Dale
Board Moderator-
Posts
3,511 -
Joined
Content Type
Forums
Events
Blogs
Store
Everything posted by Dale
-
ABT promotions for Jarod Curley, Carlos Gonzalez, Jake Roxander
Dale replied to FPF's topic in American Ballet Theatre
Other news: AMERICAN BALLET THEATRE WELCOMES BARRY HUGHSON AS NEW EXECUTIVE DIRECTOR NEW YORK, NY (March 14, 2024) – American Ballet Theatre and Andrew Barth, Chairman of the Board of Governing Trustees, are delighted to announce Barry Hughson's appointment as the Company's new Executive Director, effective July 1, 2024. Hughson, known for his transformative leadership within the arts sector, joins ABT with an impressive track record from his previous tenure at The National Ballet of Canada, where he was pivotal in strengthening the company’s financial foundations and international stature. Hughson’s career is distinguished by his commitment to the arts, demonstrated through his strategic leadership roles at some of the most respected ballet companies, including the Boston Ballet and Atlanta Ballet. His achievements encompass a broad range of initiatives to expand audience engagement, enhance financial health, and foster artistic collaboration. At The National Ballet of Canada, he led significant projects that elevated the company’s profile and ensured its sustainability, underscoring his ability to merge artistic vision with operational excellence. Andrew Barth expressed his enthusiasm for Hughson’s appointment, emphasizing the alignment of his experience with ABT’s mission: “It is a great honor to welcome Barry Hughson to ABT. His commitment to the arts and his visionary leadership are exactly what ABT needs as we move forward. Barry's ability to balance artistic excellence with operational acumen promises an exciting new chapter for our beloved institution.” Susan Jaffe, Artistic Director, shared her anticipation of collaborating with Hughson: “What a profound honor it is for me to work alongside Barry as we chart ABT's future. His leadership and dedication to the arts will undoubtedly enrich our Company, furthering our commitment to excellence and innovation.” Barry Hughson shared his vision for ABT’s future: “ABT is an American treasure and holds an important place in dance history. It is a profound honor to help navigate post-pandemic challenges, pursue opportunities for growth, and protect a Company that I have loved from the time I was a young ballet student dreaming big dreams. I look forward to working with the exceptional team at ABT, Andrew Barth, and Susan Jaffe to continue the legacy of excellence and to introduce our remarkable artists to wider audiences. Together, we will write the next chapter in the storied history of this remarkable Company.” With Hughson, the Company looks forward to continuing its tradition of excellence and innovation in the world of ballet. For more details about Barry Hughson's professional journey and vision for American Ballet Theatre, please visit abt.org. ABOUT AMERICAN BALLET THEATRE American Ballet Theatre is one of the greatest dance companies in the world. Revered as a national treasure since its founding season in 1940, its mission is to create, present, preserve, and extend the great repertoire of classical dancing for the widest possible audience. Headquartered in New York City, ABT is the only cultural institution of its size and stature to extensively tour, enchanting audiences for eight decades in 50 U.S. states, 45 countries, and over 480 cities worldwide. ABT’s repertoire includes full-length classics from the nineteenth century, the finest works from the early twentieth century, and acclaimed contemporary masterpieces. In 2006, by an act of Congress, ABT was designated America's National Ballet Company®. -
Arlene Croce’s Balanchine book: excerpts published
Dale replied to Anthony_NYC's topic in Writings on Ballet
I did eventually get it sent to me. Yes, they said "check your junk folder" but it wasn't there. That's fine. About the pictures of Farrell and d'Amboise from Apollo. It's so weird that they're credited as from 1972 when Farrell was no longer in the company. They are probably either the 1960s when the two were filmed performing Apollo. Anyway, I really do hope this book comes out. The forward talks about Croce's mastery as a critic but that in her book, she's grappling and wrestling with a swarm of thoughts on Balanchine's work. I'm totally there for that. -
Arlene Croce’s Balanchine book: excerpts published
Dale replied to Anthony_NYC's topic in Writings on Ballet
Yup. Same. From Helene's experience, I figured somebody forwards it by hand, so I waited until business hours the next day. When I didn't receive anything, I emailed. But never heard back. I'll try to track it down next week if it doesn't come. -
I've been picking my way through this. Pleasant nighttime reading. I do find it interesting where Homan goes heavy on a topic and where she just glosses over. For example, she had a page or so on the composer Xenakis and practically nothing on Gelsey Kirkland. She looked closely at Balanchine's use or non-use of Black dancers, quoting from an interview she did with Mel Tomlinson before he passed away in 2019, yet didn't mention Debra Austin, for whom he made an indelible solo in Ballo della Regina. Homan writes a lot about Arthur Mitchell but never mentions the charming pas de deux Balanchine created for him and Mary Hinkson for The Figure in the Carpet. Seems odd not to mention, in the context of a discussion on Balanchine and race, the two times he did choreograph parts on Black women.
-
Official release: NEW YORK PREMIERE OF WAYNE MCGREGOR’S WOOLF WORKS TO HIGHLIGHT AMERICAN BALLET THEATRE’S SUMMER SEASON AT THE METROPOLITAN OPERA HOUSE, JUNE 18 – JULY 20, 2024 FORMER ABT PRINCIPAL DANCER ALESSANDRA FERRI TO APPEAR AS GUEST ARTIST IN WOOLF WORKS SUBSCRIPTIONS ON SALE MONDAY, NOVEMBER 20 AT 12:00 P.M. NEW YORK, NY (November 15, 2023) – American Ballet Theatre’s 2024 Summer season at the Metropolitan Opera House, June 18 – July 20, will feature the New York Premiere of Wayne McGregor’s Woolf Works, as announced today by Artistic Director Susan Jaffe. The season will also see the return of Tony Award® winner Christopher Wheeldon’s Like Water for Chocolate, as well as beloved classic productions of Onegin,Swan Lake, and Romeo and Juliet. Principal Dancers for the 2024 Summer season include Joo Won Ahn, Aran Bell, Isabella Boylston, Skylar Brandt, Daniel Camargo, Herman Cornejo, Thomas Forster, Catherine Hurlin, Gillian Murphy, Calvin Royal III, Hee Seo, Christine Shevchenko, Cory Stearns, Devon Teuscher, Cassandra Trenary, James Whiteside, and Roman Zhurbin. New York Premiere ABT will present the New York Premiere of Wayne McGregor’s Woolf Works on Tuesday evening, June 25 at 7:30 P.M. Woolf Works, an award-winning ballet triptych, re-creates the emotions, themes, and fluid style of three of Virginia Woolf’s novels: Mrs. Dalloway, Orlando, and The Waves. Enmeshed with elements from Woolf’s letters, essays, and diaries, Woolf Works expresses the heart of an artistic life driven to discover a freer, uniquely modern realism. It brings to life Woolf’s world of “granite and rainbow,” where human beings are at once both physical body and uncontained essence. Woolf Works has received notable recognition and outstanding critical acclaim. The full-length contemporary ballet won the Laurence Olivier Award for Best New Dance Production, and McGregor was awarded the Critics Circle National Dance Award for Best Classical Choreography for the work. Created for The Royal Ballet in 2015, Woolf Works is structured into three acts: “I Now, I Then,” “Becomings,” and “Tuesday,” each starkly distinct in visual design and choreography. Woolf Works features choreography by Wayne McGregor and music by Max Richter, with set design by Ciguë (“I Now, I Then”), We Not I (“Becomings”), and Wayne McGregor (“Tuesday”); costume design by Moritz Junge; lighting design by Lucy Carter; film design by Ravi Deepres; and dramaturgy by Uzma Hameed. It is set to receive its North American Premiere by American Ballet Theatre on April 11, 2023, at Segerstrom Center for the Arts in Costa Mesa, California. Woolf Works will be given seven performances through June 29. Alessandra Ferri, former Principal Dancer with ABT from 1985 to 2007, will make a guest appearance for two performances, on Tuesday, June 25 and Friday, June 28, during ABT’s 2024 production of Woolf Works at the Metropolitan Opera House. The performance on Friday, June 28 will be dedicated to honoring Ferri and her career. Full-Length Productions ABT’s Summer season will kick off with seven performances of John Cranko’s Onegin beginning on Tuesday evening, June 18 at 7:30 P.M. with Devon Teuscher and Daniel Camargo in the leading roles. Set to music by Peter Ilyitch Tchaikovsky, arranged and orchestrated by Kurt-Heinz Stolze, Onegin is based on the verse-novel Eugene Onegin by Alexandrer Pushkin. Onegin received its World Premiere on April 13, 1965, by Stuttgart Ballet in Stuttgart, Germany. The ballet received its Company Premiere by American Ballet Theatre on June 1, 2001, at the Metropolitan Opera House in New York led by Julie Kent (Tatiana), Robert Hill (Onegin), Vladimir Malakhov (Lensky), and Maria Riccetto (Olga). This new production, with sets and costumes by Santo Loquasto and lighting by James F. Ingalls, was premiered by National Ballet of Canada on June 19, 2010, at the Four Seasons Center for the Performing Arts, Toronto, Canada, and was first performed by ABT on June 4, 2012, at the Metropolitan Opera House. Onegin is staged for ABT by Reid Anderson and Jane Bourne. Week three of ABT’s Summer season will open on Monday evening, July 1 with the first performance of Swan Lake, led by Isabella Boylston as Odette-Odile and Daniel Camargo as Prince Siegfried. Set to music by Peter Ilyitch Tchaikovsky, Swan Lake is choreographed by Kevin McKenzie after Marius Petipa and Lev Ivanov and features scenery and costumes by Zack Brown and lighting by Duane Schuler. This production of Swan Lake premiered on March 24, 2000, at The John F. Kennedy Center for the Performing Arts in Washington, D.C. with Julie Kent (Odette-Odile) and Angel Corella (Prince Siegfried) in the leading roles. The ballet will be given eight performances this season. The Friday, July 5 performance of Swan Lake will be a “Corps de Ballet Celebration” to honor ABT’s world-class talent in the corps de ballet. Kenneth MacMillan’s Romeo and Juliet will open on Tuesday evening, July 9 with Devon Teuscher and Aran Bell in the title roles. Set to the score by Sergei Prokofiev, Romeo and Juliet features scenery and costumes by Nicholas Georgiadis and lighting by Thomas Skelton. Romeo and Juliet received its World Premiere by The Royal Ballet in London on February 9, 1965, and was given its ABT Premiere at The John F. Kennedy Center for the Performing Arts in Washington, D.C. on January 3, 1985, with Leslie Browne and Robert La Fosse in the leading roles. Romeo and Juliet will be given seven performances through July 13 at the Metropolitan Opera House. The final week of the 2024 Summer season will feature seven performances of Like Water for Chocolate beginning Tuesday evening, July 16 at 7:30 P.M. with Cassandra Trenary as Tita and Herman Cornejo as Pedro. Based on the bestselling novel by Laura Esquivel, Like Water for Chocolate tells the story of Tita, a young Mexican woman who is overwhelmed by a sense of duty and family tradition. Tita’s only form of expression is through cooking, but her life takes an unexpected turn when she falls in forbidden love with her neighbor Pedro. From the award-winning team of choreographer Christopher Wheeldon and composer Joby Talbot, this co-production with The Royal Ballet features scenery and costumes by Bob Crowley, lighting by Natasha Katz, and video design by Luke Halls. The ballet received its World Premiere by The Royal Ballet on June 2, 2022, at the Royal Opera House, Covent Garden, London, led by Francesca Hayward as Tita and Marcelino Sambé as Pedro. It received its North American Premiere by American Ballet Theatre on March 29, 2023, at Segerstrom Center for the Arts in Costa Mesa, California, led by Cassandra Trenary as Tita and Herman Cornejo as Pedro. The Friday, July 19 performance of Like Water for Chocolate will celebrate Herman Cornejo’s 25th Anniversary with American Ballet Theatre. ABTKids ABTKids, American Ballet Theatre’s annual one-hour introduction to ballet for families, is scheduled for Saturday, June 22 at 11:00 A.M. All tickets for ABTKids are $25. Subscriptions Subscriptions for American Ballet Theatre’s 2024 Summer season at the Metropolitan Opera House, on sale beginning Monday, November 20 at 12:00 P.M., or online at ABT’s website www.abt.org. *All casting, programming, and pricing are subject to change. ABOUT AMERICAN BALLET THEATRE American Ballet Theatre is one of the greatest dance companies in the world. Revered as a national treasure since its founding season in 1940, its mission is to create, present, preserve, and extend the great repertoire of classical dancing for the widest possible audience. Headquartered in New York City, ABT is the only cultural institution of its size and stature to extensively tour, enchanting audiences for eight decades in 50 U.S. states, 45 countries, and over 480 cities worldwide. ABT’s repertoire includes full-length classics from the nineteenth century, the finest works from the early twentieth century, and acclaimed contemporary masterpieces. In 2006, by an act of Congress, ABT was designated America's National Ballet Company®. Swan Lake is generously underwritten by R. Chemers Neustein. American Ballet Theatre’s performances of Romeo and Juliet are generously underwritten through an endowed gift from Ali and Monica Wambold. Leadership support of ABT’s New Works Initiative is provided by Mark Casey and Carrie Gaiser Casey, The Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. Commissions and presentations of new works by women choreographers are supported by the ABT Women’s Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Special thanks to Denise Littlefield Sobel for her leadership gifts to: ABT Today Fund, advancing the Company’s mission; and ABT RISE, fueling the Company’s commitment to diversity, equity, and inclusion. 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 The Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council. For more information, please visit www.abt.org.
-
Mmm. That's an interesting question/point. I certainly don't think she should be played in some earthy way, some commonplace way. But some dancers sort of sketch in the steps seemingly in an effort to appear barely there. I thought it was interesting that Phelan noted that she had been trying to make herself to nonexistent and she was corrected by Kent. From the NYT article: The heroine may be walking in her sleep, but “she’s not expressionless,” Kent said. “You can’t come in like a zombie.” ... “You are sleepwalking, but you’re aware,” Kent said. “You’re in another realm but there’s something going on within you. A great tragedy that is not explained.” ... “You can still be active, but if it gets all tense then it looks like you’re putting on a show instead of it coming from a genuine place,” Phelan said later. “If I’m just being myself and actively doing something, I’m not sensing everything in my body. So that’s what I’m trying to bring it back to.” When she first danced the Sleepwalker, Phelan wanted to prove that she could be ghostly, waiflike, light. “What I’ve discovered from Allegra is that I may have been going too far with that,” she said. “You let yourself be involved emotionally. I think I was trying to stay so disassociated.” And then I think of the atmosphere of the gathering. It's slightly sinister. It's not a wholesome gathering. This isn't a good place. And what the Poet represents in Balanchine's work. What the seeker represents. And what the seeked (or the woman pursued) represents. So, yes, more than just a woman. But not a fairy. But I think the mischaracterization of the Sleepwalker was part of a larger change that was going on within the company's dancing in the previous 20 years. I think there has been a reversal, but during this period, plies became shallow, batterie so microscopic as to appear not to be there, arabesques were given short shrift. Always the emphasis on the up and not the down, which is not the way Balanchine wanted it (see some of the coaching videos on YT). In comparison to this, were other companies coached by people like Villella or Farrell with deep plies and digging deep into the floor to rise up, the steps always fully done. I first saw LS with Kent, McBride and Farrell. Kistler and Nichols were also good. Then those wispy performances. Janie Taylor was a natural for the role but it was given to her too late and sporadically. Seeing clips of Lovette perform the duet in Vail made me think she should have had a chance at the part, too. Meanwhile, I did see excellent productions with the Cincinnati Ballet (coached and reconstructed by Frederick Franklin [with help from Bart Cook] with Kristi Capps as the Sleepwalker) and the Suzanne Farrell Ballet (with Chan Hon Goh), performed right after 9/11.
-
I loath the new Who Cares? costumes with the force of a thousand suns and have been in a snit about them all day! They are too long, too heavy. They aren't opaque so you can't see the legs. A good portion of the ballet is the women's legs. The skirt should be at mid-thigh and should float. Not only that, they are completely unflattering to the women I saw in them. Only Peck looked remotely attractive. For the others, the bodice and neckline was unflattering and the tule tufts coming out from between the heavy jeweled panels, made everybody look heavy around the middle, rectangle-like. Just a complete disaster. If you had never seen Who Cares before and saw it now, you'd wonder "what's the point of this?" The dresses completely obscure the dance. And it's worn with bare legs. I'm not against bare legs in ballet, but you have these bridesmaid-like, tackily jeweled 60s-era looking cocktail dresses and then bare legs. I'm very salty about this! I was much happier Wednesday. Apollo, however, was a bit off. Danchig-Waring danced beautifully in a sculptural way but he was a mature Apollo throughout, there was no progression. Maybe that's what we get in Balanchine's last truncated version of the ballet. It is harder for some dancers to make the first solos confidently danced but with a hint of gawky youth required without having that initial birth and wobbly earlier moments. The three muses...maybe they rehersed the ballet faster than it was played Wednesday night because I found all of them had to insert little bitty steps to fill out the some phrase because they finished early. Or something. I definitely saw steps I don't normally. Like, Phelan's Terpsichore. When she first comes out for her solo, she paws at the stage with her toe and then does a shift this way and that. But she added a few steps in there so that she pawed less and shifted more or maybe it was the other way around but I was like "huh?" The same in the middle of the solo when she sort of steps out in a circle and comes back where she is. This has gotten very exaggerated over the years - and now it's almost like a harkening back to the longer version of the ballet when Apollo makes his first gawky steps. The opening of the pas de deux also had an unwelcome change. When Apollo ends up on the ground then holds out his finger, Terpsichore walks on and as she does, Apollo looks away. She touches his finger and then she looks away. Then the high strings come on to begin the pas de deux, Apollo turns to look at her and then she looks at him. But on Wednesday night, I noticed he looked at her throughout. I don't remember if he eventually did look away but I definitely noticed that he didn't look away when he was supposed to. Sort of ruins that moment. Beyond that, the pas de deux was well done. I love La Sonnambula. There's an old thread somewhere on the board about ballets we love that are seldom done well. And this, for me, is one of them. I have felt in the past with some casting that the Sleepwalker was being done as some apparition, a Sylph or Willi. And because of that it was danced in a light, lightest, lighter way, with the steps sort of sketched in. She is not supernatural. The Sleepwalker is a real woman. Not a vision. Not an apparition. It is best when danced full out with proper weight given to the steps. I thought Unity Phelan, especially fresh off being coached by Allegra Kent, gave a marvelous performance. For once, there was minimal laughter during the pas deux, maybe because, like me, they had their heart in their throats. I admit to swallowing down a cry after the deep backbend and the way Unity stepped out of his encircled arms. The rest of the ballet could use some fresh eyes on it. The entertainment pas de deux was quite lovely with Jacqueline Bologna and Davide Riccardo. And Daniel Ulbricht lived up to his high standards as Harlequin. The Pastorale was a little underpowered as it was and then there was Lars Nelson's unfortunate injury. I do glory in any moment to see Olivia Boisson (and Kristen Segin) dance a soloist part. Andrew Veyette projected the authority of the Baron well. I usually find Ashley Laracey's instincts quite good but is there a movement to make the Coquette a sympathetic character now? Maybe nobody likes playing the bad guy. Not that I think she should be played as some one dimensional vamp but her name is Coquette! I also think there was way too much reluctance to go into dinner with the Baron rather than the Poet now, with some extra bit of clutching at him before being swept off stage. The Coquette weighs her options pretty quickly and while there maybe a backwards glance, she's made her choice in that moment. The best move is to be the Baron's dinner partner, not stay behind with the Poet. I don't like this new change where she is seemingly torn from the Poet's arms with no agency. Tchaikovsky Piano Concerto No. 2 was transporting. Loved Sara Mearns, as always. Tyler Angle provided way more than just able support, looking good in his solos. And Emily Kikta makes a statement in the solo role. I also loved seeing India Bradley and Bologna guide the cavalier and be guided by him in the 2nd movement as the corps rush through the arbor they provide. Now, these costumes I wasn't sure about. But I think they look better on stage than they do in photographs. I'm a convert on these. (although I do think that contract with Swarovski is a deal with the devil - everything now is bedazzled within an inch of its life).
-
I think it's just something one gets used to seeing. I'm used to seeing Tyler with this look and so after the first nod of recognition Wednesday night, it blended in for me. I really liked him in Tschaik Piano Ct No. 2. ETA: people used to say the same thing about skin color or large hair, short hair. My feeling is, the more you see it, the more it just blends into everybody else. For example, one of the male dancers in La Sonnambula had naturally relaxed hair. There's a movement now to be more culturally sensitive on the issues of hair and tights etc... It wasn't a problem for me. But I think maybe 20 years ago or earlier, people would have complained. Same with tattoos. Used to be, those were always covered up. Now people are leaving them (mostly in modern roles). There have been male dancers at NYCB that wore hair pieces or bald spot coverups and I'm OK with people embracing how they are now. As long as they're fit to dance and are neat, clean etc...
-
Yes, that was a consideration for me. Not to get too off topic here. I'm still masking. Took MetroNorth in, then the Shuttle over, then the 1. Due to a combination of luck and commuting savvy honed over decades of experience, I had an empty car on the Shuttle and then I finessed a seat on the 1. Took a taxi back to GC. It was expensive but a person pissed off at my driver cutting them off threw a bottle into the car - at least it was entertaining! Yes, I realized a lost a lot of city walking energy and stamina. And it was a lot of mask time. Going again but I'm going to drive in. I hope you enjoy your trip!
-
I thought that the open class was just a fund-raising thing. I doubt it will happen more than once a season. (Doesn't the Miami City Ballet have one of their rehearsal rooms open to the street outside?) Probably just a little bone to throw those who contribute at the $250 level or something like that. I was a member for a few seasons and the company doesn't really have much to give you other than watching rehearsals. They don't want to give you a discount on your tickets. And I didn't contribute enough to get into the nice lounge that's open during the performances. I loved watching the coaching sessions. As for viewers watching orchestras warm up - happens all the time! Most warm up in the pit while everybody comes into the performance. And the NY Phil has had open rehearsals and run-thrus.
-
Agree. I had seen Miller in Agon with other partners and really like her in this. I forgot who said it but I remember a male dancer lauded for his partnering said in an interview if your partner comes off point while you're partnering her, it's your fault. Period. Hopefully, Walker will sort that out.
-
I finally returned to NYCB for the first time since the pandemic on Sunday. I was thrilled about nearly everything. I had been aching for the company to bring Bourrée Fantasque but with proper casting (and I hope it stays in the rep). Mira Nadon and KJ Takahashi were fun, sharp, stylish in the first movement. The two had all the fun details down but also looked natural and not contrived. I love the 2nd mvt Prelude. It's just one of those Balanchine dream movements and everything was flowing and rippling. I was sort of surprised that the audience continued to laugh in this movement. I suppose it's because the program notes said it was "comic" aim at ballet "conventions." Mmm. Emilie Gerrity had just the right swoon power and Gilbert Bolden was ardent with some of the smoothest partnering. There's some tricky partnering and he made this one great save that made a would-be fluff into something triumphant. Alexa Maxwell and David Gabriel led all the jumping in Fete Polonaise with verve. The finale is so much fun. Love the patterns. Love the costumes. And the music. Hope it stays. Several years ago, I interviewed Susan Pilarre when she staged the ballet for SAB (and then later MCB) and she said that in the 50s and 60s, it was regular rep and everybody would have been in it at one time or another, like Symphony in C. The program ended with Slaughter and it was just so much fun. Sara Mearns gives the best performance in this. I know some reviews says she's more "Vegas" than Balanchine but she's the only dancer I've seen (several companies) in this in decades who doesn't dance as if they've got a running plan of the steps/movements in their head like "Now I bump my hip, now I thrust out my leg, now I put my foot down..." The movement flows out of her naturally as if she's dancing in a club. But the steps are all there. Andrew Veyette was one of the best all-around Hoofer I had seen in awhile. Sometimes, it's hit or miss if the the guys have tap or jazz dancing in their background and the steps are sort of tailored to hide that away. Not saying Vedette was another Savion Glover but I didn't watch with my heart in my throat worrying for cringe moments where we all just pretend he's tap dancing! 😁 He also was a good partner for Mearns and they danced with fun and abandon. The whole company looked good. Another nod to Bolden as the Boss (me thinks somebody is going to be promoted to Soloist soon). Saved Agon for last because it wasn't a wholly satisfying performance. I would say the first pas de trios was the most realized, especially the dance with the two women --Meaghan Dutton-O'Hara and Ashley Hod (although they could still use more epaulement - there's been a flattening out over the years). I'm not sure what I thought of Jovani Furlan's solo. For the most part, good. Could use refining. The second pas de trios started with a bang with Isabella LaFreniere seeming to hang in the air. But there seemed to be timing issues overall and in the men's duet. Isabella's solo was very elegant and musical. It almost stood out weirdly from the rest of the section. Everybody seemed sort of tense in the rest of their section. The pas de Deux had some things...I liked Miriam Miller. She has the beginnings of performing it in a very cool detached Diana Adams way, rather than the scorched earth style some later interpreters had. But, and I feel badly pointing this out, I didn't find Peter Walker the right fit. I feel badly because I just don't think I've seen enough of him in principal parts to make a judgement on him overall. The partnering bit where the man drops down on the floor didn't come off well. He's not particularly flexible nor strong in the upper body (again, I don't want to say this with so much certainty because maybe he has a ton of strength in a role I haven't seen him in). I think maybe not the best part for him but he's tall and Miller needs a tall partner. All in all I was delighted to be back in the state theater. I used to live near the center of the NY metro area and could pop in whenever I wanted AND DID! Now I'm on the outer edge and while not impossible, it takes more planning, more time to attend. I was feeling a little sad to miss the big alumni reunion (I had been there for the 50th - God, I can't believe it's been that long) and for various debuts and retirements. But it was good to be back.
-
It's a geographic exclusive. Not available in the US but in Europe for Medici subscribers. (you can play around with your location to possibly gain access)
-
It seems like it was a Medici TV recording and already available to watch (with some VPN magic and an account). Still, the first time the NYCB is going to be on PBS in a long time, although we were spoiled with those YouTube videos during COVID.
-
ETA This was originally announced in the season press release but without a date. The New York City Ballet is going to be seen on PBS Great Performances on October 27, 2023. It was filmed in Madrid and features George Balanchine's Serenade and Square Dances as well as The Times Are Racing by Justin Peck. https://www.pbs.org/wnet/gperf/new-york-city-ballet-in-madrid-about/15047/ The casting is here: https://www.medici.tv/en/ballets/new-york-city-ballet-performs-george-balanchine-justin-peck-serenade-square-dance-times-are-racing-teatro-real-madrid Square Dance excerpt:
-
Full release: AMERICAN BALLET THEATRE 2023 FALL GALA TO BE HELD AT THE DAVID H. KOCH THEATER OCTOBER 24 2023 FALL GALA FEATURING ABT PRINCIPAL DANCERS, ABT APPRENTICES, ABT STUDIO COMPANY, AND STUDENTS OF THE ABT JACQUELINE KENNEDY ONASSIS SCHOOL TICKETS ON SALE NOW NEW YORK, NY (September 18, 2023) – American Ballet Theatre will host its 2023 Fall Gala at the David H. Koch Theater at Lincoln Center on Tuesday, October 24 at 6:30 P.M. The Fall Gala will feature a one-time-only program of beloved classic and contemporary excerpts showcasing ABT’s roster of Principal Dancers. The evening will also highlight talented young dancers from ABT’s Training Programs. ABT is proud to honor The Shubert Foundation, the nation’s largest funder of unrestricted grants to not-for-profit dance and theatre companies, at the 2023 Fall Gala. The Foundation’s unstinting commitment and magnanimous philanthropy have sustained and advanced live performing arts in the United States, including ABT, for nearly 50 years. ABT is grateful to have this occasion to celebrate The Shubert Foundation’s exceptional grantmaking as a singular champion of dance and theatre. Alongside peer organizations, also supported by The Shubert Foundation, ABT extends its heartfelt gratitude. Honorary Chairs for the 2023 Fall Gala are Amy Astley and Blaine Trump, with Chairs Sarah Arison, Avery and Andy Barth, Emily Blavatnik, Melanie Hamrick and Mick Jagger, Stewart R. Smith and Robin A. Ferracone, Sutton Stracke, and Chai Vasarhelyi supporting. ABT apprentices, ABT Studio Company dancers, and over 130 students from the ABT JKO School, including over 60 students from the Children’s Division and 75 students in the Pre-Professional Division, will perform a pièce d’occasion set to excerpts from Camille Saint-Saëns’sCarnival of the Animals, choreographed by Lauren Lovette and Rubén Martín. ABT’s Training Programs provide young dancers with the industry standard in ballet training, preparing them for careers in American Ballet Theatre’s main Company or other leading national and international companies. Notably, over 90% of current ABT dancers are alumni of either the ABT JKO School, ABT Studio Company, or an American Ballet Theatre Summer Intensive. In celebration of the 2023 Fall Gala, ABT’s Principal Dancers will perform a special mixed repertory program, beginning with Devon Teuscher and Thomas Forster in The Sleeping Beauty pas de deux with staging by Susan Jaffe and Irina Kolpakova after choreography by Marius Petipa, set to music by Peter Ilyitch Tchaikovsky. Cassandra Trenary and Calvin Royal III will perform the Romeo and Juliet balcony pas de deux by Kenneth MacMillan with music by Sergei Prokofiev. The Act II pas de deux from Kevin McKenzie’s production of Swan Lake will be performed by Christine Shevchenko and James Whiteside to music by Tchaikovsky. Skylar Brandt and Joo Won Ahn will make their debuts in The Leaves Are Fading pas de deux by Antony Tudor with music by Antonín Dvořák. Isabella Boylston and Aran Bell will perform in the World Premiere ofDanzón No. 2, a new work choreographed by ABT Principal Dancer James Whiteside, set to music by Arturo Márquez, transcribed by Leticia Gómez-Tagle. Hee Seo and Cory Stearns will make their debuts in the pas de deux from Concerto, choreographed by MacMillan, set to music by Dmitri Shostakovich. With choreography after Petipa and Alexander Gorsky and music by Ludwig Minkus, the Don Quixote pas de deux will be performed by Catherine Hurlin and Daniel Camargo. Finally, Gillian Murphy, Joo Won Ahn, and Herman Cornejo will perform an excerpt fromÉtudes with choreography by Harald Lander and music by Carl Czerny, arranged by Knudåge Riisager. For more information on ABT's 2023 Fall Gala or to purchase tickets and tables, please contact Megan Stahlberg, Associate Director of Special Events, at mstahlberg@abt.org. Additional performances during ABT’s 2023 Fall season will run from October 18–29 at the David H. Koch Theater featuring three programs and eight ballets. Tickets, beginning at $30, are available for purchase online, in person at the Koch Theater box office, or by phone at 212-496-0600. For more information, visit ABT’s website at www.abt.org. ABOUT AMERICAN BALLET THEATRE American Ballet Theatre is one of the greatest dance companies in the world. Revered as a national treasure since its founding season in 1940, its mission is to create, present, preserve, and extend the great repertoire of classical dancing for the widest possible audience. Headquartered in New York City, ABT is the only cultural institution of its size and stature to extensively tour, enchanting audiences for eight decades in 50 U.S. states, 45 countries, and over 480 cities worldwide. ABT’s repertoire includes full-length classics from the nineteenth century, the finest works from the early twentieth century, and acclaimed contemporary masterpieces. In 2006, by an act of Congress, ABT was designated America's National Ballet Company®. Leadership support of ABT’s New Works Initiative is provided by Mark Casey and Carrie Gaiser Casey, The Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. Commissions and presentations of new works by women choreographers are supported by the ABT Women’s Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Special thanks to Denise Littlefield Sobel for her leadership gifts to: ABT Today Fund, advancing the Company’s mission; and ABT RISE, fueling the Company’s commitment to diversity, equity, and inclusion. 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 The Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council. For more information, please visit www.abt.org.
-
From the company: CASTING ANNOUNCED FOR AMERICAN BALLET THEATRE’S 2023 FALL SEASON AT THE DAVID H. KOCH THEATER 2023 FALL GALA FEATURING ABT PRINCIPAL DANCERS, ABT STUDIO COMPANY, AND STUDENTS OF THE ABT JACQUELINE KENNEDY ONASSIS SCHOOL SCHEDULED FOR TUESDAY, OCTOBER 24 TICKETS ON SALE WEDNESDAY, SEPTEMBER 6 AT 12:00 P.M. NEW YORK, NY (August 28, 2023) – Casting for American Ballet Theatre’s 2023 Fall season at the David H. Koch Theater from October 18–29 was announced today by Artistic Director Susan Jaffe. General public on sale for the 2023 Fall season begins Wednesday, September 6 at 12:00 P.M. at the Koch Box Office. The season will feature three programs of works, showcasing the breadth and depth of American Ballet Theatre’s classical and contemporary repertoire. The first program Classics Old and New will consist of Alexei Ratmansky’s Piano Concerto No. 1, Jiří Kylián’s Petite Mort, and Harald Lander’s Études. 20th Century Works: Balanchine and Ashton will follow with George Balanchine’s Ballet Imperial and Frederick Ashton’s The Dream. To close out the season, 21st Century Works: King, Ratmansky, and Bond will include Alonzo King’s Single Eye, Ratmansky’s On the Dnipro, and the New York Premiere of Gemma Bond’s Depuis le Jour. The Fall Gala will take place on Tuesday evening, October 24 at 6:30 P.M. at the Koch Theater. ABT’s Artistic team has assembled a special one-night-only Gala program for this celebratory evening, featuring a curated selection of beloved classic and contemporary pieces performed by this season’s Principal Dancers. The evening will also feature up-and-coming talent at American Ballet Theatre with a performance by ABT Studio Company and students of the ABT Jacqueline Kennedy Onassis School. Gala casting to be announced at a later date. For more information on ABT's 2023 Fall Gala or to purchase tickets and tables, please contact Megan Stahlberg, Associate Director of Special Events, atmstahlberg@abt.org. Classics Old and New will run from Wednesday, October 18 through the Saturday matinee on October 21 and will feature Alexei Ratmansky’s Piano Concerto No. 1, Jiří Kylián’s Petite Mort, and Harald Lander’s Études. Piano Concerto No. 1 will open the Fall season on October 18 led by Christine Shevchenko, Calvin Royal III, Skylar Brandt, and Jake Roxander in a debut. Hee Seo, Thomas Forster, Catherine Hurlin, and Aran Bell will debut in principal roles on Thursday, October 19. The ballet was choreographed by Alexei Ratmansky and is set to the music of Dmitri Shostakovich with scenery by George Tsypin, costumes by Keso Dekker, and lighting by Jennifer Tipton. Piano Concerto No. 1 was given its World Premiere by American Ballet Theatre on May 31, 2013, under the titlePiano Concerto #1, danced by Diana Vishneva, Cory Stearns, Natalia Osipova, and Ivan Vasiliev. Petite Mort was originally created by Jiří Kylián for the second centenary of the death of Wolfgang Amadeus Mozart, to the slow movements of two of Mozart’s most beautiful and popular piano concertos. Costumes are by Joke Visser and lighting by Joop Caboort. Petite Mort was given its World Premiere at the Salzburg Festival on August 23, 1991, at the Kleines Festpielhaus, Salzburg, Austria. It was given its American Ballet Theatre Company Premiere at City Center, New York on October 30, 2003. Petite Mort will be staged for ABT by Elke Scheppers. Études will conclude the first program led by Devon Teuscher, Daniel Camargo, and Herman Cornejo on October 18, with both Teuscher and Camargo debuting in these roles. On Thursday, October 19, Joo Won Ahn and Aran Bell will debut in leading roles, while on Friday, October 20, Catherine Hurlin and Jake Roxander will make their debuts. Set to music by Carl Czerny and arranged by Knudåge Riisager, Études was created in 1948 at the Royal Opera House in Copenhagen for the Royal Danish Ballet and was later staged for the Paris Opera in 1952. American Ballet Theatre first presented Études at the 54th Street Theatre on October 5, 1961, with the cast headed by Toni Lander, Royes Fernandez, and Bruce Marks. Études will be staged for ABT by Thomas Lund. 20th Century Works: Balanchine and Ashton, ABT’s second Fall program, will be given four performances on Saturday evening, October 21; Sunday matinee, October 22; Wednesday evening, October 25; and Thursday evening, October 26. 20th Century Works: Balanchine and Ashton will consist of George Balanchine’s Ballet Imperial and Frederick Ashton’s The Dream. Ballet Imperial will open the second program of the Fall season, featuring Isabella Boylston, James Whiteside, and Skylar Brandt debuting in the leading roles. Christine Shevchenko, Calvin Royal III, and Chloe Misseldine will debut in these leading roles at the matinee on Sunday, October 22. Ballet Imperial, set to Peter Ilyitch Tchaikovsky’s Concerto No. 2 in G for Piano and Orchestra, received its World Premiere by American Ballet Caravan at the Hunter College Playhouse, New York on May 27, 1941, danced by Marie-Jeanne, Gisella Caccialanza, and William Dollar. The American Ballet Theatre Company Premiere of Ballet Imperial was given on February 10, 1988, at the Auditorium Theatre, Chicago, danced by Susan Jaffe, Ross Stretton, and Amanda McKerrow. Scenery and costumes are by Rouben Ter-Aruntuian and lighting is by Jennifer Tipton.Ballet Imperial will be staged for ABT by Colleen Neary. Ashton’s The Dream will be performed by Gillian Murphy as Titania, Daniel Camargo as Oberon, and Jake Roxander in his debut as Puck. Aran Bell will make his debut as Oberon at the matinee on Sunday, October 22. The Dream is Frederick Ashton’s beguiling retelling of Shakespeare’s A Midsummer Night’s Dream set to a spellbinding score by Felix Mendelssohn and arranged by John Lanchbery with sets and costumes by David Walker and lighting by John B. Read. The Dream received its World Premiere by The Royal Ballet at the Royal Opera House, Covent Garden, London on April 2, 1964, danced by Antoinette Sibley as Titania, Anthony Dowell as Oberon, and Keith Martin as Puck. The Dream was given its American Ballet Theatre Company Premiere at the Metropolitan Opera House, New York on May 24, 2002, danced by Alessandra Ferri as Titania, Ethan Stiefel as Oberon, and Herman Cornejo as Puck. The final four performances of ABT’s 2023 Fall season, titled 21st Century Works: King, Ratmansky, and Bond, will feature Alonzo King’s Single Eye, the New York Premiere of Gemma Bond’s Depuis le Jour, and Ratmansky’s On the Dnipro with performances from Friday, October 27 to Sunday, October 29. The first performance of Alonzo King’s Single Eye will be led by Isabella Boylston, Thomas Forster, Calvin Royal III, Skylar Brandt, and Cory Stearns, the original principal cast of the ballet at its World Premiere by American Ballet Theatre on March 16, 2022, at Segerstrom Center for the Arts in Costa Mesa, California. Set to music by celebrated jazz artist and composer Jason Moran, Single Eye features sets and costumes by Robert Rosenwasser and lighting by Jim French. Gemma Bond’s pas de deux Depuis le Jour will be given its New York Premiere, danced by Hee Seo and Joo Won Ahn. Katherine Williams and Jose Sebastian will dance these roles for the first time in New York at the matinee on Saturday, October 28. Choreographed by Gemma Bond, the piece is set to the Act III aria from Louise by Gustave Charpentier, with costumes by Bond and lighting by Serena Wong. Depuis le Jour was given its World Premiere on November 28, 2012, at the International Competition for the Erik Bruhn Prize, danced by Devon Teuscher and Calvin Royal III. On the Dnipro will be danced by Cory Stearns as Sergiy, Devon Teuscher as Natalia, Christine Shevchenko as Olga, and James Whiteside as Olga’s Fiancé. Debuts will include SunMi Park as Natalia and Michael de la Nuez as Olga’s Fiancé at the matinee on Saturday, October 28; and Aran Bell as Sergiy and Cassandra Trenary as Natalia at the matinee on Sunday, October 29. Ratmansky’s production of Sergei Prokofiev’s On the Dnipro received its World Premiere on June 1, 2009, at the Metropolitan Opera House, under the title On the Dnieper, danced by Marcelo Gomes as Sergiy, Veronika Part as Natalia, Paloma Herrera as Olga, and David Hallberg as Olga’s Fiancé. The title of the ballet and the leading character’s name have been adjusted to reflect a Ukrainian spelling. The production features scenery by Simon Pastukh, costumes by Galina Solovyeva, lighting by Brad Fields, and projections by Wendall K. Harrington. Prokofiev’s score for On the Dnipro was originally commissioned by the Paris Opera, and the original ballet production received its World Premiere in 1932 by the Paris Opera Ballet. Tickets for American Ballet Theatre’s 2023 Fall season at the David H. Koch will be available for general public on sale beginning Wednesday, September 6 at 12:00 P.M. Tickets begin at $30 and are available online, in person at the Koch Theater box office, or by phone at 212-496-0600. For more information, visit ABT’s website at www.abt.org. Complete casting follows. ABOUT AMERICAN BALLET THEATRE American Ballet Theatre is one of the greatest dance companies in the world. Revered as a national treasure since its founding season in 1940, its mission is to create, present, preserve, and extend the great repertoire of classical dancing for the widest possible audience. Headquartered in New York City, ABT is the only cultural institution of its size and stature to extensively tour, enchanting audiences for eight decades in 50 U.S. states, 45 countries, and over 480 cities worldwide. ABT’s repertoire includes full-length classics from the nineteenth century, the finest works from the early twentieth century, and acclaimed contemporary masterpieces. In 2006, by an act of Congress, ABT was designated America's National Ballet Company®. The production of Piano Concerto No. 1 was made possible with Lead Underwriting from David H. Koch. In addition, Leadership support for Piano Concerto No. 1, part of the Ratmansky Project, has been generously provided by Avery and Andrew F. Barth, the Blavatnik Family Foundation, Mr. And Mrs. Hamilton E. James, the Lloyd E. Rigler-Lawrence E. Deutsch Foundation, the Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. This production of The Dream is generously supported through an endowed gift from Anka Palitz, in memory of Clarence J. Palitz, Jr. This production of On the Dnipro is generously supported through an endowed gift from The Toni and Martin Sosnoff New Works Fund. The World Premiere of On the Dnipro (originally titled On the Dnieper) was generously sponsored by Leila and Micky Straus. Leadership support of ABT’s New Works Initiative is provided by Mark Casey and Carrie Gaiser Casey, The Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. Commissions and presentations of new works by women choreographers are supported by the ABT Women’s Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Special thanks to Denise Littlefield Sobel for her leadership gifts to: ABT Today Fund, advancing the Company’s mission; and ABT RISE, fueling the Company’s commitment to diversity, equity, and inclusion. 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 The Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council. For more information, please visit www.abt.org. 2023 FALL SEASON-CASTING.pdf
-
Balanchine and Me by Peter Martins. This should be interesting. It's due to come out February 1, 2024, published by Academica Press. https://www.amazon.com/Balanchine-Me-Peter-Martins-ebook/dp/B0C88DVBY3/ref=sr_1_3?crid=1J89UR9UF7UXZ&keywords=Balanchine&qid=1689864472&s=books&sprefix=balanchine%2Cstripbooks%2C100&sr=1-3 Martins' first biography, Far from Denmark, was very well received. But that came out in 1982. A lot has happened since then. I'm always eager to read anything on Balanchine.
-
In search of an article from Ballet Review 1991
Dale replied to Victor5678's topic in Everything Else Ballet
What's the specific article you're looking for? -
Official announcement: AMERICAN BALLET THEATRE ANNOUNCES 2023 FALL SEASON AT THE DAVID H. KOCH THEATER,OCTOBER 18–29, 2023 THREE PROGRAMS FEATURING SEVEN BALLETS INCLUDING THE RETURN OF PETITE MORT, ÉTUDES, AND BALLET IMPERIAL BOX OFFICE TO OPEN WEDNESDAY, SEPTEMBER 6 NEW YORK, NY (July 19, 2023) – American Ballet Theatre’s Fall season programming was announced today by Artistic Director Susan Jaffe. The season will run from October 18–29 at the David H. Koch Theater and will feature three programs of works titled Classics Old and New, 20th Century Works: Balanchine and Ashton, and 21st Century Works: King and Ratmansky. Classics Old and New will consist of Alexei Ratmansky’s Piano Concerto No. 1, Jiří Kylián’s Petite Mort, and Harald Lander’s Études. 20th Century Works: Balanchine and Ashton will follow with George Balanchine’s Ballet Imperial and Frederick Ashton’s The Dream. To close out the season, 21st Century Works: King and Ratmansky will include Alonzo King’s Single Eye and Ratmansky’s On the Dnipro. Principal Dancers for the 2023 Fall season include Joo Won Ahn, Aran Bell, Isabella Boylston, Skylar Brandt, Daniel Camargo, Herman Cornejo, Thomas Forster, Catherine Hurlin, Gillian Murphy, Calvin Royal III, Hee Seo, Christine Shevchenko, Cory Stearns, Devon Teuscher, Cassandra Trenary, James Whiteside, and Roman Zhurbin. Fall Gala The Fall Gala will take place on Tuesday evening, October 24 at 6:30 P.M. at the Koch Theater. For more information on ABT’s 2023 Fall Gala, please contact the Special Events Office at specialevents@abt.org. Classics Old and New Classics Old and New will run from Tuesday, October 18 through the Saturday matinee on October 21 and will feature Alexei Ratmansky’s Piano Concerto No. 1, Jiří Kylián’s Petite Mort, and Harald Lander’s Études. Piano Concerto No. 1 is part of a trilogy of works, choreographed by Alexei Ratmansky and set to the music of Dimitri Shostakovich with scenery by George Tsypin, costumes by Keso Dekker, and lighting by Jennifer Tipton. A mercurial romp that veers from energetic to languid, precise to chaotic, Piano Concerto No. 1 was given its World Premiere by American Ballet Theatre on May 31, 2013, under the title Piano Concerto #1, danced by Diana Vishneva, Cory Stearns, Natalia Osipova, and Ivan Vasiliev. Petite Mort was originally created by Jiří Kylián for the Salzburg Festival on the second centenary of Mozart’s death, incorporating the slow movements of two of Mozart’s most beautiful and popular piano concertos. With costumes by Joke Visser and lighting by Joop Caboort, Petite Mort features six men, six women, and six foils and expresses themes of aggression, desire, energy, silence, anarchy, and vulnerability. Petite Mort was given its World Premiere at the Salzburg Festival on August 23, 1991, at the Kleines Festpielhaus, Salzburg, Austria. It was given its American Ballet Theatre Company Premiere at City Center, New York on October 30, 2003. Petite Mort will be staged for ABT by Elke Scheppers. Last performed by ABT in 2008, Harald Lander’s Études is an exhilarating tribute to the art form of classical ballet. Set to music by Carl Czerny and arranged by Knudaage Riisager, Études ingeniously illustrates the development of a dancer’s technique and artistry, from the regime of exercises at the barre to the dazzling heights of balletic proficiency. Created in 1948 at the Royal Opera House in Copenhagen for the Royal Danish Ballet, Études was later staged for the Paris Opera in 1952 and has been performed at the opening performances in Moscow, London, and Brussels. American Ballet Theatre first presented Études at the 54th Street Theatre on October 5, 1961, with the cast headed by Toni Lander, Royes Fernandez, and Bruce Marks. Études will be staged for ABT by Thomas Lund. 20th Century Works: Balanchine and Ashton 20th Century Works: Balanchine and Ashton, ABT’s second Fall program, will be given four performances on Saturday evening, October 21; Sunday matinee, October 22; Wednesday evening, October 25; and Thursday evening, October 26. 20th Century Works: Balanchine and Ashton will consist of George Balanchine’s Ballet Imperial and Frederick Ashton’s The Dream. Ballet Imperial, set to Peter Ilyitch Tchaikovsky’s Concerto No. 2 in G for Piano and Orchestra, evokes the era of Russia’s Imperial Ballet with its grandeur. The ballet received its World Premiere by American Ballet Caravan at the Hunter College Playhouse, New York on May 27, 1941, danced by Marie-Jeanne, Gisella Caccialanza, and William Dollar. The American Ballet Theatre Company Premiere of Ballet Imperial was given on February 10, 1988, at the Auditorium Theatre, Chicago, danced by Susan Jaffe, Ross Stretton, and Amanda McKerrow. Ballet Imperial will be staged for ABT by Colleen Neary with scenery and costumes by Rouben Ter-Arutunian and lighting by Jennifer Tipton. Returning for ABT’s 2023 Fall season, The Dream is Frederick Ashton’s beguiling retelling of Shakespeare’s A Midsummer Night’s Dream and its comedy of errors set in the magical woods of Victorian England. This happy ode to the illusory nature of love is set to a spellbinding score by Felix Mendelssohn and arranged by John Lanchbery, sets and costumes by David Walker, and lighting by John B. Read. The Dream received its World Premiere by The Royal Ballet at the Royal Opera House, Covent Garden, London on April 2, 1964, danced by Antoinette Sibley as Titania, Anthony Dowell as Oberon, and Keith Martin as Puck. The Dream was given its American Ballet Theatre Company Premiere at the Metropolitan Opera House, New York on May 24, 2002, danced by Alessandra Ferri as Titania, Ethan Stiefel as Oberon, and Herman Cornejo as Puck. 21st Century Works: King and Ratmansky The final four performances of ABT’s 2023 Fall season, titled 21st Century Works: King and Ratmansky, will feature Alonzo King’s Single Eyeand Ratmansky’s On the Dnipro with performances from Friday, October 27 to Sunday, October 29. Single Eye is a subtle entreaty for peace and natural harmony during trying times. This visually stunning ballet is set to music by celebrated jazz artist and composer Jason Moran, with choreography by Alonzo King, sets and costumes by Robert Rosenwasser and lighting by Jim French.Single Eye was given its World Premiere by American Ballet Theatre on March 16, 2022, at Segerstrom Center for the Arts in Costa Mesa, California, danced by Isabella Boylston, Thomas Forster, Calvin Royal III, Skylar Brandt, and Cory Stearns. Ratmansky’s production of Sergei Prokofiev’s On the Dnipro brings audiences to the banks of the mighty Ukrainian river, the Dnipro, and into the life of young soldier Sergei as he arrives home from the battlefields of war. Ratmansky’s On the Dnipro received its World Premiere on June 1, 2009, at the Metropolitan Opera House, under the title On the Dnieper, danced by Veronika Part as Natalia, Marcelo Gomes as Sergei, Paloma Herrera as Olga, and David Halberg as Olga’s Fiancé. The production features scenery by Simon Pastukh, costumes by Galina Solovyeva, lighting by Brad Fields, and projections by Wendall K. Harrington. Prokofiev’s score for On the Dnipro was originally commissioned by the Paris Opera, and the original ballet production received its World Premiere in 1932 by the Paris Opera Ballet. Ticket Policies Tickets for American Ballet Theatre’s 2023 Fall season at the David H. Koch Theater will be available for general public on-sale beginning Wednesday, September 6 at 10:00 A.M. Tickets can be purchased by phone at 212-496-0600, in person at the Koch Theater box office, or online at ABT’s website. Tickets start at $30. During the 2023 Fall season, ABT will offer audience members the opportunity to exchange tickets up until Noon the day of the performance at no charge, minus any difference in ticket price. We regret that there are no refunds or cancellations. Donor Advance Sale will begin on Tuesday, August 29 at 10:00 A.M. Visit ABT’s website to learn more and become a Member. Health and Safety Protocols American Ballet Theatre and the David H. Koch Theater ask audiences to review the following health and safety protocols on the Koch Theater website before attending performances. ABOUT AMERICAN BALLET THEATRE American Ballet Theatre is one of the greatest dance companies in the world. Revered as a national treasure since its founding season in 1940, its mission is to create, present, preserve, and extend the great repertoire of classical dancing for the widest possible audience. Headquartered in New York City, ABT is the only cultural institution of its size and stature to extensively tour, enchanting audiences for eight decades in 50 U.S. states, 45 countries, and over 480 cities worldwide. ABT’s repertoire includes full-length classics from the nineteenth century, the finest works from the early twentieth century, and acclaimed contemporary masterpieces. In 2006, by an act of Congress, ABT was designated America's National Ballet Company®. The production of Piano Concerto No. 1 was made possible with Lead Underwriting from David H. Koch. In addition, Leadership support for Piano Concerto No. 1, part of the Ratmansky Project, has been generously provided by Avery and Andrew F. Barth, the Blavatnik Family Foundation, Mr. And Mrs. Hamilton E. James, the Lloyd E. Rigler-Lawrence E. Deutsch Foundation, the Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. This production of The Dream is generously supported through an endowed gift from Anka Palitz, in memory of Clarence J. Palitz, Jr. This production of On the Dnipro is generously supported through an endowed gift from The Toni and Martin Sosnoff New Works Fund. The World Premiere of On the Dnipro (originally titled On the Dnieper) was generously sponsored by Leila and Micky Straus. Leadership support of ABT’s New Works Initiative is provided by Mark Casey and Carrie Gaiser Casey, The Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. Commissions and presentations of new works by women choreographers are supported by the ABT Women’s Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Additional leadership support is provided by the Virginia B. Toulmin Foundation. Special thanks to Denise Littlefield Sobel for her leadership gifts to: ABT Today Fund, advancing the Company’s mission; and ABT RISE, fueling the Company’s commitment to diversity, equity, and inclusion. 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 The Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council. For more information, please visit www.abt.org.
-
From the company: CASTING ANNOUNCED FOR FINAL THREE WEEKS OF AMERICAN BALLET THEATRE’S 2023 SUMMER SEASON AT METROPOLITAN OPERA HOUSE NEW YORK, NY (June 26, 2023) – Casting for the final three weeks of American Ballet Theatre’s 2023 Summer season at the Metropolitan Opera House was announced today by Artistic Director Susan Jaffe. Eight performances of the classic Giselle will begin on Monday, July 3, led by Hee Seo in the title role, Cory Stearns as Albrecht, and Chloe Misseldine in her New York debut as Myrta. Devon Teuscher will make her New York debut as Giselle on Tuesday, July 4, opposite Aran Bell as Albrecht. On Wednesday, July 5, the matinee will include New York debuts by Catherine Hurlin as Giselle and Daniel Camargo as Albrecht, alongside Fangqi Li in her debut as Myrta, while Zhong-Jing Fang will make her New York debut as Myrta at the evening performance. Joo Won Ahn will make his New York debut as Albrecht on Friday, July 7. Staged by Kevin McKenzie with choreography after Jean Coralli, Jules Perrot, and Marius Petipa, Giselle is set to music by Adolphe Adam, orchestrated by John Lanchbery, with scenery by Gianni Quaranta, costumes by Anna Anni, and lighting by Jennifer Tipton. The world premiere ofGiselle, one of the oldest continually performed ballets, occurred at the Theatre de l’Academie Royale de Musique in Paris on June 28, 1841. The ballet was first presented by ABT (then Ballet Theatre) at the Center Theatre in New York City on January 12, 1940, with choreography by Anton Dolin and scenery and costumes by Lucinda Ballard. The leading roles were danced by Annabelle Lyon and Anton Dolin. ABT’s sixth production, featuring scenery by Gianni Quaranta and costumes by Anna Anni, was created for the film Dancers, produced in 1987 by Cannon Films. This production’s first public performance was given on March 20, 1987, at the Shrine Auditorium in Los Angeles, California, with Marianna Tcherkassky as Giselle and Kevin McKenzie as Albrecht. The current staging is by McKenzie, using the Quaranta and Anni designs. The fourth week of ABT’s 2023 Summer season will include eight performances of Swan Lake, beginning on Monday, July 10, with Isabella Boylston as Odette-Odile, Daniel Camargo as Prince Siegfried, and Jose Sebastian as von Rothbart. Joo Won Ahn will make his debut as von Rothbart on Tuesday June 11. Set to music by Peter Ilyitch Tchaikovsky, Swan Lake is choreographed by Kevin McKenzie after Marius Petipa and Lev Ivanov. The ballet features scenery and costumes by Zack Brown, and lighting by Duane Schuler. This production of Swan Lake premiered on March 24, 2000, at The John F. Jennedy Center for the Performing Arts in Washington, D.C. with Julie Kent (Odette-Odile) and Angel Corella (Prince Siegfried). Kenneth MacMillan’s Romeo and Juliet will complete the 2023 Summer season with seven performances beginning Tuesday, July 18, led by Devon Teuscher and Aran Bell in the title roles and Carlos Gonzalez in his New York debut as Mercutio. Catherine Hurlin (Juliet) and Tyler Maloney (Mercutio) will make their New York debuts at the matinee performance on Wednesday, July 19, while Jake Roxander will make his New York debut as Mercutio on Thursday, July 20. Set to the score by Sergei Prokofiev, Romeo and Juliet features scenery and costumes by Nicholas Georgiadis, and lighting by Thomas Skelton. Romeo and Juliet received its World Premiere by The Royal Ballet in London on February 9, 1965, and was given its ABT Company Premiere at The John F. Kennedy Center for the Performing Arts in Washington, D.C. on January 3, 1985, with Leslie Browne and Robert La Fosse in the leading roles. Tickets for American Ballet Theatre’s 2023 Summer season at the Metropolitan Opera House begin at $30 and are available online, at the Met box office, or by phone at 212-362-6000. The Metropolitan Opera House is located on Broadway and 64th street in New York City. For more information, visit ABT’s website at www.abt.org.
-
From the company: NEW YORK PREMIERE OF CHRISTOPHER WHEELDON’S LIKE WATER FOR CHOCOLATE TO OPEN AMERICAN BALLET THEATRE’S SUMMER SEASON AT THE METROPOLITAN OPERA HOUSE, JUNE 22 - JULY 22, 2023 SEASON TO INCLUDE FULL-LENGTH CLASSICS GISELLE, SWAN LAKE, AND ROMEO AND JULIET OPENING NIGHT GALA FEATURING LIKE WATER FOR CHOCOLATE GENERAL PUBLIC ON SALE BEGINS TODAY, MONDAY, APRIL 24 AT 12:00 P.M. NEW YORK, NY (April 24, 2023) – American Ballet Theatre returns to the Metropolitan Opera House with four stories of love for its 2023 Summer season, June 22–July 22. The season will feature the New York Premiere of two-time Tony Award®-winner Christopher Wheeldon’s Like Water for Chocolate, as well as full-length classics Giselle, Swan Lake, and Romeo and Juliet. General public on sale for ABT’s 2023 Summer season begins today, April 24 at 12:00 P.M. at the Metropolitan Opera House box office. Principal Dancers for the 2023 Summer season include Joo Won Ahn, Aran Bell, Isabella Boylston, Skylar Brandt, Daniel Camargo, Herman Cornejo, Thomas Forster, Catherine Hurlin, Gillian Murphy, Calvin Royal III, Hee Seo, Christine Shevchenko, Cory Stearns, Devon Teuscher, Cassandra Trenary, James Whiteside, and Roman Zhurbin. New York Premiere The New York Premiere of Christopher Wheeldon’s Like Water for Chocolate is set for Thursday, June 22, 2023, with Cassandra Trenary and Herman Cornejo in the leading roles of Tita and Pedro, respectively. Based on Laura Esquivel’s bestselling novel of the same name, Like Water for Chocolate is Wheeldon’s latest full-length ballet and a co-production with The Royal Ballet. The three-act ballet follows Tita, a young Mexican woman who struggles with familial duty in the face of forbidden love, expressing herself the one way she knows how, through cooking. Like Water for Chocolate is set to an original score by Joby Talbot and features scenery and costumes by Bob Crowley, lighting by Natasha Katz, and video design by Luke Halls. American Ballet Theatre is excited to welcome Alondra de la Parra to conduct the first four performances of Like Water for Chocolate at the Metropolitan Opera House. A globally renowned conductor, de la Parra has worked with some of the most prestigious orchestras across the world and holds the distinction of being the first Mexican woman to conduct professionally in New York City. ABT additionally welcomes Tomás Barreiro, a decorated and internationally recognized Mexican composer, orchestrator, guitar player, and teacher, on Solo Guitar for all 12 performances, as well as Venezuelan-born singer Maria Brea, whose soaring soprano accompanies the final, climatic pas de deux. Like Water for Chocolate received its World Premiere by The Royal Ballet on June 2, 2022, at the Royal Opera House, Covent Garden, London. It received its North American Premiere by American Ballet Theatre on March 29, 2023, at Segerstrom Center for the Arts in Costa Mesa, California. At the Metropolitan Opera House, the ballet will be given 12 performances through Saturday, July 1. Opening Night Gala Celebrating Yolanda Santos American Ballet Theatre will host its June Gala on Thursday, June 22, 2023, at 6:30PM at the Metropolitan Opera House featuring the New York Premiere of Like Water for Chocolate. Following the performance, Gala guests are invited to join ABT for a black-tie dinner and dancing on the Promenade of the newly opened David Geffen Hall. The Gala evening will honor Yolanda Santos, Founding Member of ABT’s Global Council and Founder of Ballet de Monterrey, for her championship of classical ballet and contemporary visual arts, nationally and internationally. Laura Esquivel, author of Like Water for Chocolate, will serve as Honorary Chair of the event. For more information or to purchase tickets and tables, please contact Megan Stahlberg at mstahlberg@abt.org. Full-Length Works ABT will perform the full-length production of Giselle for a total of eight performances beginning on Monday, July 3, with Hee Seo in the title role and Cory Stearns as Albrecht. Staged by Kevin McKenzie with choreography after Jean Coralli, Jules Perrot, and Marius Petipa, Giselle is set to music by Adolphe Adam, orchestrated by John Lanchbery, with scenery by Gianni Quaranta, costumes by Anna Anni, and lighting by Jennifer Tipton. The World Premiere of Giselle, one of the oldest continually performed ballets, occurred at the Theatre de l’Academie Royale de Musique in Paris on June 28, 1841. The ballet was first presented by ABT (then Ballet Theatre) at the Center Theatre in New York City on January 12, 1940, with choreography by Anton Dolin and scenery and costumes by Lucinda Ballard. The leading roles were danced by Annabelle Lyon and Anton Dolin. ABT’s sixth production, featuring scenery by Gianni Quaranta and costumes by Anna Anni, was created for the film Dancers, produced in 1987 by Cannon Films. This production’s first public performance was given on March 20, 1987, at the Shrine Auditorium in Los Angeles, California, with Marianna Tcherkassky as Giselle and Kevin McKenzie as Albrecht. The current staging is by McKenzie, using the Quaranta and Anni designs. The Saturday, July 8 performance of Giselle will be “In Tribute to Lupe Serrano” in honor of the late Lupe Serrano, former ABT Principal Dancer from 1953-1971, who, after retiring from the stage, taught classes for the ABT main Company, ABT Studio Company, ABT Jacqueline Kennedy Onassis School, and Summer Intensives. Eight performances of Swan Lake will begin Monday, July 10, with Isabella Boylston as Odette-Odile and Daniel Camargo as Prince Siegfried. Set to music by Peter Ilyitch Tchaikovsky, Swan Lake is choreographed by Kevin McKenzie after Marius Petipa and Lev Ivanov. The ballet features scenery and costumes by Zack Brown and lighting by Duane Schuler. This production of Swan Lake premiered on March 24, 2000, at The John F. Kennedy Center for the Performing Arts in Washington, D.C. with Julie Kent (Odette-Odile) and Angel Corella (Prince Siegfried). The Friday, July 21 performance of Swan Lake will be a “Special Evening for Susan Jaffe” to celebrate Jaffe’s first Met season as Artistic Director of American Ballet Theatre, a homecoming for the former ABT Principal Dancer of 22 years. Kenneth MacMillan’s Romeo and Juliet will be given seven performances beginning Tuesday, July 18, with Devon Teuscher and Aran Bell in the title roles. Set to the score by Sergei Prokofiev, Romeo and Juliet features scenery and costumes by Nicholas Georgiadis and lighting by Thomas Skelton. Romeo and Juliet received its World Premiere from The Royal Ballet in London on February 9, 1965, and February 9, 1965, and was given its ABT Company Premiere at The John F. Kennedy Center for the Performing Arts in Washington, D.C. on January 3, 1985, with Leslie Browne and Robert La Fosse in the leading roles. ABTKids ABTKids, American Ballet Theatre’s annual one-hour introduction to ballet for families, will return to the Metropolitan Opera House stage on Saturday, June 24 at 11:00 A.M. The family-friendly showing of selections from the ABT main Company’s illustrious repertoire will be hosted by ABT Principal Dancer James Whiteside. All tickets for ABTKids are $25. Single Tickets Single tickets for American Ballet Theatre’s 2023 Summer season at the Metropolitan Opera House go on sale today, Monday, April 24 at 12:00 P.M. Tickets can be purchased by phone at 212-362-6000, in person at the Met Box Office, or online at ABT’s website. Tickets start at $30. The Metropolitan Opera House is located on Broadway between 64th and 65th streets in New York City. Ticket holders for the 2023 Summer season at the Metropolitan Opera House may exchange tickets up until Noon the day of the performance at no charge, minus any difference in the ticket price. We regret that there are no refunds or cancellations. Student Ticket Policy American Ballet Theatre offers $12–$30 advance tickets and Day of Rush tickets for any full-time undergraduate or graduate student. A valid student ID is required. Tickets are subject to availability and require advance registration on the Met website. Limit two tickets per person, per performance. American Ballet Theatre offers $35 orchestra day of rush tickets to the general public for all performances. Two tickets may be purchased for one performance every seven days. Tickets are subject to availability and require advance registration on the Met website. American Ballet Theatre offers theatergoers under 30 years old $30 advance tickets to select performances. A limited number of tickets are available. Tickets are subject to availability and require an ID for pick up. Limit two tickets per person, per performance. Health and Safety Protocols American Ballet Theatre and the Metropolitan Opera House ask audiences to review the following health and safety protocols on the Met website before attending performances. ABOUT AMERICAN BALLET THEATRE American Ballet Theatre is one of the greatest dance companies in the world. Revered as a national treasure since its founding season in 1940, its mission is to create, present, preserve, and extend the great repertoire of classical dancing for the widest possible audience. Headquartered in New York City, ABT is the only cultural institution of its size and stature to extensively tour, enchanting audiences for eight decades in 50 U.S. states, 45 countries, and over 480 cities worldwide. ABT’s repertoire includes full-length classics from the nineteenth century, the finest works from the early twentieth century, and acclaimed contemporary masterpieces. In 2006, by an act of Congress, ABT was designated America's National Ballet Company®. Major support of the 2023 season production of Like Water for Chocolate is provided by Alexandra and Alan Airth. Additional support is provided by Michèle and Steve Pesner. Leadership support of ABT’s New Works Initiative is provided by Mark Casey and Carrie Gaiser Casey, The Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. American Ballet Theatre’s performances of Giselle are generously supported through an endowed gift from Sharon Patrick. Swan Lake is generously underwritten by R. Chemers Neustein. American Ballet Theatre’s performances of Romeo and Juliet are generously underwritten through an endowed gift from Ali and Monica Wambold. Commissions and presentations of new works by women choreographers are supported by the ABT Women’s Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Additional leadership support is provided by the Virginia B. Toulmin Foundation. Special thanks to Denise Littlefield Sobel for her leadership gifts to ABT’s Media Fund, advancing the Company’s digital endeavors; and ABT RISE, fueling the Company’s commitment to diversity, equity, and inclusion. 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 The Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council. For more information, please visit www.abt.org. ABT 2023 Met Season Grid.pdf
-
From the company: NEW YORK PREMIERE OF CHRISTOPHER WHEELDON’S LIKE WATER FOR CHOCOLATE TO OPEN AMERICAN BALLET THEATRE’S SUMMER SEASON AT THE METROPOLITAN OPERA HOUSE, JUNE 22 - JULY 22, 2023 SEASON TO INCLUDE FULL-LENGTH CLASSICS GISELLE, SWAN LAKE, AND ROMEO AND JULIET OPENING NIGHT GALA FEATURING LIKE WATER FOR CHOCOLATE GENERAL PUBLIC ON SALE BEGINS MONDAY, APRIL 24 AT 12:00PM NEW YORK, NY (April 17, 2023) – American Ballet Theatre returns to the Metropolitan Opera House with four stories of love for its 2023 Summer season, June 22–July 22. The season will feature the New York Premiere of two-time Tony Award®-winner Christopher Wheeldon’s Like Water for Chocolate, as well as full-length classics Giselle, Swan Lake, and Romeo and Juliet. General public on sale for ABT’s 2023 Summer season begins on Monday, April 24 at 12:00PM at the Metropolitan Opera House box office. Principal Dancers for the 2023 Summer season include Joo Won Ahn, Aran Bell, Isabella Boylston, Skylar Brandt, Daniel Camargo, Herman Cornejo, Thomas Forster, Catherine Hurlin, Gillian Murphy, Calvin Royal III, Hee Seo, Christine Shevchenko, Cory Stearns, Devon Teuscher, Cassandra Trenary, James Whiteside, and Roman Zhurbin. New York Premiere The New York Premiere of Christopher Wheeldon’s Like Water for Chocolate is set for Thursday, June 22, 2023, with Cassandra Trenary and Herman Cornejo in the leading roles of Tita and Pedro, respectively. Based on Laura Esquivel’s bestselling novel of the same name, Like Water for Chocolate is Wheeldon’s latest full-length ballet and a co-production with The Royal Ballet. The three-act ballet follows Tita, a young Mexican woman who struggles with familial duty in the face of forbidden love, expressing herself the one way she knows how, through cooking. Like Water for Chocolate is set to an original score by Joby Talbot and features scenery and costumes by Bob Crowley, lighting by Natasha Katz, and video design by Luke Halls. American Ballet Theatre is excited to welcome Alondra de la Parra to conduct the first four performances of Like Water for Chocolate at the Metropolitan Opera House. A globally renowned conductor, de la Parra has worked with some of the most prestigious orchestras across the world and holds the distinction of being the first Mexican woman to conduct professionally in New York City. ABT additionally welcomes Tomás Barreiro, a decorated and internationally recognized Mexican composer, orchestrator, guitar player, and teacher, on Solo Guitar for all 12 performances, as well as Venezuelan-born singer Maria Brea, whose soaring soprano accompanies the final, climatic pas de deux. Like Water for Chocolate received its World Premiere by The Royal Ballet on June 2, 2022, at the Royal Opera House, Covent Garden, London. It received its North American Premiere by American Ballet Theatre on March 29, 2023, at Segerstrom Center for the Arts in Costa Mesa, California. At the Metropolitan Opera House, the ballet will be given 12 performances through Saturday, July 1. Opening Night Gala Celebrating Yolanda Santos American Ballet Theatre will host its June Gala on Thursday, June 22, 2023, at 6:30PM at the Metropolitan Opera House featuring the New York Premiere of Like Water for Chocolate. Following the performance, Gala guests are invited to join ABT for a black-tie dinner and dancing on the Promenade of the newly opened David Geffen Hall. The Gala evening will honor Yolanda Santos, Founding Member of ABT’s Global Council and Founder of Ballet de Monterrey, for her championship of classical ballet and contemporary visual arts, nationally and internationally. Laura Esquivel, author of Like Water for Chocolate, will serve as Honorary Chair of the event. For more information or to purchase tickets and tables, please contact Megan Stahlberg at mstahlberg@abt.org. Full-Length Works ABT will perform the full-length production of Giselle for a total of eight performances beginning on Monday, July 3, with Hee Seo in the title role and Cory Stearns as Albrecht. Staged by Kevin McKenzie with choreography after Jean Coralli, Jules Perrot, and Marius Petipa, Giselle is set to music by Adolphe Adam, orchestrated by John Lanchbery, with scenery by Gianni Quaranta, costumes by Anna Anni, and lighting by Jennifer Tipton. The World Premiere of Giselle, one of the oldest continually performed ballets, occurred at the Theatre de l’Academie Royale de Musique in Paris on June 28, 1841. The ballet was first presented by ABT (then Ballet Theatre) at the Center Theatre in New York City on January 12, 1940, with choreography by Anton Dolin and scenery and costumes by Lucinda Ballard. The leading roles were danced by Annabelle Lyon and Anton Dolin. ABT’s sixth production, featuring scenery by Gianni Quaranta and costumes by Anna Anni, was created for the film Dancers, produced in 1987 by Cannon Films. This production’s first public performance was given on March 20, 1987, at the Shrine Auditorium in Los Angeles, California, with Marianna Tcherkassky as Giselle and Kevin McKenzie as Albrecht. The current staging is by McKenzie, using the Quaranta and Anni designs. The Saturday, July 8 performance of Giselle will be “In Tribute to Lupe Serrano” in honor of the late Lupe Serrano, former ABT Principal Dancer from 1953-1971, who, after retiring from the stage, taught classes for the ABT main Company, ABT Studio Company, ABT Jacqueline Kennedy Onassis School, and Summer Intensives. Eight performances of Swan Lake will begin Monday, July 10, with Isabella Boylston as Odette-Odile and Daniel Camargo as Prince Siegfried. Set to music by Peter Ilyitch Tchaikovsky, Swan Lake is choreographed by Kevin McKenzie after Marius Petipa and Lev Ivanov. The ballet features scenery and costumes by Zack Brown and lighting by Duane Schuler. This production of Swan Lake premiered on March 24, 2000, at The John F. Kennedy Center for the Performing Arts in Washington, D.C. with Julie Kent (Odette-Odile) and Angel Corella (Prince Siegfried). The Friday, July 21 performance of Swan Lake will be a “Special Evening for Susan Jaffe” to celebrate Jaffe’s first Met season as Artistic Director of American Ballet Theatre, a homecoming for the former ABT Principal Dancer of 22 years. Kenneth MacMillan’s Romeo and Juliet will be given seven performances beginning Tuesday, July 18, with Devon Teuscher and Aran Bell in the title roles. Set to the score by Sergei Prokofiev, Romeo and Juliet features scenery and costumes by Nicholas Georgiadis and lighting by Thomas Skelton. Romeo and Juliet received its World Premiere from The Royal Ballet in London on February 9, 1965, and February 9, 1965, and was given its ABT Company Premiere at The John F. Kennedy Center for the Performing Arts in Washington, D.C. on January 3, 1985, with Leslie Browne and Robert La Fosse in the leading roles. ABTKids ABTKids, American Ballet Theatre’s annual one-hour introduction to ballet for families, will return to the Metropolitan Opera House stage on Saturday, June 24 at 11:00AM. The family-friendly showing of selections from the ABT main Company’s illustrious repertoire will be hosted by ABT Principal Dancer James Whiteside. All tickets for ABTKids are $25. Single Tickets Single tickets for American Ballet Theatre’s 2023 Summer season at the Metropolitan Opera House will be on sale beginning Monday, April 24 at 12:00PM. Tickets can be purchased by phone at 212-362-6000, in person at the Met Box Office, or online at ABT’s website. Tickets start at $30. The Metropolitan Opera House is located on Broadway between 64th and 65th streets in New York City. Ticket holders for the 2023 Summer season at the Metropolitan Opera House may exchange tickets up until Noon the day of the performance at no charge, minus any difference in the ticket price. We regret that there are no refunds or cancellations. Student Ticket Policy American Ballet Theatre offers $12–$30 advance tickets and Day of Rush tickets for any full-time undergraduate or graduate student. A valid student ID is required. Tickets are subject to availability and require advance registration on the Met website. Limit two tickets per person, per performance. American Ballet Theatre offers $35 orchestra day of rush tickets to the general public for all performances. Two tickets may be purchased for one performance every seven days. Tickets are subject to availability and require advance registration on the Met website. American Ballet Theatre offers theatergoers under 30 years old $30 advance tickets to select performances. A limited number of tickets are available. Tickets are subject to availability and require an ID for pick up. Limit two tickets per person, per performance. Health and Safety Protocols American Ballet Theatre and the Metropolitan Opera House ask audiences to review the following health and safety protocols on the Met website before attending performances. ABOUT AMERICAN BALLET THEATRE American Ballet Theatre is one of the greatest dance companies in the world. Revered as a national treasure since its founding season in 1940, its mission is to create, present, preserve, and extend the great repertoire of classical dancing for the widest possible audience. Headquartered in New York City, ABT is the only cultural institution of its size and stature to extensively tour, enchanting audiences for eight decades in 50 U.S. states, 45 countries, and over 480 cities worldwide. ABT’s repertoire includes full-length classics from the nineteenth century, the finest works from the early twentieth century, and acclaimed contemporary masterpieces. In 2006, by an act of Congress, ABT was designated America's National Ballet Company®. Major support of the 2023 season production of Like Water for Chocolate is provided by Alexandra and Alan Airth. Additional support is provided by Michèle and Steve Pesner. Leadership support of ABT’s New Works Initiative is provided by Mark Casey and Carrie Gaiser Casey, The Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. American Ballet Theatre’s performances of Giselle are generously supported through an endowed gift from Sharon Patrick. Swan Lake is generously underwritten by R. Chemers Neustein. American Ballet Theatre’s performances of Romeo and Juliet are generously underwritten through an endowed gift from Ali and Monica Wambold. Commissions and presentations of new works by women choreographers are supported by the ABT Women’s Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Additional leadership support is provided by the Virginia B. Toulmin Foundation. Special thanks to Denise Littlefield Sobel for her leadership gifts to ABT’s Media Fund, advancing the Company’s digital endeavors; and ABT RISE, fueling the Company’s commitment to diversity, equity, and inclusion. 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 The Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council. For more information, please visit www.abt.org.
-
From ABT: AMERICAN BALLET THEATRE’S ALEISHA WALKER WINS YOUNG CREATION AWARD AT 2023 PRIX DE LAUSANNE 50TH ANNIVERSARY COMPETITION NEW YORK, NY (February 1, 2023) – American Ballet Theatre is proud to announce that ABT apprentice Aleisha Walker won a coveted Young Creation Award at the 2023 Prix de Lausanne 50th Anniversary Competition in Lausanne, Switzerland. Walker’s solo Do You Care?, set to “Nocturnal Waltz” by Johannes Bornlof and performed by ABT Studio Company member Madison Brown, was one of five worldwide finalists that competed on February 1 during the Young Creation Award competition, and one of two winners named by the Prix de Lausanne Jury. Of Walker and Brown’s participation, ABT Studio Company Artistic Director Sascha Radetsky said, “Maddie beautifully brought Aleisha’s rich imagination to life, and we could not be more proud. Thank you to the Prix de Lausanne for honoring our remarkable young artists with this recognition!” In its third year, the Young Creation Award aims to discover young, new choreographers – ages 14-21 – and offer a unique experience at the Prix de Lausanne to be recognized by peers and leading ballet companies around the world. The competition encourages “the imagination and creativity of young dancers to become aware of the art and technique of choreography.” As one of two winners, Walker’s Do You Care? will be performed once more by Brown during the Prix de Lausanne Finals on Saturday, February 4. This performance will be livestreamed on ARTE Concert and on the Prix’s social media channels, with replays of the whole competition found on YouTube. Choreographer and Young Creation Award winner Aleisha Walker, ABT Studio Company member Madison Brown, and ABT Studio Company Artistic Director Sascha Radetsky will all be available for interviews following their return from Lausanne. For more information, please contact Laura Miller, LMiller@abt.org, or Susie Morgan Taylor, STaylor@abt.org. ABOUT AMERICAN BALLET THEATRE American Ballet Theatre is one of the greatest dance companies in the world. Revered as a national treasure since its founding season in 1940, its mission is to create, present, preserve, and extend the great repertoire of classical dancing for the widest possible audience. Headquartered in New York City, ABT is the only cultural institution of its size and stature to extensively tour, enchanting audiences for eight decades in 50 U.S. states, 45 countries, and over 480 cities worldwide. ABT’s repertoire includes full- length classics from the nineteenth century, the finest works from the early twentieth century, and acclaimed contemporary masterpieces. In 2006, by an act of Congress, ABT was designated America's National Ballet Company®.
-
Good move. I think Ratmansky has created some of his best work for NYCB dancers.