Despite everything, the Ballet Theater continues to renew itself. Several principles – Herman Cornejo, Mrs. Copeland, Cory stearns, James whiteside – reached new heights. The performance of Odette-Odile by Mrs. Copeland on June 17 in “Swan Lake” convinced me that she can be an important performer of this role: in act III.
Alban Lendorf, in its first season at the Met, proved to be a complex marvel, a joyous, sensitive and voluptuous dance powerhouse. So far, I don’t find him capable of tragedy, but he’s close. The senior ballerina Gillian murphy, despite having missed several performances due to an injury, danced her first company “Giselle” with a kind of feverish intensity that seriously broadened my idea of her.
Much of the season has been worn by junior dancers, many of whom have risen to the challenge. Some people spend years before having the heroic scale of “Swan Lake”; Devon teuscher (although there are dance details to be worked out) seems to have it by nature. I would have liked to be able to see Sarah laneThe debut of in the same double role of Odette-Odile – this often suits a little dancer much more than you think – especially since this season has been a breakthrough for her. For years she seemed gifted but too self-critical to cast a sustained spell; in her debut Giselle and other roles she carried audiences, especially with impressively long legato lines. This week, the two women were promoted to principal.
Among the many important starts of the season, I make out the wide-eyed Skylar Brandt like Medora in “Le Corsaire”. She’s been outstanding in entertainment for the past few seasons, but I wondered if she wouldn’t be too porcelain doll, too pretty, to hold your attention through a three act role. It’s not: she continues to show off new sides of theatricality, amounting to one occasion (and her music) after another.
How can I cover a season of ballet theater and omit such beloved names as Catherine hurlin, Cassandra Trénaire, Gabe Stone Shayer? But the list of the best dancers at the Ballet Theater is only growing. They all deserve a better repertoire. The problem is the vision of the Ballet Theater; and central to the Ballet Theater’s vision is the never-ending problem of filling the Metropolitan Opera House.