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2012 City Center SeasonOctober 16-20, 2012


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#46 angelica

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Posted 17 July 2012 - 11:44 AM

Does anyone have any idea when the casting will be announced?

#47 nanushka

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Posted 17 July 2012 - 12:00 PM

Does anyone have any idea when the casting will be announced?


Last year it was after tickets went on sale.

#48 angelica

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Posted 17 July 2012 - 12:08 PM


Does anyone have any idea when the casting will be announced?


Last year it was after tickets went on sale.


Thanks, nanushka, I, too, remember that from last year. I just received the fall brochure and it says "Order NOW by phone or online..etc." but of course the casting isn't out. I don't like to order tickets without knowing the casting. But I also want good seats. To me this seems reasonable, not like having your cake and eating it too.

So I'd like to make a request that any BA member who learns casting information please let us know where to find it! Thank you, all.

#49 Drew

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Posted 17 July 2012 - 01:27 PM

The cover letter with that pamphlet reports that the Met season "box office income was the highest in history at $13.3 million, $147,000 over our 2012 goal and $243,000 more than last year."


If this was their best box-office year at Met, then I think we can assume the policy of bringing in a lot of guest artists--even new one-offs like Matvienko--may be seen as paying off...Whether that's a good thing or a bad thing for the company seems to me a rather complex question. There should be no reason they CAN'T produce more first-rate principal-quality artists w. box-office appeal from within the ranks, but the dancers they are bringing in from outside obviously include a number who fit (and help to pay) the bill.

Personally I have fewer problems w. guest artists (underline artists) especially those who dance w. company pretty regularly, than with the Met repertory which I wish could be more varied--and offer some higher quality versions of the Classics...

Re City Center season: not announcing casts before tickets go on sale makes it seem almost as if the company were doing penance (and, worse, making its audience do penance) for the "cast" orientation of its Met season. Hope they don't try it again this year...

#50 abatt

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Posted 17 July 2012 - 01:35 PM

I'm not sure how to interpret the statement that it was their best box office year. They raised prices, and dynamic ticket pricing was applicable to a lot of performances. Based on these factors, they were making more money per ticket sold than in any prior year, but was attendance up too? I'm happy they are making money,and I enjoy seeing all these guest artists. I'm just trying to understand the mathematics, facts and figures on this.

#51 Drew

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Posted 17 July 2012 - 03:49 PM

I'm not sure how to interpret the statement that it was their best box office year. They raised prices, and dynamic ticket pricing was applicable to a lot of performances. Based on these factors, they were making more money per ticket sold than in any prior year, but was attendance up too? I'm happy they are making money,and I enjoy seeing all these guest artists. I'm just trying to understand the mathematics, facts and figures on this.


Yours definitely seems the more sophisticated approach....and one assumes that all the factors are interrelated in some complex mathematical formula that may or may not lead to still more complicated or expensive pricing schemes.

#52 Waelsung

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Posted 17 July 2012 - 08:32 PM

I am also puzzled by the optimism about the sales figures. So they took in more than last year, but what were their expenses? How much did they lose on very poorly attended The Bright Stream and Firebird? How much did they pay Osipova, Vasiliev, Vishneva, Semionova, Cojocaru, et al.? To decide if it was worth it we need to have the whole picture, not just the gross receipts.

As my accountant used to say about a client of his, He lost money on every item but he made it up on the volume :)

Could be the same story with ABT. Hope not.

I would also like to reiterate the plea for any info on casting, as I have never in my life bought a ballet ticket without knowing who will (supposedly) be dancing the parts that were important to me, and I am not going to start now - I'm just too old for that :)

Thanks in advance everybody and best regards from the unbearably hot and humid New York. I wish it were October already :)

#53 aurora

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Posted 17 July 2012 - 08:53 PM

I am also puzzled by the optimism about the sales figures. So they took in more than last year, but what were their expenses? How much did they lose on very poorly attended The Bright Stream and Firebird? How much did they pay Osipova, Vasiliev, Vishneva, Semionova, Cojocaru, et al.? To decide if it was worth it we need to have the whole picture, not just the gross receipts.

As my accountant used to say about a client of his, He lost money on every item but he made it up on the volume Posted Image

Could be the same story with ABT. Hope not.

I would also like to reiterate the plea for any info on casting, as I have never in my life bought a ballet ticket without knowing who will (supposedly) be dancing the parts that were important to me, and I am not going to start now - I'm just too old for that Posted Image

Thanks in advance everybody and best regards from the unbearably hot and humid New York. I wish it were October already Posted Image


I don't know where you get that firebird was poorly attended. True the first performance I saw was the opening night, but it was not poorly attended. I also saw it once during the second run and it was a close to sold out house.

#54 Natalia

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Posted 18 July 2012 - 03:07 AM

My Firebird matinee appeared to have been a sold-out house. The MET was packed to the rafters.

#55 Golden Idol

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Posted 18 July 2012 - 07:24 AM

Ditto the second night of Firebird (the McKenzie tribute) and the following Thursday (the first double-bill w/ The Dream): both heavily attended.

Apropos ABT's income reports: another blog, where rules of civility and common courtesy seem not to apply as they do here, insults "ballet alert" readers for our apparent willingness to accept ABT's version of their financial situation. Very distasteful.

#56 fondoffouettes

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Posted 18 July 2012 - 07:34 AM

Ditto the second night of Firebird (the McKenzie tribute) and the following Thursday (the first double-bill w/ The Dream): both heavily attended.

Apropos ABT's income reports: another blog, where rules of civility and common courtesy seem not to apply as they do here, insults "ballet alert" readers for our apparent willingness to accept ABT's version of their financial situation. Very distasteful.


Golden Idol, I just responded and hopefully showed that we are "alert" enough to thoughtfully interpret ABT's financial reports. I think the blogger may have actually been implying that we ballet alert fans, rather than the larger core ballet audience, may be the ones who are best equipped question and dissect ABT's decision making, etc., but you can read it both ways. I dunno!

#57 abatt

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Posted 18 July 2012 - 08:05 AM

[size=4]I saw tons of empty seats at Bright Stream. Also, the attendance varied greatly depending on the cast. The attendance at the Herrera/Gomes Romeo & Juliet was poor, but the Vishneva/Gomes R&J was packed. [/size]

#58 California

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Posted 18 July 2012 - 08:07 AM

Apropos ABT's income reports: another blog, where rules of civility and common courtesy seem not to apply as they do here, insults "ballet alert" readers for our apparent willingness to accept ABT's version of their financial situation. Very distasteful.

Apparently I was the one who got this discussion going, so I went back to look at what I said.

Given the well-publicized financial woes of NYCB, MCB, and so many other companies. I'd rather see them err on the side of economy in costumes, if needed. The cover letter with that pamphlet reports that the Met season "box office income was the highest in history at $13.3 million, $147,000 over our 2012 goal and $243,000 more than last year." They don't say anything about the overall budget situation, but perhaps we'll hear more later.

I made a point of saying we don't know "anything about the overall budget situation, but perhaps we'll hear more later." At least we weren't getting end-of-fiscal-year pleas to match a $150K gift, as we were repeatedly from NYCB. ABT did exceed their own goal for the Met season, and let's hope they have people keeping track of budget along the way. I don't recall seeing any ABT tickets for sale at the TDF half-price site, although many NYCB performances were listed this spring, and perhaps ABT/the Met has a policy of not using TDF (I don't know). It will be interesting to see the final budget report from ABT, though.

#59 Helene

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Posted 18 July 2012 - 08:13 AM

A gentle reminder to discuss only official blogs -- companies, dancers, established critics -- here, even when we're the subject of other dance blogs ;)

#60 puppytreats

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Posted 18 July 2012 - 10:20 AM

1. I did not receive the recent or prior City Center brochures. I subscribed to the Met season this year and bought Met tickets the year before I subscribed. Who gets the CC brochures?

2. Do the brochures really say tickets are on sale NOW? CC said they are not on sale.

3. Does anyone have info on the Annandale show?


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