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January 26, 2018


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It's nice to see Abi back dancing more often. I got the impression that after she had her baby, Martins sidelined her for some reason. She still has a lot to give.

I've found Mearns to be an intriguing topic of discussion lately. It almost reminds me of the "Veronika Part: Divided Opinions" days, when some people loved her and others couldn't get past her technical issues. Of course, the Mearns discussions haven't been so much about technique but rather artistry, interpretation and musicality.

I've found Mearns captivating in some ballets -- Piano Concerto No. 2, Diamonds, Four Temperaments. For me, she exudes an undefinable star power in some roles. But I can see how her go-for-broke, heart-on-her-sleeve approach doesn't work everywhere. I saw her Mozartiana this past weekend and it left me oddly unmoved, and it's hard for me to pin down why. It wasn't that she muscled her way through it, and I actually found her to be quite musical. I guess it's hard to define what exactly makes a particular performance transporting.

I wish I could have seen Kowroski in the role (even though there have been some reports that she didn't look 100% comfortable in the turns). I'll never forget her return last season to Symphony in C. It was mesmerizing...grand but human. Her face, with those big, kind eyes, expressed such pathos. It felt like the whole audience was collectively holding its breath. Sure, her entire performance wasn't technically perfect, but it hardly mattered.

Your tribute to the quality of Kowroski's dancing in your previous post is so beautiful. I'm only catching her in what's probably the autumn of her career, but I'm so grateful for any chance to see her.

Thanks, FoF.

I've never seen a perfect ballet performance. Every performer has fudges in every performance. Sometimes they may not be noticed because the overall performance is so marvelous. There are fudges that every performer experiences and then there are weaknesses that suggest inferior technique. Some people don't know the difference between those two things.

Maria's Mozartiana yesterday was even better than the one earlier in the week. It well may have been her last one. Sara Mearns in the same role is white bread to Maria's multigrain. I find Sara musically accurate without being musical. One hears the counts when Sara dances, but rarely does one see the music as we always do with Maria and of course Tiler Peck and more and more with Tess Reichlen.

Hi, Haglund. That's an interesting idea -- musically accurate without being musical. I think you may have hit the nail on the head with that one re: Mearns. Yes, I've certainly had many of those miraculous "see the music" moments with Maria, Peck and Reichlen.

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