ABT'S MANON, MET OPERA HOUSE, NYC, MAY, 1994 |
| From: NEW YORK TIMES, May 16, 1994
Ballet Review by Anna Kisselgoff SENSUOUS ANANIASHVILI, WITH A BOLD HEATHCOTE The new cast presented by American Ballet Theater on Saturday night for Sir Kenneth MacMillan’s «Manon» at the Metropolitan Opera House was testimony to international cooperation. Nina Ananiashvili, the Georgian ballerina who made her name with the Bolshoi Ballet, a Russian company, has been dancing other MacMillan works with the Royal Ballet in London. But this was the first time she had performed the title role of «Manon». Steven Heathcote, a guest from the Australian Ballet, who appeared opposite her as Des Grieux, had danced his role at home but never with Ballet Theater... Ms. Ananiashvili’s characterization was striking from the start. Her schoolgirl Manon was never shy, but always playful and delectable, all too ready to be corrupted. Her first two duets with Mr. Heathcote did show her visibly in love with the poor student. But when Michael Owen, always superb as the aristocrat, Monsieur G. M., bought her with ermine and jewels, she turned into an instant gold digger. There was a fine moment when her face registered sad doubt at the end of Act I. But Ms. Ananiashvili’s Manon was a sensuous creature who left the impression that she had been in this situation before... Ms. Ananiashvili was at her deepest and most fascinating in the first two acts. In the brothel scene, her solo had more of a Gypsy allure than the usual Spanish flavor. In her second bedroom duet with Mr. Heathcote, her expressiveness brought out the warring passions within Manon: greedy nostalgia for her courtesan’s jewels and her love for the student... |