It’s been six years since ABT last debuted an Odette/Odile from within it’s ranks. Six years since it has made the effort to develop one from within. That doesn’t say a lot in a positive way about the artistic management’s abilities, and it’s evidence that the artistic management has a less than complimentary view of its soloists’ talents and capabilities.
This year we get a new Odette from Berlin via Moscow. Polina Semionova, a lovely dancer of admirable technique, if a little bland, will be Hallberg's Odette. It used to be that guest stars brought world class interpretations with them. This is simply an audition opportunity for a female to see if she compliments Hallberg. If we're going to be subjected to a guest artist as Odette, she should only be among the best in the world – which raises the question of why we've never seen Lopatkina here.
We'll never see Cornejo as Siegfried because of McKenzie’s lonely prejudice against short dancers as danseurs. We won’t see Sarah Lane as Odette, because, well, she’s simply too short according to McKenzie. We won’t see Stella Abrera because she’s so injury prone that the long preparation might prove to be too much stress, and besides, McKenzie has an entire career of repertory and second level principal roles planned out for her. No time for an Odette for her, or for us.
But McKenzie doesn’t seem hesitant about hiring injury-prone guest artists for principal roles. Really, who’s more injury prone that Alina Cojocaru? Roberto Bolle is so injury prone that he could dance fewer than half of his commitments last year in New York but immediately ran off to dance in Mats Ek’s weirdo Giselle where he rolled around naked on the floor swinging his ding, and then had the gall to complain about all the publicity he got.
Six long years. What's everyone been doin’? Apparently using the donors’ money to shop for guest artists instead of embracing the challenges of developing the talent that lies within. But then, this is New York – the Steinbrenners' town - where you just throw money at whoever you want and they come whimpering your way. Well, you won’t be throwing this Golden Circle donor’s money at anyone again. Haglund’s 2011 donation is going to the company where Cornejo gets the opportunity to dance Siegfried. And frankly, all of the soloists at ABT should seriously consider packing up and moving to New Zealand.
10 responses to “Six Years”
Except for Cory Stearns who has just apparently been promoted.
Except for Cory Stearns who has just apparently been promoted.
No big shocker there although it lowers the confidence level in the artistic management even more. There are four other soloists who are better dancers than Stearns and have put in the time and who deserve promotion. Stearns has a full bag of mediocre or at best, less than good, performances in principal roles. The only positive thing to be said is that if you’re going to make the guy carry the load, at some point you have to recognize him for it. What a sad day this is for those who so admire Abrera, Riccetto, Simkin and Radetsky. What a sad day.
No big shocker there although it lowers the confidence level in the artistic management even more. There are four other soloists who are better dancers than Stearns and have put in the time and who deserve promotion. Stearns has a full bag of mediocre or at best, less than good, performances in principal roles. The only positive thing to be said is that if you’re going to make the guy carry the load, at some point you have to recognize him for it. What a sad day this is for those who so admire Abrera, Riccetto, Simkin and Radetsky. What a sad day.
sad sad day indeed ;(
sad sad day indeed ;(
You raise a really interesting point. This is supposed to be America’s national ballet company. So–where are the homegrown stars that ABT is nurturing?
I suspect we may see Eric Tamm get a promotion at some point. He’s tall and a product of the JKO school.
But we ought to also see women who are elevated to the ranks of international stars–and ABT should promote them as such.
I know *why* Cory was promoted. But I just don’t see any magic in his dancing–yet. He’s tall, yes, and taken on lead roles. But I see such a lack of artistry or confidence or technical skill. Hopefully in time that will develop, but I think he could have used more time as a Soloist to develop without the pressure.
You raise a really interesting point. This is supposed to be America’s national ballet company. So–where are the homegrown stars that ABT is nurturing?
I suspect we may see Eric Tamm get a promotion at some point. He’s tall and a product of the JKO school.
But we ought to also see women who are elevated to the ranks of international stars–and ABT should promote them as such.
I know *why* Cory was promoted. But I just don’t see any magic in his dancing–yet. He’s tall, yes, and taken on lead roles. But I see such a lack of artistry or confidence or technical skill. Hopefully in time that will develop, but I think he could have used more time as a Soloist to develop without the pressure.
When you compare where Stearns is now to where Corella, Gomes, Cornejo, and Hallberg were when they were promoted to principals, the deficiencies become glaring.
When you compare where Stearns is now to where Corella, Gomes, Cornejo, and Hallberg were when they were promoted to principals, the deficiencies become glaring.