ABT Onegin 6/21 mat & 6/22

They really need to re-open the bars in the opera house at the end of these Onegin performances. Who didn’t need a drink after the Wednesday afternoon and Thursday evening performances during which our Tatianas broke us down to the very core of our being. 

Stella Abrera in her debut as Tatiana at the matinee gave the surprise performance of the season. Before seeing her in this role, we never would have used the word “abandon” to describe Stella's dancing. But she has found a new trust in her partners over the past year or so that has given her dancing new bravery and dimension. What a journey she took us on from the fragile schoolgirl whose life revolved around her dreams of passion to the middle-aged woman for whom the protective comfort of a dull but respectful marriage was now more important than the reckless passion she once desired. Her playful pull & tug while dancing with Onegin at the festive party as a young girl became one of struggle and torment in her middle years during their Act III pas de deux. As the newest Tatiana at ABT, Stella’s interpretation revealed even more treasures in this brilliant ballet.

Cory Stearns’ interpretation of Onegin has grown further since the solid start acquired during his debut season opposite Irina Dvorovenko a few years ago. Now, the dark side of Onegin – his satisfaction in teasing and tormenting his best friend and toying with any and all women – has become complex with his emotion simmering hotly beneath a cool surface. His partnering of Stella was strong and the solo work suited his strengths. We could easily envision this duo as Des Grieux and Manon.

Cassandra Trenary was phenomenal as Olga. Where Isabella Boylston had turned in a one-note performance earlier in the week, here was a multi-shaded Olga who was impetuously up for Onegin's game of in-your-face-flirtation until she very visibly realized the consequences. 

Joseph Gorak impressed with the technical demands of the role of Lensky – his solo in Act II was beautifully danced, though on the flowery side. But we weren’t convinced of his rage against Onegin.

Alexandre Hammoudi’s Prince Gremin was appropriately stoic and respectful. His dullness conveyed that his marriage to Tatiana had been collecting dust for quite some time.

Thursday evening brought conflicting feelings about watching Alessandra Ferri both struggle technically with the role of Tatiana and also bring its drama to a mind-blowing climax. When Onegin tried to return the love letter that she had written to him, her disbelief and humiliation were palpable like no other Tatiana we’ve ever seen. She looked up directly into Onegin's face pleading and then backed away mortified by his rejection. When the tables were turned in Act III as Tatiana shredded Onegin's love letter to her, she shot him a look squarely in the face that had such full throttle anger, determination, resentment, and riled resoluteness that the strapping six-footer shrunk like cheap cotton in a hot dryer before trying one last time to beg his way out of heartbreak. But there was the issue of technique that we couldn’t overlook, most notably a reluctance to roll down from pointe and an unsteadiness even when standing on flat. No doubt about it, though, Alessandra is still gorgeous in full flight when lifted by her partner, Roberto Bolle. And she did find some very impressive balances in arabesque.

Bolle was simply magnificent in this role – we’re tempted to say perfection. The man’s instrument is a miracle in itself. Sure, he’s genetically gifted, but at 42 years old, his fitness and technique level put those half his age to shame. His Onegin had just the kind of arrogance that you love to see taken down. But he was so handsome that it hurt when it happened. Bolle’s partnering of the vulnerable Ferri was spot-on throughout the night and their connection strong like lifelong partners even though it had been ten years since they danced together.

Sarah Lane as Olga and Daniil Simkin as Lensky were strikingly beautiful together. Like Stella, Sarah has found a new bravery in the partnering aspects of her dancing and it is working out marvelously with Simkin. Her variation had such joy and flirtation to go with impeccable dancing. Simkin’s solo in Act II was splendid in control, balances and musicality. His character’s anger at Onegin for messing with his girl was convincing – his throw-down-the-glove moment especially dramatic. He and Bolle worked out the slap in the face scene to make it shockingly believable and exciting.

James Whiteside’s Prince Gremin was hard to take seriously. He went through all the motions that conveyed his admiration and respect for Tatiana but his character did not have nearly the dramatic weight of Roman Zhurbin’s during the Gomes/Vishneva performance. His partnering of Ferri was accurate and strong, but there was always the sense that he was about to make a joke of it.

Onegin is a spectacular production of great depth and detail. Its themes are mature and probably not something that children would understand on their own. At Wednesday’s matinee, Haglund sat near a Russian woman who had brought her son and daughter to the ballet. The children appeared to have been about eight or nine years old. She spent part of each intermission explaining the story and its lessons to her children. These kids sat in their seats in their Sunday clothes with no electronic devices or other items to keep them occupied. They simply listened to the lessons being conveyed to them by their mother without reacting with attitude or objection. Their mother was keeping the arts alive.

We certainly are loving this week of Onegins. Our H.H. Pump Bump Award, a handsome but complex design from Casadei, is bestowed upon Roberto Bolle whose Onegin we could watch on a loop for eternity.

 

 

Comments

[John]

FYI: It hasn't been ten years since Bolle and Ferri had danced together. Not two weeks earlier they appeared in Marguerite and Armand at the Royal Ballet and were sensational.

[pennsylvania]

The Lane/Simkin partnership reminds me so much of Kirkland/Baryshnikov, both in physicality and in artistry. It is an absolute joy to watch and something that ABT should be capitalizing on big time. Fortunately, the casting directors seem to have gotten the memo. Sarah and Daniil were pure magic out there last night.

While Ferri was always one of my favorites...it's important for a dancer to know when she/he is past their prime.

[Haglund]

Hi, John. I was aware that Bolle had just danced in Marguerite and Armand opposite Zenaida Yanowsky while Ferri danced with Frederico Bonelli. However, I wasn't aware that they had danced in it together. Wow, what a show you must have seen!

Odd how Roberto seems to confirm the 10 year mark: https://www.instagram.com/p/BVi7GPyg0MI/?taken-by=robertobolle

[Rachel]

I agree it can be a little hard to watch Ferri struggle. That said, if my choice is 50-something Ferri vs. Boylston, Seo or Copeland struggling with technical aspects, I'm more likely to shell out my hard-earned money for Ferri. Hopefully we won't have to wait long for the gifted soloists to fill out the principal ABT roster properly.

[Haglund]

ITA. I was thinking how fabulous Shevchenko would be as Tatiana. Hopefully, she'll get a chance to start developing that role before she's 39 years old. (edited to add: For Pete's sake.)

[Anna]

Haglund, I was just thinking now that Vishneva is retired, it would be so lovely to see Shevchenko/Gomes Tatiana/Onegin. Hopefully the gods of ballet will make it happen.
Simkin/Lane are really a magical partnership. They manage to bring out the best in each other. Second pennsylvania that ABT needs to capitalise on partnerships, instead of randomly assigning principals just because one is a crowd draw.
I don't care how technically past her prime Ferri is, as long as she is not attempting Giselle or Odette/Odile, I will happily pay to watch her. Her artistry is amazing.

[Eddie]

Hi, HH. I was at the evening performance and had my magnifying glass on Daniil since I saw the earlier performance too. I say magnifying glass because his technique is so formidable that I want him to grow artistically and put his whole artistry in proportion, so I "watch" him very closely. I think he is maturing and I am happy to have seen him tone down his preparations for his gazillion (flawless) pirouettes at his second performance. At his first, he broke the spell of his duel scene solo by preparations that would have been exciting in Corsair or Don Q. He toned them down and they were much more unobtrusive in a role that must transcend steps and virtuosity.

That said, I think he and Sarah are a beautiful couple, so perfectly matched in size and temperament; they were a pleasure to behold as lovers. If he can find a joy that registers in his face, they way Sarah glows. Daniil has a Russian, sardonic sense of humor but sometimes you just want simple, uncomplicated joy.

As my friend whispered to me about Ferri, "She can't wait to get off point." I was never a fan, but all in all, her artistry was there in full, which in my opinion, that's basically what was her strong point earlier in her career.

Bolle? Well, the name alone should be enough for ballet fans to conjure shock and awe at someone who is beyond just a dancer. As my Italian student said at his solo bow, "Wow." Wow indeed.

By the way, the entrance of the boys in Act I is, in my opinion, spectacular. To a man, they exude spunk, a spirit of joy in their movements, and an innocent sweetness at their reactions to the girls dance.

Are we lucky or what to have these performances in one week? I look forward to seeing David Halberg Saturday, a dancer who, as a theater director, haunts me. His Prince in Ashton's Cinderella will always be etched in my mind for his illusiveness and other-worldly quality. I know some don't see it, but there is in him a quality of the magnificent Henning Kronstam, not as obvious, but still similar.

[Kathy]

I must defend Tatiana! how can she fall into the arms of the guy who publicly exposes her sister to be a terminal flirt and then kills her fiancee??? It is not duty to a dull and kind husband that makes it impossible to succumb to Onegin - Hers is a tragic love...
She is of similar cloth as virtuous Princesse de Cleves or equally virtuous Mme Tournel in Liaison Dangerouses...

[jose]

How about Devon as Tatiana with Marcelo, of course.

[Haglund]

Devon and Christine Shevchenko would be fabulous Tatianas.

[Eulalia Johnson]

We are just back from the Saturday matinee of Onegin whose cast we saw Wednesday afternoon. The conviction that Cranko's is a work of genius can only be held to more tightly, if possible, than before. Gorak seemed a wee bit less legato in his solo before the duel than Wednesday, but still danced it gloriously and movingly. If anything, the final scene was more (seemingly) reckless and abandoned--as if made up in the moment with the fluency of urgent truth that cannot be silenced or denied. Bravi, Stearns and Abrera. Bravo, Cranko and bravi to all the rest. The home team knocked it out of the park.

[Haglund]

I have to agree, Eulalia. I've never seen this degree of abandon in Stella's dancing. Nor have I seen this degree of emotional involvement in Stearns' dancing. Their performance on Wednesday afternoon was fabulous, and today's was several levels above that. Real growth in the home team this week. Again.