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ABT fall season 2014October 22-November 2, 2014


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#46 angelica

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Posted 15 July 2014 - 10:11 AM

Thank you, Bingham. I suppose that they don't actually cast the ballets until they see the dancers in rehearsal for them. Makes sense, I guess, although they cast the spring season many months in advance, I guess to sell subscriptions.



#47 vipa

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Posted 15 July 2014 - 10:38 AM

I don't even see casting for August with all those Swan Lakes.



#48 CTballetfan

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Posted 23 July 2014 - 12:49 PM

I wanted to reply to the queries about where to sit in the Koch Theater. I am a subscriber to NYCBALLET and have sat almost everywhere in the orchestra and first ring. The redesigned theater gives good views from just about everywhere, including the far sides of the orchestra. By accident, when pricier tickets were not available for a performance I took a $29 seat and it was great! Why pay more? I just purchased $39 seats in the orchestra for ABT's fall season and know I will see very well. These tickets are in the rear orchestra. So don't lament the high cost of prime orchestra tickets--you will see well from anywhere in that section. The key is to purchase your tickets as early as you can to give you the most choice.

#49 lafemme

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Posted 04 August 2014 - 02:59 PM

Last year, ABT did offer inexpensive tickets for the extreme sides of the orchestra at the Koch. I can't recall if they were as inexpensive as $29, but they were maybe in the $40-50 range. ABT was happy to have huge swathes of the orchestra section unsold at the Met this summer, all while charging circa $100 at some performances for the extreme sides of the orchestra.They also excluded a ton of dates from their 18-29 club, including every single Swan Lake, and many of these performances didn't sell well. I really can't understand why they don't institute a more nuanced pricing scheme, as you suggest.

 

The $29 tickets at NYCB have been my saving grace. I know its akin to heresy to enjoy a Balanchine ballet from such a skewed perspective, but I've had consistently horrendous experiences in rings 2 and 3. The ushers let in every latecomer no matter when they arrive during a ballet, and they allow them mill around in the aisles for the entire performance or push through the already seated audience members to find their seats. They don't even wait for a pause in the ballet to let people in. The ushering at the Koch seems like such an amateur act compared to the Met, I'm afraid to say. The Met ushers may seem uptight, but they do everything possible to ensure a pleasurable viewing experience. 

 

If anyone has suggestions for seating at the Koch, I'd really appreciate it. I remember having very positive viewing experiences from the upper rings many years ago, when I was able to buy student tickets, but the past four or five times I've gone, it has been a three-ring circus up there (excuse the bad pun) due to lax ushers and incredibly rude audience members. 

I agree completely w/ your comments re: pricing. I have had better seats at the Kennedy Center for under $100, than I have paying $200 at Lincoln Center. Perhaps others have different experiences, but I would not recommend off center ring seats (for which I paid the aforementioned $200!) at Koch Theatre, though I do welcome input from others who have been attending the ballet there for far longer than I have. I preferred orchestra off center, semi close, although I am trying to chose seat specifically by ballet (and dancers) now. You rec the $29 tickets for NYCB? Any other ones? I haven't seen them since I was a child and am looking forward to going whenever possible this year, but I'd like to be economical and save up for ABT next June and whatever the Kennedy Center is offering throughout the year (and perhaps the ballet on trips abroad!).

By the way, I was shocked that the ushers let in a large-ish group of latecomers in to *prime orchestra seats* during applause from the transition between the ending of one song (movement?) and the beginning of another at the Met last month. I think they should have waited for a scene change, at least. The twinkling of flashlights and shuffling of feet and gowns was quite distracting, especially from above. 



#50 nanushka

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Posted 04 August 2014 - 03:50 PM

By the way, I was shocked that the ushers let in a large-ish group of latecomers in to *prime orchestra seats* during applause from the transition between the ending of one song (movement?) and the beginning of another at the Met last month. I think they should have waited for a scene change, at least. The twinkling of flashlights and shuffling of feet and gowns was quite distracting, especially from above. 

 

 

I've never experienced this at the Met; I've always found them to be very strict there, not letting anyone in until intermission (which makes sense, because they have the theater where you can watch a live stream).  But at the Koch, they let people come in and stand around on the edges of the rings, making noise and moving around very disruptively.  When the ushers aren't watching, these people then inevitably go in to their seats, again very disruptively.  I really wish the Koch would reconsider their policy and keep things as strict as the Met.



#51 lafemme

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Posted 04 August 2014 - 05:29 PM

 

By the way, I was shocked that the ushers let in a large-ish group of latecomers in to *prime orchestra seats* during applause from the transition between the ending of one song (movement?) and the beginning of another at the Met last month. I think they should have waited for a scene change, at least. The twinkling of flashlights and shuffling of feet and gowns was quite distracting, especially from above. 

 

 

I've never experienced this at the Met; I've always found them to be very strict there, not letting anyone in until intermission (which makes sense, because they have the theater where you can watch a live stream).  But at the Koch, they let people come in and stand around on the edges of the rings, making noise and moving around very disruptively.  When the ushers aren't watching, these people then inevitably go in to their seats, again very disruptively.  I really wish the Koch would reconsider their policy and keep things as strict as the Met.

 

Oh goodness, I apologize. I am quite under the weather, on a variety of cold medicines, and subsequently in a bit of a haze/fog. I meant the Koch, as I was agreeing with all of you (I haven't been to the Met for some time). Mea Culpa! Yes, an usher or two even guided this group mid scene, whereas I took an acela train and changed at an UWS hair salon in order to be on time; I completely agree that certain rules should be more strictly enforced.



#52 lafemme

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Posted 04 August 2014 - 06:08 PM

Also, any recommendations on what is a must see? Not sure how many days I will be able to take off for a NYC trip (and am prioritizing seeing the Mikhailovsky perform there in Nov), so may only be able to attend one or two nights. I will do my proper research, but would appreciate some advice. I love drama, romance, elegance, excitement, pas de deux, Manon, Swan Lake (I love the Russians). I do not mind what many here may consider "vulgarity." Admittedly not a huge fan of rural villagers dancing together joyously. I could watch the second act of Giselle every night for the rest of my life (and cry every time), while the first act doesn't excite or enthrall me as much. I would like to try to include Raymonda, celebratory villager dances or not. Thanks!



#53 CTballetfan

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Posted 07 August 2014 - 05:23 PM

Casting has just been announced on the ABT website. What do you think?

#54 abatt

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Posted 08 August 2014 - 05:21 AM

I'm surprised Kent isn't doing Lilac Garden, but happy to see that others will get a chance at roles in the ballet. 

 

Also surprised that they are using Hererra for Raymonda, since this is her last season with the company. 

 

Also, they provided casting for Thirteen Diversions when it played at the Met.  Not happy that they now just list the cast as "company".



#55 ABT Fan

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Posted 08 August 2014 - 06:30 AM

I'm glad to see so many corps and young soloists getting good roles.  Yes, it's a surprise Kent isn't doing Lilac Garden.

 

I don't know Raymonda and I know this will be McKenzie's take on it anyway.  But, what is the choreography like?  Technically demanding, lots of petit allegro, pure adagio?  Seo and Murphy are the main casts and they couldn't dance more unalike or have different strengths/weaknesses (this isn't new I know - casting against abilities if this is the case here.)



#56 California

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Posted 08 August 2014 - 06:49 AM

I don't know Raymonda and I know this will be McKenzie's take on it anyway.  But, what is the choreography like?  Technically demanding, lots of petit allegro, pure adagio?  Seo and Murphy are the main casts and they couldn't dance more unalike or have different strengths/weaknesses (this isn't new I know - casting against abilities if this is the case here.)

If you search YouTube for - Raymonda divertissements abt - several things show up. I don't know if this has been altered over the years, though. Here's one clip:


Here's one with Cynthia Gregory, who (along with Martine van Hamel) seemed to fit the role best (which is why it seems a natural for Gillian Murphy).


#57 ABT Fan

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Posted 08 August 2014 - 07:24 AM

Thank you California.  Turns out I DO know this ballet - just long lost in my memory bank I guess.  Gregory's clip I remember quite well.  Murphy will be great in this.  But, Seo?  *Sigh*  Why does McKenzie keep casting her in ballets that are way over her head?  You know who would also be wonderful in this?  Abrera and Lane.  *Sigh*.......again....



#58 abatt

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Posted 08 August 2014 - 07:49 AM

ABT Fan, NYCB has a version of Raymonda (plotless).  Actually, Balanchine uses different portions of  the music in two different ballets - Raymonda Variations and Cortege Hongrois. I believe that both will be performed duirng the 2014-15 NYCB season.  Those ballets are both worth checking out. Cortege has been out of the NYCB rep for a few years, and is finally back. Hoping that Mearns is once again cast as the ballerina lead.



#59 ABT Fan

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Posted 08 August 2014 - 08:02 AM

I saw Helene Alexopoulos dance Cortege many years ago and she was terrific.  I'm glad that ballet is finally coming back.



#60 abatt

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Posted 08 August 2014 - 08:08 AM

Interesting.  Was Helene the classical lead or the Czardas lead?  I think I recall seeing her in the Czardas, maybe with Woetzel.




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