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ABT 2006 Spring Season at the Met


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ABT's website shows Acosta listed for Corsair (5/25) and Apollo (5/27 and 5/31,both evenings). Diana Vishneva's website says that she is tentatively scheduled to appear in Apollo on 5/27 & 31(in addition to the performances she is already listed for on the ABT schedule)

And who knows how many times this will change over the next few months.

Actually , I got a call to renew my subscription this week, the lady told me subscribtions were closing but I they are still offering them on the ABT website.

It was sort of a weak moment so I just renewed. I figure; first, the exchange policy is so liberal and secondly: my perfomrances are Monday nights which are often the first night of the run and have the secondary roles really heavily loaded.

It's sort of like a crap shoot I guess

Richard

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Diana Vishneva's site has just changed its listing of ABT performance dates. They now appear consistent with ABT's website. (Whew!) As listed on her site today:

Jul 10 2006 New York: Metropolitan, ABT Romeo & Juliet (with Corella)

Jun 28 2006 New York: Metropolitan, ABT Swan Lake (with Carreco)

Jun 23 2006 New York: Metropolitan, ABT Manon (with Carreco)

Jun 21 2006 New York: Metropoliten, ABT Manon (with Corella)

Jun 17 2006 New York: Metropolitan, ABT Giselle (with Corella)

Jun 14 2006 New York: Metropolitan, ABT Giselle (with Malakhov)

May 29 2006 New York: Metropolitan, ABT Apollo (with Stiefel)

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my perfomrances are Monday nights which are often the first night of the run and have the secondary roles really heavily loaded.

No small consideration, if you ask me!

Another consideration is that there's no competition from NYCB on Monday nights.

Well, I think the two audiences are to a large degree two different universes.

But using the logic of less competetition, ABT could get away with skimpier casting then on Mondays rather than loading up the performances, don't you think?

Richard

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But using the logic of less competetition, ABT could get away with skimpier casting then on Mondays rather than loading up the performances, don't you think?

No, because frequently the only performance to get reviewed is the first of the run. It's a balancing act: filling seats by using the "better" casts vs. filling seats by pleasing critics.

Another consideration is the subscribers. They just may not want to see Dancer X on every bill, so there must be some rotation of soloists, just as there is for principals.

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I have to agree about H. Cornejo.  How many more Peasant PDD's does he have to do until ABT gives him a Basil or Ali to do? :huh:  :tiphat:  :beg:  :yahoo:  :ermm: I understand his height issues.  But can ABT get beyond that?????????????????

The question of height with Cornejo is a matter of finding an appropriate female partner since disparity of height can affect partnering. Now Xiomara Reyes matched up well with Cornejo in "Coppelia" and countless "Peasant PDD"s and "Swan Lake Pas de Trois". She dances Kitri with Corella and Bocca but dances Gulnare in "Le Corsaire". Now I don't think that in the Pas de Trois with Medora, Conrad and Ali requires that much partnering since Conrad handles most of the lifts. A petite Medora could be used but I think Cornejo could handle Kent or Reyes as Medora.

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Just received single tickets ordered when renewing subscriptions about three months ago. No casting surprises in the single tickets brochure that was included. But seats were way off center for the two Vishnevas that I requested: Weds eve June 14 Giselle with Malakhov and Weds eve June 28 Swan Lake with Carreno. So, if you want to see her it might be wise to order as soon as possible. According to the brochure "order tickets now by mail... Box office, telephone and online sales begin April 9, 2006. Call 212.362.6000."

Edited by drb
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This week subscribers get to exchange tickets before performances go on general sale next week. Ethan Stiefel's relacements, generally A+ grade, are now reflected on ABT's site. This has, inevitably, affected some other partnerings as well. In particular, Vladimir Malakhov will now partner Diana Vishneva in both of her Manons. I made my exchanges today. Good orchestra seats are hard to come by for some performances, but, heads up, got some very nice seats in the Dress Circle. Including row A's for Vishneva: a Manon and a Swan Lake.

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A reminder from ABT:

AMERICAN BALLET THEATRE’S 2006 SPRING SEASON AT

THE METROPOLITAN OPERA HOUSE, MAY 22-JULY 15, 2006;

COMPANY PREMIERE OF JAMES KUDELKA’S CINDERELLA and

NEW YORK PREMIERE OF JOHN CRANKO’S JEU DE CARTES

TO HIGHLIGHT SEASON

BOX OFFICE OPENS APRIL 9

Julio Bocca to Give Final Performance with ABT on June 22

American Ballet Theatre’s 2006 Spring Season at the Metropolitan Opera House, May 22-July 15, will feature the Company Premieres of James Kudelka’s Cinderella and John Cranko’s Jeu de Cartes, as well as a Revival of Sir Kenneth MacMillan’s Manon. The Metropolitan Opera House box office will open April 9.

Principal Dancers for the engagement will include Carlos Acosta, Maxim Beloserkovsky, Julio Bocca, Jose Manuel Carreño, Angel Corella, Herman Cornejo, Irina Dvorovenko, Alessandra Ferri, Marcelo Gomes, Paloma Herrera, Julie Kent, Vladimir Malakhov, Gillian Murphy, Xiomara Reyes, Diana Vishneva and Michele Wiles.

Countrywide Financial is the National Sponsor of American Ballet Theatre. Northern Trust is a season sponsor of ABT at the Metropolitan Opera House. ABT’s 2006 Spring season is also made possible with public funds from the National Endowment for the Arts, the New York State Council on the Arts, a state agency and the New York City Department of Cultural Affairs.

The 2006 Season will open with The Spring Gala performance featuring ABT’s Principal Dancers on Monday, May 22 at 6:30pm. For information about the Opening Night Spring Gala, please call the Special Events Office at 212-477-3030, ext. 3239. ABT’s Opening Night Spring Gala is generously underwritten by Friedman Billings Ramsey, Graff, Griffon Corporation, Tivia and Richard Kramer, Isaac Mizrahi and Waterford Wedgwood.

Principal Dancer Julio Bocca will dance his final performance with ABT in the role of Des Grieux in Sir Kenneth MacMillan’s Manon on

Thursday evening, June 22, 2006. Bocca, a 20-year veteran of ABT, will also perform leading roles in Petrouchka, Jeu de Cartes, Le Corsaire and Giselle prior to the June 22 performance.

Premieres

James Kudelka’s Cinderella will be given its American Ballet Theatre premiere on Friday evening, June 2 at 8 P.M with Julie Kent in the leading role dancing opposite Marcelo Gomes as Her Prince Charming. Kudelka’s three-act ballet, set to the music of Sergei Prokofiev, features scenery and costumes by David Boechler and lighting by Christopher Dennis. Kudelka’s Cinderella was given its World Premiere byThe National Ballet of Canada in Toronto, Canada on May 8, 2004. Following the Company Premiere, Cinderella will be given 10 performances through June 10. This production is made possible with public funds from the National Endowment for the Arts and the New York State Council on the Arts, a state agency.

John Cranko’s Jeu de Cartes, ‘A Poker Game in Three Deals,’ will be given its New York Company Premiere as part of ABT’s All-Stravinsky celebration on Friday evening, May 26 with Herman Cornejo in the leading role of the Joker. Set to the music of Igor Stravinsky, Jeu de Cartes features scenery and costumes by Dorothee Zippel. The ballet was given its World Premiere by the Stuttgart Ballet in Stuttgart, Germany on June 22, 1965. Jeu de Cartes receives its Company Premiere on May 2, 2006 at the Orange County Performing Arts Center in Costa Mesa, California. American Ballet Theatre’s All-Stravinsky celebration, which includes George Balanchine’s Apollo and Michel Fokine’s Petrouchka, will be given eight performances through June 1. Petrouchka is generously underwritten by the National Endowment for the Arts and the Audrey Love Charitable Foundation.

Revival

American Ballet Theatre’s Revival Premiere of Sir Kenneth MacMillan’s Manon is scheduled for Monday, June 19 with Alessandra Ferri and Julio Bocca in the leading roles. Set to a score by Jules Massenet and inspired by the novel Manon Lescaut, Manon was last performed by the Company in 1996. The full-length ballet, staged for ABT by Monica Parker, features scenery and costumes by Nicholas Georgiadis and lighting by Thomas Skelton. Manon was given its World Premiere by The Royal Ballet at the Royal Opera House in London on March 7, 1974 danced by Antoinette Sibley and Anthony Dowell. The ballet received its ABT Company Premiere at the Metropolitan Opera House on May 28, 1993 danced by Alessandra Ferri (Manon) and Julio Bocca (Des Grieux). Following the Revival Premiere, Manon will be given seven performances through June 24. Manon is underwritten by the Audrey Love Charitable Foundation.

Returning Classics

American Ballet Theatre’s 2006 Spring Season will feature seven full-length ballets beginning with Le Corsaire which opens the season on Tuesday evening, May 23 at 8 P.M. Le Corsaire was choreographed by Konstatin Sergeyev, after Marius Petipa, with staging by Anna-Marie Holmes, after Petipa and Sergeyev. The ballet is set to a score by Adolphe Adam, Cesare Pugni, Léo Delibes, Riccardo Drigo and Prince Oldenbourg. Based on the Lord Byron poem, “The Corsaire” (1814), the ballet has sets and costumes by Irina Tibilova, with additional costume designs by Robert Perdziola. The season’s first performance of Le Corsaire on Tuesday, May 23 will be danced by Paloma Herrera, Julio Bocca, Angel Corella, Xiomara Reyes, Jose Manuel Carreño and Herman Cornejo in the leading roles. The evening will also celebrate Corella’s 10th Anniversary season with ABT. Le Corsaire will be given seven performances during the Spring Season, May 23-25 and July 7 and 8.

Xiomara Reyes and Julio Bocca will lead the season’s first performance of Giselle on Monday evening, June 12 at 8 P.M. Set to music by Adolphe Adam, orchestrated by John Lanchbery, Giselle was staged by Kevin McKenzie with choreography after Jean Coralli, Jules Perrot and Marius Petipa. The two-act ballet features scenery by Gianni Quaranta and costumes by Anna Anni. This production, featuring scenery by Quaranta and costumes by Anni with staging by Mikhail Baryshnikov, was created for the film Dancers in 1987. Giselle, which will be given eight performances through June 17, is generously supported through an endowed gift from Anka Palitz in memory of Clarence Y. Palitz, Jr., with additional support from the Audrey Love Charitable Foundation.

Eight performances of Swan Lake, choreographed by Kevin McKenzie after Marius Petipa, will be given beginning Monday evening, June 26 at 8 P.M. with Irina Dvorovenko and Maxim Beloserkovsky leading the opening night cast. Swan Lake is set to the score by Peter Ilyitch Tchaikovsky and features scenery and costumes by Zack Brown and lighting by Duane Schuler. This production of Swan Lake premiered on March 24, 2000 at the Kennedy Center for the Performing Arts in Washington, D.C. Swan Lake is generously underwritten by The Rosh Foundation.

Sir Frederick Ashton’s Sylvia, premiered by American Ballet Theatre during the 2005 Spring Season, will return to the Metropolitan Opera House for four performances beginning Monday evening, July 3. The two-act Sylvia, staged by Christopher Newton, is set to a score by Léo Delibes and features scenery and costumes by Christopher and Robin Ironside, with additional designs by Peter Farmer. This production of Sylvia was given its revival premiere in three acts in London by The Royal Ballet on November 4, 2004. Gillian Murphy, Maxim Beloserkovsky, Carlos Lopez and Marcelo Gomes will lead the cast of the July 3 performance. Performances of Sylvia are made possible with public funds from the New York State Council on the Arts, a state agency.

The 2006 Spring Season at the Metropolitan Opera House will conclude with eight performances of Sir Kenneth MacMillan’s Romeo and Juliet. Diana Vishneva and Angel Corella will dance the title roles in the season’s first performance of the ballet on Monday evening, July 10. Set to the music of Sergei Prokofiev, Romeo and Juliet features scenery and costumes by Nicholas Georgiadis and lighting by Thomas Skelton. The ballet received its World Premiere by The Royal Ballet in London on February 9, 1965 and was given its ABT Company Premiere at the Metropolitan Opera House on April 22, 1985. ABT’s production of Romeo and Juliet is generously underwritten through an endowed gift from Ali and Monica Wambold.

ABTKids

ABTKids, a one-hour introduction to ballet geared toward children ages 4-12, is scheduled for Saturday, June 3 at 11:30 A.M. All tickets for ABTKids are $18. The ABTKids performance is generously supported through an endowed gift from Thomas and Lydia West, in loving memory of Vivian B. West.

Pre-Performance Workshops

Pre-performance workshops, an activity based program led by ABT Teaching Artists, are available to ABTKids ticket holders on Saturday, June 3 (9:30-10:30 A.M.) and to matinee ticket holders on Saturday, June 10 (11:00 A.M.-12:00 Noon) and Saturday, July 1 (11:00 A.M.-12:00 Noon). Workshops are held in the rehearsal studios of the Metropolitan Opera House. Tickets to the workshops are $20 per person.

American Ballet Theatre’s education programs are supported, in part, by public funds from the New York City Department of Cultural Affairs. CA is the proud sponsor of ABT’s Family Initiative, which includes ABTKids, Pre-Performance Workshops and ABT’s Family Series.

Box Office to Open April 9

Single tickets for American Ballet Theatre’s 2006 Spring Season at the Metropolitan Opera House, priced $23-$95, are on sale now by mail or by fax at 212-870-7695. Box office, telephone and online sales begin April 9, 2006. The Metropolitan Opera House is located at Broadway between 64th and 65th Streets, 212-362-6000. For more information, please visit ABT’s website at www.abt.org <http://www.abt.org/> .

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The Met is now accepting web ticket orders for ABT:

http://www.metoperafamily.org/metopera/season/ABT.aspx/

As a test, I checked out Vishneva's Saturday Giselle, and found quite good tix were on offer (when you choose a price and section they offer specific seats) for Grand Tier, Dress Circle, and Balcony ($37 for row D center, for example). A warning: the computer seems to think 'the closer, the better', usually true, but be wary for the most expensive orchestra seats, where many people are not happy in the first few rows (unless you are tall enough, you won't see feet). The second price level in Orch seems to give you row AA center, about five rows from back, and a nice panoramic view.

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