A few days ago, Haglund sat around wondering why during the many years of watching Alessandra Ferri and Julio Bocca in Romeo and Juliet, he was thrilled with each performance and never got bored. In fact, sometimes while waiting for the lights to dim in the Met Opera House and contemplating what was about to come, he would think to himself, "Maybe this time they won't die." Of course, they died. Always. But their performances conveyed such spontaneity and dramatic invention that having a whimsical notion about an altered ending was easy. It's been ten years since the last Ferri/Bocca Romeo and Juliet. While ABT has fielded some good casts, none has been able to create comparable magic.
Last night's opening performance of Romeo and Juliet was led superbly by Diana Vishneva and Marcelo Gomes. There were brilliant performances from supporting cast members, as well: Sascha Radetsky (Tybalt), Grant DeLong (Paris) and Craig Salstein (Mercutio).
While the two leading dancers invested great emotion in their characters, sometimes it seemed calculated – sometimes even miscalculated as when Vishneva rushed the final scene in which she stabbed herself and climbed onto the gray slab to die. She ended up with enough extra music to die twice. While there were wild emotions and flailing arms throughout the evening, there was no sense of spontaneity. The performance could have been a hyped-up Onegin, Camellias, or Giselle. What a disappointment that in Act III Vishneva couldn't lean against the bed and for a half minute stare motionlessly out into the dark while she contemplated her fate. Blink, blink, blink, look up and around, blink, blink isn't the choreography.
One series of interactions which seemed fresh were those between Juliet and Paris. It's not often that the viewer's sympathies are with Paris, but Grant DeLong's interpretation really made you question whether Juliet should be resisting him. His final frustration with her was portrayed with the wonderful honesty of a man rarely driven to the point of losing his composure.
As Tybalt, Sascha Radetsky's final fight with Romeo was as intense as they come. Great theater from both actors. While in the midst of enjoying them, Haglund wished for another chance to see them team up as Othello and Iago in Lar Lubovitch's production of Othello, a masterful work.
Craig Salstein's Mercutio, always well-acted, was excellent technically, as well. He's another underused guy who could pull off a fine Albrecht if he were given half a chance.
Stella Abrera's Lady Capulet brought down the curtain on Act II with true Parkinson hysteria. There were several "Whews" heard in the audience when that was over.
Marcelo's solos were uncharacteristically measured, in some cases even small. Clearly, he wasn't always dancing full out although what he did deliver was fine. He's carrying a heavy load again this season – unnecessarily so. There are other dancers – soloists and corpsmen – who are up to the task of leading a matinee Swan Lake with the company's most minor Odette or dancing Ali or Symphony in C. It's really dumb to let ABT's management talk him into over-extending himself at this point in his career. Where is his manager?
Clinton Luckett offered a poor excuse for both Escalus and Friar Laurence. No theatrical skill at all – a complete washout. When Kirk Peterson's Escalus used to descend the staircase, he was so angry that his face turned red and you could see the veins in his neck bulging. Luckett strolled down like he was in a supermarket aisle. It's hard to speak about how bad his Friar was, but it was miserable. Where is that Kirk Peterson, anyway? Haglund remembers some very taxing and educational classes with him at David Howard's old studio. He might make a pretty good interim director while ABT waits for Stiefel to free himself up. Just trying to offer some helpful suggestions here.
Just to revisit the complaint about calculated performances: Fifteen or twenty years ago after some performance of Romeo and Juliet or Manon, Bocca and Ferri were surprised when at bows the curtain opened a little early and they were caught in an embrace. The audience loved it. Since then, at bows, too many principals at ABT act like the other one is the love of his life and that he can't get enough of him, just to get more applause. It's so fake that it's gag-inducing. They may be dancing for the first time and not even speak the other one's language, but they're hanging all over one another at bows and in front of the curtain. Last night Vishneva apparently wanted the performance to go on, because at the first bow she buried her face in Gomes' chest and didn't even want to look at the audience. Grow up, people, when the curtain comes down, the performance is over.
The Pump Bump Award, a little Juliet stiletto from the Carlos Santana Collection, is bestowed upon Craig Salstein, Grant DeLong, and Sascha Radetsky because they came on stage last night both physically and emotionally prepared to give their best performances. Abraxas, and all that.
56 responses to “ABT – Romeo and Juliet – 6/10”
I was JUST thinking today how I’ve never seen a Juliet like Ferri’s. Dvorovenko’s was an almost close second, but why don’t they bring in Ferri to coach it? We know she’s in town. And, wouldn’t Yuriko be a glorious Juliet? I’m just saying…
I was JUST thinking today how I’ve never seen a Juliet like Ferri’s. Dvorovenko’s was an almost close second, but why don’t they bring in Ferri to coach it? We know she’s in town. And, wouldn’t Yuriko be a glorious Juliet? I’m just saying…
Agree Dvorovenko’s Juliet was fantastic. She and Bolle were a great team in R&J.
Ferri was brought in for weeks and weeks of rehearsal with Osipova, not any of ABT’s own dancers.
Sarah Lane spent her Lenore Annenberg Fellowship money for Juliet coaching with Ferri.
Yuriko would be fantastic as Juliet, and Jared could be an intense Romeo. Oh, they would be good, very good.
Agree Dvorovenko’s Juliet was fantastic. She and Bolle were a great team in R&J.
Ferri was brought in for weeks and weeks of rehearsal with Osipova, not any of ABT’s own dancers.
Sarah Lane spent her Lenore Annenberg Fellowship money for Juliet coaching with Ferri.
Yuriko would be fantastic as Juliet, and Jared could be an intense Romeo. Oh, they would be good, very good.
I have seen Vishneva as Juliet couple of times, and exactly the spontaneity was the missing link. Her Juliet was not innocent enough, or maybe that’s her onstage aura coming through even as Juliet. I don’t know why Marinsky is choosing to film Romeo and Juliet for dvd with Vishneva and Shklyarov.
Ferri’s Juliet cannot be topped in recent ABT history in my opinion, but I doubt she could transfer her own magic onto Osipova.
I have seen Vishneva as Juliet couple of times, and exactly the spontaneity was the missing link. Her Juliet was not innocent enough, or maybe that’s her onstage aura coming through even as Juliet. I don’t know why Marinsky is choosing to film Romeo and Juliet for dvd with Vishneva and Shklyarov.
Ferri’s Juliet cannot be topped in recent ABT history in my opinion, but I doubt she could transfer her own magic onto Osipova.
Hi Genna.
Re: here’s a clip of Vishneva & Shklyarov in the Bedroom PdD
https://www.youtube.com/watch?v=ThxfDiQgLRk
It’s okay, but nothing special.
Hi Genna.
Re: here’s a clip of Vishneva & Shklyarov in the Bedroom PdD
https://www.youtube.com/watch?v=ThxfDiQgLRk
It’s okay, but nothing special.
I personally think Osmolkina is the most beautiful Juliet at the Mariinsky.
My joint two favourite Macmillan Juliet’s are Rojo, and Ferri. Dvorovenko is a close second.
I think Vishneva is a stunning dancer and a great actress, but agree that she isn’t one of my favourite’s in this role for reasons I can’t quite put my finger on.
I would love to see Sarah Lane dance Juliet. I don’t know why abt have given a Juliet to Semionova- I really can’t picture her in that role. Osipova shows promise but I find her acting melodramatic at times.
I personally think Osmolkina is the most beautiful Juliet at the Mariinsky.
My joint two favourite Macmillan Juliet’s are Rojo, and Ferri. Dvorovenko is a close second.
I think Vishneva is a stunning dancer and a great actress, but agree that she isn’t one of my favourite’s in this role for reasons I can’t quite put my finger on.
I would love to see Sarah Lane dance Juliet. I don’t know why abt have given a Juliet to Semionova- I really can’t picture her in that role. Osipova shows promise but I find her acting melodramatic at times.
Hi Alice.
Vishneva is much better in MacMillan’s Manon than in his R&J. She tends not to shake off the glamour and sophistication in her persona to the extent that she needs to in R&J. More and more, I’m finding it difficult to distinguish her characters in her various roles.
Hi Alice.
Vishneva is much better in MacMillan’s Manon than in his R&J. She tends not to shake off the glamour and sophistication in her persona to the extent that she needs to in R&J. More and more, I’m finding it difficult to distinguish her characters in her various roles.
Thanks Haglund for the link.
Semionova as Juliet? I don’t recall her ever acting or attempt to be dramatic or act, similar to Osipova, with her face or body. Basically it’s a stock character frown or anguished look here or there.
Has anyone heard about Mariinsky’s Vladimir Shklyarov being seen at ABT studios very recently? I hope McKenzie can refrain himself from offering him a contract.
Thanks Haglund for the link.
Semionova as Juliet? I don’t recall her ever acting or attempt to be dramatic or act, similar to Osipova, with her face or body. Basically it’s a stock character frown or anguished look here or there.
Has anyone heard about Mariinsky’s Vladimir Shklyarov being seen at ABT studios very recently? I hope McKenzie can refrain himself from offering him a contract.
I think you hit the nail on the head with Vishneva- she is a much better Manon because it’s a more natural fit.
I agree about Semionova- she looks absolutely beautiful but I don’t feel much at all when I see her dance. Osipova is a better Juliet- not a great actress though and her company hopping at present is jarring.
It would be a huge loss to the Mariinsky to lose Shklyarov- they have already lost Fadeyev, Sarafanov and Matvienko in recent years so are short on male principals. It would also be a blow for all the talented male dancers at ABT. Kevin McKenzie must be so unpopular with not only his own company but other ballet companies across the world- as much as Osipova joining the Royal Ballet was annoying, I couldn’t help smiling when I read that Kevin McKenzie was furious about it. Because apparently he’s the only one allowed to poach principals from other companies.
Speaking of which, does anybody know if Cojocaru and Kobborg are joining ABT?
I think you hit the nail on the head with Vishneva- she is a much better Manon because it’s a more natural fit.
I agree about Semionova- she looks absolutely beautiful but I don’t feel much at all when I see her dance. Osipova is a better Juliet- not a great actress though and her company hopping at present is jarring.
It would be a huge loss to the Mariinsky to lose Shklyarov- they have already lost Fadeyev, Sarafanov and Matvienko in recent years so are short on male principals. It would also be a blow for all the talented male dancers at ABT. Kevin McKenzie must be so unpopular with not only his own company but other ballet companies across the world- as much as Osipova joining the Royal Ballet was annoying, I couldn’t help smiling when I read that Kevin McKenzie was furious about it. Because apparently he’s the only one allowed to poach principals from other companies.
Speaking of which, does anybody know if Cojocaru and Kobborg are joining ABT?
I find Shklyarov somewhat uninteresting. Nice technician, though. If he can manage a smile at McKenzie, he can probably get a contract.
I find Shklyarov somewhat uninteresting. Nice technician, though. If he can manage a smile at McKenzie, he can probably get a contract.
Alina Cojcaru pulled out of her July 3rd Sleeping Beauty performance now too. Maria Kochetkova will replace her, again. Disappointing (and not because we are missing out on Cojocaru).
Alina Cojcaru pulled out of her July 3rd Sleeping Beauty performance now too. Maria Kochetkova will replace her, again. Disappointing (and not because we are missing out on Cojocaru).
True, Keelia. Dipping into the ranks of some regional ballet company for a principal instead of using ABT’s own dancers is inexcusable. Why can’t McKenzie get the job done with ABT’s dancers? Why can’t he get the job done?
True, Keelia. Dipping into the ranks of some regional ballet company for a principal instead of using ABT’s own dancers is inexcusable. Why can’t McKenzie get the job done with ABT’s dancers? Why can’t he get the job done?
It seems to be believed that McKenzie wanted to give the audience just any “foreign” dancer because the audience purchased tickets for a foreign dancer. However, I think most either opted to see Cojocaru specifically, so it isn’t about seeing just any dancer from another company, but just Cojocaru, or they wanted to see Herman’s debut. No reason why he could not replace Cojocaru with an ABT dancer. Injuries happen and there are people who are able to dance that role, ABT is not a regional ballet school that has to import professional dancers for its recitals.
It seems to be believed that McKenzie wanted to give the audience just any “foreign” dancer because the audience purchased tickets for a foreign dancer. However, I think most either opted to see Cojocaru specifically, so it isn’t about seeing just any dancer from another company, but just Cojocaru, or they wanted to see Herman’s debut. No reason why he could not replace Cojocaru with an ABT dancer. Injuries happen and there are people who are able to dance that role, ABT is not a regional ballet school that has to import professional dancers for its recitals.
Hi Haglund, I have watched a couple of RnJ’s videos and nothing really comes close to Ferri. Wish I was born earlier to witness the ferri and Bocca magic (i know there’s the balcony pdd on YouTube but apart from that, I can’t seem to find a full recording). But then again, what do I know.
Btw, it was vishneva’s last abt performance of the season and especially with gomes, as she said, so maybe that was the reason of the long embrace, just saying (i tend to give BOD to everything in life). I was at her onegin, she was totally respectful of the crowd, even standing with one hand to the heart and one hand to the audience for a long time. There should be a pic of that somewhere. I don’t know, it felt as if it was more genuine than the usual systematic curtain calls in ballet.
Hi Haglund, I have watched a couple of RnJ’s videos and nothing really comes close to Ferri. Wish I was born earlier to witness the ferri and Bocca magic (i know there’s the balcony pdd on YouTube but apart from that, I can’t seem to find a full recording). But then again, what do I know.
Btw, it was vishneva’s last abt performance of the season and especially with gomes, as she said, so maybe that was the reason of the long embrace, just saying (i tend to give BOD to everything in life). I was at her onegin, she was totally respectful of the crowd, even standing with one hand to the heart and one hand to the audience for a long time. There should be a pic of that somewhere. I don’t know, it felt as if it was more genuine than the usual systematic curtain calls in ballet.
True, Kallima. And then there is the whole issue of McKenzie turning Cornejo’s long-awaited ABT debut in Swan Lake into a guest artist event which takes some of the limelight off of Herman. The talent within ABT’s ranks is so deep. Why can’t McKenzie get the job done with the people he already has? The answer is pretty obvious.
True, Kallima. And then there is the whole issue of McKenzie turning Cornejo’s long-awaited ABT debut in Swan Lake into a guest artist event which takes some of the limelight off of Herman. The talent within ABT’s ranks is so deep. Why can’t McKenzie get the job done with the people he already has? The answer is pretty obvious.
Hi Le On.
You’re probably right. The emotion-antics at bows and curtain could have been due to it being their last ABT performance this season. Maybe it was their last R&J together.
Hi Le On.
You’re probably right. The emotion-antics at bows and curtain could have been due to it being their last ABT performance this season. Maybe it was their last R&J together.
It’s entirely appropriate to debate whether Kochetkova was a good or even an acceptable choice to fill in for Cojocaru. But I do want to defend the San Francisco Ballet as far more than just “some regional ballet company.” I’d rank them a close 3rd best in the US, with 68 dancers on contract (not counting apprentices), a rich repertory (ranging from Balanchine and Robbins to Ratmansky, MacMillan, and much more), and an outstanding director, Helgi Tomasson, himself a former principal at NYCB. I’ve seen them many times in their home theater and have never been disappointed.
It’s entirely appropriate to debate whether Kochetkova was a good or even an acceptable choice to fill in for Cojocaru. But I do want to defend the San Francisco Ballet as far more than just “some regional ballet company.” I’d rank them a close 3rd best in the US, with 68 dancers on contract (not counting apprentices), a rich repertory (ranging from Balanchine and Robbins to Ratmansky, MacMillan, and much more), and an outstanding director, Helgi Tomasson, himself a former principal at NYCB. I’ve seen them many times in their home theater and have never been disappointed.
True, J.
SFB is the oldest ballet company in America and has a budget much larger than ABT’s and raises a lot more money than ABT. And yes, they have a rich repertory. While I’ve enjoyed seeing them over the past many years, I’m not a fan of how they treat the Petipa classics. (Actually, I’m not a fan of how ABT treats the Petipa classics, but now and then, they get some of it right.) Even assuming SFB is a close 3rd in the US, ABT’s decision to opt for a dancer from the 3rd best company instead of one of its own marvels doesn’t square up with good artistic direction.
That said, I’ll probably come out there to see Giselle this winter.
True, J.
SFB is the oldest ballet company in America and has a budget much larger than ABT’s and raises a lot more money than ABT. And yes, they have a rich repertory. While I’ve enjoyed seeing them over the past many years, I’m not a fan of how they treat the Petipa classics. (Actually, I’m not a fan of how ABT treats the Petipa classics, but now and then, they get some of it right.) Even assuming SFB is a close 3rd in the US, ABT’s decision to opt for a dancer from the 3rd best company instead of one of its own marvels doesn’t square up with good artistic direction.
That said, I’ll probably come out there to see Giselle this winter.
Hi, Haglund et al.
Long-time reader and fan, first time commentator.
Yeah, I saw Vishneva as Juliet and think you nailed it by saying she seems unable to shake off the glamour, something Juliet requires.
I wanted to say too that I went to see the matinee yesterday with Bolle and Seo. A few observations. First, I was blown away by both and particularly by the chemistry and trust between them. There was a connection between them that caught you in the throat the moment they so much as looked at each other. It was remarkable.
Bolle’s technique obviously doesn’t need elaboration but what really struck me was how genuinely he inhabits the role. The desperation with which he clutched (an excellent Joseph Phillips’) Mercutio’s head after he died and then kissed Lady Capulet’s skirt after he kills Tybalt (an equally excellent Roman Zhurban), you really felt his regret and despair throughout the theatre (or at least as far back as I was). I wasn’t close enough to see tears but I would be surprised if he didn’t actually shed a few at Juliet’s death. I predict I will be (pleasantly) haunted by that performance for some time.
And, bear with me here but: Seo was magnificent. I understand and am in agreement with your frustration with the promotions situation at ABT, and how Seo jumped the line ahead of other soloists worthy of promotion. I also get that she’s not the strongest dancer in the company technically. (I suspect we have different standards for that; I certainly think she is enough if not exactly Tamara Rojo.). But her classical, soft lines, her characterization and the way she too completely–completely–immersed herself in the role, that can’t be taken away from her. If I may be so bold, we may have found our successor to Ferri in this role.
It might be noted too, and I have this first-hand, that she is very much adored throughout the ranks of the company.
I’d encourage you to give her a couple more chances, especially if you can catch her as Juliet and with Bolle. Maybe seeing her with someone other than Stearns might yield a different experience. I was surprised but ultimately very happy about this pairing.
Blaine Hoven was also on-fire yesterday by the way. That this guy was not promoted long ago is criminal . I’m certain Hoven can do everything Whiteside can do. Frankly it’s ridiculous he’s doing soloist variations, doing them this well, and simply being refused the honors he deserves.
Juliet’s friends were all exquisite too. I’ve actually been watching some other companies lately due to travels and Juliet’s friends really struck me as a perfect illustration of the talent waste going on at ABT. Any one of them could have outdanced in technique and grace even most of the principals at these other companies. They really do have some of the most solid and compelling dancers in the world. It’s a real, real shame.
Hi, Haglund et al.
Long-time reader and fan, first time commentator.
Yeah, I saw Vishneva as Juliet and think you nailed it by saying she seems unable to shake off the glamour, something Juliet requires.
I wanted to say too that I went to see the matinee yesterday with Bolle and Seo. A few observations. First, I was blown away by both and particularly by the chemistry and trust between them. There was a connection between them that caught you in the throat the moment they so much as looked at each other. It was remarkable.
Bolle’s technique obviously doesn’t need elaboration but what really struck me was how genuinely he inhabits the role. The desperation with which he clutched (an excellent Joseph Phillips’) Mercutio’s head after he died and then kissed Lady Capulet’s skirt after he kills Tybalt (an equally excellent Roman Zhurban), you really felt his regret and despair throughout the theatre (or at least as far back as I was). I wasn’t close enough to see tears but I would be surprised if he didn’t actually shed a few at Juliet’s death. I predict I will be (pleasantly) haunted by that performance for some time.
And, bear with me here but: Seo was magnificent. I understand and am in agreement with your frustration with the promotions situation at ABT, and how Seo jumped the line ahead of other soloists worthy of promotion. I also get that she’s not the strongest dancer in the company technically. (I suspect we have different standards for that; I certainly think she is enough if not exactly Tamara Rojo.). But her classical, soft lines, her characterization and the way she too completely–completely–immersed herself in the role, that can’t be taken away from her. If I may be so bold, we may have found our successor to Ferri in this role.
It might be noted too, and I have this first-hand, that she is very much adored throughout the ranks of the company.
I’d encourage you to give her a couple more chances, especially if you can catch her as Juliet and with Bolle. Maybe seeing her with someone other than Stearns might yield a different experience. I was surprised but ultimately very happy about this pairing.
Blaine Hoven was also on-fire yesterday by the way. That this guy was not promoted long ago is criminal . I’m certain Hoven can do everything Whiteside can do. Frankly it’s ridiculous he’s doing soloist variations, doing them this well, and simply being refused the honors he deserves.
Juliet’s friends were all exquisite too. I’ve actually been watching some other companies lately due to travels and Juliet’s friends really struck me as a perfect illustration of the talent waste going on at ABT. Any one of them could have outdanced in technique and grace even most of the principals at these other companies. They really do have some of the most solid and compelling dancers in the world. It’s a real, real shame.
bsc~ i loved reading your comments about Hee! i love her also & was dying to see her juliet but unfortunately i had work, plus i couldn’t miss xiomara & herman, who were absolutely fantastic.
bsc~ i loved reading your comments about Hee! i love her also & was dying to see her juliet but unfortunately i had work, plus i couldn’t miss xiomara & herman, who were absolutely fantastic.
Hi, bsc.
I agree with you about Bolle. It’s interesting how he is so much more lithesome and panther-like than Gomes who is 4 years younger or Hallberg who is 8 years younger. He’s all the proof any big male dancer needs to justify obsessing over building flexibility in addition to strength. I read on his fan club’s Twitter page that the Wednesday performance of R&J was his 42nd performance of the role. That’s how you build depth. I doubt that Gomes and Hallberg have 42 between them and probably never will. But that’s how you build depth, and that’s why Ferri was so good as Juliet, too.
I’m sure Seo was especially lovely being carried around by Bolle as she will be when she is carried around in Swan Lake by Gomes. Julie Kent only dances with those two because they can carry her around and make the performance much easier for her.
I have no doubt that Seo will have fine performances when she can be carried around by a big strong partner, just like Julie. But I wouldn’t yet call her a great dancer any more than I would call Jennifer Aniston or Megan Fox a great actress. They each get a lot of opportunities in their respective fields, but not because of their technical skill. It’s truly important for a dancer to be pretty (or handsome) on stage as opposed to being a homely mess or odd looking. But it’s equally important to be able to deliver all the elements of the craft. Seo has a ways to go in that respect.
Good to hear that Blaine did so well. I really believe that he could step into Siegfried. He’s another victim of the dysfunctional artistic mgmt.
Hi, bsc.
I agree with you about Bolle. It’s interesting how he is so much more lithesome and panther-like than Gomes who is 4 years younger or Hallberg who is 8 years younger. He’s all the proof any big male dancer needs to justify obsessing over building flexibility in addition to strength. I read on his fan club’s Twitter page that the Wednesday performance of R&J was his 42nd performance of the role. That’s how you build depth. I doubt that Gomes and Hallberg have 42 between them and probably never will. But that’s how you build depth, and that’s why Ferri was so good as Juliet, too.
I’m sure Seo was especially lovely being carried around by Bolle as she will be when she is carried around in Swan Lake by Gomes. Julie Kent only dances with those two because they can carry her around and make the performance much easier for her.
I have no doubt that Seo will have fine performances when she can be carried around by a big strong partner, just like Julie. But I wouldn’t yet call her a great dancer any more than I would call Jennifer Aniston or Megan Fox a great actress. They each get a lot of opportunities in their respective fields, but not because of their technical skill. It’s truly important for a dancer to be pretty (or handsome) on stage as opposed to being a homely mess or odd looking. But it’s equally important to be able to deliver all the elements of the craft. Seo has a ways to go in that respect.
Good to hear that Blaine did so well. I really believe that he could step into Siegfried. He’s another victim of the dysfunctional artistic mgmt.
Robin, I saw Herman and Xiomara, too, and thought they were fantastic. Such a perfect match of artists.
Robin, I saw Herman and Xiomara, too, and thought they were fantastic. Such a perfect match of artists.
42 Romeos! Wow! I wonder even if Stiefel and/or Corella did that many. Yes, there is a lot of depth there, and so much passion for the role. Reminds me of an interview I read with Keith Roberts, who said it was his dream to dance Romeo, and did, and then he left ABT 2 years later saying he was bored with ballet or something. Or maybe it was Wikipedia. Anyway, quite the opposite with dancers like Bolle, Stiefel, Corella, Gomes, Hallberg, etc. Thankfully. even if I can go” for me.) I’m pretty upset that for two performances now, going to see and support Herman will be indistinguishable from seeming support for Kochetkova. Even if I end up being able to go, I’m not certain I want to communicate that! (As if management is listening.) Couldn’t they switch her up with Lane for Sleeping Beauty? Aren’t she and Daniil Simkin buddy-buddy? Surely Herman and Lane know each other’s dancing well enough to make the switch this late. And presumably the same could be said for Simkin and Kochetkova?
Completely in agreement about his lithesome quality in addition to strength. And I personally have a real weakness for tall danseurs with lithesome qualities and strength. Hoven fits into that category too, as do a few of the corps men. Hallberg, as you have noted, unfortunately has the opposite problem.
Re: Seo. It didn’t feel to me like she was being carried like Julie is now. Maybe she’s been getting stronger during the rehearsal season. This was my first time seeing her in a principal role, so I have no previous basis for comparison with past seasons. Nor have I seen the problems you’ve cited before. Juliet is not exactly the most demanding role technically, certainly no SL, SW, Giselle, etc. And I wouldn’t consider myself in the “love her” camp. We’ll see if it gets to that. But I very deeply enjoyed Wednesday’s performance.
If by chance I end up at the Swan Lake with Gomes/Seo, I’m happy to report back if you’d like, if you’re not going. Those Odette variations are almost cruel so that should be quite telling. (Unfortunately schedule dictates my ballet attendance completely, so it’s “can’t go,” “go when I can at the very last minute” or “avoid
Hoven as Siggy, omg, hadn’t thought of that, would be great.
Fun to chat! Glad I finally took the commenting dip. 🙂 Cheers!
42 Romeos! Wow! I wonder even if Stiefel and/or Corella did that many. Yes, there is a lot of depth there, and so much passion for the role. Reminds me of an interview I read with Keith Roberts, who said it was his dream to dance Romeo, and did, and then he left ABT 2 years later saying he was bored with ballet or something. Or maybe it was Wikipedia. Anyway, quite the opposite with dancers like Bolle, Stiefel, Corella, Gomes, Hallberg, etc. Thankfully. even if I can go” for me.) I’m pretty upset that for two performances now, going to see and support Herman will be indistinguishable from seeming support for Kochetkova. Even if I end up being able to go, I’m not certain I want to communicate that! (As if management is listening.) Couldn’t they switch her up with Lane for Sleeping Beauty? Aren’t she and Daniil Simkin buddy-buddy? Surely Herman and Lane know each other’s dancing well enough to make the switch this late. And presumably the same could be said for Simkin and Kochetkova?
Completely in agreement about his lithesome quality in addition to strength. And I personally have a real weakness for tall danseurs with lithesome qualities and strength. Hoven fits into that category too, as do a few of the corps men. Hallberg, as you have noted, unfortunately has the opposite problem.
Re: Seo. It didn’t feel to me like she was being carried like Julie is now. Maybe she’s been getting stronger during the rehearsal season. This was my first time seeing her in a principal role, so I have no previous basis for comparison with past seasons. Nor have I seen the problems you’ve cited before. Juliet is not exactly the most demanding role technically, certainly no SL, SW, Giselle, etc. And I wouldn’t consider myself in the “love her” camp. We’ll see if it gets to that. But I very deeply enjoyed Wednesday’s performance.
If by chance I end up at the Swan Lake with Gomes/Seo, I’m happy to report back if you’d like, if you’re not going. Those Odette variations are almost cruel so that should be quite telling. (Unfortunately schedule dictates my ballet attendance completely, so it’s “can’t go,” “go when I can at the very last minute” or “avoid
Hoven as Siggy, omg, hadn’t thought of that, would be great.
Fun to chat! Glad I finally took the commenting dip. 🙂 Cheers!
I thought Seo was a very compelling Juliet even when partnered by Hammoudi and Sterns. I believe I’ve seen her perform the role about 4 times, and I was always very moved. She somehow does it for me in that role.
I thought Seo was a very compelling Juliet even when partnered by Hammoudi and Sterns. I believe I’ve seen her perform the role about 4 times, and I was always very moved. She somehow does it for me in that role.
hag- oh glad you saw X&H too, i had been looking hopefully for you to review them. i agree they are wonderfully matched. how did you like aaron scott? i thought he was a fab mercutio!
hag- oh glad you saw X&H too, i had been looking hopefully for you to review them. i agree they are wonderfully matched. how did you like aaron scott? i thought he was a fab mercutio!
Robin, I haven’t had time to write anything about that performance, but I thought that Arron did fairly well – his only major problem being that Herman preceded him in the role. For those of us who saw Herman’s Mercutio, the standards are set pretty high. I was, as usual, stunned by the weight of Roman Zhurbin’s portrayal of Lord Capulet – an immense performance. Tybalt was a little too beige, I thought. Escalus was a huge improvement over opening night.
Robin, I haven’t had time to write anything about that performance, but I thought that Arron did fairly well – his only major problem being that Herman preceded him in the role. For those of us who saw Herman’s Mercutio, the standards are set pretty high. I was, as usual, stunned by the weight of Roman Zhurbin’s portrayal of Lord Capulet – an immense performance. Tybalt was a little too beige, I thought. Escalus was a huge improvement over opening night.
Yeah, i tend to judge all mercutios on a scale of 1 to herman cornejo 😉
I thought aaron did a great job tho!
Agree on tybalt tho, im afraid.
Roman is awesome. Have you seen him as tybalt? I havent but would like to.
Yeah, i tend to judge all mercutios on a scale of 1 to herman cornejo 😉
I thought aaron did a great job tho!
Agree on tybalt tho, im afraid.
Roman is awesome. Have you seen him as tybalt? I havent but would like to.
I agree with you about Vishneva. Her acting was too mature for Juliet.
Also I agree with your pointing out that Gomes is overworked.
His talent and his power should not to be consumed by dancing small roles.
I saw both performances Gomes/Vishneva and Bolle/Hee. I actually prefer to Gomes/Vishneva. Gomes’s Romeo was more moving and more brilliant.
He was really wonderful.
However, Bolle’s way to dance seemed more “efficient” than Gomes’s. Bolle seemed to know how to make maximum physical efficiency with minimal effort.
In several points which Gomes danced with high energy and technique Bolle did not dance so.
In other points which Bolle is good at, he danced with full power and that worked to audiences well.
I’ve seem his performances several times,and I have a impression that he knows to show off his dance efficiently.
Gomes should learn “efficiency” from him and restrict activities.
I agree with you about Vishneva. Her acting was too mature for Juliet.
Also I agree with your pointing out that Gomes is overworked.
His talent and his power should not to be consumed by dancing small roles.
I saw both performances Gomes/Vishneva and Bolle/Hee. I actually prefer to Gomes/Vishneva. Gomes’s Romeo was more moving and more brilliant.
He was really wonderful.
However, Bolle’s way to dance seemed more “efficient” than Gomes’s. Bolle seemed to know how to make maximum physical efficiency with minimal effort.
In several points which Gomes danced with high energy and technique Bolle did not dance so.
In other points which Bolle is good at, he danced with full power and that worked to audiences well.
I’ve seem his performances several times,and I have a impression that he knows to show off his dance efficiently.
Gomes should learn “efficiency” from him and restrict activities.
Hi Meg. Interesting point about Bolle’s efficiency. He has a lot of speed for such a big guy and seems to be able to get into his aerial positions very quickly.
Hi Meg. Interesting point about Bolle’s efficiency. He has a lot of speed for such a big guy and seems to be able to get into his aerial positions very quickly.