164 replies to this topic

[SimonA]

puppytreats, on 29 June 2012 - 06:13 AM, said:

What is seating like?

From my one visit to the renovated City Center, I'd say avoid the front of the orchestra (particularly rows AA-CC).  You'll be very close and looking up at the stage -- it was fine for Encores! but probably not ideal for ballet.  There appeared to be a decent-ish rake farther back in the orchestra, but I don't remember for sure.  My impression was that the best views were in the grand tier (front of the second section).  I also hear that the balcony sightlines have improved -- at least, in the front balcony -- but didn't investigate myself.

[miliosr]

abatt, on 29 June 2012 - 09:09 AM, said:

I'm not sure how well it will sell, although I'm generally  happy with the rep.  A lot of their stars do not appear at the City Center season, and they have performed In the Upper Room often during the last few City Center seasons.   It makes sense for them to invest in a Ratmansky ballet for the Fall.  They have repeatedly turned to mediocre (or worse) choreographers to create new works for the fall season, and not one of those new works has been good enough to see the light of day in subsequent seasons. That has been a total waste of resources, in my opinion.

Well, this will be the test for the proposition (expounded often on this board) that there is still an audience at ABT for something other than the multi-act story ballets from the 19th century, won't it?  But for the new Ratmansky work, every one of the works on the Fall bill has a long pedigree with ABT and all of them have survived the test of time.  So, if the Fall season doesn't sell, then we know for sure that all ABT's audience wants are story ballets with imported Russians in them.  (At which point, you might as well start calling ABT Russian-American Ballet Theatre.)

[aurora]

miliosr, on 29 June 2012 - 09:53 AM, said:

abatt, on 29 June 2012 - 09:09 AM, said:

I'm not sure how well it will sell, although I'm generally  happy with the rep.  A lot of their stars do not appear at the City Center season, and they have performed In the Upper Room often during the last few City Center seasons.   It makes sense for them to invest in a Ratmansky ballet for the Fall.  They have repeatedly turned to mediocre (or worse) choreographers to create new works for the fall season, and not one of those new works has been good enough to see the light of day in subsequent seasons. That has been a total waste of resources, in my opinion.

Well, this will be the test for the proposition (expounded often on this board) that there is still an audience at ABT for something other than the multi-act story ballets from the 19th century, won't it?  But for the new Ratmansky work, every one of the works on the Fall bill has a long pedigree with ABT and all of them have survived the test of time.  So, if the Fall season doesn't sell, then we know for sure that all ABT's audience wants are story ballets with imported Russians in them.  (At which point, you might as well start calling ABT Russian-American Ballet Theatre.)

I don't think that is totally fair--they have had 2 mixed bills this MET season, both of which I saw, and both of which had pretty good houses for the performances I saw.

The issue is, that the MET is a huge opera house. One of the largest in the world, and it is harder to sell (seemingly) the same number of tickets for a mixed bill as it is Swan Lake. That shouldn't be nearly the same problem at City Center, which is a much smaller house. Of course if it does sell badly, well then...

[miliosr]

aurora, on 29 June 2012 - 10:21 AM, said:

miliosr, on 29 June 2012 - 09:53 AM, said:

abatt, on 29 June 2012 - 09:09 AM, said:

I'm not sure how well it will sell, although I'm generally  happy with the rep.  A lot of their stars do not appear at the City Center season, and they have performed In the Upper Room often during the last few City Center seasons.   It makes sense for them to invest in a Ratmansky ballet for the Fall.  They have repeatedly turned to mediocre (or worse) choreographers to create new works for the fall season, and not one of those new works has been good enough to see the light of day in subsequent seasons. That has been a total waste of resources, in my opinion.

Well, this will be the test for the proposition (expounded often on this board) that there is still an audience at ABT for something other than the multi-act story ballets from the 19th century, won't it?  But for the new Ratmansky work, every one of the works on the Fall bill has a long pedigree with ABT and all of them have survived the test of time.  So, if the Fall season doesn't sell, then we know for sure that all ABT's audience wants are story ballets with imported Russians in them.  (At which point, you might as well start calling ABT Russian-American Ballet Theatre.)

I don't think that is totally fair--they have had 2 mixed bills this MET season, both of which I saw, and both of which had pretty good houses for the performances I saw.

The issue is, that the MET is a huge opera house. One of the largest in the world, and it is harder to sell (seemingly) the same number of tickets for a mixed bill as it is Swan Lake. That shouldn't be nearly the same problem at City Center, which is a much smaller house. Of course if it does sell badly, well then...

Fair enough.  In my defense, I think of one-acters like The Dream and Firebird as belonging to that 19th century tradition because of their supernatural themes and characters, and because they sit more comfortably in very grand houses than works like The Moor's Pavane and Drink To Me Only With Thine Eyes do.

[theo]

Hi,

so I haven't been to City Center for very many years.  Back in the  early 90's I would sit in the front row and I was able to see everything, including feet, despite the fact that I was looking up a little.

This year is a big B'day for me, and my gift to me is to trek up to NY from DC to City Center.   I wanted to do this mostly because City Center is (used to be I guess ) one of those cool more intimate places that you can/ could sit right in front, unobstructed and see feet, faces and every other nuance.  And of course, you get to see some up and coming and/or lower profile dancers perform.  Win, win and win!

So my question is, even though I might be looking up, will I still be able to see the bottom half of the dancers including feet?  I would appreciate it if anybody could shed a bit more light on the seating after renovations.  My concern with the balcony is that I will not be as close as I would love to be.  This is my pure indulgence!

Replies are very much appreciated!

[Kathleen O'Connell]

SimonA, on 29 June 2012 - 09:35 AM, said:

puppytreats, on 29 June 2012 - 06:13 AM, said:

What is seating like?

From my one visit to the renovated City Center, I'd say avoid the front of the orchestra (particularly rows AA-CC).  You'll be very close and looking up at the stage -- it was fine for Encores! but probably not ideal for ballet.  There appeared to be a decent-ish rake farther back in the orchestra, but I don't remember for sure.  My impression was that the best views were in the grand tier (front of the second section).  I also hear that the balcony sightlines have improved -- at least, in the front balcony -- but didn't investigate myself.

City Center seating is better post-renovation than it was before, but still less than ideal. The house is relatively shallow, which means that although you'll be closer to the stage in the grand tier, mezzanine, and balcony than you will be in equivalent seating at the Met, you'll be looking down on the dancing at a steeper angle. It drives me bonkers, but your mileage may vary.  I found that I actually prefer the front mezzanine to the grand tier and the back of the orchestra to the front, but I generally like sitting further back in any house, so again, your personal preferences may make a difference. My view wasn't blocked by any heads the last time I was there -- and pre-renovation I never saw anything at City Center that didn't feature the back of someone's head -- but that may have been a function of my sitting on the aisle.

Note:  in the past, there was always a rush from the mezzanine to the empty seats in the grand tier when the house lights went down.  That's now impossible because of the way the big cross-house aisle between the mezzanine and the grand tier and section barriers have been re-arranged.

[abatt]

The programs have been posted on the ABT website, linked below

http://www.abt.org/c...tdate=10/1/2012

[Classic_Ballet]

just a thought....The Kennedy center season has taken place in late Jan-Feb in the last few years. This year is moved way later, for April, according to the KC website. I was wondering if abt moved it because we will have a surprising winter season at the State Theater in NY
I know is unlikely, but it wd be sooo wonderful !

I think R&J may be back next year again too

[California]

Casting has not been announced on the ABT web site, but the photos in the season brochure that arrived in today's mail might provide some hints of (possible) casts. Of special interest:

Roman Zhurbin in The Moor's Pavane (two photos)
Semionova and Gomes in the Ratmansky premiere (in plain black unitards) (two photos)
Kent and Gomes in The Leaves are Fading
Gomes, Salstein, Matthews in Drink to Me Only With Thine Eyes
Hoven, Radetsky, Ogle in In the Upper Room
Kristi Boone in In the Upper Room
Cornejo in In the Upper Room

[miliosr]

California, on 16 July 2012 - 03:51 PM, said:

Roman Zhurbin in The Moor's Pavane (two photos)

Is Zhurbin in maroon or mustard?  Or both??

[California]

miliosr, on 16 July 2012 - 04:26 PM, said:

California, on 16 July 2012 - 03:51 PM, said:

Roman Zhurbin in The Moor's Pavane (two photos)

Is Zhurbin in maroon or mustard?  Or both??

One has him in maroon velvet with white lace at the ends of sleeves. The other is dark shadows, but the white lace is still visible.

[Natalia]

California, on 16 July 2012 - 03:51 PM, said:

.....Semionova and Gomes in the Ratmansky premiere (in plain black unitards) (two photos)....

I see that ABT is planning to 'break the bank' with luxurious costumes! woo-hoo....

[RUKen]

Natalia, on 17 July 2012 - 04:47 AM, said:

California, on 16 July 2012 - 03:51 PM, said:

.....Semionova and Gomes in the Ratmansky premiere (in plain black unitards) (two photos)....

I see that ABT is planning to 'break the bank' with luxurious costumes! woo-hoo....

Given that this will be a premiere, it is possible that the costumes that shall be worn in the performances were not yet ready for the photo shoot.

[aurora]

Natalia, on 17 July 2012 - 04:47 AM, said:

California, on 16 July 2012 - 03:51 PM, said:

.....Semionova and Gomes in the Ratmansky premiere (in plain black unitards) (two photos)....

I see that ABT is planning to 'break the bank' with luxurious costumes! woo-hoo....

Yep. Like Balanchine and all those worthless leotard ballets... ;)

[California]

aurora, on 17 July 2012 - 05:16 AM, said:

Natalia, on 17 July 2012 - 04:47 AM, said:

California, on 16 July 2012 - 03:51 PM, said:

.....Semionova and Gomes in the Ratmansky premiere (in plain black unitards) (two photos)....

I see that ABT is planning to 'break the bank' with luxurious costumes! woo-hoo....

Yep. Like Balanchine and all those worthless leotard ballets... ;)

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.

Support from governments, foundations, major donors, etc. seems shaky everywhere. I wish it were not, but living with some economies here and there is not a big price for audiences to pay.