The Sheepdogs of GISELLE

Don’t have time to write a review right now, but last week I saw basically three Giselles (two inside the auditorium, and one on the screen in the lobby 🙂 ). I saw Diana Vishneva and Marcelo Gomes (my favorites), Hee Seo and David Hallberg (it was Seo’s debut as Giselle), and on the lobby screen, I saw Alina Cojocaru (guesting from the Royal) and, again, Hallberg. Anyway, I snapped this picture of the Afghan sheepdogs ABT uses in the first act, outside, during intermission, getting ready to leave with their trainer. So cute – and I thought they deserved attention: they do hard work in that ballet under those harsh lights, trying hard to stifle barks, walking, then sitting when told – behaving so well!

Alina Cojocaru and Polina Semionova Guest Star in ABT’s DON QUIXOTE

Over the weekend, two European star ballerinas – Alina Cojocaru from the Royal Ballet in London, and Polina Semionova from the Berlin State Opera Ballet – guest starred in American Ballet Theater’s Don Quixote as Kitri.  Cojocaru danced with Jose Carreno, and Semionova with David Hallberg. I saw both performances. Overall, I thought both are beautiful dancers, have an innate sweetness that shines through, are absolute balance queens who can hold balances on one leg on pointe for many many seconds unassisted, and can dance the role nearly perfectly. But I thought that both of them lacked fire; they both played it too safe. Maybe it’s just that Natalia Osipova has ruined me and I just can’t see anyone else in this role now.

One thing I loved about the Cojocaru / Carreno performance were that the two seemed to have a real rapport, a genuine affection for each other. Did they ever dance together at the Royal, does anyone know? Or was Jose there too early for her? Cojocaru never threw herself into his arms with the wild abandon that Osipova did last year, and I missed that. But I don’t think Jose did 🙂 Seriously, he didn’t seem to appreciate Osipova’s theatrics that much. Cojocaru seemed to tone it down and they worked very well together. Also, as I complained about on Twitter ad nauseam, during those insane one-handed overhead lifts, Jose did not go on releve and hold one leg up in arabesque the way Ivan Vasiliev did with Osipova in the Bolshoi’s live-streamed performance. It’s okay; I still love Jose 🙂 But seriously, Vasiliev and Osipova have ruined me! Cojocaru has absolutely gorgeous developpes. She can lift her leg up so high – really stunning. And I mentioned the balances earlier. She held those for so long; crowd went wild. And sweetest thing: Jose kept demanding she return for an encore bow after each of her solos. Made me really love Jose.

Cojocaru was a little shaky during the first act, and she had a little stumble. But it wasn’t memorable. Far more memorable was her strong performance in the third act, her best. That’s when she did the crazy balances.

In the third act fan variation, Cojocaru did a completely different series of steps than I’d ever seen before, which makes me think there are a bazillion ways to do that variation. Or at least three – the American, the Russian, and the British. The Ballet Bag ladies sent me a You Tube link via twitter, of Cojocaru dancing with Johan Kobborg. Around the 7 minute point is where she does this different variation.

 

Jose is such a great Basilio. He’s a natural flirt, a natural macho Latin guy, and a natural actor who can be a macho and a flirt and still be totally endearing. And it really kind of made me melt when he kept insisting she take more bows.

I really enjoyed Sarah Lane and Isabella Boylston as “the flower girls.” They often weren’t in sync because Boylston danced with more expressiveness, arching her back, taking her time and drawing out the turns, playing with the musicality. Lane was more sharp and precise, hitting poses right on the beat. But I could have cared less that they weren’t perfectly in sync. I loved that each had her own personality, as people do in real life.

I missed Sascha Radetsky as Espada the matador. I’ve never seen him in that role and I think he’d make a good one. He was replaced by Gennadi Saveliev. He was replaced on opening night too, which worries me that he’s injured.

I thought Polina Semionova was really beautiful, and, where Cojocaru had a few wobbles, Semionova had none. She was very very near perfect. Like Cojocaru, the third act was the one that most brought her to life. She kind of veered all over stage on her third act series of fouettes but she threw several multiple pirouettes in, and her balances were even more stunning than Cojocaru’s, as, during her final balance, she took her leg out of arabesque and straightened it out in front of her, without ever holding Hallberg’s hand to steady herself. Audience went absolutely crazy with applause. They really loved her, and called her and David out for several curtain calls.

In the third act, she did “the American” fan variation. She’s Russian and dances in Berlin, so I really think each ballerina just chooses whichever version looks better on her body and feels most comfortable to her. I thought the little hopping “horse steps” on pointe were really sweet on her.

She and David seemed to like each other as well. The partnering was a little off at points, though, and he almost dropped her in a fish dive. She played it very safe with the second act swan dives into his arms as well, and he didn’t try any Vasilievs on the one-handed lift.

David is a beautiful dancer on his own though, and, as a critic said to me during intermission, it’s sometimes hard to focus on anyone else when he’s onstage. His movements were absolutely perfect, both the more balletic and those kind of side to side matador-looking movements. His jetes are beautiful – he’s just the most beautiful male dancer and you can completely lose yourself in the story of the ballet just watching him.

Acting-wise, I think David is wonderful in the romantic scenes. He’s definitely a romantic. But the rest of the time I think he should just be himself, make Basilio his own, and not try to be so cocky and macho. In him, I find it comes across as anger, an an intimation of violence even, like he’s really going to go off and whack someone. He’s not a natural cocky flirty Latin shit like Jose and Marcelo Gomes 🙂 And so it loses its charm with him. My thoughts anyway.

It probably won’t come to a surprise to anyone who’s read my blog for some time that Veronika Part (here as Mercedes, the “street dancer”) stood out to me. In the first two acts, I found her even more captivating than Semionova. One thing I love about her is her attempt to make the styling as authentic as possible. Part really looked like a Spanish dancer to me. And in the second act’s dream scene, I found her jetes across the stage really breathtaking – just as much as Semionova’s.

Sarah Lane danced the part of Amour in the white scene. I always want to call that character Cupid. Anyway, before the performance began, I overheard one teenage girl behind me say to another, “Sarah Lane! She was the one in Black Swan!”

All in all, really lovely performances, but I do think Cojocaru makes a better Sleeping Beauty and Giselle than Kitri. She’ll be dancing Giselle this Saturday night. She’ll also be dancing Don Quixote again with Jose tomorrow night (Monday, the 23rd). I’m excited to see Semionova in Swan Lake later in the season.

Sample Sunday: Wedding Belle

For this week’s #SampleSunday, here’s an excerpt from Swallow‘s chapter eight, titled “Father Christian.” For a synopsis of the whole book, go here.

I made it to the boutique only ten minutes late. Speed walking toward the glass-doored entrance, I saw Francie inside looking out, peering up and down the street, pacing back and forth, perfectly steady on her six-inch, stiletto-heeled, candy red pumps, her flawlessly coiffed strawberry mane bouncing girlishly with each pirouette. Oh, I pray I’m Francie at fifty, I thought.  New York women never get old, I swear. When our eyes met, she tapped her French-manicured fingernail on the face of her watch, then shook her finger at me in mock reprobation.

“Sorry sorry,” I mouthed, pushing open the door.

“It’s all right, it’s not like there’s anyone else here.” She stood in fifth ballet position and extended her left arm gracefully toward the middle of the store, her frown at odds with her delicate pose. “What is it about getting married here? No one in this city seems to do it.”

“That’s because New York women are all so independent and sophisticated, like a certain fashion maven I know,” I gushed.

“Yeah yeah yeah. Perpetual singlehood has been a real friggin’ joy.” She fluttered her hand about dismissively. “Come on, let’s find you the Audrey dress of your dreams, skinny girl,” she said, pinching my arm. “Geez Soph, you really are losing weight. Look at these little twigs.”

“I’ve lost twenty pounds,” I said. I knew it was getting to be a lot; another ten pounds and I’d weigh 100. But truth be told, I felt like I was really beginning to fit in in New York. It looked rather elegant, if not downright trendy, to be thin here. Still, I knew I couldn’t lose a whole lot more. It had to stop at some point.

“Shit, Soph. What’s your secret? How come you’re keepin’ it from the old lady?”

“Hey, I did tell you; you just weren’t listening.”

“Huh?”

“The throat ball. The ‘ball’ — remember?”

She had the loopiest smile I think I’d ever seen.

“Okay, after we’re done here, we’ll go out to eat,” I said. “Then you just imagine a big ole ball in your throat and you choking to death whenever you try to swallow. Beats the hell out of a diet any day.” I couldn’t believe what I just heard myself say.

“Shit, Soph, you’re starting to sound, you know, a little fucked up,” she said, echoing my thought.

“Hello, ladies.” Marlena, with whom I had my appointment, appeared as if out of thin air.  She was sixtyish, immaculately groomed, with snowy whitish-blonde hair, and a full face of makeup that — unlike on me — made her look polished rather than fake. Already I felt like a street urchin with my shiny nose, flyaway hair, and now oversized, dowdy suit.

“You must be Ms. Hegel,” she smiled, cupping my hand between her palms. I always felt so uneasy in places like Saks and Bergdorf, like it was so obvious to all the salespeople that I didn’t belong anywhere near the place. Funny, I wasn’t feeling that so much with Marlena though.

“Um, yes.” I tried to return her smile, not anywhere near as elegantly.

“And you’ve brought your big sister with you. Excellent idea,” she said, extending a hand and smile to Francie.

“Basically,” Francie said, giving her a cursory New York handshake.

“Now you tell me what kind of dress it is you’re looking for, dear,” Marlena began, eyes now focused solidly on me. “Would you like to look at the catalog, or do you have something in mind?” Something about her was so familiar, like she was an old dear nanny or governess or something. Except of course I never had such a person in my life.

“Mmm…” I looked at the four huge tomes on the counter. They looked far too intimidating; we’d have been there all day if I started with them. “I think I’ll start with the actual gowns.”

“That’s perfectly fine,” she sang, with the sweetest of smiles. “Let me just tell you a little about my job here at Bettina’s Bridal. I’m not here to dictate what you should wear. You brides today are more sophisticated, more mature, far more educated than you were in my day,” she chimed in a fantastical voice that sounded like she’d been around for centuries. “You have your careers, you know who you are and what you want out of life, not to mention out of a dress,” she laughed. “You’re not to be bossed around by your mothers, your sisters…” she gave a nod and wink to Francie at this, “certainly not your future husband. This is obviously your most important day. This is the statement that you’re making to all your friends and family, to the world, of who you are.” She positively glowed.

Francie rolled her eyes. Argh, can you say, ‘jaded New Yorker,’ I thought.

When I looked back at Marlena she radiated a fairy godmother smile, and I felt a tear starting down my face. I was so embarrassed I could’ve just fallen to the floor and rolled myself up into a little fetal ball. What was with my total lack of control over my tear glands?

“Oh dear. Would you like a glass of water?” she asked, grabbing a tissue.

“No, no.” I felt like the consummate ass.

“It’s normal, you know, this is quite an emotional time.” She stood smiling down at me, her hands folded in front of her, her long eyelashes glistening, her cheeks glowing.

“Okay.” I took a deep breath, pulling it together. “I have an idea of what I want. Something basic, not really frilly, just simple, but you know, a fabric with a nice sheen.” I had no idea what the hell I was saying. ‘Nice sheen’ – what was that? Such the couture dyslexic was I.

“Sophisticated, elegant, you know, Grace Kelly, Audrey Hepburn. Maybe matte satin or Duchess silk, possibly organza. I think she wants to go with a simple A-line silhouette, natural or dropped waist bodice, attached chapel train, very little if any embellishments.” Thank you, Francie, I thought. Whatever you just said.

“Let’s start here.” Marlena showed me a simple satin dress with beautiful beaded buttons trailing down the back. Only problem with that one was a monster bow right on the butt — made it look like her bottom was a big present to the groom.

“Kind of makes her look like a present,” I said to Francie.

“Well, you are a present, my darling,” she said.

“No, like an object, I mean. Like she has no personhood.”

“Ugh.” Francie rolled her eyes again. Francie didn’t have the most developed feminist consciousness, I kept forgetting. I mean she did, but she just wasn’t schooled in feminist theory, didn’t have the jargon down. Not that I wanted her to though; she was far, far more interesting the way she was!

“Then there’s this nice simple organza ball gown.” Marlena next showed me one with a lacy bodice, cinched at the waist by another bow that led to a poofy floor-length skirt. This one reminded me of the ballet dress I wore for a recital at Phoenix Symphony Hall right before Daddy left. And the cinching bow recalled a bit of the Barium Swallow ordeal. Uh-uh, I shook my head. Far too much baggage contained in one dress.

Then she led me to a plain, but soft and silky, form-fitting gown. But this one had underwire cups stitched on the outside of the fabric.

“Ooh la la, sexy,” Francie said.

“Yeah, for the slut bride,” I whispered to her.

Francie rolled her eyes again. “You have body issues,” she said to me under her breath, her voice trailing off at the end, indicating this was a continuing issue that she intended eventually to cure.

“I don’t have body issues, and I am not wearing a bra on the outside of my dress to my wedding,” I whispered back, smiling over at Marlena, who was looking a bit weary. I was being too picky. I decided I’d try on the next one — which happened to be very pretty, with pearl buttons tip-toeing down the back. It’s just that the buttons didn’t start practically till the waist-line; I had no idea how the thing stayed up and I knew I’d be worrying about it nonstop.

Before I knew it, we’d spent an hour and a half and I hadn’t tried on a single thing.

“Are you sure you don’t want to take a little peek at the catalog?” Marlena asked with a hint of hopelessness. Francie, ever the New Yorker, didn’t bother trying to hide her annoyance.

“Come on, come on, come on, Soph. We don’t have all day. Nothing is going to look right on the hanger. You gotta see it on to see how it hangs on your body.”

Okay, okay. I told Marlena I’d try the first two — the butt-present and the issue-laden ones. She looked ecstatic.

The dresses on display were all in size 10, so Marlena called her assistant, Ruiza, to accompany me into the dressing room. I felt weird undressing in front of her — especially when she motioned for me to remove my bra. She helped me into the butt one, then taped, tucked, tied, zipped and pinned me up. About twenty minutes later, I emerged.

“Wow, very very nice,” Marlena said, walking me toward the three-way mirror.

“Oooh, look at those gorgeous tiny arms,” Francie squealed, squeezing my shoulder.  “Hon, really, another ten or fifteen pounds and you could be a petite model.”

Oh geez. I laughed.  As I stood in front of the mirror, Francie walked around me gazing at the dress. Marlena patted at the skirt. It actually looked quite lovely. I was transformed. Imagine that, mousy me.

“You really do look beautiful, hon,” Francie said from behind, to my reflection in the mirror. Then Marlena turned me to my side, and I saw the blasted bow. It was pinker than it initially appeared, and strikingly different than the rest of the dress. I looked like a baboon in heat.

“I don’t know. I really don’t like the bow.”

“It can be altered,” Marlena and Francie said simultaneously. Yeah, but that would totally increase the price, I thought. But I didn’t dare say it, of course.

“I’ll try the other one.” I went back into the fitting room with Ruiza, underwent the process again with the cinch-waisted Giselle gown. Hmmm, could get used to someone dressing and primping me, I thought. Like Scarlet O’Hara. It was kind of nice, even if initially embarrassing.

After she finished, I headed to the three-way. Ooh, this one looked quite lovely. A little poofy and princessy, but also chic and sophisticated with a more grown-up elegance than had appeared from the hanger. The bow was sweet, much smaller than the other, the same color as the rest of the dress, and was a little off to the side, so not so obnoxious. It was beautiful; I could definitely do with this one. However, one ever so little necessity… had to figure out a way of finding out the price. Of course, there were no tags on anything. I hated it when stores did that.  But I guess I should’ve expected it with a place like this. I hated having to ask.

“That one’s a great deal,” Marlena said right then, as if reading my mind. “Quite a steal at only $5995.”

Yikes. I was hoping to pay a third of that, at most.

“That’s great,” Francie said, nodding at me. I thought I detected a wink as well. “Okay, Soph, off to a good start. We got one possibility. But before you get hooked, hon, let’s look at a couple more.” She turned back to Marlena. “The organza and lace might make it just a bit too frilly. What about something with a little less embellishment.”

“Sure,” Marlena smiled, a bit pityingly, I thought, as if she knew exactly what Francie was hinting at. She led us over to one of the first racks in the store — exactly where all of the silly, frilly, i.e., cheap, stuff was located.

I tried and tried. But nothing looked as good as the $5995. Just as I was about to leave to think over my too-expensive Giselle-before-Daddy-left dress, I remembered the catalog and, ever so stupidly, decided to take a peek.

And of course therein I saw it: the gown that simply stood so far above the rest it was pitiful. The satin-y fabric wrapped around the wearer’s body regally, like a protective sheath. And it had this really extraordinary lace framing device. There were two wide strands of intricately-patterned lace extending the length of the bodice. They originated at the waist, then rose up and above the top of the dress where they fanned out into two pleats flowering just over the top, highlighting the wearer’s chest, and framing her torso. At the waist, they met with several more lace lines that wound around from the back, and at the hip, all lace strands bunched up and overflowed into more pleats that formed sequins, which cascaded all the way down to the ballgown’s train.

The wearer of the gown was a true queen. And, bizarrely, here that wearer was the supermodel from the Vogue ad in the museum exhibit; the one Stephen had said looked like a “Holocaust victim.”

Only odd thing was the gown was rose-colored. I’d never thought of a wedding gown in any color other than white.

“Beautiful, isn’t it? That’s one of our Lacroixs,” Marlena said, over my shoulder.

“It’s gorgeous. But it’s red. It is a wedding dress, right?”

“Oh yes. The most popular color right now in Europe is red. Brides here are a little more conservative. But if you want to make a statement…”

“Do you have it?” I asked. I knew it was probably way too expensive but I really wanted to try it just for kicks.

“Yes…,” she said, her voice inflecting at the end. She looked hesitant.

“Can I try it?”

Marlena smiled weakly. “Sure. It’s just that, well, this one has a great deal more embellishments than… Of course you can, of course, dear.” She started to walk away; I followed.  “It’s in the back. It’ll take some time to get,” she called over her shoulder.

“Hey ready yet, Soph? I’m getting hungry,” Francie called out, posing in front of a mirror with a pearl-white veil draped over her face.

“I’m just going to try one more.”

“One more! I’m really really getting hungry here, Soph.” I hated it when Francie got pissy.

“It’ll just be a sec. Please?” I whined like the child Marlena’d just spent all afternoon trying to make me feel I wasn’t. Francie scowled at me, returning the veil to its mannequin. Just then Marlena returned with Ruiza, the two of them together carrying a veritable body bag.

“What’s in there?” Francie asked, annoyance metamorphosing into intrigue.

“Here it is,” Marlena chirped, as she, Ruiza, and yet another assistant all maneuvered it out of the bag. Once I saw it, I understood why this required a group effort. It was simply huge.  This time it took a full forty minutes to get into it, but not because there was a lot of taping and pinning on Ruiza’s part: believe it or not, unlike all the other floor models, this one was a size four. It took so long because there were so many pleats, sequins, ties, clasps, and buttons for poor Ruiza to figure out.

“Oh my god,” Francie shrieked when I walked out, “You look …”

“Yes, you do,” Marlena echoed, even though Francie hadn’t actually come up with an adjective. “It’s tight, but, wow, not all that much.”

“The color is gorgeous, Soph,” Francie said, brushing the train.

“You think it’s okay that it’s not white and all?” I asked.

“Shut up and look at yourself!” Francie whiplashed me toward the three-way.

When I looked in the mirror, I saw someone else. I was like royalty, someone very special, even beautiful. There’s no such thing as natural beauty, I thought. Designers are the makers of reality, and you just have to be skinny enough to squeeze into the alternate universe they’ve created for you. I had no idea what Christian Lacroix looked like, but I imagined him as this posh but avuncular man plucking at the lace, smoothing out the sides, telling me what a perfect fit it was, how beautiful and smart and charming I was; how I was the perfect wearer.

Suddenly I began hearing my mother’s voice. “Who do you think you are? Some movie star, some Arabian princess?” The same words she used when I’d received my letter from Yale and told her the cost of tuition, and my father went ballistic. A place for high-class people, deserving people, not me.

“Oh Sophier, you’re absolutely mesmerizing.” Thank goodness for Francie’s New York voice trumpeting over Mom’s. I was getting married now. I was a law school graduate. I was an adult. What was wrong with me? “So teeny tiny. Oh you’re so beautiful, darling. You look just like the model. It’s so so SO you!”

“Stephen says that model is a glorified Holocaust victim,” I couldn’t help but blurt out.

“UGH.” Francie screamed, throwing up her hands. “Fff…” she began, then saw my discomfort at her ‘free form expressions’ in Marlena’s presence and altered her tone, somewhat. “Then, my dear, you are a beautiful fucking glorified Holocaust victim,” Francie whispered to me, lips pursed tightly over teeth.

“I need to know the price of this one,” I found myself again blurting out, too needy now to care how poor I appeared. Marlena smiled, pityingly again. She had an answer that I really didn’t need to know.

Photo above of Christian Lacroix and model from Independent UK.

Giselle: The Royal Versus the Bolshoi

Last Wednesday I went to see the Royal Ballet’s Giselle live-streamed direct from London. Today, I saw the Bolshoi’s live-streamed from Moscow, both via Emerging Pictures’ excellent Ballet in Cinema series. I have to say I think this new series is one of the most exciting things happening in ballet right now, if not the most exciting. You can see the world’s greatest ballet companies perform live in your hometown via your local movie theater (if, of course, you’re lucky enough to have a local cinema that’s participating – and hopefully you are!). Not only do you get to see the live performance, but the camera also takes you behind the scenes to see things even those in the theater can’t see – to the makeup rooms, the rehearsal areas where the dancers are warming up, getting dressed, and sewing their shoes, etc., behind the curtain during and after the performance where you see the dancers prepare for curtain calls, and down into the orchestra pit where camera focuses on the conductor and members of the orchestra. You also get a good view of the theater – from inside the auditorium to the lounge areas, even to the outside front. You really feel like you’re there. And knowing it’s in real time makes it all the more fun. I kept wanting to wave out to the audience members as they took their seats, some looking at the camera. But of course they couldn’t see us…

Anyway, it’s such an experience, and hopefully everyone will be able to have it at some point soon.

So, the Royal’s Giselle: the dancers were Marianela Nunez in the lead, Rupert Pennefather as Albrecht, Gary Avis and Hilarion, and Helen Crawford as Myrtha. Also, one dancer who wasn’t a lead but who I was just really captivated by was Yuhue Choe, who danced the female peasant in the peasant pas de deux.

Overall, I liked but didn’t love this production. My biggest problem was Pennefather, who I just didn’t find at all compelling – either in his dancing or his acting. He was definitely good-looking and had a regal bearing so I understand why they cast him, but his dancing was just nowhere near the level of someone like David Hallberg’s. In the second act in the would-be dance-to-death scene where he went to do his high jumps with the many braided entrechats, they just didn’t look polished or sharp enough. They almost looked fake – like he wasn’t really weaving his feet backward and foreword. I’m sure he was, it just looked sloppy. And as a character his Albrecht didn’t make much sense. At the beginning, when his servant helps him change into his peasant costume, he looks down at the costume, and smiles to himself, pleased. Then, he has fun dancing with Giselle, tricking her with the altered flower, etc. Later, when he’s found out and his betrothed asks him why on earth he’s dressed as a peasant, he immediately laughs it off, and practically runs toward her, kissing her hand. It’s never clear what he hopes to accomplish by pretending to be a peasant and seducing the unknowing peasant girl; what his motivation is for doing any of it. But he didn’t seem particularly dumb or playboy-like either. It just seemed like a role that wasn’t thought-out.

I did like Nunez. I thought she was a tremendous dancer, and she acted very well too. Her mad scene was real, completely believable, not at all overdone, with depth, one of the best I’ve seen. Of course it helps that the camera’s so focused up close on her face! You can easily see the emotions. The only thing was that body-wise she didn’t seem like a Giselle to me. She didn’t seem weak and delicate and fragile. And that strength came through in her dancing too. Her performance reminded me a little of Paloma Herrera’s Giselle. I thought Herrera was terribly miscast. I thought Nunez was such a remarkable dancer though that I was able for the most part to suspend disbelief, more so than with Herrera.

I thought Gary Avis was a really hot, hunky Hilarion 🙂 He’s a very good actor too. I think he was actually the best actor in the whole production. I really believed his love for Giselle, his urgent need to keep Albrecht away from her, and his devastation over what ended up happening to her. And ditto for the Bolshoi’s Hilarion (or Hans as he’s called there), Vitaly Biktimirov – at least in the hot & hunky department. He was a good dancer, but less of a good actor than Avis. I was talking with a friend and fellow blogger, Art, during intermission, and he said he thought the British were simply just trained to be actors as well as dancers, probably because of their history. The Russians weren’t so trained. And I agree with him. The Russians seem to do everything in a very melodramatic, somewhat phony way. I mean, not Veronika Part, not the Russians who come here. But when you see a production by a Russian company it just seems like everything is very performance-y, not natural.

I really loved Choe in the Royal’s peasant pdd and found myself wondering what type of Giselle she’d make. She looked perfect for the part. I thought her dancing was lovely, but I’m not sure if, had she danced Giselle, it would have been at the level of Nunez’s. Has anyone seen more of Choe? She’s a beautiful dancer.

Interestingly, Helen Crawford, who danced Myrtha, was a tiny little thing. Very pretty, very fine features, very delicate-looking. She also had the appearance of a Giselle. She did a superb job though acting the controlling, sometimes damning Queen of the Wilis. It was just interesting casting, though, because all of our Myrthas are the larger, more physically-imposing ballerinas.

I hate to say it, but I really didn’t like the Bolshoi’s very much. But I LOVED their performance of The Class Concert, a one-act that preceded their Giselle. The Class Concert was created in 1960, by Asaf Messerer,  and it’s one of those storyless ballets that takes place in a classroom and that are meant to highlight the magnificence of ballet, from beginning at the barre, and ending with the grand jumps and high overhead lifts of center-work. Kind of like Harald Lander’s Etudes or Christopher Wheeldon’s Scenes de Ballet. Anyway, those dancers are incredible. I mean, I was almost on the floor I was so in awe. From the small children to the young adults doing all the lifts and crazy chaine turns and high jumps – every hip was completely perfectly turned-out, every tendu perfectly pointed, every single body’s form was absolute perfection. They weren’t always moving in unison, but just the perfection of each of them individually made me not care that they weren’t always in sync. It was amazingly beautiful, but in a way, it was also slightly creepy. I mean, to attain that kind of miraculous perfection, you realize these children must do nothing but eat, sleep and ballet every day from the time they’re 2 years old foreword. Talk about Tiger Mothers. It’s a whole Tiger State.

Anyway, their Giselle I felt was lacking. I loved their Albrecht – Dmitry Gudanov. He had everything Pennyfather lacked – at least in the acting. Gudanov had definitely thought through his motivations for the character. Gudanov’s Albrecht was in love with Giselle. His servant tried to tell him he was going to hurt her, but he just blew his servant off. He was reckless but his heart was with Giselle. Later, when the princess, his betrothed, sees him in the peasant costume, at first he doesn’t know what to do, how to act. Then he slowly, begrudgingly takes her hand. But it’s clear he’s not in love with her and he really wants Giselle. He remains torn between her and Giselle even after he realizes he must chose his betrothed – at least for the time being. And then he’s shocked when Giselle reacts so badly. And then he’s devastated along with Hilarion, even going after him with a sword, when she dies. I still wasn’t in love with his dancing, though. Actually, he did everything very very well. He was a very good dancer. What I wasn’t in love with was Grigorovich’s choreography for him. I didn’t feel that the dance to death scene was in any way a seriously dangerous dance. It looked rather lyrical. There were no brises or jumps with the entrechats; instead there was a series of tour jetes back and forth, and they weren’t done particularly fast. It looked like he was flying gracefully through the air not like he was exhausting himself to the verge of death. And when he’d “collapse” he’d go down so lightly, it was like he was going to sleep, like Sleeping Beauty. No crashing to the floor in sheer exasperation ala Marcelo Gomes at all.

But who I really didn’t like was Svetlana Lunkina as Giselle. I’ve heard so many good things about her and my hopes were so high, but now I can’t understand the big deal at all. She seemed really really wooden to me. She really didn’t act at all. Her face was devoid of emotion throughout. And, unlike Nunez or Osipova, or any other dancer I’ve ever seen in the role, her dancing was nothing to write home about at all. She was adequate but she looked like a corps dancer to me. What am I missing? Maybe she was really just having a bad night, because during the wilis scene when she had those several slow turns on one leg, her balance looked very off. I really thought she might actually lose her balance and fall. So maybe it was just the pressure of the cameras and knowing so many people were watching.

Again, I really liked the ballerina who danced the peasant pas de deux – here, Chinara Alizade – and wondered what she would have looked like as Giselle.

Oh, and speaking of the peasant dances: hehe, these were the absolute fanciest peasant costumes I’ve ever seen! Art joked that these were peasants flown in from Paris for the occasion!

I had a blast though. And the Sunday performances are so nice because there are so many more people. I met two new dance fans who regularly read my blog! I felt kind of half-dead today – probably because of a late night last night – but I’m always so flattered when people recognize me and come up and talk to me. I’m always so thrilled to find that people like this blog and find it valuable and my viewpoints interesting and all! So thank you!

Giselle Live-Streamed into Theaters – This Time by the Bolshoi and the Royal

 

A reminder that Emerging Pictures will be live-streaming two different productions of Giselle into movie theaters around the world in the next couple of weeks.

On January 19th, the Royal Ballet’s production will be live-streamed from London, and on January 23rd, the Bolshoi’s will air live from Moscow.

If you’re in New York, the showing on the 19th is at 2:30 p.m. at the Manhattan Big Cinemas. It will also be shown later that evening at 7:00 p.m. at Symphony Space (the latter showing will obviously be recorded from earlier in the day).

On January 23rd, the showing in New York will be at the Manhattan Big Cinemas at 11:00 a.m.

If you’re outside of New York, check the website for times and theater locations near you.

Above photo of the Royal Ballet’s Giselle, taken from the Ballet in Cinema website.

Guggenheim Announces its 2011 Works & Process Season

And it looks like there are several good dance events, including the Royal Danish Ballet with Nikolaj Hubbe, a program on how judges judge the big ballet competitions like the Youth America Grand Prix, a sneak peek at Pacific Northwest Ballet’s new Giselle production, a night of Robert Wilson-curated choreography and performance art, and more ABT.

Click on the link below for their press release, containing the full dance event schedule.

Continue reading “Guggenheim Announces its 2011 Works & Process Season”

OH NO ROBERTO!!!

For those who haven’t heard, Roberto Bolle is injured and will be out the rest of the ABT summer season. That means there will be no stalking expedition guided tour of the bowels of the Met at the end of Romeo this year.

Oh well. We may have to organize a field trip to Europe next year. Maybe he’ll be dancing Mats Ek’s Giselle again?

In the meantime, here is this bottled water commercial. I think I posted it last year because it looks familiar but blog reader and Facebook friend Jonathan has sent it to me (and it is very good!) so I am posting it again. If I remember correctly, I think last year Haglund and I were trying to figure out where to buy the water in the U.S. I wonder if Haglund ever found it?…

And I will have to be satisfied with my IPPY man… Hehe, seriously, IPPY winners who attended the award ceremony two weeks ago were just sent their photos. They had an attractive female and male presenter to pose for your award photo with you — if you’re a female winner, they gave you the guy; if you’re male, they gave you the girl. I didn’t notice it at the time but doesn’t this guy kind of look like Roberto! Okay, I can dream!

Anyway, SLSG favorite Marcelo Gomes will be replacing him in Swan Lake — Odette / Odile is Veronika Part, so that will be a must-not-miss. And his Romeo replacements are Marcelo (whose Juliet will be Paloma Herrera) and Cory Stearns (dancing with Irina Dvorovenko). Check schedule here.

Get well soon Roberto.

ABT OPENING NIGHT GALA MET SEASON 2010

 

Photo from inside the gala tent last night at American Ballet Theater’s opening night gala taken from NY Social Diary, who, sadly, don’t seem to have any pics up of Irina Dvorovenko in her beautiful red gown. It was one of the most beautiful dresses I’ve ever seen — long and many-layered but each layer seemed to be made of a light, sheer piece of fabric, so the whole thing looked light and diaphanous, though it wasn’t really see-through, just looked that way. Anyway, if anyone finds a picture of her, please let me know! Roberto Cavalli probably designed it…

Anyway, so the opening night gala was last night. It was loooong — one of the longest I’ve seen. We didn’t get out until 9:30, and it began at 6:30. It opened with an excerpt from Frederick Ashton’s Birthday Offering, of seven couples waltzing at what seemed to be a party (I haven’t seen this ballet), with Irina Dvorovenko and Maxim Beloserkovsky the main couple.

Following that was a series of introductions and thank yous by Kevin McKenzie (Art. Dir.), Blaine Trump and Caroline Kennedy (the two women were honorary chairs of the evening, along with Michelle Obama, who wasn’t there), and then David Koch who has funded the upcoming production of the company’s Nutcracker this winter.

Then, a group of ABT II dancers performed an excerpt of Edwaard Liang’s Ballo Per Sei, which was a contemporary lyrical piece, set to Vivaldi. I recognized a SLSG favorite — Irlan Silva — right away.

Then came the “Rose Adagio” from Sleeping Beauty, performed by Michele Wiles, with Sascha Radetsky, Craig Salstein, Gennadi Saveliev, and Roman Zhurbin as suitors. I don’t think I’ve ever seen this performed so well. Michele really held those balances, and she was so vivacious! Both she and Paloma Herrera, who danced a later excerpt from SB later in the evening, really embodied a young Princess Aurora very well. Michele got loads of applause – the most thus far of the evening.

Then came David Hallberg and Natalia Osipova’s Olympic version of Giselle — this an excerpt from Act II. People laughed and shook heads in amazement at Osipova’s sky-high ballons and sprightly jumps and leaps. She is really incredible. And then at the end when she jeted off and he followed her, it was really beautiful. But athletically astounding as it was, it was still moving; nearly brought tears to my eyes. I mean, how do you manage to do athletic feats like that and make it seem like you’re a light, other-worldly spirit instead of nearly exhausting yourself to death? I don’t know if I’ll ever be able to see anyone else dance Giselle again besides Osipova now. I saw a couple of etoiles from the Paris Opera Ballet perform it at the Guggenheim a few months ago and all I could think was, “wait, where’s the ear-high develope?” and “that arabesque penchee is nowhere near 6:00!” Natalia Osipova has spoiled me.

Then came Veronika Part and Marcelo Gomes doing my favorite gala fare, the Black Swan pas de deux. They were magnificent. Veronika kept doing these equally astounding crazy penchees, and she was so tantalizing with all of her faux White Swan poses! She was really a bad tease! And perfect fouette sequence for her, and his jetes and all — they got loads of applause too (oh, and so did David and Natalia).

Then was the beautiful Thais Pas de Deux by Ashton, danced by Diana Vishneva and Jared Matthews. I recently saw this rehearsed at a studio visit by Hee Seo and Sascha Radetsky, and it looks so different onstage far away and with costumes and all. It looked a lot more like MacMillan than I remembered. I loved it; Diana and Jared did very well but I still can’t wait to see Hee and Sascha. For her gala gown, Diana was wearing a very interesting-looking Japanese-styled dress.

Ending the first half of the evening was the finale of Tharp’s Brahms-Hayden Variations, danced by a group of seven couples, replete with trademark Tharpian flash and crazy lifts and high energy. Can’t wait to see this now either. I have in my notes, “who is dancing with Hammoudi?!” When I looked at my program, I saw it was Stella Abrera. She is really back and really on!

First dance after the intermission was the “Kingdom of the Shades” scene from La Bayadere.  Beautiful as always though it seemed some of the dancers were not completely in unison.

Then came Paloma Herrera and Cory Stearns dancing the Awakening Pas de Deux from Sleeping Beauty, which was followed by the wedding pas de deux from that ballet danced by Herman Cornejo and Xiomara Reyes. I particularly loved Paloma. As I said before, she and Michele Wiles really embodied the sweet, youthful spirit of Aurora. Paloma and Cory danced very well together. They seemed like a real couple.

Then was my second favorite excerpt of the night — the Act III Pas de Deux from Neumeier’s Lady of the Camellias, danced by a very passionate Roberto Bolle (who received a load of applause when the curtain initially opened on him) and a very dramatic Julie Kent. Every excerpt of this ballet makes me want to see the whole. Not much longer now — it begins next week, and I can’t wait. I think they received the greatest applause of the night. Audience really went wild, and it’s partly because he’s so internationally famous, but also I think because they just did so well with it. This seems to be a ballet that requires both good acting and excellent partnering ability because some of those lifts… The pianist, Soheil Nasseri, came onstage too for a bow at the end. He was very good.

Next to last was the Act III Pas de Deux from Don Quixote, danced by ABT audience faves Ethan Stiefel and Gillian Murphy. There was a slight mishap with the lift where he throws her up, she does a crazy twist in the air and then he catches her and the fish dive wasn’t hands free, but they each danced spectacularly on their own. It looked at one point like she was doing quadruple pirouettes between some of her fouettes, and he nearly kicked his leg to his forehead during some of his jumps and then did a flashy little jump during his fouette sequence that had the audience screaming.

The evening ended on a modern note  with David Parsons’s Caught, danced by Angel Corella, who, expectedly did an exquisite job. The audience, many of whom hadn’t seen that dance before, seemed so spellbound they almost forgot to clap right away. Angel’s so cute 😀

And finally, everyone who danced came out onstage at the end and took a little bow while the orchestra continued to play. Dancers still in costume — Daniil Simkin, Craig Salstein, Gennadi Saveliev come to mind — did a flashy trick, the “Shades” did a little dance in unison, and then dancers who danced in the first half came out in party gown (which is how I fell in love with Irina’s dress).

Fun evening. During intermission I checked my cell-phone and found a text from a friend who saw me sitting in orchestra from the side par terre, where he was sitting. So I texted him to meet me afterward, and we went for martinis, clam chowder and crab cake sandwiches at Ed’s Chowder House across from the Plaza, my favorite post-ballet place to go since it replaced Center Cut mid-NYCB fall season. They have a TV in the bar, and I was happy that the Yankees were still on. So I saw A-Rod hit his game-tying home-run… But how my friend ever saw me in that enormous Met crowd I’ll never know. Though many arrived late, house ended up being packed.

Oh, and I almost forgot: at the beginning of his speech, Kevin McKenzie introduced several dancers – each representing an era of ABT (this being the company’s 70th anniversary)- who all came out and took a bow. Included were Lupe Serrano, Baryshnikov, Nina Ananiashvili (who got a lot of applause), Alessandra Ferri, Natalia Makarova, and cutie Frederick Franklin, who gave a little speech as well. Isabella Rosellini was in the audience, a few rows down from me. I didn’t recognize anyone else in the audience.

IT’S TIME TO PROMOTE IRLAN SILVA TO ABT PROPER, KEVIN MCKENZIE!

 

Photo taken from the Prix de Lausanne website.

Last weekend I went to another fabulous Guggenheim Works & Process event, this one in celebration of Frederic Franklin, the 95-year-old formerly of Ballets Russes who’s worked with American Ballet Theater for many years now performing non-dance character roles and setting ballets on the company and its studio company, ABT II. I’ve written about him here.

ABT, ABT II, and some of the Jacqueline Kennedy Onassis School students performed some ballets Franklin has staged for them. My favorite was the Hungarian Czardas section from Petipa’s Raymonda, performed by ABT II, with Irlan Silva and Meaghan Hinkis as the lead couple. So much fun — and really made me want to see the whole ballet. I’ve since gotten my hands on a couple videos — more on them later.  But for now I just want to say how wonderful I thought Silva was — how much he stands out, how much strength and discipline and precision he has, along with that ever elusive star necessity, Presence. Even doing basic heel toe steps, he just brings it to another level.

Here are a couple of videos of him at the 2008 Prix de Lausanne, where he danced for his native Brazil and placed very well. The first is of his contemporary solo, a little-seen work by Nijinsky, and the second is his classical variation, from Le Corsaire.

And here is a video I found of that Czardas, danced by others.

Also performed, by others, were the classical Raymonda variations and the Sleeping Beauty Bluebird Pas de Deux. And, ABT dancers were David Hallberg and Xiomara Reyes dancing the Giselle Act II Pas de Deux. Which was far too short! But of course one must never miss the opportunity to see David Hallberg dance up close 🙂 Among other things, he knows how to make the most of a pose, to take the lines — particularly the leg lines — to their fullest and most sublime.

 

Photo of Hallberg dancing with Gillian Murphy, taken from here.