Season Schedule Spring 2009 NYCB

[abatt]

Hi. The spring season schedule is now up on the NYCB website. Sorry I don't know how to link it. They're bringing back Martins' full length R&J. I read in the NY Times that this production will be broadcast on public television.

[richard53dog]

They're bringing back Martins' full length R&J. I read in the NY Times that this production will be broadcast on public television.

Argggghhhh!!!! To devote one of the increasingly rare slots apportioned to American ballet companies on public television to this pile of ........

Well it proves Peter Martins' undisputed talent for self promotion!

[abatt]

[Argggghhhh!!!! To devote one of the increasingly rare slots apportioned to American ballet companies on public television to this pile of ........

Well it proves Peter Martins' undisputed talent for self promotion!

My thoughts EXACTLY. I disliked the production, and would not see it again even for free. I can't believe that out of the numerous worthy ballets NYCB performs, this is the one that will be on TV!

[Dale]

Here's the page:

http://www.nycballet.com/ticket_info/subs/s09/rep.html

[cinnamonswirl]

Well, by broadcasting a Martins ballet, NYCB bypasses the Balanchine Trust and all the accompanying rights issues.

While Martins's R & J is one ballet I don't feel the need to see again, at this point I will take all and any NYCB broadcasts I can get.

I wonder who will dance. R + J isn't in the repertory of the NYCB ballerinas I feel need to be recorded the most -- namely, Bouder, Ringer, Kowrowski.

[abatt]

I'm guessing that Sterling Hyltin will be the televised Juliet, and R. Fairchild as Romeo - the original lead cast, I believe.

[carbro]

Here's the page:

http://www.nycballet.com/ticket_info/subs/s09/rep.html

Thanks, Dale. Here it is laid out in calendar (and .pdf) format: http://www.nycballet.com/uploadedFiles/Tic...r1_TSMenuID=246

I've only scanned it, but it seems that NYCB's programmers can't decide whether DSCH Concerto is an opening or closing ballet -- they use it as both. I am, nonetheless, delighted to see the return of Midsummer Night's Dream.

[abatt]

I also noticed that they are relying less on the block format of programs. There are still a lot of block programs. However, there are also numerous evenings where they have mixed and matched ballets together from different block programs. Perhaps the block program idea has been a factor in reduced ticket sales. I dislike the block program idea, so I'm glad they are slightly modifying their approach to programs.

[perky]

By my count;

21 Balanchine ballets

7 Robbins ballets

3 Martins ballets

2 Wheeldon ballets

2 world premieres

This is pure speculation on my part but with Liebeslieder Walzer and Vienna Waltzes on the schedule are we perhaps having a ballerina retirement happen this Spring? Those are two ballets that Darci Kistler still dances in and the last section of Vienna Waltzes seems to have lately become a typical senior ballerina last waltz so to speak.

[Leigh Witchel]

Block programming may have also reduced press coverage. With block programming, each program would only be covered on its first night and possibly at a major cast change. While cast changes and debuts are work, and under-rehearsing and overwork causes injury, it's also newsworthy.

[Kathleen O'Connell]

I gather I am the only person in the world other than NYCB's chief accountant who actually likes block programming. I get crazy with too much choice, to quote Joni Mitchell.

[carbro]

At the risk of taking this thread off-topic, I have decided to completely forgo Divertimento No. 15, a ballet I like very much, this (winter) season. Even at low 4RS prices and with tantalizing debuts, and even given its position as curtain-raiser, I found the rest of the program too off-putting. I didn't want to endorse the whole program with my money and presence.

I made the decision before I knew that Divert would be returning on much better programs this spring. Several different much better programs!

[Helene]

While I would have loved to be able to see the Ratmansky and "Liebeslieder", at least NYCB is ending with "A Midsummer Night's Dream" the same week/end that ABT is doing "Airs" and "La Sylphide", the latter with Ananiashvili, Osipova, and Part, for which I am hoping to make a stealth visit.

[carbro]

Your stealth is blown, Helene!

If I were a visitor, I would rejoice at the prospect of NYCB's Midsummer and ABT's Airs/Sylphide bill playing concurently, however, as a NYC resident, I kinda wish that Midsummer were playing opposite ABT's Romeo or Corsaire. Inevitably, the two companies will conspire to offer "must-see" casts on the same nights.

Too much of a good thing is not necessarily a good thing.

[Helene]

Your stealth is blown, Helene!

It's the jetlag.

[balanchinette]

At the risk of taking this thread off-topic, I have decided to completely forgo Divertimento No. 15, a ballet I like very much, this (winter) season. Even at low 4RS prices and with tantalizing debuts, and even given its position as curtain-raiser, I found the rest of the program too off-putting. I didn't want to endorse the whole program with my money and presence.

I made the decision before I knew that Divert would be returning on much better programs this spring. Several different much better programs!

Phew, that's good to know. I, too, had made the decision to forego Divertimento this season due to the rest of the program. This is wonderful news!

[ViolinConcerto]

I am very pleased to see the Spring Schedule online so soon, and in that particular format -- making things clear for Subscription buyers and single ticket buyers. Thanks for all the links.

[Dale]

An interesting note from the press release:

The season will also include a major revival of Balanchine’s Scotch Symphony, which will feature a new set design by Karin von Aroldingen, a former principal dancer and current ballet master with NYCB, who will be creating set designs for the first time ever. Created in 1952, Scotch Symphony is set to a score by Felix Mendelssohn, and was originally designed by Horace Armistead, with costumes by Karinska. For this revival, the production will retain the original costume designs.

I think I've only ever seen the ballet before a painted backdrop but without a real set. In the Maria Tallchief Bell Telephone appearance, there appeared to be some trellises. Was there ever more than just a painted backdrop?

[rg]

i suspect the notion of 'set' in this instance simply refers to the backdrop.

i've not known of any set 'pieces' for this work.

i imagine the bell telephone telecast used scenic elements devised especially for the television studio.