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Fall Season at the Koch


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#16 California

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Posted 01 July 2013 - 05:25 AM

Why isn't there any show on Oct 31?  Strange.

I wonder if they figured that they just couldn't compete with Halloween for opening night (after the Gala). They are skipping the Fourth of July at the Met this month, possibly for the same reason.



#17 Dale

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Posted 01 August 2013 - 12:41 PM

Official casting:

 

CASTING ANNOUNCED FOR

AMERICAN BALLET THEATRE’S 2013 FALL SEASON

AT DAVID H. KOCH THEATER

 

Guillaume Côté to Appear as Guest Artist

 

            Casting for American Ballet Theatre’s 2013 Fall Season at the David H. Koch Theater was announced today by Artistic Director Kevin McKenzie. 

The Opening Night Program on Wednesday, October 30 will be highlighted by the World Premiere of Alexei Ratmansky’s The Tempest led by Marcelo Gomes as Prospero, Daniil Simkin as Ariel, and Herman Cornejo as Caliban. Cory Stearns, Gabe Stone Shayer and James Whiteside will debut in the roles at the Sunday matinee, November 3 performance. The ballet, set in one act, will be performed to music written for the Shakespeare play by Jean Sibelius. Adapted from William Shakespeare’s play The Tempest, the ballet features sets and costumes by Santo Loquasto and lighting by Robert Wierzel. Tony-Award winning director Mark Lamos will serve at the production’s dramaturg.

The Opening Night Gala will also include a new production of George Balanchine’s Theme and Variations danced by Gillian Murphy and James Whiteside, making his debut with ABT in the role. Polina Semionova will debut in the ballet’s leading role opposite Cory Stearns on Saturday evening, November 2. This new production, set to music by Peter Ilyitch Tchiakovsky, features new costumes by Zach Brown, with lighting by David K.H. Elliott.

American Ballet Theatre’s Revival Premiere of Twyla Tharp’s Bach Partita, set for Friday evening November 1, features debuts by Polina Semionova, Gillian Murphy, Stella Abrera, James Whiteside, Marcelo Gomes and Calvin Royal. On Tuesday, November 5, Veronika Part, Paloma Herrera, Isabella Boylston, Jared Matthews, Joseph Gorak and Craig Salstein will debut in the principal roles. Staged by Susan Jones, Bach Partita is set to Johann Sebastian Bach's Partita No. 2 in D minor for solo violin and features costumes by Santo Loquasto and lighting by Jennifer Tipton. Bach Partita was created for ABT in 1983 and was last performed by the Company in 1985.

Michel Fokine’s Les Sylphides will be given its Revival Premiere on Friday, November 1 with Hee Seo, Isabella Boylston and Sarah Lane making their debuts in leading roles. Cory Stearns and Polina Semionova will debut in the leading roles, alongside Veronika Part and Melanie Hamrick, at the matinee on Saturday, November 2. Set to music by Frédéric Chopin, Les Sylphides, a one act plotless work, was given its Company Premiere at Ballet Theatre's inaugural performance on January 11, 1940 at the Center Theatre in New York City. The ballet received its first performance at the Maryinsky Theatre, St. Petersburg on March 8, 1908. Les Sylphides, which features scenery by Alexandre Benois and lighting by David K.H. Elliott, was last performed by ABT in 2005.

 

The Revival Premiere of Stanton Welch’s Clear will be given at the matinee on Saturday, November 2 featuring Julie Kent and Marcelo Gomes in the leading roles. Sascha Radetsky will debut opposite Paloma Herrera at the evening performance. Clear was created for ABT in 2001 and was last performed in 2007. The ballet is set to Bach violin concertos with costumes by Michael Kors for Céline and lighting by Lisa Pinkham.

 

Other casting highlights include Julie Kent as Natalia Petrovna and Guest Artist Guillaume Côté, a Principal Dancer with The National Ballet of Canada, as Beliaev in Sir Frederick Ashton’s A Month in the County on Thursday, November 7.  Xiomara Reyes and Cory Stearns will debut in these roles at the evening performance, Saturday November 9.

Tickets for American Ballet Theatre’s 2013 David H. Koch Theater season, beginning at $20, are available online, at the Koch box office or by phone at 212-496-0600. Performance-only tickets for the Opening Night Gala begin at $20.  The David H. Koch Theater is located at Lincoln Center, Broadway and 63rd Street in New York City.  For more information, visit ABT’s website at www.abt.org.

 

American Airlines is the Official Airline of American Ballet Theatre. Northern Trust is the Leading Corporate Sponsor of the Jacqueline Kennedy Onassis School at American Ballet Theatre. ABT is supported, in part, with public funds from the National Endowment for the Arts; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council. 

David H. Koch is the Lead Underwriter of The Tempest. This production is generously supported through an endowed gift from The Toni and Martin Sosnoff New Works Fund. Arlene and Harvey Blau and an anonymous donor are Leading Sponsors. Mary Jo and Ted Shen are Sponsors. Additional support has also been generously provided by Michael and Sue Steinberg. 

David H. Koch is the Lead Underwriter of Piano Concerto #1. This production is generously supported through an endowed gift from The Toni and Martin Sosnoff New Works Fund. The Susan and Leonard Feinstein Foundation is the Premier Sponsor, and Linda Allard is the Premier Sponsor of costumes for this production. Mary Jo and Ted Shen, Mrs. Marjorie S. Isaac, and an anonymous donor are Leading Sponsors. Edward and Caroline Hyman, Charlotte and Macdonald Mathey, Michele and Steven Pesner, and Michael and Sue Steinberg are Sponsors. Additional support has also been generously provided by Mr. and Mrs. Hamilton E. James, Andrew J. Martin-Weber, and Howard S. Paley. This production has been made possible with public funds from the National Endowment for the Arts. 

Piano Concerto #1 is co-commissioned by American Ballet Theatre and San Francisco Ballet. 

Bach Partita is made possible by the generous support of the JCT Foundation and Leading Underwriters Patsy and Jeff Tarr. 

Clear is generously supported through an endowed gift from Cosby W. and Timothy M. George. Support for this production is generously provided by The Carl and Marsha Hewitt Foundation.

Les Sylphides has been made possible with public funds from the National Endowment for the Arts. Costumes for Les Sylphides are generously sponsored through the Ellen Everett Kimiatek Costume Preservation Trust. 

ABT gratefully thanks Beverly D'Anne for her generous support of the Company's 2013 performances of A Month in the Country.

 

ABT gratefully acknowledges Mr. and Mrs. John C. Sites, Jr. for their generous support of Theme and Variations through both an endowed gift and an additional special Leading Sponsor gift for costumes in 2013. Cindy and Chip Murphy are also Leading Sponsors of Theme and Variations. Additional support has been provided by the Lawrence E. Deutsch Foundation.



#18 Dale

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Posted 01 August 2013 - 12:44 PM

Let's see if this casting grid comes out.

Attached Files



#19 ABT Fan

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Posted 01 August 2013 - 01:30 PM

Thanks Dale for posting this.  It's still not on ABT's website.

 

Lane isn't doing a Theme/Variations?!



#20 abatt

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Posted 01 August 2013 - 01:48 PM

I thought for sure they would give Lane a T&V since she's done the role before.  Whiteside is picking up an impressive array of roles.  I recall Fang being lovely in Sylphides, but evidently she is not cast in that ballet.

 

Thanks for the casting info Dale.



#21 nysusan

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Posted 01 August 2013 - 02:08 PM

Its also disapointing to see that Abrera hasn't been given a Sylphides, she was breathtaking the last time they did it



#22 vipa

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Posted 01 August 2013 - 05:44 PM

Thanks Dale for posting this.  It's still not on ABT's website.

 

Lane isn't doing a Theme/Variations?!

 Lane had done it with Cornejo in the past.  My guess is since he isn't doing it, she isn't doing it.  Too bad she was good it T&V, better than most.  



#23 California

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Posted 02 August 2013 - 01:40 AM

The casting has now appeared on the ABT web site: http://www.abt.org/c...tdate=11/1/2013

#24 meunier fan

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Posted 02 August 2013 - 03:41 AM

I wondered if the casting of Cote in MONTH was in an exchange programme between NBoC and ABT as occurred  this past summer between the RDB/RB and ABT?  That would be a good thing I agree.  Otherwise, I wondered why this would be happening just now as surely there are a goodly number of young ABT dancers for whom this role would be ideal.  



#25 Drew

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Posted 02 August 2013 - 10:23 AM

I wondered if the casting of Cote in MONTH was in an exchange programme between NBoC and ABT as occurred  this past summer between the RDB/RB and ABT?  That would be a good thing I agree.  Otherwise, I wondered why this would be happening just now as surely there are a goodly number of young ABT dancers for whom this role would be ideal.  

 

Maybe, but I''m not sure about a "goodly" number--it's a role created on one of the world's greatest male dancers and very hard to do right...I missed the spring revival at ABT (would have loved to see Hallberg) but a few years ago did see the Royal's revival with Cope and Pennefeather in the role and neither came close in my opinion, though Cope's partnering skills were on display. (The trickiness of the partnering is another issue as well. I'm plenty nervous about Stearns in the role and he at least has elegant proportions as Dowell did.)



#26 abatt

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Posted 02 August 2013 - 10:56 AM

 (The trickiness of the partnering is another issue as well. I'm plenty nervous about Stearns in the role and he at least has elegant proportions as Dowell did.)

 

I 'm plenty nervous about whether Stearns can execute the extremely difficult choreography in T&V. 



#27 meunier fan

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Posted 02 August 2013 - 02:56 PM

 

I wondered if the casting of Cote in MONTH was in an exchange programme between NBoC and ABT as occurred  this past summer between the RDB/RB and ABT?  That would be a good thing I agree.  Otherwise, I wondered why this would be happening just now as surely there are a goodly number of young ABT dancers for whom this role would be ideal.  

 

Maybe, but I''m not sure about a "goodly" number--it's a role created on one of the world's greatest male dancers and very hard to do right...I missed the spring revival at ABT (would have loved to see Hallberg) but a few years ago did see the Royal's revival with Cope and Pennefeather in the role and neither came close in my opinion, though Cope's partnering skills were on display. (The trickiness of the partnering is another issue as well. I'm plenty nervous about Stearns in the role and he at least has elegant proportions as Dowell did.)

 

 

Thank you, Drew, for your kind response.  I would have thought someone like Joseph Gorak might be just the ticket.  I say that only from what I've read, of course.  Sadly I've never seen him live.  However, David Hallberg says that he sees much of himself in Gorak ... so that, among other things, made me think .... hmmmm.  

 

If McKenzie REALLY wanted to bring in a (star) dancer from outside for the role who could easily tick all the boxes I think Sarafanov would be miraculous in it ... and would be oh, so very musical which, of course, Dowell was.  The last time I saw Dowell in the role was at Sibley's farewell when they danced together for one last time.  It was naturally a very memorable evening.  



#28 Drew

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Posted 02 August 2013 - 04:31 PM

 

 

I wondered if the casting of Cote in MONTH was in an exchange programme between NBoC and ABT as occurred  this past summer between the RDB/RB and ABT?  That would be a good thing I agree.  Otherwise, I wondered why this would be happening just now as surely there are a goodly number of young ABT dancers for whom this role would be ideal.  

 

Maybe, but I''m not sure about a "goodly" number--it's a role created on one of the world's greatest male dancers and very hard to do right...I missed the spring revival at ABT (would have loved to see Hallberg) but a few years ago did see the Royal's revival with Cope and Pennefeather in the role and neither came close in my opinion, though Cope's partnering skills were on display. (The trickiness of the partnering is another issue as well. I'm plenty nervous about Stearns in the role and he at least has elegant proportions as Dowell did.)

 

 

Thank you, Drew, for your kind response.  I would have thought someone like Joseph Gorak might be just the ticket.  I say that only from what I've read, of course.  Sadly I've never seen him live.  However, David Hallberg says that he sees much of himself in Gorak ... so that, among other things, made me think .... hmmmm.  

 

If McKenzie REALLY wanted to bring in a (star) dancer from outside for the role who could easily tick all the boxes I think Sarafanov would be miraculous in it ... and would be oh, so very musical which, of course, Dowell was.  The last time I saw Dowell in the role was at Sibley's farewell when they danced together for one last time.  It was naturally a very memorable evening.  

 

 

How fortunate you were to have seen Sibley's farewell--wow!  (I haven't seen Gorak yet either, but he sounds promising...)

 

For the first time in many years I plan on coming up to New York for the ABT Fall season and, in case any ABT marketing/programming people are reading this, it was also the first time in many years I bought my tickets before casts were announced and thus based entirely on repertory (Ashton, Balanchine, Tharp and 2 Ratmanksy in a single weekend including a premier) ...  I have to admit that my comfort with the State Theater also played a role in my decision.  But I wasn't unhappy to learn I would be seeing Côte with Kent.

 

P.S. Comfort w. the State Theater obviously does not include its new name...



#29 Kristen

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Posted 03 August 2013 - 10:38 AM

I only rarely go to NY for the fall season and was thinking of going - happy that they've moved to the "New York State Theatre" (I refuse to use the new name) since I'm not fond of ballet at City Center.  However, once I discovered that the first weekend in November is also the weekend of the New York City marathon, I had to rethink the plan - cold weather AND ridiculous hotel prices may be too much for me to swallow.



#30 California

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Posted 28 August 2013 - 10:02 AM

It appears that we'll get a little bonus treat at the Fall 2013 performances of Les Sylphides, viz., Britten's orchestration of the score, which has apparently just been located. I'm wondering if this might also bring in a few music lovers to those performances. 

 

http://www.nytimes.c...wanted=all&_r=0

 

Now Ballet Theater is waiting for Britten experts to weigh in on the rediscovered score. If it is deemed to be Britten’s — as some who have seen it say appears likely, though not every link in the chain of custody is strong — Ballet Theater plans to use it when the company brings “Les Sylphides” to the David H. Koch Theater this fall, reviving it just in time for Britten’s centenary season.

 

“We’re very excited,” said Richard Jarman, the general director of the Britten-Pears Foundation, which will examine the score and has offered to recreate any missing parts for Ballet Theater’s orchestra from the recently found conductor’s score. “We just published a catalog of Britten’s works, and ‘Sylphides’ is mentioned as missing. If we can restore this work, I think it would be great.”




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