SCchck

NYCB 2011-2012 Season

51 posts in this topic

Just received the new brochure for the 2011-2012 seasons beginning Sept 13, January 17, and May 1 respectively. More beautiful photographs of the Soloists and Corps de Ballet members in the same style as the Principal dancers last year. While looking through I see Charles Askegard will be retiring Oct. 9th, 3pm. Program will be Diamonds pas de deux, Episodes, In Memory of..., and Western Symphony. Also noticed a few names missing from the role : Rachel Rutherford, Henry Seth, Dara Johnson, Ellen Bar, and Ellen Ostrom. The last name is no surprise due to the announcement made last week, but the others??

Five new ballets to be debuted, 2 Martins, 2 Wheeldon and 1 Millepied. Galas will be Sept. 22 and May 10. 5 full lengths: Swan Lake(Martins), Jewels, Romeo & Juliet(Martins), Double Feature, and A Midsummer Night's Dream~

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Thanks for posting. What announcement was there about Ostrom? By the way, I got a cryptic letter in the mail from NYCB regarding changes in the seating plan. Any idea what they are talking about? The letter didn't give any useful info. Are ticket prices rising? Martins is really milking Swan Lake for all it's worth. Maybe it will be back every year, like at ABT.

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Also noticed a few names missing from the role : Rachel Rutherford, Henry Seth, Dara Johnson, Ellen Bar, and Ellen Ostrom. The last name is no surprise due to the announcement made last week, but the others??

I think you mean Ellen Bar, not Ellen Ostrom (the last name on your list). Bar has been appointed to Director of Media Projects.

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Helen, as always, you are correct. I did mean Bar, my mistake. As to ticket prices, it looks like single tickets will now start at $29. Weren't they $25 for the lowest price? Anyway, this is for subscription packages and I cannot find anything about single tickets other than what I just mentioned. They will become available August 1st. This subscription offer is good until July 1, giving you the option to pay for the entire year in 3 installments as long as you order by the deadline. Hope that helps~ these brochures always take awhile to digest...if I see anything else worth mentioning I will post again.

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SCchck, thanks for the post. I'd love to know if the seasons will include any Balanchine rarities, such as Kammermusik, Danses Concertantes (I missed last yr's revival of this), Sonatine, Ballade, Gounod Symphony and such? I checked the NYCB web and this is not up yet, so your info is very helpful. It's never too early to plan & dream. :)

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Natalia, start dreaming and planning! Kammermusik No. 2 goes in Spring 2012 May 1,2,3,5(8pm). That's the only one that made the list. Hope that helps :)

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Natalia, start dreaming and planning! Kammermusik No. 2 goes in Spring 2012 May 1,2,3,5(8pm). That's the only one that made the list. Hope that helps :)

Thanks, SCchck. You made my day! :flowers:

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Now that Charles Askegaard is retiring, the burning question is - who will be promoted to principal? This will be announced I suspect at the end of the season, and I am filled with curiosity. A male soloist will become a principal, and a male corps de ballet member will be named soloist. Since Ellen Bar is leaving, a female corps member will be promoted to soloist. (I do wish Georgina Pazcoguin would be promoted - she is so full of life and has been cast in many featured roles.) I will wait to see more of the season before taking a guess at who has a chance.

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I'm sad Chuck Askegard is retiring -- City Ballet is losing their finest male partner, especially for the taller girls in the company (Maria will miss him, I'm sure). He partnered Maria beautifully in Barocco this season. I will also miss him in Tchaikovsky piano concert No. 2, Vienna Waltzes, Liebeslieder, Diamonds, Symphony in C, Nutcracker, and countless others. He has squired many a ballerina through tricky moments in Stars and Stripes -- I remember one recent year where he gallantly and elegantly managed to save Tess Reichlen from falling off pointe in S&S. I don't think anyone in the company is as good a partner as Chuck is, so I'm not sure who could fill his dancing shoes. Ask La Cour, I think not. Jonathan Stafford -- not from what I saw at last Friday's Divertimento (partnering nightmare!). He will definitely be missed.

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I spoke to a very helpful man at the box office today. It appears that NYCB has changed seat pricing. My seats, that I've had for about 30 years, just went up approximately 35%. I love NYCB but I may have to give up my subscription for good. They are offering better seats at the same price but it's still a lot of money for 6 performances - over $1K!

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Natalia, start dreaming and planning! Kammermusik No. 2 goes in Spring 2012 May 1,2,3,5(8pm). That's the only one that made the list. Hope that helps :)

I'm so glad to see Kammermusik back. One thing that I think we'll never see again is Bournonville Divertissement (bad spelling I'm sure). I loved it back in the day. The dancers were suited to it, yet IMO grew from it. It also showed the great connection between Balanchine and Bournonville. I'd love to see it back at NYCB but no chance.

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I spoke to a very helpful man at the box office today. It appears that NYCB has changed seat pricing. My seats, that I've had for about 30 years, just went up approximately 35%. I love NYCB but I may have to give up my subscription for good. They are offering better seats at the same price but it's still a lot of money for 6 performances - over $1K!

Yes, they seem to have increased prices drastically. I think they will end up losing customers. Enough is enough.

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Here's something else outrageous about this subscription renewal process. If you have a seat in the rear three rows of the second ring, center section, last year you paid $85/ticket. This year you pay less! Those seats are $80 now. I asked twice about this. Lucky folks who are renewing subscriptions in rows D, E and F.

Here's a roadmap for the seat section prices.

Second, third and fourth rings: A = $103/ticket, B = $80/ticket, C = $49/ticket; and D = $26/ticket.

Orchestra and first ring: A = $119, B = $103, C = $80, D = $49 and E = $26.

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It appears as if the Company is changing some fundamental policies relating to SUBSCRIBERS, who have, since the beginning, been the cornerstone of the audience base.

These policies seem to obscure the pricing schemes for tickets other than for the precise seats of each person's subscription.

I've heard -- but am not sure of this is accurate-- that "day of" tickets will be more expensive to purchase.

This may be the time for us "loyalists" to let Mr. Martins know how we are affected, and will respond.

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I can't disagree with them for raising prices, since all arts organizations seem to be doing that. However, the pricing structure that they have come up with is illogical and unfair. Yes, it seems designed to stick it to many NYCB subscribers (myself included). The price differential now between the various rings is ludicrous. They are charging almost as much for the front of the 4th ring as for certain orchestra locations. I also object to the lack of transparency regarding the pricing system. There is no info whatsoever in the subscription materials regarding what seat number ranges fall within each particular price range. What kind of organization publishes a subscription booklet with no prices? In contrast to the poor way that NYCB has done this, take a look at what Gelb has done at the MET. The subscription brochures from the MET are very specific in laying out the pricing structure and identifying which specific seats cost more that the other seats in each section. Additionally, while they are raising prices on certain subscribers by substantial amounts, they still are failing to provide the perks that every other organization provides to subscribers. Most other venues at Lincoln Center give subscribers a priority exchange week before the box office opens to the public. In contrast, NYCB almost always mails out tickets to subscribers AFTER the box office opens, thereby diminshing possibilities to exchange into what you want. I raised this with someone in subscriptions, and was given a litany of excuses about why the tickets will not be sent on time.

They are not selling well on most nights under the current system, so I doubt they will be increasing their audience with this new system. Whoever hatched this plan is going to see it backfire, BIG TIME.

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City Ballet has uploaded three new videos to their Youtube channel, and they are very well done. They have created videos for Jewels, West Side Story Suite and Mercurial Manoeuvres. These are probably the most appealing,and even endearing promotional dance videos I have ever seen. Hearing Sara Mearns talk about performing Diamonds was very insightful, and Tyler Angle comes across as a very intelligent and nice person. Kudos to City Ballet's digital marketing team on pulling off some top notch work. If I had never been to the ballet I think these videos would pique my interest, and isn't that the goal?

Link to New York City Ballet's Youtube channel: http://www.youtube.com/user/newyorkcityballet

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Thank you, thank you Krystin, for drawing my attention to these videos! I've been waiting and hoping for new videos and these are superb. The dancers' explanations add so much. I never realized that the cast of West Side Story is actually singing. I wish Georgina Pazcoguin would be promoted to soloist - she has such pizzazz and charm and she really works. I've noticed her since she was the enveloped nurse in Romeo and Juliet. She has what I call watchability.

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I think the dancer in red is Daniel Ulbricht, and Tyler's partner is Abi Stafford.

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Oops. You're right. That is Gonzalo Garcia in red. My bad.

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Has anyone been to Swan Lake yet? I would love to hear reports on Reichlen and Bouder.

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Has anyone been to Swan Lake yet? I would love to hear reports on Reichlen and Bouder.

See my separate topic on Swan Lake.

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What are we expecting from Millepied? After seeing some of his previous works and Black Swan who knows what he will come up with!

Maybe a cameo appearance by Natalie Portman? (Hopefully, she will just be in the audience)

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I attended last night's performance. I usually find 2 & 3 Part Inventions a bit tedious. However, last night's cast was so good that I was engrossed by the performance. Particularly, I thought Lauren Lovette was mesmerizing. She is a lyrical, expressive dancer. Chase Finlay was last night's Apollo. I think he is even better this year than last. He is much more confident,and his performance last night did not suffer from the little mistakes that occurred last year. I saw Robbie Fairchild's Apollo last week. I liked it, but I prefer Finlay a little more. There is a youthful exuberance and wildness that is so fresh in Finlay's performance. (By the way, Finlay also did much better in the 3rd Act Pas De Quatre in Swan Lake. Last year he could barely keep up. This year he significantly improved.) Last night was a repeat of Muses Hyltin and Scheller. The new muse in town was Ashley Isaacs. I think she needs a more straighforward approach to the role. There was too much coy smiling at the audience and at Apollo. Tiler and Tyler were breathtaking in Mercurial Maneuvers. There were scattered empty seats throughout the orchestra, first and second rings. The 3rd ring was approximately 25 percent full, and the fourth ring was closed. Not a great turn out for such a wonderful evening of dance.

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