How great it was to renew acquaintance with the work of so many talented ABT artists as they glistened and at times even sparked under the beauty of the Met Opera House’s crystalline chandeliers.
This production of Don Quixote is one of the best ballets in ABT’s stable. It has stood the test of time and has been an extraordinary vehicle for some of the greatest Basilios of our generation –– Bocca, Corella, Carreno, and Cornejo — and some of our most wonderful Kitris –– Ananiashvili, Dvorovenko, Herrera. The Santo Loquasto sets are still gorgeous after 27 years. Emotions still swell when the rich hues of the front scrim that depicts a bullfighting ring scene change from cream to deep red to blue during the musical overtures for the three acts. Minkus’s Russian interpretation of Spanish flair, bold and colorful, has never offended Spaniards or Latino cultures. Rather, they have embraced it and exploited it to celebrate their histories. Nor has the Woke Set descended upon Don Quixote with its nonsense the way it has attacked Minkus’ equally grand and glorious La Bayadere for its Russian imagining of India in the 1800s. The ABT orchestra drove Minkus at full throttle on Tuesday night and the effect was both majestic and thrilling.
The draws of Tuesday evening were Herman Cornejo and Skylar Brandt in the lead roles. Herman spent nearly a decade dancing the role of the Gypsy in this production before winning his debut as Basilio in 2008. But that long period served as his invaluable apprenticeship to Bocca, Corella, and Carreno whose composite interpretation Cornejo has carried through his illustrious career while imprinting it with his own swagger and technical marvel. Though he’s always been a measured risk taker, Cornejo has to be more careful now that he’s 41 years old. He delivered still-startling brilliance — finessing finishes of his quintuple pirouettes to Carreno-type balances. His one-armed overhead lifts of Kitri had the strength of Spartacus. Though we’ve seen it time and time again, Basilio's preening when he turns away from the audience to smooth his hair back is still a hoot.
Skylar spent about as many years dancing the role of Flower Girl in this production as Herman spent as a Gypsy before winning her debut as Kitri this past April at the Kennedy Center. Rather than seeing Skylar as Kitri or Skylar’s interpretation of Kitri, we saw Kitri. Dvorovenko designed and finished Skylar’s interpretation with extraordinary attention to detail. But excuse us, where were the famous Irina spit-curls and magnificent red lipstick?! We used to buy tickets just to see Irina’s spit-curls. This is no time to tone down our blazingly brilliant new Kitri. The character lives through her spit-curls and red lipstick. We’re just playin’ with ya’ll here but, ya know . . . The dancing was sensational in its verve and clarity. Never a hesitancy revealed — not even as she launched herself horizontally into Basilio’s arms where the ending wasn’t quite what she anticipated. Skylar is as fearless and game as they come. If she lived through Daniil Simkin dropping her flat on her face in Nutcracker, she can live through a little uncertainty in a catch near the edge of the stage where it drops ten feet into the orchestra pit.
We loved the speed of the traveling single pirouettes. We loved the control in the attitude turns that actually looked like abandonment. We loved everything about this Kitri in her second ever performance and look forward to Skylar embracing more exaggeration and bossiness in the character as she settles into the production to become one of our all-time favs.
Cassandra Trenary and Gabe Stone Shayer as Mercedes/Dryad Queen and Espada were just wonderful. We were prepared for the feisty, hot Mercedes but were surprised and delighted by the grace and benevolence of Cassandra’s Dryad Queen. She created some beautiful, expansive shapes with her port de bras. Gabe held nothing back with Espada. This was a fierce, experienced bullfighter whose cape enticed the fire of Mercedes.
Breanne Granlund and Betsy McBride shone brightly as Flower Girls — McBride, especially, should not have to wait much longer for her own Kitri.
Zimmi Coker and Elwince Magbitang as the Gypsy Couple gave big performances. Magbitang, in particular, had the acceleration, velocity, and clean lines that caused us to get excited about what might come next for this artist.
Within the corps, we observed the continued growth and stymied advancement of Courtney Lavine, Patrick Frenette, Andrii Ishchuk. In Act III, Courtney anchored one end of the line of jete-ing wedding guests with the most beautiful arm, hand, and finger positions in the history of the world. Why isn’t ABT exploiting this dancer’s beauty and talent? Frenette and Ishchuk along with Luigi Crispino and Cameron McCune made the Toreadors section totally worth watching. And going forward, all eyes on Andrew Robare and Chloe Misseldine.
Our H.H. Pump Bump Award, a torero red Louboutin stiletto, is bestowed upon Skylar Brandt (and Irina Dvorovenko) for this delicious new Kitri.
Glad to see your review, Haglund. I largely agree. Skylar was technically great, but my pals and I all felt she lacked just a little spice. I'm sure that will come in time. Guess I was so blown away by her Giselle in Oct. I expected more -- but then again, they are 2 different roles. She was lovely in the dream scene, as was Trenary (who I thought was also great as Mercedes). Sorry, but Gabe doesn't do a thing for me -- he seemed to get lost in his cape. The gypsy guy was astonishing and I can't wait to see what's next for him (but will ABT FINALLY lose those awful bad-80s-metal-band costumes for the other gypsy boys?) One of the reasons I bought tickets to this perf was to see Herman, because I'm sure he's winding down. He did seem to up his game in the gypsy scene as the audience went wild for the gypsy boy -- but his Act 3 dancing (like the entrance cabrioles) didn't get the kind of audience reaction I once recall. Still, he has great presence which the ABT men need way more of. One thing we noticed during curtain calls: too many people holding up phones instead of clapping. This seems unbelievably rude. I wish there would be an announcement asking the audience to provide the company the courtesy of their applause; it only seems right.
Posted by: Cindy Grogan | June 16, 2022 at 02:25 PM
Haglund, what a welcome antidote to the whining and carping in the so-called paper of record! We are seeing Brandt and Cornejo Saturday afternoon and our anticipation is off the charts. Yesterday afternoon's Simkin and Boylston were sensational. Among the others, Léa Fleytoux's Amour and Jonathan Klein's Gypsy struck me as particularly eloquent. La Marche did Minkus and the dancers proud--the orchestra was in excellent form.
Posted by: Eulalia Johnson | June 16, 2022 at 02:44 PM
Oh yes, Jonathan Klein is another one withering on the vine. He would be a wonderfully entertaining Basilio right now.
Posted by: Haglund | June 16, 2022 at 03:05 PM
Can't wait for the repeat treat of Skylar and Herman on Saturday. Saw the NYC debut of Hurlin as Kitri yesterday, having missed her in DC. I think the Met stage is still on fire from her blazing fouettés which she actually mostly kept to the beat of the music while playing with her fan and some triple turns in there. I thought she was sensational (and brought both spit curls and red lips!)
Posted by: Rachel Perez | June 16, 2022 at 04:39 PM
Too bad this isn't the review in the NYT. What the hell is going on with Gia K?
Posted by: slippersgirl | June 16, 2022 at 05:07 PM
Spit brings NYT more clicks than sugar.
Posted by: Haglund | June 16, 2022 at 05:14 PM