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  2. American Ballet Theatre Curtain Calls

2014 Met Season

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Viktoria Tereshkina and Vladimir Shklyarov, La Bayadère, May 29, 2014
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Viktoria Tereshkina and Vladimir Shklyarov, La Bayadère, May 29, 2014

I could only attend one ABT La Bayadère performance this season, but what a great performance it was. Thursday evening’s performance with Mariinsky Principal Dancers Viktoria Tereshkina and Vladimir Shklyarov was a standout performance from both technical and dramatic perspectives. I didn’t know much about these two before Thursday; after watching their performance, I can see why they are leading principals at the Mariinsky Ballet.

Viktoria was an outstanding Nikiya, performing steps I have not seen before. In the first act in sous-sus position, she raised her leg to passé and, while still on pointe, extended to arabesque and held it momentarily. Not once but twice. Very impressive.

Dramatically, she was flat at the beginning, as she seemed bored at encountering the High Brahmin. However, she perked up after seeing Solar (Vladimir) as they swore eternal love.

Vladimir has a commanding stage presence with ample charisma as he portrayed Solar. His Solar displayed a range of emotions from the joy of capturing Nikiya’s love to grieving of her loss after she dies from a snake bite. His solos were powerful and technically clean. He displayed nice double cabriole derriere with substantial separation, and double cabrioles to the front in which his beat separation was slight, but ended with a opening separation of the legs.

Although his turn section a la second was adequate with a few hops, he had an outstanding double assemble section in a circle, completing about eight assembles with nice form and tight fifth positions. This part was made famous by Rudolph Nureyev (“Every male dancer who takes for granted the series of double assemble turns in the air in La Bayadere should know that it was Nureyev who first included these difficult steps,” Ana Kisselgoff, New York Times dance critic). The difficulty in performing this is keeping proper form, as it is physically demanding. As the dancer is running out of gas after a few assembles, the tendency is to compromise technique by separating the legs in the air and landing in a sloppy fifth position. Vladimir showed stamina and power as his assembles were consistent from his first to his last.

It was clear that the two have danced together extensively rather than fly over guest artists meeting for the first time. Their pas de deux in the second act was touching as the grief stricken Solar dreamed of being reunited with her in an opium induced stupor.

Isabella Boylston was Gamzatti, who is destined to marry Solar. Isabella was technically fine, but not one of the stronger Gamzatti performances. I enjoyed Shades lead dancers Skylar Brandt, Melanie Hamrick, and Stella Abrera. Skylar was impressive in Shostakovich Trilogy in the ABT fall season; she picked up where she left off with a spunky variation that featured hop turns in arabesque. Stella was impressive with nice cabrioles to arabesque, emphasizing the steps with nice phrasing with her head.

The Kingdom of the Shades is a beautiful scene where corps dancers enter the stage with recurring arabesques done in unison. The corps was generally fine. However, the lead dancer was generally a beat ahead of the other dancers throughout the arabesques.

ViktoriaTereshkinaVladimirShklyarovBayadere14e

  • Gillian Murphy and Jared Matthews, May 31, 2014
  • Viktoria Tereshkina and Vladimir Shklyarov, La Bayadère, May 29, 2014
  • Viktoria Tereshkina and Vladimir Shklyarov, La Bayadère, May 29, 2014
  • Viktoria Tereshkina and Vladimir Shklyarov, La Bayadère, May 29, 2014
  • Isabella Boylston, La Bayadère, May 29, 2014
  • Viktoria Tereshkina and Vladimir Shklyarov, La Bayadère, May 29, 2014
  • Viktoria Tereshkina and Vladimir Shklyarov, La Bayadère, May 29, 2014
  • Viktoria Tereshkina and Vladimir Shklyarov, La Bayadère, May 29, 2014
  • Polina Semionova, Don Quixote, May 17, 2014<br /> <br /> Polina Semionova was stunning as Kitri in Don Quixote Saturday night. If there is a better Kitri in the world today, I would like to see it. She was in control throughout the evening, making the difficult and physically demanding role look easy. Standout technical parts include:<br /> <br /> • Endless balances in the Grand Pas de Deux that drew gasps from the crowd. Conductor Ormsby Wilkins had to extend the music, waiting for her to conclude her balance. WOW!!!<br /> <br /> • A nice fouetté section in her final solo that alternated single and double pirouettes with one hand on her hip and other hand overhead on the double. The sequence started out with a quadruple pirouette. It takes a lot of guts to start out a difficult turn sequence with four pirouettes. Usually smaller dancers are better turners, but Polina, at 5’9 inches tall, defies that observation.<br /> <br /> • A scooting rond de jamb diagonal in the second act with nice flowing arms.<br /> <br /> Polina'a technical achievements reinforced rather than detracted from the story line of the ballet; she was always expressive and in character (at times reminding me of former ABT Principal Dancer Irina Dvorovenko) covering a wide range of emotions from defiance of the dolt Gamache and her father, flirting with Basilio (Marcelo Gomes), disapproval of Basilo’s staying eyes, and the ultimate joy of capturing Basilio’s love.<br /> <br /> Marcelo is a great partner and he showered his attention on Polina (except when he was flirting with the village girls). He added nice touches such as “dizzy drunk” pirouettes after imbibing wine offered from a villager and shaking hands with Don Quixote during his solo before starting his coupe jeté section.<br /> <br /> The Grand Pas de Deux was stellar with no rough edges. At times, Marcelo used only one hand to support her turns. Why use two hands when one will do? Marcelo was under pressure after Polina’s fouetté section; she confidently turned to him as if to say “Can you beat that?” He came through with steady a la seconde turns punctuated with a triple pirouette.<br /> <br /> I need to get out more in the ballet world; I look forward to seeing the Bolshoi and Mikhailovsky Ballet perform Don Quixote in New York later in the year and wonder how anybody can top Polina’s performance.<br /> <br /> I enjoyed Hee Seo as Mercedes and Jared Matthews as Espada. Jared, who unfortunately is leaving ABT at the end of the season for Houston Ballet, was a dynamic matador, aggressively spinning his cape on the floor on his entrance. I liked his giant assemble’s in his second act solo, which seemed to cover half the stage.
  • Polina Semionova, Don Quixote, May 17, 2014<br /> <br /> Polina Semionova was stunning as Kitri in Don Quixote Saturday night. If there is a better Kitri in the world today, I would like to see it. She was in control throughout the evening, making the difficult and physically demanding role look easy. Standout technical parts include:<br /> <br /> • Endless balances in the Grand Pas de Deux that drew gasps from the crowd. Conductor Ormsby Wilkins had to extend the music, waiting for her to conclude her balance. WOW!!!<br /> <br /> • A nice fouetté section in her final solo that alternated single and double pirouettes with one hand on her hip and other hand overhead on the double. The sequence started out with a quadruple pirouette. It takes a lot of guts to start out a difficult turn sequence with four pirouettes. Usually smaller dancers are better turners, but Polina, at 5’9 inches tall, defies that observation.<br /> <br /> • A scooting rond de jamb diagonal in the second act with nice flowing arms.<br /> <br /> Polina'a technical achievements reinforced rather than detracted from the story line of the ballet; she was always expressive and in character (at times reminding me of former ABT Principal Dancer Irina Dvorovenko) covering a wide range of emotions from defiance of the dolt Gamache and her father, flirting with Basilio (Marcelo Gomes), disapproval of Basilo’s staying eyes, and the ultimate joy of capturing Basilio’s love.<br /> <br /> Marcelo is a great partner and he showered his attention on Polina (except when he was flirting with the village girls). He added nice touches such as “dizzy drunk” pirouettes after imbibing wine offered from a villager and shaking hands with Don Quixote during his solo before starting his coupe jeté section.<br /> <br /> The Grand Pas de Deux was stellar with no rough edges. At times, Marcelo used only one hand to support her turns. Why use two hands when one will do? Marcelo was under pressure after Polina’s fouetté section; she confidently turned to him as if to say “Can you beat that?” He came through with steady a la seconde turns punctuated with a triple pirouette.<br /> <br /> I need to get out more in the ballet world; I look forward to seeing the Bolshoi and Mikhailovsky Ballet perform Don Quixote in New York later in the year and wonder how anybody can top Polina’s performance.<br /> <br /> I enjoyed Hee Seo as Mercedes and Jared Matthews as Espada. Jared, who unfortunately is leaving ABT at the end of the season for Houston Ballet, was a dynamic matador, aggressively spinning his cape on the floor on his entrance. I liked his giant assemble’s in his second act solo, which seemed to cover half the stage.
  • Polina Semionova, Don Quixote, May 17, 2014<br /> <br /> Polina Semionova was stunning as Kitri in Don Quixote Saturday night. If there is a better Kitri in the world today, I would like to see it. She was in control throughout the evening, making the difficult and physically demanding role look easy. Standout technical parts include:<br /> <br /> • Endless balances in the Grand Pas de Deux that drew gasps from the crowd. Conductor Ormsby Wilkins had to extend the music, waiting for her to conclude her balance. WOW!!!<br /> <br /> • A nice fouetté section in her final solo that alternated single and double pirouettes with one hand on her hip and other hand overhead on the double. The sequence started out with a quadruple pirouette. It takes a lot of guts to start out a difficult turn sequence with four pirouettes. Usually smaller dancers are better turners, but Polina, at 5’9 inches tall, defies that observation.<br /> <br /> • A scooting rond de jamb diagonal in the second act with nice flowing arms.<br /> <br /> Polina'a technical achievements reinforced rather than detracted from the story line of the ballet; she was always expressive and in character (at times reminding me of former ABT Principal Dancer Irina Dvorovenko) covering a wide range of emotions from defiance of the dolt Gamache and her father, flirting with Basilio (Marcelo Gomes), disapproval of Basilo’s staying eyes, and the ultimate joy of capturing Basilio’s love.<br /> <br /> Marcelo is a great partner and he showered his attention on Polina (except when he was flirting with the village girls). He added nice touches such as “dizzy drunk” pirouettes after imbibing wine offered from a villager and shaking hands with Don Quixote during his solo before starting his coupe jeté section.<br /> <br /> The Grand Pas de Deux was stellar with no rough edges. At times, Marcelo used only one hand to support her turns. Why use two hands when one will do? Marcelo was under pressure after Polina’s fouetté section; she confidently turned to him as if to say “Can you beat that?” He came through with steady a la seconde turns punctuated with a triple pirouette.<br /> <br /> I need to get out more in the ballet world; I look forward to seeing the Bolshoi and Mikhailovsky Ballet perform Don Quixote in New York later in the year and wonder how anybody can top Polina’s performance.<br /> <br /> I enjoyed Hee Seo as Mercedes and Jared Matthews as Espada. Jared, who unfortunately is leaving ABT at the end of the season for Houston Ballet, was a dynamic matador, aggressively spinning his cape on the floor on his entrance. I liked his giant assemble’s in his second act solo, which seemed to cover half the stage.
  • Polina Semionova and Marcelo Gomes, Don Quixote, May 17, 2014<br /> <br /> Polina Semionova was stunning as Kitri in Don Quixote Saturday night. If there is a better Kitri in the world today, I would like to see it. She was in control throughout the evening, making the difficult and physically demanding role look easy. Standout technical parts include:<br /> <br /> • Endless balances in the Grand Pas de Deux that drew gasps from the crowd. Conductor Ormsby Wilkins had to extend the music, waiting for her to conclude her balance. WOW!!!<br /> <br /> • A nice fouetté section in her final solo that alternated single and double pirouettes with one hand on her hip and other hand overhead on the double. The sequence started out with a quadruple pirouette. It takes a lot of guts to start out a difficult turn sequence with four pirouettes. Usually smaller dancers are better turners, but Polina, at 5’9 inches tall, defies that observation.<br /> <br /> • A scooting rond de jamb diagonal in the second act with nice flowing arms.<br /> <br /> Polina'a technical achievements reinforced rather than detracted from the story line of the ballet; she was always expressive and in character (at times reminding me of former ABT Principal Dancer Irina Dvorovenko) covering a wide range of emotions from defiance of the dolt Gamache and her father, flirting with Basilio (Marcelo Gomes), disapproval of Basilo’s staying eyes, and the ultimate joy of capturing Basilio’s love.<br /> <br /> Marcelo is a great partner and he showered his attention on Polina (except when he was flirting with the village girls). He added nice touches such as “dizzy drunk” pirouettes after imbibing wine offered from a villager and shaking hands with Don Quixote during his solo before starting his coupe jeté section.<br /> <br /> The Grand Pas de Deux was stellar with no rough edges. At times, Marcelo used only one hand to support her turns. Why use two hands when one will do? Marcelo was under pressure after Polina’s fouetté section; she confidently turned to him as if to say “Can you beat that?” He came through with steady a la seconde turns punctuated with a triple pirouette.<br /> <br /> I need to get out more in the ballet world; I look forward to seeing the Bolshoi and Mikhailovsky Ballet perform Don Quixote in New York later in the year and wonder how anybody can top Polina’s performance.<br /> <br /> I enjoyed Hee Seo as Mercedes and Jared Matthews as Espada. Jared, who unfortunately is leaving ABT at the end of the season for Houston Ballet, was a dynamic matador, aggressively spinning his cape on the floor on his entrance. I liked his giant assemble’s in his second act solo, which seemed to cover half the stage.
  • Hee Seo and Jared Matthews, Don Quixote, May 17, 2014<br /> <br /> Polina Semionova was stunning as Kitri in Don Quixote Saturday night. If there is a better Kitri in the world today, I would like to see it. She was in control throughout the evening, making the difficult and physically demanding role look easy. Standout technical parts include:<br /> <br /> • Endless balances in the Grand Pas de Deux that drew gasps from the crowd. Conductor Ormsby Wilkins had to extend the music, waiting for her to conclude her balance. WOW!!!<br /> <br /> • A nice fouetté section in her final solo that alternated single and double pirouettes with one hand on her hip and other hand overhead on the double. The sequence started out with a quadruple pirouette. It takes a lot of guts to start out a difficult turn sequence with four pirouettes. Usually smaller dancers are better turners, but Polina, at 5’9 inches tall, defies that observation.<br /> <br /> • A scooting rond de jamb diagonal in the second act with nice flowing arms.<br /> <br /> Polina'a technical achievements reinforced rather than detracted from the story line of the ballet; she was always expressive and in character (at times reminding me of former ABT Principal Dancer Irina Dvorovenko) covering a wide range of emotions from defiance of the dolt Gamache and her father, flirting with Basilio (Marcelo Gomes), disapproval of Basilo’s staying eyes, and the ultimate joy of capturing Basilio’s love.<br /> <br /> Marcelo is a great partner and he showered his attention on Polina (except when he was flirting with the village girls). He added nice touches such as “dizzy drunk” pirouettes after imbibing wine offered from a villager and shaking hands with Don Quixote during his solo before starting his coupe jeté section.<br /> <br /> The Grand Pas de Deux was stellar with no rough edges. At times, Marcelo used only one hand to support her turns. Why use two hands when one will do? Marcelo was under pressure after Polina’s fouetté section; she confidently turned to him as if to say “Can you beat that?” He came through with steady a la seconde turns punctuated with a triple pirouette.<br /> <br /> I need to get out more in the ballet world; I look forward to seeing the Bolshoi and Mikhailovsky Ballet perform Don Quixote in New York later in the year and wonder how anybody can top Polina’s performance.<br /> <br /> I enjoyed Hee Seo as Mercedes and Jared Matthews as Espada. Jared, who unfortunately is leaving ABT at the end of the season for Houston Ballet, was a dynamic matador, aggressively spinning his cape on the floor on his entrance. I liked his giant assemble’s in his second act solo, which seemed to cover half the stage.
  • Polina Semionova and Marcelo Gomes, Don Quixote, May 17, 2014<br /> <br /> Polina Semionova was stunning as Kitri in Don Quixote Saturday night. If there is a better Kitri in the world today, I would like to see it. She was in control throughout the evening, making the difficult and physically demanding role look easy. Standout technical parts include:<br /> <br /> • Endless balances in the Grand Pas de Deux that drew gasps from the crowd. Conductor Ormsby Wilkins had to extend the music, waiting for her to conclude her balance. WOW!!!<br /> <br /> • A nice fouetté section in her final solo that alternated single and double pirouettes with one hand on her hip and other hand overhead on the double. The sequence started out with a quadruple pirouette. It takes a lot of guts to start out a difficult turn sequence with four pirouettes. Usually smaller dancers are better turners, but Polina, at 5’9 inches tall, defies that observation.<br /> <br /> • A scooting rond de jamb diagonal in the second act with nice flowing arms.<br /> <br /> Polina'a technical achievements reinforced rather than detracted from the story line of the ballet; she was always expressive and in character (at times reminding me of former ABT Principal Dancer Irina Dvorovenko) covering a wide range of emotions from defiance of the dolt Gamache and her father, flirting with Basilio (Marcelo Gomes), disapproval of Basilo’s staying eyes, and the ultimate joy of capturing Basilio’s love.<br /> <br /> Marcelo is a great partner and he showered his attention on Polina (except when he was flirting with the village girls). He added nice touches such as “dizzy drunk” pirouettes after imbibing wine offered from a villager and shaking hands with Don Quixote during his solo before starting his coupe jeté section.<br /> <br /> The Grand Pas de Deux was stellar with no rough edges. At times, Marcelo used only one hand to support her turns. Why use two hands when one will do? Marcelo was under pressure after Polina’s fouetté section; she confidently turned to him as if to say “Can you beat that?” He came through with steady a la seconde turns punctuated with a triple pirouette.<br /> <br /> I need to get out more in the ballet world; I look forward to seeing the Bolshoi and Mikhailovsky Ballet perform Don Quixote in New York later in the year and wonder how anybody can top Polina’s performance.<br /> <br /> I enjoyed Hee Seo as Mercedes and Jared Matthews as Espada. Jared, who unfortunately is leaving ABT at the end of the season for Houston Ballet, was a dynamic matador, aggressively spinning his cape on the floor on his entrance. I liked his giant assemble’s in his second act solo, which seemed to cover half the stage.
  • Maria Kochetkova and Herman Cornejo, Don Quixote, May 15, 2014 <br><br> I’m always excited at the beginning of every ABT season, anticipating the great performances that lie ahead. While New York City Ballet presents important choreography from Balanchine and Robbins with dancers as somewhat interchangeable parts, ABT’s Spring Met season is a celebration of individual technical achievement set to ballets that sometimes do not meet the approval of critics (see New York Times reviews from dance critics <a href="http://www.nytimes.com/2013/07/08/arts/dance/american-ballet-theater-presents-sleeping-beauty.html?_r=0">Alastair Macaulay</a> and <a href="http://www.nytimes.com/2014/05/15/arts/dance/american-ballet-theater-performs-don-quixote.html">Gia Kourlas</a>). ABT’s repertory is fodder for critics complaining of mind numbing “warhorse” ballets fulfilling lowbrow consumer tastes. However, few people care. ABT audiences are not searching for subtle choreographic interpretation or the meaning of life. They’re looking to see bravura dancing at its finest, with the story a backdrop for the dancing. <br><br> Full throttle bravura dancing was on display Thursday evening with Herman Cornejo and Maria Kochetkova as leads. Herman is a rare, once-in-a-lifetime talent, a master of his craft at the peak of his powers. The ballet showed off his turning skills as he regularly ripped off 6-7 turns, many with one hand on his hip and some ending in a double tour to the knee. In the second act, he had a nice diagonal consisting of four consecutive double saut de basques. He played an energetic but at times subdued Basilio. <br><br> His partner was San Francisco Ballet Principal Dancer Maria Kochetkova. They make a nice pair as he is 5’6 and she stands at 5 feet tall and light as a feather. Her small frame came in handy in the one-handed lifts, where he held her over his head for over five seconds. She had an impressive diagonal of turns in first position, alternating single and double pirouettes. I’ve seen Maria dance several times; once with Herman and the other with San Francisco Ballet. I wasn’t overly impressed as she appeared tense and stiff. However, tonight, she was relaxed and full of vigor. <br><br> I really enjoyed her solos in the pas de deux, particularly the fouetté section where she alternated between single and double fouettés as many women do these days. But at the end she added a unique twist, quarter turns in which she would spot to the side, back, other side, and front again, winding it up with a nice double (maybe triple) to the knee. <br><br> Herman seemed subdued in his Act III solos, which was a bit of a letdown after great dancing in the first two acts. He did not include his signature monster double cabrioles to the front, opting for a double assemble-type step. Also, straightforward barrel turn jumps at the end of his second solo. His turn section was fine, turns in second with four turns, winding it up with a triple pirouette to a double tour. <br><br> Stella Abrera and husband Sascha Radetsky were very effective as Mercedes and Espada. Their expressiveness makes these roles work. During his solo, he turned his head to flirt with a village girl, primped his hair, and flashed a grin to the audience. Stella exuded confidence, even when her matador strayed. Stella had double duty as she also beautifully danced the Queen of the Dryads role in the second act. <br><br> Others that stood out were Craig Salstein as the dolt Gamache and Gabe Stone Shayer as the lead Gypsy. Craig added nuances to the role that I have never seen before, providing a new perspective. Gabe handled the tricky parts of the gypsy solo well, with nice pirouettes and three consecutive double tours.
  • Maria Kochetkova and Herman Cornejo, Don Quixote, May 15, 2014 <br><br> I’m always excited at the beginning of every ABT season, anticipating the great performances that lie ahead. While New York City Ballet presents important choreography from Balanchine and Robbins with dancers as somewhat interchangeable parts, ABT’s Spring Met season is a celebration of individual technical achievement set to ballets that sometimes do not meet the approval of critics (see New York Times reviews from dance critics <a href="http://www.nytimes.com/2013/07/08/arts/dance/american-ballet-theater-presents-sleeping-beauty.html?_r=0">Alastair Macaulay</a> and <a href="http://www.nytimes.com/2014/05/15/arts/dance/american-ballet-theater-performs-don-quixote.html">Gia Kourlas</a>). ABT’s repertory is fodder for critics complaining of mind numbing “warhorse” ballets fulfilling lowbrow consumer tastes. However, few people care. ABT audiences are not searching for subtle choreographic interpretation or the meaning of life. They’re looking to see bravura dancing at its finest, with the story a backdrop for the dancing. <br><br> Full throttle bravura dancing was on display Thursday evening with Herman Cornejo and Maria Kochetkova as leads. Herman is a rare, once-in-a-lifetime talent, a master of his craft at the peak of his powers. The ballet showed off his turning skills as he regularly ripped off 6-7 turns, many with one hand on his hip and some ending in a double tour to the knee. In the second act, he had a nice diagonal consisting of four consecutive double saut de basques. He played an energetic but at times subdued Basilio. <br><br> His partner was San Francisco Ballet Principal Dancer Maria Kochetkova. They make a nice pair as he is 5’6 and she stands at 5 feet tall and light as a feather. Her small frame came in handy in the one-handed lifts, where he held her over his head for over five seconds. She had an impressive diagonal of turns in first position, alternating single and double pirouettes. I’ve seen Maria dance several times; once with Herman and the other with San Francisco Ballet. I wasn’t overly impressed as she appeared tense and stiff. However, tonight, she was relaxed and full of vigor. <br><br> I really enjoyed her solos in the pas de deux, particularly the fouetté section where she alternated between single and double fouettés as many women do these days. But at the end she added a unique twist, quarter turns in which she would spot to the side, back, other side, and front again, winding it up with a nice double (maybe triple) to the knee. <br><br> Herman seemed subdued in his Act III solos, which was a bit of a letdown after great dancing in the first two acts. He did not include his signature monster double cabrioles to the front, opting for a double assemble-type step. Also, straightforward barrel turn jumps at the end of his second solo. His turn section was fine, turns in second with four turns, winding it up with a triple pirouette to a double tour. <br><br> Stella Abrera and husband Sascha Radetsky were very effective as Mercedes and Espada. Their expressiveness makes these roles work. During his solo, he turned his head to flirt with a village girl, primped his hair, and flashed a grin to the audience. Stella exuded confidence, even when her matador strayed. Stella had double duty as she also beautifully danced the Queen of the Dryads role in the second act. <br><br> Others that stood out were Craig Salstein as the dolt Gamache and Gabe Stone Shayer as the lead Gypsy. Craig added nuances to the role that I have never seen before, providing a new perspective. Gabe handled the tricky parts of the gypsy solo well, with nice pirouettes and three consecutive double tours.
  • Maria Kochetkova and Herman Cornejo, Don Quixote, May 15, 2014 <br><br> I’m always excited at the beginning of every ABT season, anticipating the great performances that lie ahead. While New York City Ballet presents important choreography from Balanchine and Robbins with dancers as somewhat interchangeable parts, ABT’s Spring Met season is a celebration of individual technical achievement set to ballets that sometimes do not meet the approval of critics (see New York Times reviews from dance critics <a href="http://www.nytimes.com/2013/07/08/arts/dance/american-ballet-theater-presents-sleeping-beauty.html?_r=0">Alastair Macaulay</a> and <a href="http://www.nytimes.com/2014/05/15/arts/dance/american-ballet-theater-performs-don-quixote.html">Gia Kourlas</a>). ABT’s repertory is fodder for critics complaining of mind numbing “warhorse” ballets fulfilling lowbrow consumer tastes. However, few people care. ABT audiences are not searching for subtle choreographic interpretation or the meaning of life. They’re looking to see bravura dancing at its finest, with the story a backdrop for the dancing. <br><br> Full throttle bravura dancing was on display Thursday evening with Herman Cornejo and Maria Kochetkova as leads. Herman is a rare, once-in-a-lifetime talent, a master of his craft at the peak of his powers. The ballet showed off his turning skills as he regularly ripped off 6-7 turns, many with one hand on his hip and some ending in a double tour to the knee. In the second act, he had a nice diagonal consisting of four consecutive double saut de basques. He played an energetic but at times subdued Basilio. <br><br> His partner was San Francisco Ballet Principal Dancer Maria Kochetkova. They make a nice pair as he is 5’6 and she stands at 5 feet tall and light as a feather. Her small frame came in handy in the one-handed lifts, where he held her over his head for over five seconds. She had an impressive diagonal of turns in first position, alternating single and double pirouettes. I’ve seen Maria dance several times; once with Herman and the other with San Francisco Ballet. I wasn’t overly impressed as she appeared tense and stiff. However, tonight, she was relaxed and full of vigor. <br><br> I really enjoyed her solos in the pas de deux, particularly the fouetté section where she alternated between single and double fouettés as many women do these days. But at the end she added a unique twist, quarter turns in which she would spot to the side, back, other side, and front again, winding it up with a nice double (maybe triple) to the knee. <br><br> Herman seemed subdued in his Act III solos, which was a bit of a letdown after great dancing in the first two acts. He did not include his signature monster double cabrioles to the front, opting for a double assemble-type step. Also, straightforward barrel turn jumps at the end of his second solo. His turn section was fine, turns in second with four turns, winding it up with a triple pirouette to a double tour. <br><br> Stella Abrera and husband Sascha Radetsky were very effective as Mercedes and Espada. Their expressiveness makes these roles work. During his solo, he turned his head to flirt with a village girl, primped his hair, and flashed a grin to the audience. Stella exuded confidence, even when her matador strayed. Stella had double duty as she also beautifully danced the Queen of the Dryads role in the second act. <br><br> Others that stood out were Craig Salstein as the dolt Gamache and Gabe Stone Shayer as the lead Gypsy. Craig added nuances to the role that I have never seen before, providing a new perspective. Gabe handled the tricky parts of the gypsy solo well, with nice pirouettes and three consecutive double tours.
  • Stella Abrera and Sascha Radetsky, Don Quixote, May 15, 2014 <br><br> I’m always excited at the beginning of every ABT season, anticipating the great performances that lie ahead. While New York City Ballet presents important choreography from Balanchine and Robbins with dancers as somewhat interchangeable parts, ABT’s Spring Met season is a celebration of individual technical achievement set to ballets that sometimes do not meet the approval of critics (see New York Times reviews from dance critics <a href="http://www.nytimes.com/2013/07/08/arts/dance/american-ballet-theater-presents-sleeping-beauty.html?_r=0">Alastair Macaulay</a> and <a href="http://www.nytimes.com/2014/05/15/arts/dance/american-ballet-theater-performs-don-quixote.html">Gia Kourlas</a>). ABT’s repertory is fodder for critics complaining of mind numbing “warhorse” ballets fulfilling lowbrow consumer tastes. However, few people care. ABT audiences are not searching for subtle choreographic interpretation or the meaning of life. They’re looking to see bravura dancing at its finest, with the story a backdrop for the dancing. <br><br> Full throttle bravura dancing was on display Thursday evening with Herman Cornejo and Maria Kochetkova as leads. Herman is a rare, once-in-a-lifetime talent, a master of his craft at the peak of his powers. The ballet showed off his turning skills as he regularly ripped off 6-7 turns, many with one hand on his hip and some ending in a double tour to the knee. In the second act, he had a nice diagonal consisting of four consecutive double saut de basques. He played an energetic but at times subdued Basilio. <br><br> His partner was San Francisco Ballet Principal Dancer Maria Kochetkova. They make a nice pair as he is 5’6 and she stands at 5 feet tall and light as a feather. Her small frame came in handy in the one-handed lifts, where he held her over his head for over five seconds. She had an impressive diagonal of turns in first position, alternating single and double pirouettes. I’ve seen Maria dance several times; once with Herman and the other with San Francisco Ballet. I wasn’t overly impressed as she appeared tense and stiff. However, tonight, she was relaxed and full of vigor. <br><br> I really enjoyed her solos in the pas de deux, particularly the fouetté section where she alternated between single and double fouettés as many women do these days. But at the end she added a unique twist, quarter turns in which she would spot to the side, back, other side, and front again, winding it up with a nice double (maybe triple) to the knee. <br><br> Herman seemed subdued in his Act III solos, which was a bit of a letdown after great dancing in the first two acts. He did not include his signature monster double cabrioles to the front, opting for a double assemble-type step. Also, straightforward barrel turn jumps at the end of his second solo. His turn section was fine, turns in second with four turns, winding it up with a triple pirouette to a double tour. <br><br> Stella Abrera and husband Sascha Radetsky were very effective as Mercedes and Espada. Their expressiveness makes these roles work. During his solo, he turned his head to flirt with a village girl, primped his hair, and flashed a grin to the audience. Stella exuded confidence, even when her matador strayed. Stella had double duty as she also beautifully danced the Queen of the Dryads role in the second act. <br><br> Others that stood out were Craig Salstein as the dolt Gamache and Gabe Stone Shayer as the lead Gypsy. Craig added nuances to the role that I have never seen before, providing a new perspective. Gabe handled the tricky parts of the gypsy solo well, with nice pirouettes and three consecutive double tours.
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