nysusan

Last night's Apollo was much better all around (despite the continual problems with the Starburst). Part toned down the flirtatiousness, especially at the beginning. She still smiled a lot in the pas de deux but on Thursday her smile seemed to radiate the pure joy of dancing, rather than the overkill I felt the first time. And her dancing is glorious! Wiles danced with much more energy and attack & Hallberg continues to grow in the role. I think I liked his emphasis of the staccato phrasing, but agree with Carbro that he should rethink his makeup. I do hope they keep this in the rep for awhile. A friend of mine caught the Beloserkovsky/Dvorovenko cast and said that he really enjoyed it, he said she was quite restrained. Did anyone here see it?

Also thought Dvorovenko & Sarah Lane were both wonderful in Jeu. Dvorovenko was lovably zany, Lane's dancing was so pure it was breathtaking. I do think that ABT is doing the right thing by bringing her along slowly. As others have mentioned there are many outstanding young women in the corps who have been given chances at soloist roles in the past few seasons, I'll add Kristi Boone & Misty Copeland to those already mentioned. I hope they will all continue to get chances and look forward to seeing them this season in roles like Giselle's peasant pas de deux, Moyna, Zulma , Swan Lake pas de trois, ect. The temptation to fast track Lane must be especially fierce because a tiny, perfectly classical ballerina would be a great partner for Cornejo, but I really hope they don't rush her. It's different at NYCB where a talented kid like Scheller can get a crack at Tchai Pas or Peck and Hyltin in Bizet or Friandises. These may be principal roles but the whole evening doesn't depend on them (Mearns SL being the exception). Full length ballets make up the bulk of ABT's schedule, and lead parts in them can lay very heavy on the shoulders of an inexperienced dancer, no matter how talented. They only do 1 or 2 mixed rep programs in the summer and most of the soloist roles will naturally go to soloists!

By the way - sz - don't the 7 months between Sarah's appearances in Upper Room and Jeu conform to the time lag between ABT's two annual NY seasons? Ditto for the 5 months between her T&V at the beginning of last year's summer season and Upper Room at the end of their October City Center season. It's not like ABT performs continuously - though I don't know if she had any featured roles on their tours. We all want to see more of our favorites and it's fun to root for them (I know I gripe enough about Part) but let's give management a break once in awhile. I think they're bringing Lane along nicely!

I forgot to mention one strange thing that occurred to me about all of the ABT Apollos I just saw. One of my favorite moments is the starburst image and I don’t think they did it well. I was sitting in the side arms for all 3 performances so it could have been due to the seats, but I doubt it. I was on the right (odd numbered ) side the first 2 times and I know that’s not the best angle for a good view of the starburst but I sat on the left side for the last performance and the visual still didn’t cut it.

I have a center seat for Thursday so if they’re doing it properly I should be able to see the full effect. Did anyone else notice this, or was it just my angle that distorted the image?

I agree that Hallberg”s Apollo has room to grow, in time I’m sure he’ll show the transitions more clearly. Still, I thought it was an auspicious debut, already better than many current interpreters. I loved the sense of wonder he conveyed during his early interactions with the muses, his growing sense of his own power. And his line is so gorgeous, he shows the choreography really well. Some of his dances with the muses had a very archaic look, he emphasized the 2 dimensionality more than I’m used to seeing.

Let me say up front that I have a problem with ABT’s approach to the muses - with the exception of the Herrera/Wiles/Ricetto cast they are way too smiley/flirty/simpery for me. Since this is obvious with most of the casts I have to believe that they were coached this way, or at least not discouraged from it. While I wouldn’t go so far as to say that she was morphing into Dvorovenko (or even Kent), Part was too effusive for my taste. However, if you could tear your eyes away from her beautiful smile & flirty eyes, her dancing was gorgeous. She has thinned down noticeably, but her dancing is still so plush & expansive. That first developee when they start the pdd is stunning. FYI, she was head to head with Wiles a lot in this and it seems to me that they are the same exact height, and at this point Part looks a little thinner than Wiles. I can see no reason anymore why she isn’t cast in all the ballerina roles & promoted to principal already. It is ridiculous that she is still kept at the soloist level...

I also caught the Carreno/Kent/Murphy/Ricetto cast on Friday night. I think Carreno is another dancer who’s perfectly suited to the role of Apollo, so it bothers me that I don’t think he’s particularly good at it. There’s nothing obviously wrong with his interpretation, I just don’t find it particularly engaging or revealing. I do love Murphy’s Polyhymnia, I wish she had been cast with Hallberg in place of Wiles, who danced in both Saturday performances and seemed a bit subdued.

Like Richard53dog, I was lured to the Saturday night Apollo by Acosta & Herrera’s pdd on opening night. Acosta showed much more of a wild man approach in the full length work. One moment in particular when he was driving the muses in the chariot he seemed almost intoxicated by power. His maturation process was learning to rein it in, and while I felt his characterization in the full length Apollo wasn’t quite as complete as his pdd I found it very satisfying and dramatically coherent. He was a charismatic and commanding god, and he showed the transitions very well. I liked Hererra so much, I think I have to say that she is my favorite ABT Terpischore.

Jeu de Cartes was fun, but it is definitely a novelty. One that I could see a few times, but nothing that’s going to draw me to the opera house. It’s so slapstick that this is one case where I think the broader interpretations are the best. In the Queen of Hearts on Friday night Irina finally found a role that suits her as well as Kitri. Bocca was the most over-the-top joker, but Salstein & Cornejo were great, too. Truly, all the casts did well in this - it lends itself to many interpretations.

Petrushka has really grown on me, I could barely tolerate it last season but I’ve stayed for it at all 3 performances this weekend, and I enjoyed each one. I was very lucky to get Freddy Franklin’s malevolent charlatan and Part’s glowing chief nursemaid twice (though Bystrova was also charming at the matinee). I think I’ve seen ABT’s complete roster of male principals in the title role, and am very surprised that I found Radetsky the most touching. He was the one that really brought the pathos out for me. I think beck_hen hit it on the head with her observation that Radetsky emphasized the emotion and the contrast between his humanity and the uncomprehending superficiality of the other puppets. He really etched all the details very finely. I felt Petrushka’s thought process and motivations much more clearly in his performance than in any of the others. I think it was a milestone performance for him.

Me too on the Pavlenko/Kolb/Tereshkina cast. I always think of Pavlenko as one of my 2 or 3 favorite dancers but, in truth - I've only seen her dance once. I saw her O/O in DC a couple years ago and I was amazed. She has wonderful technque but it was her artistry that blew me away. She is the real deal and I can't wait for her Giselle!

I thought Gomes & Sylve looked really good together in the YAGP gala.

And an opportunity to present the company (i.e. corps) again, as was the opening Dance of the Villagers from Giselle. Very fitting.

Good point, I hadn't thought of it that way

drb, you and I are on exactly the same wavelength regarding last night's performances of Other Dances and Apollo... Kent & Corella each took their own approach to Other Dances - which, of course is the only way they could approach it. I guess they both succeeded on their own terms, but not for me. As you and others have said, she was ethereal & dreamlike, he technically brilliant and charming. But it all seemed so wrong to me. In fact, the only moment that struck me right was the last image, as he lifted her up onto his shoulder and her skirt covered his face. She laughed, and deliberately removed it. That was the one and only instant in Kent's performance that looked spontaneous to me. II agree that this piece is so dancer specific that it just doesn't look right to me without the "Russianness" & personality quirks of it's original interpreters. I remember having the same feeling when Ferri & Corella danced it at a gala a few years ago, too.

Ever since ABT announced their intention to revive Apollo I've been so focused on seeing Hallberg in the role that I didn't even think about the possibilities in an Acosta Apollo. WOW. He was nothing like what I thought he'd be. I would have expected much more of a wild child approach from him, but I thought there was just the right edge of wildness coupled with the kind of weight and dramatic development one would hope for. I saw exactly the qualities that drb described - refinement & subtlety combined with power and charisma. And while Hererra is no Farrell, I think this is one of her better roles. Yes, she has gorgeous legs and she presents the choreography complete & anadorned, letting it speak for itself.

I will also second Faux Pas' appreciation of Dvorovenko's fouettes. It is a pet peeve of mine - when ballerinas throw in triples but travel all over the stage. Dvorovenko ended with a triple but the rest were clean,fast singles executed on a dime.

My only complaint about the programming is that they should have switched the placement of the Sylvia & Corsaire suites. Sylvia is a lovely ballet but the excerpt was pretty anti climatic. Corsaire, on the other hand was what the audience came for!

Re: Evenfall - I also think Wheldon very deliberately used the shape of the tutu as an element in the choreography and as almost an extension of the ballerinas’ bodies (in the parts for the corps). He combined the circular shape of the tutu with the dancer’s bodies to create new geometric shapes & lines. Definitely a new definition of a tutu ballet, when the tutu becomes part of the choreography. Also the representation of separation and loss without relying on sentimentality or melodrama was refreshing. I’m not sure if I absolutely loved it or just really liked it, so I must see it again.

Unfortunately that will probably mean seeing the Red Violin again, too. I know exactly how I feel about that one. Martin’s ballets always strike me as way too long. Last season I recall thinking that Tala Gaisma would have been a pretty interesting piece if it were half its actual length. I think I feel the same way about Red Violin. It starts out ok, but then just goes on and on. Other people have mentioned that he doesn’t develop an idea, and that makes sense to me. Unlike everyone else I didn’t really like In Vento, it just seemed really dark and angst ridden to me. But at least it was interesting, even engrossing. Despite wonderful dancing the new Martins put me to sleep.

I also saw Mearns in Midsummer & agree with Dale – she seemed a bit tentative at first but was really lovely in the Lullaby & Bottom scenes. All she needs is a stronger sense of grandeur to be a great Titania

... Thank God for the film of Maximova. ..

Is there an actual film out there of her in the full length Giselle?

Leonid, thank you so much for sharing your memories of Fonteyn’s Giselle. I saw her & Nureyev in it once, in the sixties, but it was so long ago and I was so young I really don’t remember many details - just how poignant and heartbreaking she was and how passionate he was. I recall that when we went to see F&N in Romeo & Juliet my grandmother explained that despite Juliet’s youth an older actress was often able to portray her better than a young one. I think this is also true of Fonteyn’s Giselle. Your description of her playing every moment truthfully jogged some fragment of my memory, she really did seem to live the role onstage in her complete melding of dancing and acting. It sounds so simple and obvious, but it’s a very rare quality.

And I also loved Nagy in Giselle, and in everything else he danced

Performances begin tonight in Orange County. Any other Ballet Talkers going?

Some very interesting debuts to look forward to this week, particularly for David Hallberg - he opens the run tonight as Apollo, and closes the run with his debut as Aminta in Ashton's Sylvia. Also, the company premiere of Cranko's Jeu de Cartes is tonight. I'm looking forward to this mixed rep, as well as to seeing Gillian Murphy in Sylvia on Friday; having see the Royal Ballet broadcast of this production, I think the role will fit her like a glove. Also excited because ABT's performances will end So Cal's several-months long ballet drought!

I'm soooo jealous of you, getting to see Hallberg's debut as Apollo. I've been waiting for this since they first announced the revival for last year's City Center season! I can barely wait for their NY season to start so, please report.

You are right about Sylvia fitting Murphy like a glove, she's wonderful in it. Enjoy!

Susan

and the Vishneva/Lopatkina cast of Sleeping Beauty performed twice at every venue on that tour.

nysusan,

Do you mean last Fall's MT Sleeping Beauty tour in La, Bay Area, and Detroit?

Even though they announced Vishneva for Detroit, she said repeatedly on her web site that she would do the 2 California locations, but not Detroit; she had another committment.

So for particular dancers (especially ones without web sites), you have to watch very closely.

I was toying with going to Detroit, really for Vishneva, when it was clear that she wasn't going I gave up the idea.

Richard

Yes Richard, that's the tour I was talking about and of course you're right about Vishneva. I went to the LA performances and I'd forgotten that they'd advertised her as appearing in all 3 cities even though she kept saying that she wasn't going to dance in Detroit. Well, I'll still keep my fingers crossed & hope to catch Lopatkina on a Sunday matinee. It's just too inconvenient (and too costly) to travel for a mid week opening night this time. Actually what I may do is head out to Chicago to see them over the weekend with my nephews and just pick up a last minute ticket for Boston if Lopatkina winds up only dancing the opening nights. That's if she makes the trip at all!

Susan

Lopatkina perhaps, for the opening night. After that, don't be surprised to see Somova, Gumerova, another Somova, then Vostrotina, and finally a third Somova. The usual pattern.

I'm hoping for Lopatkina and also hoping that they'll repeat the leading cast twice. They have done that recently with Pavlenko scheduled twice in Giselle at the Ken Center and the Vishneva/Lopatkina cast of Sleeping Beauty performed twice at every venue on that tour. I have 2 nephews in the Chicago area who've never been to the ballet so I may make a weekend trip, but there's no way I can go from Wed - Sunday. I have so overspent my budget this year that I might wind up just taking the bus to Boston for a Sunday matinee & coming right back home Sunday night. We'll see...

I just read a review of the gala by Claudia La Rocco and it hits the nail on the head with my complaints:

"The setup served to give a historical context for Graham's accomplishments, but also gave the impression that the company, under the new artistic direction of former principal Graham dancer Janet Eilber, did not trust the works to speak for themselves..."

Having seen many of Graham's works previously I was glad to learn the historical context but the structure of the program gave the impression that her work needed to be "explained". Minor works may need to be put into context but Graham's great works need no preface or explanation. Heretic is one of the few works performed at the Gala that I had never seen before and I was struck by it's power and piercing depiction of isolation and censure. One's reaction was vicseral. To think the audiance needed to have this explained to them is insulting to the audiance and to the work. What we needed was to see the whole piece, not just an excerpt!

http://www.app.com/apps/pbcs.dll/article?A.../604220354/1031

Miliosar, the house was about 90% full - but it’s a small theater. It’s about the same size as the Joyce which holds about 900 people. It’s really a very beautiful theater with a steeply raked orchestra and great sightlines from all seats. The mood was pretty upbeat - there were a lot of ex Graham dancers in the audiance!

If the company is doing a repertory program I wouldn’t hesitate to go see them. I saw several programs at their City Center season last year. They may have lost money but I thought the company was in pretty good shape, and I remember some great Graham dancers from the 70s like Yuriko Kimura and Takako Asakawa as well as Janet Eilber. Today’s company has several dancers who really do the work justice, especially Fang-Yi Sheu who is a brilliant dancer and worth seeing in her own right. And those wonderful minimalist Noguchi sets are worth the price of admission.

I wouldn’t be quite so keen on a program of excerpts. On one hand I did really enjoy a few from the gala, but they’re just not as strong as when they’re presented in full with costumes & scenery.

John Rockwell and Tobi Tobias both wrote mixed to negative reviews of the Graham gala this week. The idea to feature Richard Move comes in for the most fire. A little too close to camp for some, I would imagine.

I agree with them about Move - his act might be hilarious in a different setting but it bordered on caricature and I found it pretty innappropriate for this type of occasion. It was very strange to come to a theater to celebrate Graham’s accomplishments and watch someone up on stage impersonating her. As a gala and a commemoration of the anniversary of her company’s first performance I was ok with the chronological presentation of excerpts and the narration. Move probably would have been ok too if he had been limited to one segment but I think he went on for the whole 2nd half of the evening. He provided running commentary “in her voice” and introduced a number of pieces - it was weird. But more than the camp question, the biggest problem with Move was that he danced in Part Real -Part Dream with Desmond Richardson and it became painfully clear that he is not a dancer. I don’t think Martha would have appreciated that, and I fear for the company’s future if this is a sample of what Janet Eilber has in store for us.

The evening began with excerpts from a couple of Denishawn pieces, which I found interesting for the perspective they gave on Graham’s early influences (which I guess was the point of including them). On their own they were no more than historical curiosities. The evening ended with Maple Leaf Rag which is always panned by critics but which I’ve always enjoyed. I find such a sweet simplicity and gentle humor in it. It always makes me smile to think that as she aged she may have been freed somewhat from her demons and could look back on her life with a little wry amusement, but maybe that’s just me!

My favorite moments were the excerpts from Heretic, Steps in the Street, Dark Meadow and Clytemnestra. They made Graham’s genius perfectly clear, especially when interpreted by dancers like Fang-Yi Sheu and Elizabeth Auclair.

The waiting is over - the Kennedy Center has posted casting for the entire engagement. We all know how drastically the Kirov's casting can chnage, but here it is:

WILLIAM FORSYTHE MASTERWORKS

June 13 at 7:30 p.m.

Steptext: Daria Pavlenko, Igor Kolb, Andrey Merkuriev, Maxim Khrebtov

Approximate Sonata: Elena Sheshina, Andrey Ivanov, Elena Vostrotina, Maxim Tchaschegorov, Ekaterina Petina, Anton Pimonov, Viktoria Tereshkina, Maxim Zyuzin

Vertiginous Thrill of Exactitude: Tatyana Tkachenko, Olesya Novikova, Ekaterina Osmolkina, Leonid Sarafanov, Andrian Fadeyev

In the middle, somewhat elevated: Irina Golub, Ekaterina Kondaurova, Sofya Gumerova, Ekaterina Petina, Yana Selina, Ksenia Dubrovina, Andrey Merkuriev, Alexander Sergeev, Mikhail Lobukhin

June 14 at 7:30 p.m.

Steptext: Irina Golub, Igor Kolb, Andrey Merkuriev, Maxim Khrebtov

Approximate Sonata: Evgenya Obraztsova, Alexander Sergeev, Elena Vostrotina, Maxim Tchaschegorov, Ekaterina Petina, Anton Pimonov, Viktoria Tereshkina, Maxim Zyuzin

Vertiginous Thrill of Exactitude: Nadejda Gonchar, Olesya Novikova, Ekaterina Osmolkina, Leonid Sarafanov, Andrian Fadeyev

In the middle, somewhat elevated: Irina Golub, Ekaterina Kondaurova, Sofya Gumerova, Yana Serebryakova, Evgenya Obraztsova, Ksenia Dubrovina, Andrey Merkuriev, Anton Pimonov, Mikhail Lobukhin

June 15 at 7:30 p.m.

Steptext: Nadejda Gonchar, Anton Pimonov, Mikhail Lobukhin, Maxim Khrebtov

Approximate Sonata: Elena Sheshina, Andrey Ivanov, Yana Serebryakova, Dmitry Pykhachev, Yana Selina, Anton Pimonov, Ksenia Dubrovina, Alexey Timofeev

Vertiginous Thrill of Exactitude: Irina Golub, Evgenya Obraztsova, Ekaterina Osmolkina, Leonid Sarafanov, Vladimir Shklyarov

In the middle, somewhat elevated: Daria Pavlenko, Ekaterina Kondaurova, Sofya Gumerova, Elena Sheshina, Yana Selina, Ketevan Papava, Andrey Merkuriev, Alexander Sergeev

GISELLE

June 16 at 7:30 p.m.

Giselle: Daria Pavlenko - Count Albrecht: Igor Kolb - Berthe: Natalya Sveshnikova - Bathilde: Elena Bazhenova - Hans: Dmitry Pykhachev - Armor Bearer: Maxim Khrebtov - Duke: Vladimir Ponomarev - Myrtha: Viktoria Tereshkina - Two Girls: Nadejda Gonchar, Tatyana Tkachenko - Pas de deux: Ekaterina Osmolkina, Vladimir Shklyarov

June 17 at 1:30 p.m.

Giselle: Irina Golub - Count Albrecht: Andrian Fadeyev - Berthe: Natalya Sveshnikova - Bathilde: Elena Bazhenova - Hans: Dmitry Pykhachev - Armor Bearer: Maxim Khrebtov - Duke: Vladimir Ponomarev - Myrtha: Alina Somova - Two Girls: Nadejda Gonchar, Tatyana Tkachenko - Pas de deux: Ekaterina Osmolkina, Vladimir Shklyarov

June 17 at 7:30 p.m.

Giselle: Olesya Novikova - Count Albrecht: Leonid Sarafanov - Berthe: Natalya Sveshnikova - Bathilde: Elena Bazhenova - Hans: Dmitry Pykhachev - Armor Bearer: Maxim Khrebtov - Duke: Vladimir Ponomarev - Myrtha: Viktoria Tereshkina - Two Girls: Nadejda Gonchar, Tatyana Tkachenko - Pas de deux: Ekaterina Osmolkina, Vladimir Shklyarov

June 18 at 1:30 p.m.

Giselle: Daria Pavlenko - Count Albrecht: Igor Kolb - Berthe: Natalya Sveshnikova - Bathilde: Elena Bazhenova - Hans: Dmitry Pykhachev - Armor Bearer: Maxim Khrebtov - Duke: Vladimir Ponomarev - Myrtha: Alina Somova - Two Girls: Nadejda Gonchar, Tatyana Tkachenko - Pas de deux: Ekaterina Osmolkina, Vladimir Shklyarov

Here's the link:

http://www.kennedy-center.org/calendar/ind...ent&event=BGBSC

It was fun fantasizing about Ayupova & Lopatkina, but I'm pretty happy to see Pavlenko & Golub. It will be great to see Obraztsova in the Forsythe program but it's too bad she isn't cast in Giselle at all. Perhaps that will change!

Just noticed a post on ballet.co (Kirov dancers appearing elsewhere) that says Ayupova & Kolb are guesting in Spain on 4/22 in Giselle. I'd bet that Ayupova doesn't do Forsythe, but still...they better announce the Kirov & Royal Ballet Kennedy Center casting soon - the suspence is killing me

I've been keeping an eye on Kobborg's website, and he's finally listed some info on his USA performances in June. The website says that he & Cojocaru will dance Manon (in Boston) on the 16th, which agrees with the press release from the Wang. It also says that they will dance in Sleeping Beauty at KenCen on 6/22.

http://www.kobborg.co.uk/diary/cal.html

I expected them to dance the first performance of Sleeping Beauty, but it's nice to have confirmation. Now if only the RB & KenCen would get together and give us casting for the other major roles (Lilac Fairy, Bluebird, Princess Florine, etc) and the rest of the engagement. Come on, Kennedy Center!!!!

There's been some discussion of this in response to the Greskovic artcle, but since it's coming up so soon I thought I'd start a topic to remnd people. It's this Tuesday at the Skirball Center in the village. Tickets are $45 and can be purchased at their box office at 566 Laguardia Place, by phone at 212-992-8484 or through their website ($3.50 service charge):

http://www.skirballcenter.nyu.edu/flash.html

Susan

I think you've missed some news, Natalia : the Neumeier's evening scheduled on April 26th has been replaced by yet another Giselle.

The casting (see the Kirov website) is Daria Pavlenko - Ilya Kuznetsov

I'm so glad for Daria Pavlenko, who is such a wonderful dancer, and I envy whoever will see the actual performance - I bet this is a cast that is very likely to show up in DC as well !

That would make me so happy, Pavlenko really impressed me with her Swan lake a few years ago, and I've never seen Kuznetsov,I'd love to see them in Giselle. Of course, Pavlenko and Loptkina Giselles in DC would be too much to hope for, but wouldn't that be wonderful? Has Obratsova danced Giselle? It's amazing to think about how many wonderful casts the Mariinsky can field even withut Vishneva!

Don't freak Starr. You should be able to do better - does anyone know if there's a special event in DC at that time - any sort of convention or something that's affecting the market for hotel rooms?

Something to consider is staying in one of the suburbs on the Metro, like Arlington. That can really help your budget immensely.

We should probably take the travel discussion offlist, but I am only too happy to help. It's one of my hobbies

Leigh, maybe we should start another thread for travel discussion. I don't know about any special events in DC this June, but I decided to go for the Kirov & Royal months ago and have been following the hotel costs closely. They are horrendous & have only been going up. I booked the cheapest room I could find in a decent neighborhood (walking distance from KC) back in December. It was $169/night then and has since gone up to $262/night. I found a cheaper hotel a couple of weeks ago and changed my reservation, but that one is no longer available to people who are trying to book now.

Since there seem to be several Ballet Talkers who are planning trips to DC to see these 2 companies perhaps a separate thread is warranted - especially if you have any advise!

With the exception of Red Angels I’ve seen everything on all 3 of the programs & they all sound great to me. Especially the Balanchine Portrait program – what I would give to be able to see all those pieces together on one program in NY! To start with Serenade & end with Bizet and have Concerto Barocco & Duo Concertant in the middle – it’s the stuff dreams are made of! They are all masterpieces. So are 4Ts and Div 15. The Robbins is also very, very good.

It is annoying that they didn’t program any Balanchine for the gala, but his works do account for the overwhelming majority of the engagement. I’ll bet they are looking at the Gala as a showcase of post Balanchine choreography. The Martins work is one of his best, and After the Rain is my undisputed favorite work since the Balanchine/Ashton /McMillan era. I’d consider it a must see despite the lack of Balanchine on the program that evening. Also note that the gala is the last night of the engagement, perhaps they are hoping that people will come to one of the first bills for Balanchine and then add on a ticket for the Gala to see where his legacy has led the company...

Akk! Just realized -- I have to get tickets for the Ashton mixed bill on Wed, June 21 and Sleeping Beauty on Thurs, June 22 to make this work. Does anyone think I'll have problems getting tix to SB on its opening night? (and what time does that darn box office open because I can't find that info online?) Thanks!

Chauffer, you shouldn't have a problem getting tickets for those nights, at least not yet! The Kennedy Center’s online system lets you chose the section you want to sit in and then tells you exactly which seat it is offering you. The only problem with using the system is if you’re picky about exactly where you want to sit (like me). I like to be in the first row of the balcony, even if it’s on the side. But the online system assigns center seats first, so it may show me D103 when I’d rather have A15. In that case, it’s better to call the box office where you can specify what you want and be told about everything that’s available.

The box office opens at 10 AM. If you are willing to make a $60 donation to the Kennedy Center you can buy your tickets NOW because Kennedy Center members get a 10 day window before single seats go on sale to the public. That’s what I did, I ordered my tickets on 3/31, and got great seats. Good luck!

Bart, when I saw the topic description, before I'd read your first paragraph, the image that came to mind was Serenade. SO I guess I have to agree with you.

That was my immediate reaction, too! There are many, many ballets that I love but Serenade is the only one where the opening tableaux is so ravishing that it takes your breath away every time, no matter how many times you've seen it