are no “stars” like Fonteyn and Nureyev who were in the popular media quite often….there is almost nothing on the major networks on the ballet – unlike in many European countries- whenever there is a new production of an opera and ballet , television news shows feature a few minutes of the principals rehearsing , interviews , etc . R. Bolle has been quite often on popular TV shows in Italy . Here , nothing. When there are promotions to Etoile at the POB ,it is shown on national TV in France . In addition, prices of tickets have risen dramatically for the ballet – especially at NYCB – they have totally alienated the core dance audience …and eliminated standing room. the $29 tickets ( they really cost $31 with fees) are very few , and the company has introduced “dynamic pricing” – something the airlines do….prices constantly change…the tickets for “The Nutcracker” cost up over $200 – for that threadbare , ratty production ( I am referring to the ugly sets and costumes- not the wonderful choreography). Another factor is that the audiences are dying – literally. Last year the Wednesday ABT matinees – mainly older people- were almost sold out , Now ? Wednesdays matinee at ABT was sparsely attended . P. Martins tried getting new audiences by hiring McCartney of the Beatles to “compose” a score – this from a pop singer who after all these years cannot write or read music ! So who really “composed” that piece of treacle ? …Attracted by a big “name”…they came , and never returned . As to the “foreign” guests at ABT…they have always been there , and I agree that I. Vasiliev is a “circus act”…and if you remember , last year the audiences went bananas over his dancing . (The only interesting “Le Corsaire” is the version that the Bolshoi currently does – Ratmansky and Burlaka based that version on the Stepanov notations : it can be seen complete on Youtube – and it is truly magnificent.) The ABT version is pathetic…even with new sets and costumes.Perhaps ABT should drop all full-length ballets , and put on just excerpts from their favorite ballets – using the latest “circus acts”…and they can all yell and scream and go home in one and a half hours….better yet – have the performance in the arena at Penn Station: “And now – Vasiliev and Osipova in the spectacular , death-defying pas from Le Corsair ….he will show you his latest tricks which will make you all dizzy and have you screaming for more …!” Most come for some “sensation” , ballet as an art form does not interest them….sadly….
Hi Fred.
I like the Penn Station idea and think it would succeed if done in the lower level by the Zaro’s Bread Basket.
The $29 ($31) tickets at NYCB have never been prime seats. But there are significant numbers of them at the beginning of the season’s sales. The tickets have been on sale since September. If one waits until the spring season to buy spring season tickets, it’s likely that the best of the not-so-great $29 tickets will be gone. So, you have to buy early and just forget about casting preferences. It’s not something I like to do, but it seems that this year, I mostly lucked out.
Hi Fred.
I like the Penn Station idea and think it would succeed if done in the lower level by the Zaro’s Bread Basket.
The $29 ($31) tickets at NYCB have never been prime seats. But there are significant numbers of them at the beginning of the season’s sales. The tickets have been on sale since September. If one waits until the spring season to buy spring season tickets, it’s likely that the best of the not-so-great $29 tickets will be gone. So, you have to buy early and just forget about casting preferences. It’s not something I like to do, but it seems that this year, I mostly lucked out.
Haglund,
Thank you for the advice regarding tickets at NYCB . However , I want to see the casting before I buy . I think you will understand that there are dancers I want to see regardless what the ballets they are dancing . And then there are others I do not want to see even in the Balanchine and Robbins ballets which I love .Of course when Balanchine was alive that was the policy – the ballets were paramount . Now that he is dead the policy should be changed .
Haglund,
Thank you for the advice regarding tickets at NYCB . However , I want to see the casting before I buy . I think you will understand that there are dancers I want to see regardless what the ballets they are dancing . And then there are others I do not want to see even in the Balanchine and Robbins ballets which I love .Of course when Balanchine was alive that was the policy – the ballets were paramount . Now that he is dead the policy should be changed .
Good point, Fred. I’ll bet that you’d be more likely to buy in advance if there were easy exchanges. NYCB and ABT should loosen up considerably on exchanges. The traditional reasons for not allowing liberal exchanges don’t hold up anymore. Ticketing is instantaneous and can be printed by the buyer in any number of ways and sometimes can just be stored on a device without printing. Ticket inventories are accurate up to the minute on websites. And most importantly, tickets are verified at the turnstile by ticket agents with their electronic readers.
If someone wanted to exchange tickets using his device as he walked through the front door of the theater, he should be able to do it.
The companies are really hurting sales by not promoting true flexibility with single ticket sales. A lot of people would buy more single tickets in advance if there wasn’t an archaic policy that prevented them from exchanging. It’s totally different from forcing someone into a subscription model.
Good point, Fred. I’ll bet that you’d be more likely to buy in advance if there were easy exchanges. NYCB and ABT should loosen up considerably on exchanges. The traditional reasons for not allowing liberal exchanges don’t hold up anymore. Ticketing is instantaneous and can be printed by the buyer in any number of ways and sometimes can just be stored on a device without printing. Ticket inventories are accurate up to the minute on websites. And most importantly, tickets are verified at the turnstile by ticket agents with their electronic readers.
If someone wanted to exchange tickets using his device as he walked through the front door of the theater, he should be able to do it.
The companies are really hurting sales by not promoting true flexibility with single ticket sales. A lot of people would buy more single tickets in advance if there wasn’t an archaic policy that prevented them from exchanging. It’s totally different from forcing someone into a subscription model.
I’m not sure if the dance boom is really over, as Fred states, but I do agree with him that NYCB has totally alienated its core dance audience. For years, I was a Fourth Ring Society member. I went to see NYCB all the time. I could buy tickets in advance. Or, I could buy them at the last minute. Flexibility was built into the program. I was very happy with the way it worked. And I actually liked sitting in the Fourth Ring, too. The $29 ticket program is not the same thing at all. Maybe some other people do like it, but it doesn’t work for me. The result: I almost never go to NYCB anymore.
Meanwhile, the Third and Fourth Rings are sometimes closed off, depending on how the tickets are selling. Maybe when all things are totaled, the company is making as much money as before, but it’s a mirage, if half the house is closed off! I know I’m not the only one who feels this way.
I’m not sure if the dance boom is really over, as Fred states, but I do agree with him that NYCB has totally alienated its core dance audience. For years, I was a Fourth Ring Society member. I went to see NYCB all the time. I could buy tickets in advance. Or, I could buy them at the last minute. Flexibility was built into the program. I was very happy with the way it worked. And I actually liked sitting in the Fourth Ring, too. The $29 ticket program is not the same thing at all. Maybe some other people do like it, but it doesn’t work for me. The result: I almost never go to NYCB anymore.
Meanwhile, the Third and Fourth Rings are sometimes closed off, depending on how the tickets are selling. Maybe when all things are totaled, the company is making as much money as before, but it’s a mirage, if half the house is closed off! I know I’m not the only one who feels this way.
Dear B ,
I remember the situation before NYCB instituted their “dynamic pricing” policy .The 4th Ring always had at least one-quarter to one-third of the seats sold…..for the programs that had only Balanchine and/or Robbins ballets usually at least 50% of the seats were sold… much less with “you know whose” ballets. There were even people sitting on the 5th Ring ! I only bought standing room…there were at least six or so tickets sold.
With the new policy…the ticket prices have risen tremendously….so I suppose they make the same money , but keep out the “old guard” of NYCB followers. Does P. Martins agree with this policy ? Of course…see the 60 Minute program on NYCB…ahe was asked if he was bothered by poor critical response to he ballets- he does not care what people think . I do not belong to the “Martin haters”….however, it seems that the core Balanchine and Robbins rep is not rehearsed enough…and it shows….in the recent “who Cares”…while some of the principals gave wonderful performances….the corps gave really a sloppy performance – and the steps for that ballet are not very challenging.The old “schlocky” set and new costumes for the male corps that look like flashy jogging outfits – S .Loquasto – he also did the poor sets for the new “Eugene Onegin” at ABT . But the audiences have changed…the “Old Guard”has either died , or is not going anymore – like “B”- or like people who want to go several times a week, but cannot afford it….
Dear B ,
I remember the situation before NYCB instituted their “dynamic pricing” policy .The 4th Ring always had at least one-quarter to one-third of the seats sold…..for the programs that had only Balanchine and/or Robbins ballets usually at least 50% of the seats were sold… much less with “you know whose” ballets. There were even people sitting on the 5th Ring ! I only bought standing room…there were at least six or so tickets sold.
With the new policy…the ticket prices have risen tremendously….so I suppose they make the same money , but keep out the “old guard” of NYCB followers. Does P. Martins agree with this policy ? Of course…see the 60 Minute program on NYCB…ahe was asked if he was bothered by poor critical response to he ballets- he does not care what people think . I do not belong to the “Martin haters”….however, it seems that the core Balanchine and Robbins rep is not rehearsed enough…and it shows….in the recent “who Cares”…while some of the principals gave wonderful performances….the corps gave really a sloppy performance – and the steps for that ballet are not very challenging.The old “schlocky” set and new costumes for the male corps that look like flashy jogging outfits – S .Loquasto – he also did the poor sets for the new “Eugene Onegin” at ABT . But the audiences have changed…the “Old Guard”has either died , or is not going anymore – like “B”- or like people who want to go several times a week, but cannot afford it….