ABT 2002 SEASON AT THE MET OPERA HOUSE, NEW YORK CITY - THE MERRY WIDOW, LE CORSAIRE, GISELLE, SWAN LAKE |
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On this occasion, Nina’s Count Danilo was Julio Bocca. Though we missed the cool elegance of Guillaume Graffin, her previous partner in this ballet, Julio made up in passion what he lacked in nuance. He pursued the doubting---but clearly interested Widow---assiduously, and their final reconciliation was thoroughly satisfying. The secondary principal roles of Valencienne and Camille de Rosillon were danced by Paloma Herrera, who seems to be back in good form, and Marcello Gomes, newly raised to principal status and clearly growing in his art. Carlos Lopez relished his athletic Pontevedrian solo. A hit with the audience since its debut in the ABT repertory in 1998 (with Nina and Giuseppe Picone in the leads), this ballet continues to stimulate loud acclaim from certain sectors of balletomaniacs. Alas, poor Byron’s tale continues to recede from view as technical pyrotechnics have come to dominate. Perhaps this was inevitable, given the depth of male talent in the company at the moment. Each star or would-be star seems determined to show off at every opportunity, and Le Corsaire does provide a lot of opportunities. Seeing both Nina nights (June 19, 21), we were again struck by how Nina sparkles in different ways in different ballets. As Medora, she is full of spirit, fun and gentleness, portraying a captive who is never a slave. While her companion Gulnare (Maria Riccetto, who made her character seem vulnerable though dancing with technical security) submissively goes through her paces to entice the Pasha to buy her, Medora captivates the Pasha by her playful flirtation---at one point making him fall down at her feet. Julio Bocca summoned extra energy on both nights to present a commanding Conrad, adding difficulty to his solos. But then, he probably felt he needed to, considering the competition. In the first act, Gennadi Saveliev, playing Lankendem, turned on the juice, producing astounding jumps and complex, corkscrew turns. This slave trader had menace in his heart and in his legs. Pity the rejected trio of Odalisques (Xiomara Reyes, Stella Abrera, Michele Wiles, all remarkably accomplished in their variations)---what would he have done to them? If Medora is somewhat shortchanged in the dance department in Act I, Act II makes up for it---she is onstage at once, at the start of what has been termed as a “pas de deux à trois,” with Conrad and his slave, Ali (Jose Manuel Carreño). Resplendent in her outfit of deep blue-purple bodice with tutu of lighter purple, she displayed her classical form with aplomb---whether being carried aloft by Conrad or Ali or doing her solos. (NB: The ABT choreography for Medora’s main variation is different from the one Nina dances in gala performances---the latter showing off her virtuosity in more spectacular fashion.) On both nights, she seemed to have a bit of difficulty sustaining the pirouettes à la seconde, but her fouettés remain astounding. On June 19, she threw in a couple of doubles and ended strongly; on June 21, she embellished the series with a variation in arm positions and decelerated to a remarkably well-controlled finish. Jose Manuel remains my favorite Ali among the many outstanding ABT men. He has a particular sinuous quality in his movements—so apt for this role---and he has refined his skills to a point that his spectacular leaps and turns look effortless. The ensuing battle of wills between Conrad and his second-in-command, Birbanto (Herman Cornejo, in his usual impeccable form and dancing with conviction) has never really worked for me. Somehow, the choreography for Birbanto, at least in this version, lacks menace, so one just goes along with the story and accepts Conrad’s dominance of his gang of pirates as he defies their mutiny and accedes to Medora’s plea to free the slave girls. He is rewarded for his generosity and courage in the tender pas de deux that follows. The serene mood of this scene is welcome contrast to all the bombast that has gone on before. Conrad and Medora express their love in a lyrical composition that nevertheless culminates in spectacular lifts, Bolshoi-style. As performed by these two artists, however, the movements seem to spring from their feelings---two passionate souls communicating to each other. The highlight of the final act is the wonderful “Jardin Animée” scene, where the Pasha dreams that the women of his harem have turned into flowers, with Medora as the most beautiful bloom. The graceful formations of dancers, including a bevy of “baby ballerinas” with garlands, remind one of a formal Le Nôtre garden. Nina, in her white tutu strewn with pastel roses is a dream to watch in this setting---her lovely poses and leaps are a joy to behold. The way she tosses off the series of fouettés into sustained attitudes is enthralling. After this classical set piece, the corsairs return to the rescue, affording more opportunities for multiple leaps and turns, particularly for Conrad. All these and a shipwreck too. Oh well, it is great fun! With the season near its end, Nina seemed to have reserved the best for the last---the best dishes served at the end of a fantastic banquet. Nina’s Giselle has continued to deepen through the years, but the one she gave us on June 27 was as close to perfection as I ever hope to see. Giselle, though a relatively short ballet, deserves its reputation as a supreme test of a ballerina’s technical and dramatic powers. In the first act, she is required to act the innocent peasant girl, while dancing with unforced virtuosity. With her growing rapport with Carreño, Nina played the part with soft delicacy---her innate sweetness glowing through in both mime and dance. She and Jose Manuel were playful lovers, their first, tentative, arm-in-arm glissades later turning into grand jetés as Albrecht’s refined but ardent wooing finally convinces her of his affection. Particularly breathtaking was the speed and lightness of Nina’s hops on pointe; Nina conveyed how Giselle’s heart was brimming with joy through this series of steps---her eyes never leaving Albrecht. Naturally, her heartbreak at the discovery of Albrecht’s true identity and his engagement to the Princess Bathilde (well played by Stella Abrera) was all the more devastating. On this evening, it was apparent that Giselle’s mind was unable to accept her lover’s duplicity, and with her mind broken, her weak heart was simply unable to sustain her body. Carreño’s grief-stricken Count was remarkable, as was Gennadi Saveliev’s determined but essentially well-meaning Hilarion. With the ascendant Michele Wiles as Myrta, the second act took off on a high note. Though still ranked as a soloist, Wiles has been featured in a growing number of principal roles and shown that she is definitely worthy of them. Her Myrta already displays fine qualities and should develop more authority as she acquires experience. She was ably assisted by Xiomara Reyes (Moyna) and Elizabeth Gaither (Zulma). The ABT corps, though perhaps not yet at the level of the Bolshoi or Kirov companies, does perform respectably well in the Wilis ensemble, so essential in establishing the atmosphere for this act. With Giselle’s awakening from the grave, a miracle started to unfold. While fully embodying the ideal of a forgiving spirit, Nina moved from step to step with uncommon clarity, musicality and impeccable Romantic style. Her adagio with Albrecht was one of incredibly well-phrased lines, one movement flowing into another, the lifts seeming to happen with no effort on either dancer’s part. Nina also somehow “softened” her soubresauts (when she jumps off two feet and hovers in the air with the body arched before landing on two feet), hiding the necessary effort more successfully than I’ve ever seen her do. Carreño, for his part has further refined his jumps for clarity and ballon; his landings are light, with feet beautifully positioned. His brisés are swift and precise, bringing to mind Baryshnikov’s incomparable execution. With dancing at this level, and the communion between the lovers so intense, it was actually exhausting (in the best possible way) to witness this performance. We were simply ravished with beauty. The injury sustained early in the season by Irina Dvorovenko sidelined her for the season. One result was that Nina got two performances of Swan Lake---the first (July 1) with Julio Bocca, her usual partner in this piece, the second (July 4) with Maxim Belotserkovsky. Of course, to our mind, and those of countless others, Nina is the definitive Odette/Odile of her generation. Her stamp on this role is beyond question---to her technical mastery she has added a beguiling tenderness to Odette, while her Odile has grown in glamour and allure without any diminution of virtuosity. The first performance this season lived up to her usual standards, though perhaps it was somewhat emotionally low keyed. The second, with Maxim (his debut as her partner) brought out more commitment---perhaps a new Siegfried stimulated new responses. Since looks certainly matter in ballet, I must mention that Maxim’s physique and style seemed to suit Nina well. His attentively courteous stage deportment should be a model for other danseurs in the company who only seem interested in their jumps and turns. For sure Maxim is a gentler Prince than the passionate Julio. Nina seemed to show less fear of him at the start of the White Act---his innocent nature easily gaining the confidence of her Odette. In the Black Act, Nina also seemed to temper her seduction---while still displaying her irresistible virtuosity---her movements were as sharply defined and swift as ever---she somehow banked her fires---as though knowing that this sweet Prince was easy prey, and did not need much persuasion to fall into Rothbart’s trap. Maxim responded with ardor as refined as his style---delivering his variation with well calibrated energy. On July 1 Vladimir Malakhov was the elegant and subtly evil “human” Rothbart; on July 4, Ricardo Torres was unsubtle and unstylish in the role. Brian Reeder played the “owlish” Rothbart well on both evenings. This reviewer’s sloth and the letdown caused
by the end of Nina’s summer 2002 season with ABT postponed the writing of these later
reviews. In the meantime, the Kirov Ballet took over the Metropolitan Opera House.
Needless to say, this insatiable balletomane has been to see the company. More to the
point, this Friend has been to see the much-touted Svetlana Zakharova in On the interpretive side, Zakharova struck me as an Ice Queen. She seemed to dance only for herself---especially in Act II. She concentrated on poses and never even looked at her partner. It did not help that Danila Korsuntsev was a complete zero as Siegfried---a tall, handsome porteur. Her Black Swan was livelier and technically impressive, although lacking in dynamic nuance. Her fouettés were solid, but they were just steps. When Nina whips up those turns, she is palpably reeling in Siegfried into her web---an artist creating drama and excitement through dance.
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