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  2. American Ballet Theatre Curtain Calls

Herman Cornejo

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Sarah Rothenberg, Alessandra Ferri, Herman Cornejo, Amy Irving, Chéri at The Signature Theatre, November 22, 2013
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Sarah Rothenberg, Alessandra Ferri, Herman Cornejo, Amy Irving, Chéri at The Signature Theatre, November 22, 2013

AlesandraFerriHermanCornejoCheriSignatureTheatre

From Alessandra Ferri

  • Herman Cornejo, Le Corsaire, May 29, 2009 <br><br> Herman is from Argentina and began his ballet studies at age 8. At age 14, he received a scholarship from New York City Ballet’s School of American Ballet. He later joined Julio Bocca’s Ballet Argentino. At age 16, he was the Gold Medal winner of the VIII International Dance Competition in Moscow. He was promoted to Principal Dancer with Ballet Argentino. In 1999, Herman joined ABT as a member of the Corps de Ballet and was promoted to Soloist in 2000 and Principal Dancer in 2003. <br><br> Here are my two favorite YouTube clips of Herman: <br><br> <a href="http://www.youtube.com/watch?v=Ko-A6BiVETg">The first is</a> Albrect’s solo from Giselle. Notable steps include the first, a powerful double cabriole in which he demonstrates a massive leg separation between beats. He finishes his solo with an incredible five pirouettes with a double tour off one leg! <br><br> <a href="http://www.youtube.com/watch?v=tf8wZcKfnl0">The second is</a> Herman in ABT studios rehearsing La Bayadere. Note the spectacular double cabriole derriere in the first part of his solo.
  • Xiomara Reyes and Herman Cornejo, Giselle, July 10, 2008
  • Xiomara Reyes and Herman Cornejo, July 10, 2008
  • Angel Corella Final Performance, June 28, 2012<br /> <br /> Angel and brother in law Principal Dancer Herman Cornejo. Herman is married to Angel's sister Carmen.
  • Herman Cornejo, Shostakovich Trilogy, June 1, 2013<br /> <br /> Alexei Ratmansky’s Shostakovich Trilogy is an exciting, complex, multifaceted work with never a dull moment. Trilogy premiered on Friday, May 31, 2013. I saw the premier and the Saturday evening performance, which had the same cast. There is a lot going on in the three pieces and it would be difficult to take in all of the action with just one viewing. I look forward to seeing it in future seasons as even two viewings is not enough to absorb all of the nuances in this fast-paced ballet. Ratmansky’s stage is a busy one, with dancers constantly darting in and out of the action, with changing groups and combinations of dancers. <br /> <br /> The work consists of three seemingly unrelated pieces; if they are related, I missed the linkage. The first is Symphony #9, which premiered at City Center in October 2012. The scenery by George Tsypin consists of drawings of World War I-type airplanes, blimps, and people, some carrying red flags. The two performances I saw featured Polina Semionova and Marcelo Gomes, Herman Cornejo, and Simone Messmer and Craig Salstein. Polina and Marcelo are a great pair and perfectly matched-I saw them in Symphony in C earlier in the 2013 season. She is becoming one of my favorites at ABT. There are several lighter moments in their dancing with playful movements, demonstrating a sense of humor from Ratmansky. Herman is incredible; in one notable section he performs multiple entrechat six (six beats), each very clean with clear leg separation on the first two leg crossings (four beats), with an exaggerated separation on the last crossing. Very nice. He continues the beats while jumping to stage right and off the stage. Craig Salstein is very expressive and adds a slightly comedic touch. <br /> <br /> The second piece is Chamber Symphony and features David Hallberg-dressed in a jacket with no shirt-as a lost, tormented soul, desperately searching for something. He moves frenetically around the stage sometimes brushing his hair out of his eyes as he tries to connect with Isabella Boyston, Paloma Herrera, and Julie Kent. The program provides no guidance on the story. I talked to someone after the performance; he said that at a rehearsal, Hallberg’s character was disclosed as Shostakovich and the three women represent his three wives. I checked Wikipedia and Shostakovich was married three times. The first marriage had difficulties and ended in divorce. The third marriage was to a much younger woman, "her only defect is that she is 27 years old. In all other respects she is splendid: clever, cheerful, straightforward and very likeable.” I addition, he survived Stalin’s Great Terror while many of his friends and relatives were imprisoned or killed. There are three male dancers dancing in harsh tones, possibly representing threats to Shostakovich from NKVD Soviet Police.<br /> <br /> I found the piece interesting, but wanted more background-who are these women and why is Hallberg’s character so frantic and lost? What is he searching for? Not knowing much about Shostakovich, I was a bit lost without any context. Background information in the program such as the detail provided in the rehearsal would have been helpful. <br /> <br /> The third piece, Piano Concerto #1, is my favorite and features two couples: Natalia Osipova and Ivan Vasiliev, and Diana Vishneva and Cory Stearns. The dancers' bodies are clearly on display as the males wore unitards (costumes by Keso Deeker) with the females wearing red leotards. Cory and Ivan had greased, slicked-back hair (I didn’t recognize Cory on Friday with that look). The scenery consisted of red objects hung in suspension. Some of the objects reminded me of the Soviet hammer and sickle. <br /> <br /> Plenty of non-stop action in this one with the four main dancers appearing in various combinations. Diana and Natalia danced well together and complement each other given their similar physiques. I particularly liked a spectacular double assemble diagonal from Ivan and Cory that drew much applause. Natalia had a grande jete diagonal section in which she seemed to fly. <br /> <br /> I loved the Trilogy and want to see it again in future seasons. I generally have a desire to see multiple casts, but was not disappointed to see the same cast in two consecutive nights given the high level of dancing. I couldn’t see many empty seats on either night and the audience seemed to enjoy the performance. I guess that’s why ABT wisely hired Ratmansky in the first place.
  • Herman Cornejo, The Tempest, November 2, 2013 <br><br> Theme and Variations is one of my favorites, having seen this Balanchine classic many times. The work, which Ballet Theatre premiered in 1947, was intended to honor the period when Russian ballet flourished with the aid of Tchaikovsky’s music. <br><br> ABT performed this work Saturday evening with Polina Semionova and Cory Stearns as leads. Polina was outstanding, completely in control and at ease throughout this difficult piece. Tricky segments include a multiple fouetté turn section with alternating arms into a pas de chat jump, a rapid beat section, and double pirouettes from first position into a pas de chat, all requiring rapid fire execution to keep up with the music. Polina pulled off all of these segments with grace and style, one of the best performances that I have seen from her. Her phrasing with her arms was on the mark with the beautiful Tchaikovsky score. <br><br> Cory was fine although not outstanding in his tough solo variations. The challenging section that male dancers dread consists of a diagonal of rond de jamb leaps followed by sissonne jumps and, just when the dancer is running out of gas, a treacherous eight tour/pirouette section. I heard that James Whiteside and Daniil Simkin struggled this season with the tour/pirouette section; Cory safely navigated this section, although traveled some distance during the turns. His rond de jamb section was not exciting or noteworthy, <br><br> The two danced well together in the pas de deux; Polina completed several long balances as she alternated arms with Cory in support before going into a penchée. <br><br> Speaking of Theme, I ran across a <a href="https://www.youtube.com/watch?v=OgCareuuxK4">YouTube clip</a> of Baryshnikov and Kirkland from 1978 on PBS. Baryshnikov’s solo at 7:55 is spectacular with his high rond de jamb leaps with alternating arms and perfectly controlled tours. <br><br> Stanton Welch’s Clear (2001) featured Sascha Radetsky, Thomas Forster, Daniel Mantei, and six other male dancers all dressed in tan colored pants and no shirt. Paloma Herrera was the sole female dancer. Although some have have criticized the work as sub-standard, I like the piece, which showcases bravura and adagio male dancing set to a beautiful Bach score. <br><br> Sascha was very good as he showed off his washboard abs and numerous tattoos. The piece features a fouetté section in which the dancer changes his spot from the front, to the side, back, side and front again. He executed this quite well along with turns in other sections. Forster and Mantei are members of the Corps and are featured in several leading roles this fall season. They were paired in a duet to slow music, requiring substantial control. David Hallberg excelled in this role which showed off his substantial extension in a développé section. I enjoyed their adagio section Saturday and I look forward to seeing more of their dancing. Craig Salstein had a nice turn/pirouette section similar to Theme and Variations. Joaquin de Luz, now at New York City Ballet, was my favorite in that role, as he would pull of multiple double tours. <br><br> Paloma Herrera worked well with Sascha and the piece ended with the two in a shrinking spotlight. <br><br> Romeo and Juliet is a successful ballet because the plot is simple, allowing someone unfamiliar with the work to follow the storyline of the ballet. In contrast, I knew The Tempest would be a challenge after I read the synopsis three times and still had problems following the plot and the relationship between the 11 main characters in the ballet. The complexity and short period of time (about 40 minutes) to tell the complex story are the main problems with the ballet. Characters such as Ferdinand (Joseph Gorak) just walk in unannounced, their characters completely undeveloped. In one section, a group of women walk in dressed in blue with strange headdresses. I couldn't figure out their function, nor could my smarter half (my wife). In another part, very tall thin things (trees, ornaments?) were rolled on stage. I had no idea of their purpose. The costumes reminded me of a Greenwich Village Halloween parade. <br><br> Although I didn’t like the work, I did enjoy the dancing. Marcelo Gomes as Prospero, complemented the lovely Sarah Lane (Miranda, his daughter). Gorak showed his great extension and range as Miranda’s future husband. Herman Cornejo was the grotesque Caliban, an inhabitant of the island, impressive in his beast dance. Daniil Simkin showed his technical prowess, featuring his fine double saute de basques. This is a traveling step in which the dancer turns twice in the air with one foot drawn up to the knee of the other leg. He also showed off his trademark pirouettes to a double tour off one leg. <br><br> See Alistair Macaulay of The New York Times <a href="http://www.nytimes.com/2013/11/01/arts/dance/american-ballet-theater-opens-its-fall-season.html?ref=alastairmacaulay&amp;_r=0">Alaistair Macaulay of The New York Times,</a> <a href="http://haglundsheel.typepad.com/haglunds_heel/2013/10/abt-opening-night-1030.html">Haglund's Heel,</a> and <a href="http://dancetabs.com/2013/11/american-ballet-theatre-opening-night-gala-tempest-premiere-and-others-new-york/">Marina Harss of DanceTabs</a> for more commentary on The Tempest.
  • Sarah Rothenberg, Alessandra Ferri, Herman Cornejo, Amy Irving, Chéri at The Signature Theatre, November 22, 2013
  • 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.
  • Marcelo Gomes, Cory Stearns, Herman Cornejo, Fancy Free, October 24, 2014
  • Marcelo Gomes, Cory Stearns, Herman Cornejo, Fancy Free, October 18, 2014
  • Evgenia Obraztova and Herman Cornejo, Romeo and Juliet, June 18, 2015
  • Evgenia Obraztova and Herman Cornejo, Romeo and Juliet, June 18, 2015
  • Evgenia Obraztova and Herman Cornejo, Romeo and Juliet, June 18, 2015
  • Alina Cojocaru and Herman Cornejo, La Bayadere, June 5, 2015
  • Alina Cojocaru and Herman Cornejo, La Bayadere, June 5, 2015
  • Alina Cojocaru and Herman Cornejo, La Bayadere, June 5, 2015
  • Alina Cojocaru and Herman Cornejo, La Bayadere, June 5, 2015
  • Alina Cojocaru and Herman Cornejo, La Bayadere, June 5, 2015
  • Sarah Lane and Herman Cornejo, Sleeping Beauty, June 11, 2105
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