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ABT's Don Quixotes Chart a Path for ABT's Future
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Boylston/Simkin, Abrera/Royal, Forster/Agoudine
Handwringing over ABT's weak principal roster has come to an all-time high this season. In short: Daniil Simkin will be dividing his time between ABT and Berlin next year, Jeffrey Cirio is leaving to English National Ballet, David Hallberg after years of injuries needs a reduced workload, Roberto Bolle is aging and dancing only once or twice a season, which leads us with three full-time male principals: James Whiteside, Herman Cornejo (who also has suffered many injuries) and Cory Stearns.
Yet this week's run of Don Quixote's chart a path for ABT to become a successful company in the future. I saw three performances and at every single one there was raw new talent that made you sit up and mark down names.
Calvin Royal and Stella Abrera were a dashing couple as Espada and Mercedes. First of all they're gorgeous, second of all these two roles don't push them technically past the brink. Gabe Stone Shayer as the Gypsy dancer looked like a Simkin in the making with his uber-flexible back. Shayer danced the Gypsy in all the performances I saw and he was wonderful each time -- why didn't he get promoted to soloist??? One wonders.
Rounding out the cast were some great character dancers. The ABT production gives Don Quixote (Roman Zhurbin) and Sancho (Arron Scott) even less to do than usual but Thomas Forster and Alexei Agoudine were very funny as Lorenzo and Gamache. Even the corps were on, as were the children from the JKO school who now perform in the dream scene. What a wonderful performance!
However once again this performance showed that ABT does have a roster of talented corps members that are just begging for bigger opportunities. As the two flower girls Kaho Agawa stood out more for her lightness and charm, while April Giangusero was technically strong if a bit too forceful. Rachel Richardson was a cute Amour, needing only more height on her jumps. Zhong Ying Fang has been in the corps for years and her Mercedes was glamorous and well-danced. Fang has always been one of my favorite ABT corps ladies -- her sweet face and elegant epaulement set her apart. Blaine Hoven is perhaps one of the cleanest technicians ABT has but simply doesn't have the panache to do justice to Espada. Good dancer, wrong role.
Herman Cornejo is getting up there in age but he's still held onto his turning and jumping abilities as well as his stage charisma. He entered, and the ladies swooned. He still has the ability to "scissor" his cabrioles and hang in the air with his amazing ballon. His partnering has improved a lot -- in Act Three the biggest applause came when he lifted Lane overhead and then dropped her in a direction reversing fish dive.
This production is one of ABT's best full-lengths: it's streamlined a ballet that in Russian companies calls for the entire roster and made it manageable for a smaller company. The sets and costumes by Santo Loquasto are pretty, and it's a real crowd-pleaser that also allows for corps members to get more opportunities. And at the end of the week it was announce that Katherine Williams, Cate Hurlin and Zhong-Ying Fang were promoted to soloist. I was surprised to see that Williams has actually been with the company for 10 years and is only now getting her opportunities. Congrats ladies!
I really can't believe I've now sat through three performances of Anna Bolena within a rather short amount of time. It's not my favorite opera by a long-shot, and the production is absolutely dreary. Read my thoughts on the first-cast performance here. But the buzz about the second-cast Anna Bolena has been strong among operaphiles, who have whispered that Anna Netrebko is the bigger star but Angela Meade the better vocalist. Meade made her Metropolitan Opera debut in 2008 as a last minute substitution in Ernani , and since then has slowly been building up quite a following. So last night I dragged myself to the Met to sit through Anna Bolena again. Yippee.
On Sunday, May 29 (the last day of the NYCB's Spring Season), the auditorium was packed with audience members and NYCB alumni. The occasion was to celebrate Amar Ramasar's retirement. The performance (one of Midsummer's Night Dream ) had some creative role splitting -- Amar is injured , so for the second act divertissement Andrew Veyette danced the more demanding allegro opening, while Amar only danced the adagio pas. When Ramasar made his first appearance, the ovation was thunderous. His partner Sterling Hyltin broke character and giggled. If Amar was dancing through pain, he didn't show it. (Or he might have popped some extra-strong painkillers and decided he could hack it for eight minutes of dancing). The dancing was beautiful, but (as is the case with all farewells), it barely mattered. At the end of the performance Amar got the kind of loving, boisterous send-off that he deserved. So many people from the past came back -- Joaquin de Luz, Zachary Catazaro, Maria
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