ABT Le Corsaire 6/5 Climate change

It’s on our minds these days, isn’t it? We can feel the climate slowly getting warmer and the winds picking up, but the actual effects don’t register in our minds on a daily basis. The last few weeks have had us thinking about climate change more than usual. The climate change at ABT may be real. It’s hotter, but it’s not due to any destruction of the ozone layer. It’s due to the lifting of thick layers of suffocating smog that have built up over the past 10+ years due to mismanaging of resources and importing dirty fuels. It’s the kind of climate change that is welcomed. Environmental clean-up is in process at ABT, and we can finally feel the sun shining on our own faces and see the stars glistening in the sky at night. We can finally breathe again.

 

Last evening soloist Skylar Brandt debuted in the leading principal role of Medora in Le Corsaire, that oft-disresprected Petipa jewel that authentic balletomanes aren’t embarrassed about loving. Hers was the fourth significant New York debut by an ABT soloist in as many weeks: Christine Shevchenko as Kitri, Devon Teuscher as Mercedes & Dryad Queen, and Sarah Lane as Giselle all preceded.

 

Skylar has been perfecting the famous pas de trois since she performed it with the ABT Studio company several years ago, when she worked under the direction of Wes Chapman, the former ABT principal who thrilled audiences with his own spectacular feats for a decade, but this was her first time dancing all three acts of the ballet. We expected the light to shine down on Skylar; we just didn’t expect it to break up into a million different colors as it filtered through her imaginative artistic prism. The result was a dazzlingly beautiful, deeply hued, extraordinarily detailed performance that left us asking if we had just seen a kaleidoscopic illusion. 

 

Skylar's technique was so strong that a slight muff here or there didn’t matter, because Medora was already well on her way to her next phenomenal moment. But this was not a dance steps only performance. She was absolutely and fully into the comedy and tongue in cheek drama every minute of the evening. Her reading of the character was polished, and her rapport with her Conrad, Herman Cornejo, was so believable and confident that we expected them to start finishing one another’s phrases like couples finish each other’s sentences. We liked how when the conductor couldn’t keep up with her, Medora didn’t slow down just to make it easy for him. She nearly bolted past the music with her chaines and piques because he wasn’t paying attention. Nor was he paying attention about getting back to the podium on time after the intermission – arriving late and without wearing his jacket. 

 

A few of the many things in Skylar’s performance that we enjoyed were her exceptional balances in the PdT, her blistering fouettes that actually accelerated into the final multiple pirouette instead of slowing into it the way many tired, desperate ballerinas do, joyfulness in trying to sell us the story of Le Corsaire, absolute plumb placement, and big eager jumps that really covered space. She was noticeably taller than Herman when standing on pointe, but it didn’t make any difference last night. Herman had himself a new toy to play with and he spun her like a magic yo-yo on an elastic string. She had no fear of risk, no fear of falling, no fear of not being able to do whatever was on her mind to try to do. This seemed to make it pretty easy for Herman to accomplish one of the best technical partnering performances that we have seen from him. He also seemed to be enjoying himself. And why not?  He’s turning into a hero this season by escorting Sarah and Skylar through important debuts. He’s still not 100% back to his old self yet, but enough recovered from his injury to still be amazing. 

 

Speaking of amazing, Sarah Lane’s Gulnare was a golden sunny blossoming beauty all night long. Her yellow veil had choreographic ideas of its own during her first variation but she managed to keep it on and not let it compromise her dancing. Her PdD with Lankendem, Daniil Simkin, was as good as any we have ever seen. These two seemed to have worked out their differences and are dancing together better than at any time in the past nine years. Simkin’s Lankendem was outrageous in size of character with dancing to match. The only thing that was missing that we used to enjoy from others in the role was the sense that Lankendem was in over his head and didn’t quite have the smarts to realize what was happening around him. So far this season, we have seen three roles on Simkin that we have admired. Maybe we should just stop and not push our luck; but if Sarah Lane turns up on the schedule as his Odette/Odile, we will pay whatever we have to pay to get as close to the stage as possible.

 

Jeffrey Cirio’s Ali was spectacular in a tidy way – the equal of any Ali since the days of Corella and Stiefel – but he didn’t ascend to that next realm the way those two did. Craig Salstein’s Birbanto was a highly polished portrayal but didn’t seem as fierce as we have seen him before. It would seem that we should by now be seeing Craig as Birbanto where the characterization is so all important. The Odalisques (Cassandra Trenary, Catherine Hurlin, and Katherine Williams) were quite accomplished for the most part although the diagonal of double pirouettes with arms over the head by Catherine were a yawn. We’ve come to expect triples; doubles make the diagonal look like a classroom exercise. The rest of her variation wowed us with its classical beauty, however. Roman Zhurbin as the pasha was harmlessly funny, but nearly met disaster when the two pasha assistants were very late in catching him after he fainted backwards upon seeing the beautiful slave girl. 

 

The Corps de Ballet in Act III Jardin Animé was a little rough around the edges in places. The arm waving of the Women in Red was quite individual in places, if not improvisational. It was nice to see Nicole Graniero among the Women in Yellow.

 

This was a fairly spectacular evening thanks not only to our new ultra-energized Medora but to an entire cast that seemed to dance right to the edge all night. The HH Pump Bump Award, designed for prancing and dancing on blue lightning bolts, is bestowed upon Skylar Brandt.

 

 

 

Comments

[Laurel]

After hearing the roaring buzz on FB and insta, I came tearing over here hoping that you had seen this performance and am so glad that you did. I wish I had. I've known Skylar since she was a wee 10-yr-old and am so thrilled for her success!

Note to the conductor. There's a comet streaking through the stars and he needs to keep up!

[Lena]

Haglund, I sincerely echo everything you've said! Skylar was absolutely sparkling. She and Herman made a wonderful couple and I so enjoyed their bedroom pas de deux. I'd love one day to see Sarah's Medora. She was also lovely and I agree, she and Daniil looked good together. I'd guess that their joint Giselle debuts helped with their partnering. I also enjoyed Jeffrey Cirio's Ali, although Daniil remains my favorite.

I'd initially bought the ticket for Herman's Conrad and what I thought was Daniil's Ali. I guess I misinterpreted the cast listing on ABT's calendar. Oh well. Now I'm so glad that I was able to see Skylar's debut. At stage door, Skylar said that she had been asked to learn the role on Friday, leaving her with only a few days. Wow. And she was so down to earth and genuinely appreciative of all the compliments lavished upon her. (Unlike a certain celebrina who has her PR announce her arrival and refusal to stop for the people who've waited at stage door.)

And Haglund, did you see the news that Christine Shevchenko has been tapped for THREE Medora this week? I so enjoyed her in Don Q a few weeks ago. Now I have to het a ticket to see her Medora. You're right Haglund, ABT is experiencing a much needed, refreshing climate change. I wish Gillian a speedy recovery and hope she's well enough for Swan
Lake next week with Marcelo. It's probably wistful thinking to hope for Sarah's Swan Lake with Daniil. Now that would be a performance not to be missed!

[LLF]

It was a night of some blazingly brilliant performances. Why does it take disaster after disaster for ABT to get these superlative soloists onstage in leading roles? This is turning into the best ABT spring season in about a decade.

[melponeme_k]

Skylar Brandt proved herself a future star. I hope ABT follows through with all the momentum their Soloists are generating this season.

All the little flubs in the female lead solos, I lay at the feet of the conductor. I couldn't figure out if he was purposefully upstaging them or that he was inept. He played too slowly especially when it was obvious Lane and Brandt were dancing at the actual tempo of the music (as written). Lane slowed down (she shouldn't have) but Brandt fought him and won.

I was impressed with all the male leads on Monday as well. Lately I've been interested in seeing Salstein in a lead role not just a lead character role. It would be interesting to see if his charisma would translate.

[Gerry]

It will be extremely bittersweet for is if there is an answer to our prayers and Sarah is cast as O/O next week. Sweet because I know she'll be perfection, bitter because I won't be able to get down to New York to see it!

[Sophia]

I cannot wait to see Skylar Brandt Thursday evening! She is a star in the making! It so refreshing to see so many young, talented, homegrown dancers being nurtured. I will spend my last dime to support this trend! What an incredible Met season it has been.
p.s. Sarah Lane was exquisite in Giselle with Daniil and Herman! Hoping to see much more of her!

[AMJ]

I saw Hee Seo yesterday night and it bored me to TEARS. Normally I would avoid her, but I had planned on seeing Veronika and didn't realize the cast had changed to Hee until I saw the note in the Playbill.

I saw very little to like about this ballet (aside from Devon and Gabe). Funny you mention that true balletomanes aren't ashamed of loving this ballet! ;)

So... there's supposed to be a comedy element to Le Corsaire? That was nowhere to be seen yesterday, unless you count the pasha. His antics got old fast (or maybe my patience was just tried by Hee's blandness).

Maybe I'll give this a try next time. And verify the cast the morning of. Until then, this is definitely in my top 5 dull ballets.