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Everything posted by NinaFan

  1. Yes, late seating could be a real issue on opening night. Can you imagine all of the disruption in the theater? And the dancers would likely hear at least some of the commotion. I think the only way to avoid latecomers is to actually change the opening night start time to 8:00PM. If not, then some people may miss at least some of the first act. That's a good idea about assuming all evenings start at 7:30PM. It's better to be early than miss the first act!
  2. Thanks for posting. My ticket for the 13th--the first performance I'm attending--does says 7:30. I bought the tickets shortly after they went on sale I hope the Koch theater is looking into this and, if the mistake isn't just some bizarre one-off, trying to track people down (addresses from credit cards; emails from website registrations etc.) to send them the correct information. You’re welcome Drew and Barbara. And Drew, if my conversation with a very condescending and rude woman at the Koch is anything to go by, then they are not tracking down ticket holders to let them know about the error. When I called the Koch, I asked if the 8:00PM time on my Tuesday, November 11 Giselle tickets for the Mikhailovsky Ballet were correct, or was the 7:30PM time posted on the Koch website the correct time. The agent said, “Well, this is the home of the New York City Ballet”. I said, “Yes, I know”. She then went on to say that “NYCB performs at 8:00PM on Friday and Saturday nights, but 7:30PM the rest of the week”. I said “I know. I am a NYCB guild member as well as a subscriber, but I am asking about the Mikhailovsky Ballet, not City Ballet”. Next she says, “The Mikhailovsky has chosen to perform at 7:30PM all nights, except on Saturday night when they’re performing at 8:00PM”. I said “Okay, but my tickets are not for Saturday night and they say 8:00PM”. She then asked “Where did you buy your tickets”? I said “Directly from the Koch box office”. She said, “Well, the performance is at 7:30PM”. I said, “I could have easily arrived at the theater in time for an 8:00PM performance. The only reason I noticed the discrepancy was because I was looking at your website and happened to see 7:30PM. I’m sure I am not the only one with tickets that say 8:00PM. The theater should be aware that other patrons may also have 8:00PM printed on their tickets. And perhaps the theater should try to reach out to other ticket holders as well as putting up notices in case someone is holding tickets with the wrong time”. Her response was “Make a note for yourself that it is really 7:30PM and don’t worry about other people”. This was the first time I've had a bad experience with an agent at the State/Koch Theater. They’re usually very friendly and always try to be helpful. This one had me fuming for several hours.
  3. Does anyone else have 8:00PM printed on their November 11, 2014 Giselle tickets? I just discovered that the time is incorrect on my tickets. It should be 7:30PM. I bought the tickets in May. My tickets say 8:00PM, but the Koch website says 7:30PM. I just called the Box Office and the correct time is 7:30!
  4. I'm just curious. Do you remember what exactly he did? Obviously, I can't answer this for Ilya, but for my two cents I was also a little unsure of his performance Wednesday night. It was fun, but for the first time ever I thought, "Wow, maybe you can overdo Don Quixote." I thought his gestures with the cloak were a little much, like he had been tangled in a sheet and was trying to get out of it. I was also at Wednesday night’s Don Q. I didn’t think Rodkin overdid it with the cape, nor did I see him get tangled in it. He was sensational! It was all done with skill and style. Jared Matthews (who I have seen as Espada many times) gave a similar execution with his cape during one of his final performances with ABT, and it was equally fun to watch.
  5. Yes, I agree about Vinogradova! I can't wait to see her on Saturday! Thank you for posting!
  6. Whew! Thank you YID and ina!! I was so confused! I had hoped to see Lobukhin as Spartacus, but I didn’t want to wait for casting to be announced before buying my tickets. At least I was lucky enough to see Lobukhin as Basillio. I loved Rodkin as the Evil Genius and Espada so I am hoping his Spartacus is exciting. Of course the role of Spartacus is in another league. Fingers crossed!
  7. I went to the Wednesday night Don Q and thought it was a terrific performance. I agree about much of what has been previously said about the performance. Kretova and Lobukhin had great chemistry, as did Espada and Mercedes. I thought Rodkin was a particularly thrilling Espada. I also loved his Evil Genius in Swan Lake. But why was Rodkin missing from the last act? The dancer playing Espada in Act III and at the curtain calls was definitely not Rodkin. The woman next to us noticed the change as well. I hope he is okay as I am really looking forward to his Spartacus on Saturday night.
  8. Yes, those must be the people who bought their 3 packs on the phone or internet, where you were required to buy each of the 3 ballets. In contrast, if you went to the box office, you could buy any combo of 3 ballet tickets,thereby bypassing Spartacus tickets. I'm actually happy that the Royal Ballet tour next season seems to have nothing to do with Lincoln Center Festival, because the sale of the Festival tickets was done in a very poor and uneven manner. --------------------------------------------------------------------------------------------------------------------- Sorry, I am having trouble with the quote function. Below are my comments: How nuts that people actually want to bypass Spartacus! I’ve only seen it once in it’s entirely, and I’ve been looking forward to it even more than the other ballets. How interesting that the box office kept changing their rules. I bought my package of three performances in person at the Avery Fisher Box Office, and they were very clear that I had to buy each of the three ballets with the exact number of tickets for each performance. I agree that the sale of Festival tickets were sold in a poor and uneven manner.
  9. LaFosse had already been a principal at NYCB for several years before performing in Jerome Robbin's Broadway.
  10. Another one to add to the list of ABT dancers on Broadway: John Selya (formerly of ABT) was also on Broadway in Movin' Out. In addition to MB Swan Lake, Keith Roberts starred in Movin' Out. I can't wait for "On the Town" and "An American in Paris"!
  11. abatt, I had the same experience as Daniel. The site will not display the seats if I am logged in, but does display them when I am not logged in. You may want to consider trying another browser. Sometimes I have to switch browsers if a web page does not load correctly on a website. And sometimes it is as simple as not realizing that I blocked a cookie, which will often cause a page not to load correctly. If that does not work, then calling the box office may be your best bet to request specific seats.
  12. Cristian, just a reminder: it was Vishneva who cancelled that time. Osipova danced (as Gamzatti) as planned that time. That's correct Birdsall, it was Vishneva who was injured for Bayadere. Perhaps cubanmiamiboy is thinking of the following week, when Osipova was injured and was replaced by Bolyston in Bright Stream.
  13. Oh nooooo! I am so sorry to hear that Natalia is injured. Do you know what is going on with her Saturday night Sylvia? ABT's performance calendar has replaced her with Reyes on Thursday, but as of now, they still Osipova dancing on Saturday night. Thank you!
  14. Unfortunately, everything you said was true---I was appalled. I would take it a step further and question what he has to offer as a member of the Company. What a shame it is that you are unable to see what Vasiliev has to offer as a member of the company. I cannot get enough of him. I confess that I haven’t seen his purple Rothbart, but I have seen him dance in Bright Stream, La Bayadere, Don Q, and Le Corsaire (both as Ali and Conrad). Perhaps he was miscast as purple Rothbart. If so, it will not be the first or the last time that a dancer is miscast. Or perhaps he needs to grow into the role. Or maybe he is just not your cup of tea. To be quite honest (and in my opinion of course), I have never seen a memorable or electrifying purple Rothbart until Gomes came along. He owns the role, and as always, sparkled once again on Monday night. Since Vasiliev will be moving to London with Osipova, I worry that he will join a European company, and that I will no longer have the opportunity to see him dance with ABT. But I hope I am wrong, and that I will continue to have the pleasure of watching him dance in NY for many years to come.
  15. Assuming that you live in the nyc/tri state area - I would see the Le Corsaire Matinee on June 8 (In my opinion - this is a marvelous cast). Then when September rolls around, you can see NYCB during their 4 Week Season. Yes, Corsaire is silly, but it is a lot of fun. And it is jam packed with great dancing. You will get another shot at NYCB in just a few months, but ABT will not be doing the full length ballets again until next May.
  16. As California has mentioned, NYCB increased their pointe shoe prices. The prices increased well over a year ago. To boot, they only display a handful of shoes at each performance (and as in the past, they very rarely have ribbons). However, several times I have asked the sales person for specific dancer’s shoes which were not on display. They will usually check during the next act, and if they have them, they will bring them to the gift counter at the next intermission.
  17. I second that Paul! I was so excited to hear that Daniil was promoted to Principal. I screamed with joy when I heard the news. I rarely miss any of his performances in New York. I consider him to be one of the most exciting dancers to have come along in years! He is emerging into a fine dance actor as well. Bravo ABT!
  18. Sounds like perhaps a partial-view seat. There are many of those at the Met---many more than the management would officially admit. Osipova was certainly always "in the frame" (unlike in "Bayadere" where she did finish a variation inside the wing). She was very clearly visible throughout the opening of the balcony scene, "felt the moon" on her face---it was actually a very beautiful moment, and the passion between her and Hallberg was quite obvious from seat E12 in the orchestra. As a practical matter, it's difficult to see what else they could have done. The audience just wouldn't leave for the intermission and wouldn't stop clapping. For a very, very, very long time. This was very unusual for ABT. I think their coming out for a bow was the only reasonable solution. I hope I am pasting the quotes above correctly - please excuse me if they have not pasted properly My comments: Osipova/Hallberg’s Romeo and Juliet: While most members on Ballet Alert seemed to love the performance, I was quite surprised to read the negative comments such as “over the top” with regard to Osipova. I was at Monday night’s performance and thought it was spectacular, and in a class by itself. I have seen many of the world's greatest ballerinas dance Juliet, many of which have simply blown me away. I expected a lot from Osipova, but once again, she surpassed all expectations. WOW! I can't even begin to describe it, except to say, that both dancers were truly committed and believable. Natasha was so in the role that my entire heart simply ached, and I had to keep from crying. The audience was so engrossed, that you could hear a pin drop. The connection between this pair of dancers is very special, even down to David’s gentle kiss on Natasha’s forehead during the final curtain calls. As far as the curtain call at the first intermission…that was brought on by the insistence of the audience. The dancers had no choice but to finally come out. The lights were on, and the audience demanded to show their appreciation. It may not be the custom, but I think it is unfair to pick on ABT for allowing it. The curtain was down, the house lights on, and they took a curtain call at the intermission. On to the comment about Osipova’s face in the moonlight. I saw her face very clearly from my orchestra seat. I always make it a point of sitting on the left side of the orchestra for Romeo and Juliet so that I am sure to see the balcony scene clearly. Monday night was no exception. Osipova was not in the shadows. To quote Ilya: “She was very clearly visible throughout the opening of the balcony scene, "felt the moon" on her face”
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