« ABT Onegin 6/21 mat & 6/22 | Main | observations 1969 - 2001 NYT on Cranko's Onegin »

June 23, 2017

Comments

Feed You can follow this conversation by subscribing to the comment feed for this post.

Such an emotional farewell. Even without my opera glasses, I could see her crying. I also loved when she came out and sort of "hugged" the heavy gold curtains that she's stood before so many times...and also, when she kissed the stage. Incredibly sad to see her go.

The performance was remarkably tender. Onegin was a perfect vehicle to amplify thoughts of times past, nostalgia, and endings. Marcelo, always the perfect partner, was particularly gentle and doting. Diana's characterization of Tatiana was incredibly nuanced, there was so much said in the small gestures and glances, and in moments of stillness. The inner conflicts and struggles of the characters really came out, no doubt colored by the farewell. What a poignant performance, what artists!

Thank you for the long video! Diana is one of the few guest artists that really justified taking up a permanent principal position at ABT. Her love for the company and their gold standard in partnering, Marcelo, has always been warm and heartfelt. Her yearly performances always felt like the Christmas of Met Season. The end of an era. Does ABT have any star partnerships left?

On another note, Onegin's thinner cast always allows for a lot of fun in spotting promising corps members. My friend, a complete ballet newbie, pointed out the increasingly wonderful Kaho Ogawa. And Calvin Royal deserves more roles, but it's getting to the point where I'm giving up on the idea that McKenzie will ever offer him something other than Purple Rothbart. Unfortunately, ABT's championing of inclusivity and diverse dancers rarely seems to extend beyond Misty.

Hi, Inge. I agree that during her early years, Diana contributed a lot more to the company in the way of performances than during her last half. I know she had injuries, which, of course, was part of it.

I don't know how closely you looked at some of the other clips online of the bows at the farewell, but on one clip at the section where she is receiving flowers and a hug from McKenzie, she tells him that she wants to come back. It's clearly audible. So, there ya go.... I don't think we've seen the last of Diana & Marcelo.

And yes, we've been noticing and talking about Kaho Ogawa for a while. It's nice to see that she's been getting some corps spotlight, in addition to, of course her Odalisque work. We have an H.H. Ogawa scouting notepad on which we were able to check off a few more things this spring during the Giselle week when she danced Moyna. Here's the update:

"The H.H. Ogawa scouting notepad now shows: incredible pirouettes ☑️ ; excellent grand jete ☑️; stunning arabesque line ☑️; impressive balance ☑️; petit allegro [?]; adagio [?]; special musicality [?]; theatricality [?] We’re halfway to somewhere very promising."

During some of the corps work in Onegin, Kaho was matched up with Jonathan Klein for brief moments. I must say that they were not only exquisitely handsome together but already show chemistry.

Also this week, Marshall Whiteley has suddenly shot downstage to the front of the corps now and then. We've been talking about him, too. He has a wonderful plush to his dancing and such maturity. Sometimes his leg lines are a little spongy while his arms are just the opposite, but surely someone can fix that. He's a Petipa prince in waiting.

Anabel Katsnelson is one to watch in the corps, as well as Aran Bell. He is very young, but a quintessential prince in the making!

The comments to this entry are closed.