The Philippine Daily Inquirer has published another crowning review of Stella Abrera's debut as Giselle opposite James Whiteside's Albrecht on September 19th as Typhoon Mario bore down on the city in an effort to disrupt Ballet Philippines 45th Anniversary Gala and fundraiser for the victims of last year's Typhoon Guiuan.
From critic Tats Rejante Manahan:
For some reason, body types largely contribute to the grace exuded by a ballerina: long limbs that softly waft; sloping shoulders that ordinarily would look weak on a fashion ramp; endless legs that end in perfectly arched feet; and a height just right—not too petite to be forever cast as Tinkerbelle, and not too tall to take on a female Carabosse.
Abrera possesses these enviable body parts, which are suited for a role like Giselle—who transforms from a sweet, gullible country wench to a pale, spooky Wili.
In Act 1, she played her role with innocence and coyness without being cloying….
. . . .When Albrecht walked Giselle over the ground in a series of supported temps leves en arabesque, we saw the refinement of Abrera’s technique, softly floating across the stage.
And when she ended this particular section with a protective stance over her lover, the pas de deux’s ending tableaux was breathtaking.
. . . .As many aficionados of this classic piece will declare, Act 2 is the test of the dancer-actress where, as [Arlene] Croce points out, the ballerina must act through her dancing. This is the particular challenge in a role like Giselle: To be convincingly romantic in specter form.
Abrera took full advantage of those proportioned body parts: her arms that lift starting from the armpits, unraveling softly to their lengths; the gracefully curved long neck supported by the gentle slope of the shoulders; and that lightness of being despite the difficulty of the step—in a word, sprezzatura.
She was, indeed, the ethereal spirit, up until the last of her fingers slipped into the earth as though swallowed by it in the end.
42 responses to “They’re still talking about Stella Abrera’s Giselle”
Now that three female principal dancers are retiring in 2015, I hope that Ms. Abrera and Ms. Lane will finally get the promotions they so greatly deserve.
Now that three female principal dancers are retiring in 2015, I hope that Ms. Abrera and Ms. Lane will finally get the promotions they so greatly deserve.
So do I, smurray. It is tragic that we lost Yuriko Kajiya who would have completed a trio that could have given the company some real importance.
So do I, smurray. It is tragic that we lost Yuriko Kajiya who would have completed a trio that could have given the company some real importance.
I fear/dread that M.C. will get one of the openings. : (
I fear/dread that M.C. will get one of the openings. : (
Well, I hope not. Misty’s slutty online behavior and efforts to sell herself as a piece of meat outweigh any moderate positives in her dancing. What a disgrace and embarrassment to the art form she has become. Is there a photographer out there for whom Misty won’t take off her clothes?
Well, I hope not. Misty’s slutty online behavior and efforts to sell herself as a piece of meat outweigh any moderate positives in her dancing. What a disgrace and embarrassment to the art form she has become. Is there a photographer out there for whom Misty won’t take off her clothes?
Here’s a question for everyone: If promotions for Stella and Sarah are accompanied by a similar promotion for Misty, will our hopes and dreams be fulfilled or shattered? For my part, I’m even ready to take a Stella-Whiteside Giselle, that’s how desperate I’ve become.
Here’s a question for everyone: If promotions for Stella and Sarah are accompanied by a similar promotion for Misty, will our hopes and dreams be fulfilled or shattered? For my part, I’m even ready to take a Stella-Whiteside Giselle, that’s how desperate I’ve become.
She sure has one heck of a marketing team behind her. She’s is EVERYWHERE.
She sure has one heck of a marketing team behind her. She’s is EVERYWHERE.
Surely our national ballet company would *never* appoint anyone lacking decorum or only possessing moderate dancing skills as a principal??
What? Oh.
Surely our national ballet company would *never* appoint anyone lacking decorum or only possessing moderate dancing skills as a principal??
What? Oh.
Stella, Sarah and an import- that’s my vote.
Stella, Sarah and an import- that’s my vote.
FrmrDancer, only if the “import” is either Yuriko Kajiya or Simone Messmer.
FrmrDancer, only if the “import” is either Yuriko Kajiya or Simone Messmer.
I’ve been assuming the AD will be “shopping” for principal ballerinas next month when the Mikhailovsky Ballet visits NY. Since he’s previously hired one of them, another may prove more to his liking this time. I’ve also assumed he’d offer a spot to Maria Kotchetkova. He seems to prefer fully formed European dancers rather than his own incredible artists. His attitude is baffling to me.
I’ve been assuming the AD will be “shopping” for principal ballerinas next month when the Mikhailovsky Ballet visits NY. Since he’s previously hired one of them, another may prove more to his liking this time. I’ve also assumed he’d offer a spot to Maria Kotchetkova. He seems to prefer fully formed European dancers rather than his own incredible artists. His attitude is baffling to me.
I would never understand or accept the hiring of Kochetkova. She is a very one-note regional dancer, very much in the gala/competition circuit vein like Simkin. She has been a misfire at the Met, especially in Swan Lake.
I think you’re right about the AD’s tendencies, but I think it is because he is so hopelessly inadequate when it comes to developing the enormous talent of the women who come through the ranks. He would rather go out and buy ballerinas that someone else has developed rather than admit his inadequacies, and heaven forbid, hire competent classical coaches. Irina Kolpakova can’t do it all, and McKenzie can’t do any of it. Yet, he insists on being in charge.
I would never understand or accept the hiring of Kochetkova. She is a very one-note regional dancer, very much in the gala/competition circuit vein like Simkin. She has been a misfire at the Met, especially in Swan Lake.
I think you’re right about the AD’s tendencies, but I think it is because he is so hopelessly inadequate when it comes to developing the enormous talent of the women who come through the ranks. He would rather go out and buy ballerinas that someone else has developed rather than admit his inadequacies, and heaven forbid, hire competent classical coaches. Irina Kolpakova can’t do it all, and McKenzie can’t do any of it. Yet, he insists on being in charge.
MC will be one of the principals, unfortunately the predictable is also very much true. The second principal will be Olga Smirnova, as she had a trial run earlier this year, though critics and many seasoned fans were not as enamored of her as KM had hoped, it seems. Third principal could very well be another outside hire, I hope it’s not Kochetkova as she bores me to tears with her unnuanced, technically sound but sterile dancing.
If it is between Stella or Sarah, I think Sarah has the better argument or edge over Stella. Maybe that’s just my opinion but it seems Sarah is more versatile and classical than Stella though I love both.
MC will be one of the principals, unfortunately the predictable is also very much true. The second principal will be Olga Smirnova, as she had a trial run earlier this year, though critics and many seasoned fans were not as enamored of her as KM had hoped, it seems. Third principal could very well be another outside hire, I hope it’s not Kochetkova as she bores me to tears with her unnuanced, technically sound but sterile dancing.
If it is between Stella or Sarah, I think Sarah has the better argument or edge over Stella. Maybe that’s just my opinion but it seems Sarah is more versatile and classical than Stella though I love both.
Just to clarify, those are Genna’s guesses. I don’t think that Misty is a shoe-in. She has been behaving extremely badly, and there isn’t anyone with an ounce of ballet-brain who thinks she’s a classically-inclined dancer. If she got promoted, especially if the other soloists didn’t, it would be a clear play to her race and all of her baseless complaining. I think ABT should cut her; there’s certainly justification for it. She is negatively impacting the reputation of ABT and all of ballet with her loud cries for sexual attention, and she can’t back up her mouth with her classical dancing. Leg splits and bare ass & tit bouncing is the kind of dancing that belongs in Show World on 8th Avenue. Ballet doesn’t need to acquire a trashy side for to it to be popular. NYCB proves that every night.
The backlash against the imports is making a dent. McKenzie doesn’t know what the hell to do. People in New York don’t care about ABT anymore or respect it as a company, because, well, who the hell are they? Why should anyone here care about Smirnova? I haven’t heard yet that she’s coming back. The only rumor I’ve heard is that Obraztsova may come to dance in Ratmansky’s Sleeping Beauty. What a sad message that would be: the new Sleeping Beauty on which ABT has spent millions can’t sell itself without a guest artist.
Just to clarify, those are Genna’s guesses. I don’t think that Misty is a shoe-in. She has been behaving extremely badly, and there isn’t anyone with an ounce of ballet-brain who thinks she’s a classically-inclined dancer. If she got promoted, especially if the other soloists didn’t, it would be a clear play to her race and all of her baseless complaining. I think ABT should cut her; there’s certainly justification for it. She is negatively impacting the reputation of ABT and all of ballet with her loud cries for sexual attention, and she can’t back up her mouth with her classical dancing. Leg splits and bare ass & tit bouncing is the kind of dancing that belongs in Show World on 8th Avenue. Ballet doesn’t need to acquire a trashy side for to it to be popular. NYCB proves that every night.
The backlash against the imports is making a dent. McKenzie doesn’t know what the hell to do. People in New York don’t care about ABT anymore or respect it as a company, because, well, who the hell are they? Why should anyone here care about Smirnova? I haven’t heard yet that she’s coming back. The only rumor I’ve heard is that Obraztsova may come to dance in Ratmansky’s Sleeping Beauty. What a sad message that would be: the new Sleeping Beauty on which ABT has spent millions can’t sell itself without a guest artist.
For the record, I’m not a fan of imports either, but if it means side-lining M. C. I’m all in favor. I don’t think Kevin or Victor would have given her multiple principle roles if they weren’t prepared to promote her. I believe they are thriving on the attention she/ABT is gaining via her propaganda. They will use it to their benefit. Because, as we know, much of the audience doesn’t know any better anyway.
For the record, I’m not a fan of imports either, but if it means side-lining M. C. I’m all in favor. I don’t think Kevin or Victor would have given her multiple principle roles if they weren’t prepared to promote her. I believe they are thriving on the attention she/ABT is gaining via her propaganda. They will use it to their benefit. Because, as we know, much of the audience doesn’t know any better anyway.
Unfortunately, multiple principal roles haven’t done Sarah Lane a lot of good, even though she has out-danced most everyone else in them. Both she and Yuriko made Misty look like junk in Coppelia, and Sarah’s Sleeping Beauty performances have been extraordinary victories.
The look-the-other-way from Misty’s shortcomings that would be required in order to justify her promotion is just the kind of dishonesty that will drive the core audience away. If ABT doesn’t succeed in New York, it’s a failure everywhere.
Undoubtedly it helps Misty’s chances that her agent, Gilda Squire, has gotten herself gigs managing ABT’s gala media and PR. It’s a disgusting conflict of interest that Misty’s agent has that kind of access to use to promote her client. The questionable ethics swirling around ABT just continue to grow.
Unfortunately, multiple principal roles haven’t done Sarah Lane a lot of good, even though she has out-danced most everyone else in them. Both she and Yuriko made Misty look like junk in Coppelia, and Sarah’s Sleeping Beauty performances have been extraordinary victories.
The look-the-other-way from Misty’s shortcomings that would be required in order to justify her promotion is just the kind of dishonesty that will drive the core audience away. If ABT doesn’t succeed in New York, it’s a failure everywhere.
Undoubtedly it helps Misty’s chances that her agent, Gilda Squire, has gotten herself gigs managing ABT’s gala media and PR. It’s a disgusting conflict of interest that Misty’s agent has that kind of access to use to promote her client. The questionable ethics swirling around ABT just continue to grow.
Oh, geez . . .
Oh, geez . . .
Just want to circle back to Stella’s Giselle.
The picture above wasn’t credited in the article, but it looks like it could have been one of Jude Thaddeus Batista’s shots.
Stella’s lines are so beautifully pure and harmonious as they point directly toward that gorgeous moon. The curve of her skirt takes the eye immediately to the curve of the moon. Someone should turn this shot into a watercolor.
Edited to add:
I just heard from our European Commander of the H.H. Team 6 Ballet Activities Division (BAD) that the photo is by Jojo Mamangun, a former dancer who is now a freelance photographer in Manila. Very nice work, Mr. Mamangun. [ http://jojomamangun.com/ ] And thanks to the European Commander for his off-site assistance and additional photos.
Just want to circle back to Stella’s Giselle.
The picture above wasn’t credited in the article, but it looks like it could have been one of Jude Thaddeus Batista’s shots.
Stella’s lines are so beautifully pure and harmonious as they point directly toward that gorgeous moon. The curve of her skirt takes the eye immediately to the curve of the moon. Someone should turn this shot into a watercolor.
Edited to add:
I just heard from our European Commander of the H.H. Team 6 Ballet Activities Division (BAD) that the photo is by Jojo Mamangun, a former dancer who is now a freelance photographer in Manila. Very nice work, Mr. Mamangun. [ http://jojomamangun.com/ ] And thanks to the European Commander for his off-site assistance and additional photos.
As for Misty and ABT, isn’t it said that even bad publicity is good publicity?
As for Misty and ABT, isn’t it said that even bad publicity is good publicity?
. . . well, yes, Angelica, except when it drives away donors and core audience like you and me. The fact that NYCB has run away with the race in terms of content, quality of dancers, fund raising, size of core audience, and audience loyalty through the use of slick, sophisticated media and talent makes ABT’s resorting to trash and nudity via Misty all the more sad.
. . . well, yes, Angelica, except when it drives away donors and core audience like you and me. The fact that NYCB has run away with the race in terms of content, quality of dancers, fund raising, size of core audience, and audience loyalty through the use of slick, sophisticated media and talent makes ABT’s resorting to trash and nudity via Misty all the more sad.
I’m a recent reader, Haglund, and have been following the commentary around ABT with interest. You mention that NYCB has run away with the race, which I definitely find to be true for me.
I used to be a huge fan of ABT, mostly because they came to DC every year (back when I lived there in the late ’90s and early ’00s) and that was my exposure to real ballet. (Not to detract from the Washington Ballet, which is a fine regional company that I saw & enjoyed many, many times). I loved seeing Ferri and McKerrow and Kent and Corella then. I loved watching Murphy’s career take off. I got to witness something special.
In the time that I’ve lived in New York, I’ve only grown bored with ABT. The casts don’t excite me, the productions feel tired and flat. David Hallberg is not enough of a sensation to carry a ballet by himself – I need a ballerina on his level. Even Gillian Murphy doesn’t do much for me anymore. Her technique is outstanding but there’s something missing, though I’m not necessarily putting all the blame on her shoulders.
I’ve overheard women in the ladies room say they come every night for a particular ballet to experience the different casts but I can’t imagine a greater waste of money. Sure, I still love me some Giselle and Swan Lake, but I haven’t any interest in even seeing these or other ballets since Ferri & Ananiashvili retired. I can’t even support or deny the comments about the talents of overlooked soloists because I haven’t, as an audience member, given them the time of day in recent years. I just haven’t felt like going, period.
Now NYCB…I’m just dazzled by them and I look forward to repeat viewings so I can watch different casts and see my favorite dancers in a range of roles. I love the programming. I love that they’re nurturing Justin Peck while still capitalizing on Ratmansky’s love of the NYCB dancers. (It doesn’t even interest me that he is the so-called Artist in Residence at ABT…as long as he is still making work on NYCB, that’s where I’ll go.) I love the spirit and enthusiasm that fills the theater. My attendance there has gone from ~2x per year to probably 10x per year (granted, coinciding with an increase in my disposable income, which nevertheless does have its limits). Where possible I’ll also see, for example, PNB well before giving ABT another chance. (And oh my god, Carla Korbes in Apollo at City Center was just divine. A shame her body has pushed her to an early retirement.)
I’m bummed about Wendy Whelan retiring (even though I know it’s time) but I’m so excited to watch up & comers like Lauren Lovette (who, incidentally, was born with a more womanly shape but who, in partnernship with the master costumers, manages to keep in under control).
My choice is made. ABT is going to have to work impossibly hard to win me back. Unfortunately, I just don’t see it happening. I’d just as soon spend money flying across the ocean to see the Royal Ballet!
I’m a recent reader, Haglund, and have been following the commentary around ABT with interest. You mention that NYCB has run away with the race, which I definitely find to be true for me.
I used to be a huge fan of ABT, mostly because they came to DC every year (back when I lived there in the late ’90s and early ’00s) and that was my exposure to real ballet. (Not to detract from the Washington Ballet, which is a fine regional company that I saw & enjoyed many, many times). I loved seeing Ferri and McKerrow and Kent and Corella then. I loved watching Murphy’s career take off. I got to witness something special.
In the time that I’ve lived in New York, I’ve only grown bored with ABT. The casts don’t excite me, the productions feel tired and flat. David Hallberg is not enough of a sensation to carry a ballet by himself – I need a ballerina on his level. Even Gillian Murphy doesn’t do much for me anymore. Her technique is outstanding but there’s something missing, though I’m not necessarily putting all the blame on her shoulders.
I’ve overheard women in the ladies room say they come every night for a particular ballet to experience the different casts but I can’t imagine a greater waste of money. Sure, I still love me some Giselle and Swan Lake, but I haven’t any interest in even seeing these or other ballets since Ferri & Ananiashvili retired. I can’t even support or deny the comments about the talents of overlooked soloists because I haven’t, as an audience member, given them the time of day in recent years. I just haven’t felt like going, period.
Now NYCB…I’m just dazzled by them and I look forward to repeat viewings so I can watch different casts and see my favorite dancers in a range of roles. I love the programming. I love that they’re nurturing Justin Peck while still capitalizing on Ratmansky’s love of the NYCB dancers. (It doesn’t even interest me that he is the so-called Artist in Residence at ABT…as long as he is still making work on NYCB, that’s where I’ll go.) I love the spirit and enthusiasm that fills the theater. My attendance there has gone from ~2x per year to probably 10x per year (granted, coinciding with an increase in my disposable income, which nevertheless does have its limits). Where possible I’ll also see, for example, PNB well before giving ABT another chance. (And oh my god, Carla Korbes in Apollo at City Center was just divine. A shame her body has pushed her to an early retirement.)
I’m bummed about Wendy Whelan retiring (even though I know it’s time) but I’m so excited to watch up & comers like Lauren Lovette (who, incidentally, was born with a more womanly shape but who, in partnernship with the master costumers, manages to keep in under control).
My choice is made. ABT is going to have to work impossibly hard to win me back. Unfortunately, I just don’t see it happening. I’d just as soon spend money flying across the ocean to see the Royal Ballet!
Thanks, Missy, for stopping by H.H. and sharing some very thoughtful comments.
What we’re witnessing at ABT is a very tired, uninspired artistic and board leadership that long ago reached its Peter Principle pinnacle. McKenzie is entrenched as the artistic director and as a friend to his fellow board members who do not have the commitment to ABT that is required in order to make the needed change. It’s surprising how the company hasn’t started to once again make noise about moving to some other city that will support it – rather than change the director. Everybody else seems to be the reason for ABT’s decay except for Kevin McKenzie.
America’s national ballet company should be a premiere classical company that will unquestionably hold its own against the Mariinsky and the Paris Opera Ballet in the classics, should be head and shoulders above everyone else when it comes to one act theater ballets, and should be able to compete with NYCB in the creation of new works. That should be its mandate. Presently, it fails miserably in all three areas.
A new director should be given no more than four years to accomplish it using homegrown dancers exclusively. Obviously, the new director would have to import classical coaches since the company presently only has Irina Kolpakova who is 81 years young, but nevertheless 81. It would take an attractive incentive for someone to sign on for a challenge of that magnitude, and the members of the board of directors should open up their wallets. The decay of ABT occurred on their watch, and now it’s time to pay up.
Thanks, Missy, for stopping by H.H. and sharing some very thoughtful comments.
What we’re witnessing at ABT is a very tired, uninspired artistic and board leadership that long ago reached its Peter Principle pinnacle. McKenzie is entrenched as the artistic director and as a friend to his fellow board members who do not have the commitment to ABT that is required in order to make the needed change. It’s surprising how the company hasn’t started to once again make noise about moving to some other city that will support it – rather than change the director. Everybody else seems to be the reason for ABT’s decay except for Kevin McKenzie.
America’s national ballet company should be a premiere classical company that will unquestionably hold its own against the Mariinsky and the Paris Opera Ballet in the classics, should be head and shoulders above everyone else when it comes to one act theater ballets, and should be able to compete with NYCB in the creation of new works. That should be its mandate. Presently, it fails miserably in all three areas.
A new director should be given no more than four years to accomplish it using homegrown dancers exclusively. Obviously, the new director would have to import classical coaches since the company presently only has Irina Kolpakova who is 81 years young, but nevertheless 81. It would take an attractive incentive for someone to sign on for a challenge of that magnitude, and the members of the board of directors should open up their wallets. The decay of ABT occurred on their watch, and now it’s time to pay up.