Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

Dale

Board Moderator
  • Posts

    3,460
  • Joined

Everything posted by Dale

  1. Company release: STELLA ABRERA TO GIVE FAREWELL PERFORMANCE WITH AMERICAN BALLET THEATRE, SATURDAY, JUNE 13, 2020 AT THE METROPOLITAN OPERA HOUSE ABRERA TO CONCLUDE 24-YEAR CAREER WITH A PERFORMANCE IN THE TITLE ROLE OF GISELLE Stella Abrera, a Principal Dancer with American Ballet Theatre since 2015, will give her farewell performance with the Company in the title role of Giselle on Saturday evening, June 13, 2020 at the Metropolitan Opera House. Born in Manila, Philippines, Stella Abrera grew up in South Pasadena, California and began her ballet training with Philip and Charles Fuller and Cynthia Young at Le Studio in Pasadena. She continued her studies with Lorna Diamond and Patricia Hoffman at the West Coast Ballet Theatre in San Diego. For three years, she studied the Royal Academy of Dancing method with Joan and Monica Halliday at the Halliday Dance Centre in Sydney, Australia. In 1995, Abrera received the Gold Medal at the Royal Academy of Dancing’s Adeline Genée Awards in London. She joined American Ballet Theatre as a member of the corps de ballet in 1996 and was promoted to Soloist in 2001. In August 2015, she was appointed Principal Dancer. Her repertoire with ABT includes the Girl in Afternoon of a Faun, Calliope and Terpsichore in Apollo, Gamzatti and a Shade in La Bayadère, The Ballerina in The Bright Stream, Cinderella and Fairy Godmother in Frederick Ashton’s Cinderella, Cinderella in James Kudelka’s Cinderella, Aurora in Coppélia, Gulnare and an Odalisque in Le Corsaire, She Wore a Perfume in Dim Lustre, the woman in white in Diversion of Angels, Mercedes and the Driad Queen in Don Quixote, Helena in The Dream, the first passerby in Fancy Free, Lise in La Fille mal gardée, the Maiden in Alexei Ratmansky’s Firebird, Giselle, Myrta and peasant pas de deux in Giselle, Queen of Shemakahn in The Golden Cockerel, Pierrette in Harlequinade, Blanche Ingram in Jane Eyre, Lescaut’s Mistress in Manon, Katia in A Month in the Country, the Sugar Plum Fairy and the Snow Queen in Kevin McKenzie’s The Nutcracker, Clara the Princess in Ratmansky’s The Nutcracker, Emilia in Othello, Tatiana in Onegin, the Ballerina in Petrouchka, Older Sister in Pillar of Fire, Juliet and Lady Capulet in Romeo and Juliet, The Spirit of the Corn in The Seasons, Princess Aurora, the Lilac Fairy and Princess Florine in Ratmansky’s The Sleeping Beauty, the pas de trois in Swan Lake, the violin in Symphonie Concertante, leading roles in Bach Partita, Ballet Imperial, Birthday Offering, The Brahms-Haydn Variations, Her Notes, The Leaves Are Fading, Monotones I, Souvenir d’un lieu cher, Les Sylphides, Symphonic Variations, Symphony #9, Symphony in C and Thirteen Diversions, and featured roles in Airs, Baker’s Dozen, Black Tuesday, Deuce Coupe, Dream within a Dream (deferred), Gong, In the Upper Room, Petite Mort, Sinfonietta, Without Words and workwithinwork. Abrera created the roles of His Memory and His Experiences in HereAfter, the Spanish Dance in Ratmansky’s The Nutcracker, the Fairy Violente (Temperament) in Ratmansky’s The Sleeping Beauty, His Mistress in Weren’t We Fools, Princess Tea Flower in Whipped Cream and roles in After You, Garden Blue, Pretty Good Year and Seven Sonatas. Abrera has performed as a Guest Principal with the Australian Ballet, The Washington Ballet, The Royal New Zealand Ballet and Ballet Philippines. In 2014, she founded the charity Steps Forward for the Philippines to benefit typhoon victims in the Philippine province of Guiuan. In April 2018, she directed and performed in a benefit gala at the Maybank Performing Arts Theater in Manila, Philippines to raise funds for the creation of the Stella Abrera Dance and Music Hall at the Center of Excellence in Public Elementary Education (CENTEX) in Batangas, Philippines. Abrera is the director of Pro-Studio/Stella Abrera®, a training and coaching initiative for professional dancers launched in 2019 at Kaatsbaan Cultural Park for Dance. Abrera’s remaining performance for the Company’s 2019 Fall season at the David H. Koch Theater will be the role of The Spirit of the Corn in The Seasons on Tuesday, October 22. Tickets for American Ballet Theatre’s 2019 Fall season at the David H. Koch Theater, priced from $30, are available online, by phone at 212-496-0600 or at the Koch Theater box office. The David H. Koch Theater is located at Lincoln Center, Broadway and 63rd Street in New York City. Subscriptions for ABT’s 2020 Spring season at the Metropolitan Opera House are available online or by phone at 212-362-6000, beginning Wednesday, October 30 at 12 Noon. For more information, please visit ABT’s website at www.abt.org.
  2. More news: ERICA CORNEJO TO JOIN HERMAN CORNEJO ON STAGE IN EL CHAMUYO IN CELEBRATION OF HERMAN CORNEJO’S 20TH ANNIVERSARY WITH AMERICAN BALLET THEATRE, SATURDAY EVENING, OCTOBER 26 AT DAVID H. KOCH THEATER Erica Cornejo, former American Ballet Theatre Soloist and former Boston Ballet principal dancer, will join her brother Herman on stage in El Chamuyo at the David H. Koch Theater on Saturday evening, October 26 at 8:00 PM. The pas de deux is a pièce d’occasion celebrating Herman Cornejo’s 20th Anniversary with ABT. El Chamuyo, a tango choreographed by Ana María Stekelman and set to music by Francisco Canaro, was first performed by the Cornejos in 1998 at a gala dinner honoring Argentina on the Grand Tier of the Metropolitan Opera House. While in New York for the event, they attended Company class at American Ballet Theatre, and were invited to join ABT Studio Company. Born in San Luis, Argentina, Erica Cornejo began her study of ballet at the age of four. In 1994, she was invited to join Julio Bocca’s company, Ballet Argentino, where she was promoted to principal ballerina and Bocca’s partner in 1995. She joined ABT Studio Company in 1998 and became a member of ABT’s corps de ballet later that same year. She was promoted to Soloist in 2002. In 2006, Erica joined Boston Ballet as a principal dancer, where she performed leading roles until her retirement in 2017. She is co-founder and artistic director of INTEGRARTE, a Dance Art Movement Center in Boston. In addition to El Chamuyo, Herman Cornejo’s 20th Anniversary celebration on Saturday evening, October 26 will include his New York debut in the title role of George Balanchine’s Apollo and a leading role in A Gathering of Ghosts, the season’s World Premiere work by Twyla Tharp created for Cornejo and the Company. Cornejo will also lead A Gathering of Ghosts on October 16 at 7:30 PM, October 17 at 7:30 PM, October 19 at 8:00 PM and October 22 at 7:30 PM. Tickets for American Ballet Theatre’s 2019 Fall season at the David H. Koch Theater, priced from $30, are available online, at the Koch Theatre box office or by phone at 212-496-0600. The David H. Koch Theater is located at Lincoln Center, Broadway and 63rd Street in New York City. For more information, please visit ABT’s website at www.abt.org.
  3. I just sort of stumbled across this new interview:
  4. From the company: CHOREOGRAPHERS FOR 2019 ABT INCUBATOR SELECTED CLAIRE DAVISON, ZHONG-JING FANG, SUNG WOO HAN, GABRIELLE LAMB AND LAURA O’MALLEY TO CREATE NEW WORK FOR CHOREOGRAPHIC PROGRAM Choreographers Gabrielle Lamb and Laura O’Malley, along with American Ballet Theatre dancers Claire Davison, Zhong-Jing Fang and Sung Woo Han, have been selected to create work for the 2019 ABT Incubator, a two-week choreographic workshop providing a focused lab to inspire new choreographic voices and generate ideas for the creation of new work. Directed by ABT Principal Dancer David Hallberg, ABT Incubator will be held October 29–November 9, 2019 at ABT’s New York studios. ABT Incubator choreographers were chosen through an audition process with selections made by a panel including Hallberg, ABT Artistic Director Kevin McKenzie, Danspace Executive Director Judy Hussie-Taylor and choreographer Jessica Lang. Selected choreographers are provided studio space and a stipend to create new work on ABT dancers. Lang will serve as a program mentor, offering composition exercises and professional management advice for ABT Incubator participants. In addition, ABT Incubator provides participating dancers and choreographers access to museum and gallery tours, as well as theater experiences. The workshop culminates with a private studio showing on November 9. “This year’s iteration of ABT Incubator is in alignment with my long-term vision for the program: to nurture voices over the course of time, each year facilitating another vital step in the process,” said Hallberg. “With exciting newcomers joining the program, as well as Gabrielle Lamb and Sung Woo Han returning to create and further develop their work for a second consecutive year, ABT Incubator has become invaluable to building a roster of new creative talent.” Claire Davison, from Boulder, Colorado, received her early training at the Boulder Ballet School. Davison was a finalist at Youth America Grand Prix in New York in 2009. She joined the ABT Jacqueline Kennedy Onassis School on scholarship in 2010, became an apprentice with ABT in November 2012 and joined the Company’s corps de ballet in June 2013. Zhong-Jing Fang was born in Shanghai, China. She has received numerous awards, including first place in the Prix de Lausanne and the Rudolf Nureyev Foundation Prize in 2000. Fang joined ABT Studio Company in 2002 after graduating from the Performing Arts College of Shanghai Drama University. She became an apprentice with ABT in April 2003 and a member of the corps de ballet in January 2004. Fang was promoted to Soloist in September 2018. Sung Woo Han, born in Seoul, South Korea, trained at the Royal Ballet School on full scholarship. He has won numerous awards including International Ballet Competition-Varna, Youth America Grand Prix and second prize at the Prix de Lausanne in 2011. Han joined ABT’s corps de ballet in 2013. He previously choreographed Beneath the Conscious for ABT Incubator in 2018. Gabrielle Lamb is the director of Pigeonwing Dance, a contemporary dance company based in New York City. Lamb is the winner of a Princess Grace Award for Choreography and a New York City Center Choreography Fellowship, as well as choreographic competitions at Hubbard Street Dance Chicago, Milwaukee Ballet and Western Michigan University. Her work has been presented by companies such as the Royal Winnipeg Ballet, Sacramento Ballet, Jacob’s Pillow and Dance Theatre of Harlem. She was previously selected to choreograph for ABT Incubator in 2018. Laura O’Malley, from Phoenix, Arizona, has danced as a soloist with Stuttgart Ballet and Dutch National Ballet. She later joined Hubbard Street Dance Chicago and Alonzo King LINES Ballet. O’Malley has choreographed for LINES Ballet’s education programs, Berkley Ballet Theater, SFDanceworks and various dance films. ABT Incubator is supported by American Express and the Virginia B. Toulmin Foundation.
  5. An event: AMERICAN BALLET THEATRE DANCER-CHOREOGRAPHERS DISCUSS THEIR NEWEST WORKS AND THE ABT WOMEN’S MOVEMENT FREE EVENT AT THE DAVID RUBENSTEIN ATRIUM AT LINCOLN CENTER, MONDAY, SEPTEMBER 16, 2019 AT 7:00 PM American Ballet Theatre dancer-choreographers Gemma Bond, Zhong-Jing Fang and James Whiteside will participate in a discussion on the ABT Women’s Movement on Monday, September 16, 2019 at 7:00 PM. The discussion, moderated by MSNBC anchor Yasmin Vossoughian, will take place at the David Rubenstein Atrium at Lincoln Center and is free and open to the public. Launched in 2018, the ABT Women’s Movement is an ongoing initiative to support the creation, exploration and staging of new works by women for ABT and ABT Studio Company. ABT Women’s Movement choreographer and former corps de ballet dancer Gemma Bond will discuss the creation of her first work for ABT, which will receive its World Premiere on Wednesday, October 23, 2019 at the David H. Koch Theater during the upcoming Fall season. Zhong-Jing Fang, a current ABT Soloist and emerging choreographer, has been selected to create for ABT Incubator, the Company’s in-house choreographic workshop. Principal Dancer James Whiteside, a choreographer for the inaugural ABT Incubator workshop, joins the panel to discuss his latest work for ABT’s Fall season, New American Romance, which will receive its New York Premiere on Wednesday, October 23. The David Rubenstein Atrium at Lincoln Center is located on Broadway between 62 and 63 Streets. For more information about the event, please visit http://www.lincolncenter.org/atrium/show/abt- womens-movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal.
  6. A release: CASTING ANNOUNCED FOR AMERICAN BALLET THEATRE’S 2019 FALL SEASON AT THE DAVID H. KOCH THEATER Casting for American Ballet Theatre’s 2019 Fall season at the David H. Koch Theater was announced today by Artistic Director Kevin McKenzie. Principal Dancers for the 2019 Fall season include Stella Abrera, Isabella Boylston, Misty Copeland, Herman Cornejo, Sarah Lane, Hee Seo, Christine Shevchenko, Cory Stearns, Devon Teuscher and James Whiteside. A World Premiere by Twyla Tharp will highlight the Opening Night Gala performance on Wednesday, October 16 at 6:30 PM. Set to String Quintet No. 2 in G major, Op. 111 by Johannes Brahms, with costumes by Norma Kamali and lighting by Jennifer Tipton, Tharp’s new work, created for Herman Cornejo and ABT Company members, is the choreographer’s 17th ballet for the Company. The Gala program also features Catherine Hurlin and Aran Bell in the New York Premiere of Jessica Lang’s Let Me Sing Forevermore and the debut of Devon Teuscher in George Balanchine’s Theme and Variations. On Saturday evening, October 26, American Ballet Theatre will present a program of works in honor of Principal Dancer Herman Cornejo and his 20th Anniversary with ABT. This special evening will include Cornejo’s New York debut in the title role of George Balanchine’s Apollo, with debuts by Misty Copeland as Terpsichore, Cassandra Trenary as Calliope and Skylar Brandt as Polyhymnia. The evening will also feature Cornejo in the World Premiere work by Tharp. Apollo, last performed by the Company in 2012, will receive its first performance of the season on Friday evening, October 18 featuring Joo Won Ahn performing the title role for the first time. Stella Abrera and Katherine Williams will debut in the roles of Terpsichore and Polyhymnia respectively. At the matinee on Saturday, October 19, Calvin Royal III will make his New York debut in the title role, while Hee Seo and Zhong-Jing Fang will debut in the roles of Terpsichore and Calliope. Choreographed by George Balanchine in 1937, Apollo is set to music by Igor Stravinsky and is staged for ABT by Victoria Simon. The season’s first performance of Clark Tippet’s Some Assembly Required on Friday evening, October 18 will feature the debut of Cory Stearns dancing opposite Sarah Lane. A pas de deux first presented by ABT in 1989, Some Assembly Required is set to music by William Bolcolm, with costumes by Gary Lisz and lighting by Jennifer Tipton. The ballet is staged for ABT by Amanda McKerrow and John Gardner. Skylar Brandt and Roman Zhurbin will dance the ballet for the first time at the matinee on Saturday, October 19. Jessica Lang’s Let Me Sing Forevermore, a pas de deux set to a medley of songs recorded by Tony Bennett, features costumes by Bradon McDonald and lighting by Brad Fields. Isabella Boylston and James Whiteside will dance the roles for the first time at the matinee on Saturday, October 19. Let Me Sing Forevermore received its World Premiere on March 23, 2019 at the Erik Bruhn Competition in Toronto, Canada performed by Catherine Hurlin and Aran Bell. Twyla Tharp’s Deuce Coupe, set to songs by The Beach Boys, with costumes and scenery by Santo Loquasto (after original costume design by Scott Barrie and original scenics by United Graffiti Artists) and lighting by Jennifer Tipton, will be given its first performance of the season on Friday, October 18. Blaine Hoven and Thomas Forster will make their debuts in the work at the matinee on Saturday, October 19. Deuce Coupe was given its World Premiere in 1973 by The Joffrey Ballet at the Auditorium Theatre in Chicago, Illinois and received its ABT Company Premiere on May 30, 2019 at the Metropolitan Opera House. Deuce Coupe is staged for ABT by Kara Chan, Sara Rudner and Shawn Stevens. Additional debuts for the 2019 Fall season include Javier Rivet in Alexei Ratmansky’s The Seasons on Tuesday, October 22 and Joo Won Ahn in Balanchine’s Theme and Variations at the matinee on Saturday, October 26. Tickets for American Ballet Theatre’s 2019 Fall season at the David H. Koch Theater, priced from $30, are available online, at the Koch Theatre box office or by phone at 212-496-0600. Performance-only tickets for the Opening Night Gala begin at $35. The David H. Koch Theater is located at Lincoln Center, Broadway and 63rd Street in New York City. For more information, please visit ABT’s website at www.abt.org. Leadership support for The Ratmansky Project has been provided by Avery and Andrew F. Barth, the Blavatnik Family Foundation, Mr. and Mrs. Hamilton E. James, and The Ted and Mary Jo Shen Charitable Gift Fund. Additional support has been provided by Dr. Joan Taub Ades, Linda Allard, Sarah Arison, Steven Backes, Mark Casey and Carrie Gaiser Casey, Lisa and Dick Cashin, The Susan and Leonard Feinstein Foundation, Linda and Martin Fell, Vicki Netter Fitzgerald, William J. Gillespie, Brian J. Heidtke, Caroline and Edward Hyman, The Marjorie S. Isaac/Irving H. Isaac Fund, Robin Chemers Neustein, Howard S. Paley, Pearl T. Maxim Trust, Lloyd E. Rigler – Lawrence E. Deutsch Foundation, Bernard L. Schwartz, Segerstrom Center for the Arts, John Leland Sills and Elizabeth Papadopoulos-Sills, Melissa A. Smith, The H. Russell Smith Foundation/Stewart R. Smith and Robin A. Ferracone, Martin and Toni Sosnoff Foundation, Sutton Stracke, and Sedgwick Ward. Champion support for ABT Women’s Movement is provided by Jenna Segal. Additional support provided by Mark Casey and Carrie Gaiser Casey, Donna and Richard Esteves, Margee and John Falk, Janine and J. Tomilson Hill, the National Endowment for the Arts, Rockefeller Brothers Fund, Denise Littlefield Sobel, The Laurie M. Tisch Illumination Fund, Virginia B. Toulmin Foundation, Elizabeth Yntema, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. Theme and Variations is generously underwritten through an endowed gift from Mr. and Mrs. John C. Sites, Jr. Deuce Coupe is generously supported through an endowed gift from The Toni and Martin Sosnoff New Works Fund. The Family Friendly Matinee is generously underwritten by Bloomberg Philanthropies. American Airlines is the Official Airline of American Ballet Theatre. ABT is supported, in part, with public funds from the National Endowment for the Arts; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council. By the way, I forgot to put up this release from last week: NEW AMERICAN ROMANCE BY JAMES WHITESIDE ADDED TO AMERICAN BALLET THEATRE’S FALL SEASON AT DAVID H. KOCH THEATER, OCTOBER 16–27, 2019 NEW YORK PREMIERE SCHEDULED FOR WEDNESDAY, OCTOBER 23 New American Romance, choreographed by American Ballet Theatre Principal Dancer James Whiteside, will receive its New York Premiere on October 23 during the Company’s Fall season at the David H. Koch Theater. It was announced today by Artistic Director Kevin McKenzie. Set to Suite Bergamasque for solo piano by Claude Debussy, New American Romance is Whiteside’s first work for American Ballet Theatre. Featuring eight dancers, the ballet received its World Premiere on July 27, 2019 at the Gerald R. Ford Amphitheater in Vail, Colorado. New American Romance will be given three performances during ABT’s Fall season, replacing the previously scheduled Dream within a Dream (deferred) by Michelle Dorrance. Tickets for American Ballet Theatre’s 2019 Fall season, priced from $30, are available online, at the Koch Theatre box office or by phone at 212-496-0600. Performance-only tickets for the Opening Night Gala begin at $35. The David H. Koch Theater is located at Lincoln Center, Broadway and 63rd Street in New York City. For more information, please visit ABT’s website at www.abt.org. New American Romance is generously supported through an endowed gift from The Toni and Martin Sosnoff New Works Fund.
  7. Official announcement: JOO WON AHN AND ARAN BELL PROMOTED TO SOLOIST WITH AMERICAN BALLET THEATRE ABT WELCOMES NEW MEMBERS OF THE CORPS DE BALLET AND APPRENTICES FOR THE 2019–2020 SEASON Joo Won Ahn and Aran Bell have been promoted to the rank of Soloist with American Ballet Theatre. The promotions, announced today by ABT Artistic Director Kevin McKenzie, become effective September 1, 2019. Joo Won Ahn, originally from Wonju, Korea, began his formal training in 2006 at Y.J. Ballet People Academy and Sunhwa Arts School. In 2012, he continued his studies at Korea National University of Arts in Seoul. Ahn was invited to join ABT Studio Company in 2013 after winning the Gold Medal at Youth America Grand Prix in New York City. He joined ABT as an apprentice in January 2014 and the corps de ballet in June 2014. Ahn’s repertoire with the Company includes Solor in La Bayadère, a Cavalier in Cinderella, Ali and Lankendem in Le Corsaire, the Russian Dance and Spanish Dance in Alexei Ratmansky’s The Nutcracker, Winter in Ratmansky’s The Seasons, Bluebird, a Fairy Cavalier and Italian Prince in Ratmansky’s The Sleeping Beauty, Neapolitan Dance in Swan Lake, leading roles in AFTERITE, The Brahms-Haydn Variations, Garden Blue, Serenade after Plato’s Symposium and Thirteen Diversions and featured roles in AfterEffect, Bach Partita and In the Upper Room. He created roles in Mark Morris’s After You and Ratmansky’s Songs of Bukovina. Aran Bell was born in Bethesda, Maryland and began studying ballet at age four at Central Pennsylvania Youth Ballet and with Denys Ganio in Rome, Italy. He continued his training with Fabrice Herrault in New York City and Magaly Suarez in Florida. He spent several summers at The Royal Ballet School in London and at American Ballet Theatre’s Summer Intensive in New York City. Bell’s awards include the Hope Award at Youth America Grand Prix Finals in New York City in 2009 and 2010 and the Premio Capri Danza International Award in 2014. He was featured in the 2011 film First Position: A Ballet Documentary. Bell joined ABT Studio Company in September 2014. He became an apprentice with ABT in May 2016 and a member of the corps de ballet in March 2017. His repertoire includes Romeo in Romeo and Juliet, Lankendem in Le Corsaire, Harlequin’s Friend in Harlequinade, St. John in Jane Eyre, Prince Désiré in Alexei Ratmansky’s The Sleeping Beauty, Prince Siegried and von Rothbart in Swan Lake, leading roles in Garden Blue and Thirteen Diversions and featured roles in AfterEffect, Deuce Coupe, In the Upper Room and Songs of Bukovina. He created a leading role in AFTERITE and the role of Winter in Ratmansky’s The Seasons. (more) PROMOTIONS ANNOUNCED 2019 – Page 2 American Ballet Theatre apprentices Jacob Clerico, Jarod Curley, Michael de la Nuez, Léa Fleytoux, Abbey Marrison and Ingrid Thoms have been named members of ABT’s corps de ballet for the 2019–2020 season. ABT Studio Company dancers Leah Baylin, Kanon Kimura, Melvin Lawovi, Joseph Markey, Duncan McIlwaine and Chloe Misseldine will become apprentices with the Company. Jacob Clerico was born in Natick, Massachusetts and began his training at Holliston’s Dancing Arts Center. He continued studying at the American Ballet Theatre Jacqueline Kennedy Onassis (JKO) School in 2015 and joined ABT Studio Company in September 2017. Clerico became an apprentice with the main Company in 2018. Jarod Curley, from Bethesda, Maryland, studied at the Frederick School of Classical Ballet. He later trained at the John Cranko School and joined ABT Studio Company in September 2016. He joined the main Company as an apprentice in 2018. Michael de la Nuez was born in Lexington, Kentucky and trained at De La Dance Center in Cincinnati, Ohio. He joined ABT Studio Company in February 2018 and became an apprentice in December 2018. Léa Fleytoux grew up in Paris, France and trained at the Conservatory National Superior of Music and Dance of Paris before joining the ABT JKO School in 2016. She became a member of ABT Studio Company in January 2017 and an apprentice with the main Company in 2018. Abbey Marrison was born in Markham, Ontario, Canada and studied at the Karpov Ballet Academy. She joined the ABT JKO School in September 2016 and joined ABT Studio Company the following year. Marrison became an apprentice with the main Company in 2018. Ingrid Thoms began her training at the Kintz Mejia Academy of Ballet in her hometown of McLean, Virginia. She continued her training at the Harid Conservatory in Boca Raton, Florida until joining the ABT JKO School in 2016. She became a member of ABT Studio Company in September 2017 and an apprentice the following year. American Ballet Theatre welcomes the following ABT Studio Company alumni as apprentices in Fall of 2019: Leah Baylin, from Boulder, Colorado, trained at the ABT JKO School and joined ABT Studio Company in January 2018. Kanon Kimura was born in Tokyo, Japan and received training at the San Francisco Ballet School. She joined ABT Studio Company in September 2018. Melvin Lawovi studied at VM Ballet School in his hometown of Toulouse, France. He became a member of ABT Studio Company in January 2018. (more) PROMOTIONS ANNOUNCED 2019 – Page 3 Joseph Markey, from Jacksonville, Florida, trained at Orlando Ballet School under ABT’s National Training Curriculum. He joined ABT Studio Company in September 2018. Duncan McIlwaine was born in Worcester, Vermont. He studied at the ABT JKO School since age 13 and became a member of ABT Studio Company in January 2018. Chloe Misseldine, from Orlando, Florida, trained at Orlando Ballet School under ABT’s National Training Curriculum. She joined ABT Studio Company in March 2018. American Ballet Theatre’s Spring season at the Metropolitan Opera House continues through July 6, 2019. For tickets and information, please visit www.abt.org.
  8. From the company: AMERICAN BALLET THEATRE’S ABT INCUBATOR RETURNS FOR SECOND ANNUAL WORKSHOP, OCTOBER 29–NOVEMBER 9, 2019 TWO-WEEK CHOREOGRAPHIC PROGRAM OPEN TO ABT DANCERS AND FREELANCE CHOREOGRAPHERS Audition for Freelance Choreographers to be Held August 8 American Ballet Theatre continues its in-house choreographic program this Fall with ABT Incubator. It was announced today by Artistic Director Kevin McKenzie. ABT Incubator, a two-week choreographic workshop, provides new and seasoned choreographers with a focused lab to inspire and generate ideas for the creation of new work. Directed by American Ballet Theatre Principal Dancer David Hallberg, ABT Incubator will be held October 29–November 9, 2019 at ABT’s New York studios and is open to ABT dancers and freelance choreographers. Participating choreographers will be chosen through an audition process with selections made by a panel of choreographers, directors and artists in ballet and dance, including Hallberg, McKenzie, Danspace Executive Director Judy Hussie-Taylor and choreographer Jessica Lang. The audition will be held Thursday, August 8 at ABT’s 890 Broadway studios. Choreographers chosen for the two-week program will be provided studio space, a stipend, collaborators, panel discussions and mentorships to create new work on dancers from ABT, culminating with a private studio showing on November 9. “Following the success of the first iteration of ABT Incubator in 2018, I have recognized the immense value of our choreographic workshop and am thrilled to host this essential program for ABT for its second season,” said Hallberg. “I remain as committed as ever to providing new voices in choreography with the resources to focus on process and create freely.” “American Ballet Theatre is committed to establishing an environment conducive for creating new work,” said McKenzie. “ABT Incubator is the next step for our institution to support that commitment.” Choreographers of all ages, ethnic and racial backgrounds and gender identifications are encouraged to apply. Applicants must be legally authorized to work in the United States to be considered. Audition information and guidelines for freelance choreographers are available by visiting: www.abt.org/abtincubator. ABT Incubator is supported by the Virginia B. Toulmin Foundation.
  9. The release: WORLD PREMIERE BY TWYLA THARP IN HONOR OF HERMAN CORNEJO’S 20TH ANNIVERSARY TO HIGHLIGHT AMERICAN BALLET THEATRE’S 2019 FALL SEASONAT THE DAVID H. KOCH THEATER, OCTOBER 16–27 FALL SEASON TO CELEBRATE ABT CHOREOGRAPHERS PAST AND PRESENT WITH WORLD PREMIERE BY GEMMA BOND, NEW YORK PREMIERE OF JESSICA LANG’S LET ME SING FOREVERMORE AND REVIVALS OF GEORGE BALANCHINE’S APOLLO AND CLARK TIPPET’S SOME ASSEMBLY REQUIRED FAMILY FRIENDLY MATINEE ON SATURDAY, OCTOBER 26 BOX OFFICE TO OPEN JULY 22 World Premieres by Twyla Tharp and Gemma Bond will highlight AmericanBallet Theatre’s 2019 Fall season at the David H. Koch Theater, October 16-27. The season was announced today by Artistic Director Kevin McKenzie. Principal Dancers for the 2019 Fall season include Stella Abrera, Isabella Boylston, Misty Copeland, Herman Cornejo, Sarah Lane, Alban Lendorf, Hee Seo, Christine Shevchenko, Cory Stearns, Devon Teuscher and James Whiteside. The Company will present a program of works in honor of Principal Dancer Herman Cornejo on his 20th Anniversary with American Ballet Theatre. This special celebration on Saturday evening, October 26 will include Cornejo in works by George Balanchine and Tharp. Fall Gala and World Premieres American Ballet Theatre’s Fall season will open with a Gala performance onWednesday, October 16 at 6:30 PM. Lisa Lutoff-Perlo, President and CEO of Celebrity Cruises® will be the Fall Gala honoree. The evening will feature a performance by students of the ABT Jacqueline Kennedy Onassis School, the World Premiere of a new (more) ABT 2019 FALL SEASON ANNOUNCED – Page 2 work by Twyla Tharp, Jessica Lang’s Let Me Sing Forevermore and GeorgeBalanchine’s Theme and Variations. The new Tharp work, created for Herman Cornejo and ABT Company members, will be given its World Premiere at the opening night gala on Wednesday evening, October 16. Tharp’snew ballet, her 17th for ABT, will be set to String Quintet No. 2 in G major, Op. 111 by Johannes Brahms with lighting by Jennifer Tipton. The work will be given five performances during the season. A World Premiere work by ABT corps de ballet member Gemma Bond is scheduled for Wednesday evening, October 23. Set to Benjamin Britten’s Suite on English Folk Tunes for orchestra, Bond’s first work for ABT will feature costumes by Sylvie Rood and lighting by Serena Wong. The new work will be given three performances during the Fall season. The New York Premiere of Jessica Lang’s Let Me Sing Forevermore is set to a medley of songs recorded by Tony Bennett. A pas de deux with costumes by Bradon McDonald, Let Me Sing Forevermore received its World Premiere on March 23, 2019 at the Erik Bruhn Competition in Toronto, Canada performed by Catherine Hurlin and Aran Bell. Revivals The 2019 Fall season will feature revivals of George Balanchine’s Apollo andClark Tippet’s Some Assembly Required. Apollo, choreographed by Balanchine and set to music by Igor Stravinsky, will have its Revival Premiere on Friday evening, October 18. The ballet was given its world premiere by Serge Diaghilev's Ballets Russes at the Theatre Sarah Bernhardt, Paris on June 12, 1928. The ballet received its first American performance by Ballet Theatre at The Metropolitan Opera House, New York on April 27, 1937. Apollo was first performed by American Ballet Theatre on April 25, 1943 at the Metropolitan Opera House in New York with André Eglevsky as Apollo, Vera Zorina as Terpsichore, Nora Kaye as Polyhymnia (more) ABT 2019 FALL SEASON ANNOUNCED – Page 3 and Rosella Hightower as Calliope. Staged for ABT by Victoria Simon, Apollo was last performed by the Company in 2012. Clark Tippet’s Some Assembly Required will be revived for the 2019 Fall season for four performances beginning Friday evening, October 18. Set to WilliamBolcom’s Second Sonata for Violin and Piano, the ballet features costumes by Gary Lisz and original lighting by Jennifer Tipton. Some Assembly Required received its World Premiere by American Ballet Theatre on April 14, 1989 at the Kennedy Center for the Performing Arts in Washington, D. C., performed by Amanda McKerrow and John Gardner. Staged for ABT by McKerrow and Gardner, the ballet was last performed by the Company in 2009. Returning Repertory Theme and Variations, created by George Balanchine for Ballet Theatre in 1947, will be given five performances beginning October 16. Set to music by Peter Ilyitch Tchaikovsky (“Theme and Variations” from Suite No. 3 for Orchestra), Theme and Variations has costumes and scenery by Zack Brown. Theme and Variations, which was last performed by ABT in 2015, received its World Premiere at New York's City Center on November 26, 1947, danced by Alicia Alonso and Igor Youskevitch. Alexei Ratmansky’s The Seasons returns for three performances beginning Thursday, October 17. Set to The Seasons by Alexander Glazunov, the ballet features costumes by Robert Perdziola and lighting by Mark Stanley. The Seasons, Ratmansky’s16th ballet for ABT, received its World Premiere on May 20, 2019 at the Metropolitan Opera House. Jessica Lang’s Garden Blue will be given three performances beginning Wednesday, October 23. The ballet is set to Piano Trio No. 4 in E Minor “Dumky,”Movements 1, 2 and 3 by Antonín Dvořák, with scenery and costumes by American artist Sarah Crowner and lighting by Nicole Pearce. Garden Blue received its World Premiere on October 19, 2018 at the David H. Koch Theater in New York City. (more) ABT 2019 FALL SEASON ANNOUNCED – Page 4 Twyla Tharp’s Deuce Coupe will be given five performances during the Fall season beginning Friday, October 18. Set to music by The Beach Boys, Deuce Coupefeatures scenery and costumes by Santo Loquasto, after original costume design by Scott Barrie and original scenics by United Graffiti Artists, and lighting by Jennifer Tipton.Deuce Coupe was given its World Premiere in 1973 by The Joffrey Ballet at the Auditorium Theatre in Chicago, Illinois and received its ABT Company Premiere on May 30, 2019 at the Metropolitan Opera House. Dream within a Dream (deferred), created by Michelle Dorrance for ABT in 2018, will return for three performances beginning Wednesday, October 23. Set to music by Duke Ellington, the ballet features costumes by Linda Cho and lighting by Brad Fields. A co-commission with the Vail Dance Festival, Dream within a Dream (deferred)received its World Premiere on October 17, 2018 at the David H. Koch Theater in New York City. Family Friendly Matinee A special matinee on Saturday, October 26 will feature family friendly programming including ABT Studio Company in Interchangeble Text by Gemma Bond and season works by George Balanchine, Jessica Lang and Twyla Tharp. Children (ages 6-18) receive a 50% discount off tickets with the purchase of a full-priced adult ticket. Tickets for American Ballet Theatre’s 2019 Fall season at the David H. Koch Theater go on sale beginning July 22, 2019 at 10:00 AM. Tickets priced from $30 are available online, at the Koch Theatre box office or by phone at 212-496-0600. Performance-only tickets for the Opening Night Gala begin at $35. The David H. Koch Theater is located at Lincoln Center, Broadway and 63rd Street in New York City. For more information, please visit ABT’s website at www.abt.org. (more) ABT 2019 FALL SEASON ANNOUNCED – Page 5 Leadership support for The Ratmansky Project has been provided by Avery and Andrew F. Barth, the Blavatnik Family Foundation, Mr. and Mrs. Hamilton E. James, and The Ted and Mary Jo Shen Charitable Gift Fund. Additional support has been provided by Dr. Joan Taub Ades, Linda Allard, Sarah Arison, Steven Backes, Mark Casey and Carrie Gaiser Casey, Lisa and Dick Cashin, The Susan and Leonard Feinstein Foundation, Linda and Martin Fell, Vicki Netter Fitzgerald, William J. Gillespie, Brian J. Heidtke, Caroline and Edward Hyman, The Marjorie S. Isaac/Irving H. Isaac Fund, Robin Chemers Neustein, Howard S. Paley, Pearl T. Maxim Trust, Lloyd E. Rigler – Lawrence E. Deutsch Foundation, Bernard L. Schwartz, Segerstrom Center for the Arts, John Leland Sills and Elizabeth Papadopoulos-Sills, Melissa A. Smith, The H. Russell Smith Foundation/Stewart R. Smith and Robin A. Ferracone, Martin and Toni Sosnoff Foundation, Sutton Stracke, and Sedgwick Ward. Champion support for ABT Women’s Movement is provided by Jenna Segal. Additional support provided by Mark Casey and Carrie Gaiser Casey, Donna and Richard Esteves, Margee and John Falk, Janine and J. Tomilson Hill, the National Endowment for the Arts, Rockefeller Brothers Fund, Denise Littlefield Sobel, The Laurie M. Tisch Illumination Fund, Virginia B. Toulmin Foundation, Elizabeth Yntema, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. Theme and Variations is generously underwritten through an endowed gift from Mr. and Mrs. John C. Sites, Jr. Deuce Coupe is generously supported through an endowed gift from The Toni and Martin Sosnoff New Works Fund. The Family Friendly Matinee is generously underwritten by Bloomberg Philanthropies. American Airlines is the Official Airline of American Ballet Theatre. ABT is supported, in part, with public funds from the National Endowment for the Arts; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council.
  10. Several of her fellow dancers commented on one of Misa’s IG posts, saying things like best of luck in SF, SF is lucky to have you, Best of luck at SFB.
  11. Sad. He is often mentioned by former pupils as an influential teacher and lovely man.
  12. From the company: CASTING ANNOUNCED FOR FIRST TWO WEEKS OF AMERICAN BALLET THEATRE’S 2019 SPRING SEASON AT METROPOLITAN OPERA HOUSE World Premiere of Alexei Ratmansky’s The SeasonsScheduled for Spring Gala, Monday, May 20 at 6:30 P.M. Casting for the first two weeks of American Ballet Theatre’s 2019 Spring Season at the Metropolitan Opera House was announced today by Artistic Director Kevin McKenzie. The season will begin with eight performances of Alexei Ratmansky’sHarlequinade, beginning Monday, May 13, with Isabella Boylston, James Whiteside, Stella Abrera and Thomas Forster in the leading roles. The performance on Tuesday, May 14, will feature New York debuts by Carlos Gonzalez (Harlequin), Devon Teuscher (Pierrette) and Calvin Royal III (Pierrot). Tyler Maloney will dance the role of Harlequin for the first time in New York at the matinee on Wednesday, May 15. This production ofHarlequinade received its World Premiere by American Ballet Theatre on June 4, 2018, led by Isabella Boylston (Columbine), James Whiteside (Harlequin), Gillian Murphy (Pierrette) and Thomas Forster (Pierrot). A comic ballet in two acts, Harlequinade is set to music by Riccardo Drigo and first premiered in 1900 in St. Petersburg, Russia. Ratmansky’s Harlequinade features sets and costumes by Robert Perdziola and lighting by Brad Fields. The 2019 Spring Gala on Monday, May 20 at 6:30 P.M., paying tribute to the 10thAnniversary year of Alexei Ratmansky as ABT Artist in Residence, will feature the choreographer’s 2016 work Serenade after Plato’s Symposium and this Spring’s World Premiere of The Seasons. Serenade after Plato’s Symposium is set to music by Leonard Bernstein and features scenery and costumes by Jérôme Kaplan and lighting by Brad Fields. The ballet will be danced by Herman Cornejo, Alexandre Hammoudi, Thomas Forster, Calvin Royal III, Gabe Stone Shayer, Daniil Simkin, Joseph Gorak and Devon Teuscher. The World Premiere of The Seasons will be led by Aran Bell, Hee Seo, Katherine Williams, Catherine Hurlin, Luciana Paris, James Whiteside, Sarah Lane, Skylar Brandt, Isabella Boylston, Blaine Hoven, Arron Scott, Tyler Maloney, Cassandra Trenary and Calvin Royal III. Set to the score by Alexander Glazunov, The Seasons features sets and costumes designed by Robert Perdziola and lighting by Mark Stanley. The second week of the Spring season will continue with four performances of an all-Ratmansky program of repertory works, May 21–23. In addition to The Seasons, the Ratmansky Trio will include Songs of Bukovina (2017) and On the Dnieper (2009). Joo Won Ahn, Devon Teuscher, Zhong-Jing Fang, April Giangeruso, Betsy McBride, Thomas Forster, Stella Abrera, Herman Cornejo, Gabe Stone Shayer, Jonathan Klein, Catherine Hurlin and Blaine Hoven will debut in The Seasons on Tuesday, May 21.Songs of Bukovina, with Isabella Boylston and Blaine Hoven leading the opening night cast, is set to music by Leonid Desyatnikov and features costumes by Moritz Junge and lighting by Brad Fields. The ballet was given its World Premiere on October 18, 2017 at the David H. Koch Theater in New York, performed by Christine Shevchenko and Calvin Royal III, as well as April Giangeruso, Lauren Post, Katherine Williams, Stephanie Williams, Marshall Whiteley, Joo Won Ahn, Duncan Lyle and Patrick Frenette. The May 21 cast of On the Dnieper will be led by Hee Seo as Natalia with debuts by Cory Stearns as Sergei, Christine Shevchenko as Olga and James Whiteside as Olga’s Fiancé. The matinee on Wednesday, May 22 will feature debuts by Thomas Forster (Sergei), Devon Teuscher (Natalia) and Catherine Hurlin (Olga). On the Dnieper, set to a score of the same name by Sergei Prokofiev, has scenery by Simon Pastukh, costumes by Galina Solovyeva, lighting by Brad Fields and projections by Wendall K. Harrington. Ratmansky’s production of On the Dnieper received its World Premiere on June 1, 2009 at the Metropolitan Opera House, performed by Veronika Part (Natalia), Marcelo Gomes (Sergei), Paloma Herrera (Olga) and David Hallberg (Olga’s Fiancé). Prokofiev’s score for On the Dnieper was originally commissioned by the Paris Opera, and the ballet received its World Premiere in 1932 by the Paris Opera Ballet. On the Dnieper was last performed by ABT in 2010. The second week will conclude with three performances of Whipped Cream, beginning Friday, May 24, led by Daniil Simkin as The Boy, Stella Abrera as Princess Tea Flower, Calvin Royal III as Prince Coffee and Sarah Lane as Princess Praline. Tyler Maloney will make his New York debut as The Boy at the matinee on Saturday, May 25. Choreographed by Alexei Ratmansky, the ballet features scenery and costumes by artist Mark Ryden and lighting by Brad Fields. Whipped Cream, with a libretto and score by Richard Strauss, is based on the two-act ballet originally created as Schlagobers, which premiered at the Vienna State Opera in 1924. Ratmansky’s production received its World Premiere by ABT on March 15, 2017 at Segerstrom Center for the Arts in Costa Mesa, California danced by Daniil Simkin (The Boy), Stella Abrera (Princess Tea Flower), David Hallberg (Prince Coffee) and Sarah Lane (Princess Praline). Tickets for American Ballet Theatre’s 2019 Metropolitan Opera House season, beginning at $25, are available online, at the Met box office or by phone at 212-362-6000. The Metropolitan Opera House is located on Broadway between 64th and 65th streets in New York City. For more information, visit ABT’s website at www.abt.org. Complete casting follows. Leadership support for Harlequinade, part of The Ratmansky Project, has been generously provided by the Blavatnik Family Foundation and The Marjorie S. Isaac/Irving H. Isaac Fund. On the Dnieper is generously sponsored by Leila and Mickey Straus and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. Leadership support for The Ratmansky Project has been provided by Avery and Andrew F. Barth, the Blavatnik Family Foundation, Mr. and Mrs. Hamilton E. James, and The Ted and Mary Jo Shen Charitable Gift Fund. Additional support has been provided by Dr. Joan Taub Ades, Linda Allard, Sarah Arison, Steven Backes, Lisa and Dick Cashin, Mark Casey and Carrie Gaiser Casey, The Susan and Leonard Feinstein Foundation, Linda and Martin Fell, Vicki Netter Fitzgerald, William J. Gillespie, Brian J. Heidtke, The Marjorie S. Isaac/Irving H. Isaac Fund, Howard S. Paley, Pearl T. Maxim Trust, Lloyd E. Rigler – Lawrence E. Deutsch Foundation, Bernard L. Schwartz, John Leland Sills and Elizabeth Papadopoulos-Sills, Melissa A. Smith, The H. Russell Smith Foundation/Stewart R. Smith and Robin A. Ferracone, The Toni and Martin Sosnoff Foundation, Sutton Stracke, and Sedgwick Ward. Leadership support for Whipped Cream, part of The Ratmansky Project, has been generously provided by the Blavatnik Family Foundation and the Lloyd E. Rigler - Lawrence A. Deutsch Foundation. American Airlines is the Official Airline of American Ballet Theatre. ABT is supported, in part, with public funds from the National Endowment for the Arts; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council. Follow American Ballet Theatre on Twitter at https://twitter.com/ABTBalleton Facebook at https://www.facebook.com/AmericanBalletTheatre on Youtube at https://www.youtube.com/user/ABTBalletTheatre or on Instagram at https://www.instagram.com/abtofficial/?hl=en
  13. Hello! Glad you've come out from the shadows I hope you'll let us know about the performances you see. Enjoy!
  14. From the company: WORLD PREMIERE BY ALEXEI RATMANSKY SET FOR MARCH 5, 2020 AT SEGERSTROM CENTER FOR THE ARTS, COSTA MESA, CALIFORNIA American Ballet Theatre will premiere a new full-length production choreographed by ABT Artist in Residence Alexei Ratmansky on March 5, 2020 at Segerstrom Center for the Arts in Costa Mesa, California, it was announced today by Artistic Director Kevin McKenzie. The ballet will be given five performances, March 5-8, 2020 in California, and will have its New York Premiere during ABT’s 2020 Metropolitan Opera House season. Based on the historical romance novel Callirhoe by Chariton, the World Premiere work tells the story of star-crossed lovers Callirhoe and Chaereas in ancient Greece. The ballet will be set to music by Aram Khachaturian, arranged by Philip Feeney, and will feature sets and costumes by Jean-Marc Puissant. The World Premiere will be Ratmansky’s seventeenth work for American Ballet Theatre. For more information on American Ballet Theatre, please visit www.abt.org.
  15. A release: ISABELLA BOYLSTON, MISTY COPELAND AND DEVON TEUSCHER DISCUSS AMERICAN PREMIERE OF JANE EYRE WITH CHOREOGRAPHER CATHY MARSTON AT 92ND STREET Y, FRIDAY, MAY 3 AT 8:00 P.M. American Ballet Theatre Principal Dancers Isabella Boylston, Misty Copeland and Devon Teuscher will join choreographer Cathy Marston for a conversation on her full-length ballet Jane Eyre. Boylston, Copeland and Teuscher will dance the title role in Marston’s ballet during ABT’s Spring season at the Metropolitan Opera House. The discussion, moderated by Elda Rotor, Vice President and Publisher for Penguin Classics, will take place at the 92nd Street Y on Friday, May 3, 2019 at 8:00 P.M. Tickets for the event, starting at $35, are available online at https://www.92y.org/event/jane-eyre. The American Premiere of the full-length Jane Eyre, set for Tuesday, June 4, features choreography and direction by Marston, music compiled and composed by Philip Feeney, scenery and costumes by Patrick Kinmonth and lighting by Brad Fields. The production received its World Premiere by Northern Ballet on May 19, 2016 in Doncaster, England. Jane Eyre is a co-production with Joffrey Ballet and is staged for ABT by Jenny Tattersall and Daniel de Andrade. Following the June 4 Company Premiere, the ballet will be given seven performances by ABT through Monday, June 10. Tickets for American Ballet Theatre’s 2019 Metropolitan Opera House season, beginning at $25, are available online, at the Met box office or by phone at 212-362-6000. The Metropolitan Opera House is located on Broadway between 64th and 65th streets in New York City. For more information, visit ABT’s website at www.abt.org. Jane Eyre is part of the ABT Women’s Movement, a multi-year initiative to support the creation, exploration and staging of new works by women for ABT and the ABT Studio Company. Leadership support for Jane Eyre is generously provided by The Leila and Mickey Straus Family Foundation. Jane Eyre is part of the ABT Women’s Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Leadership support has been generously provided by Denise Littlefield Sobel and the Virginia B. Toulmin Foundation. Additional major gifts have been provided by Mark Casey and Carrie Gaiser Casey, Donna and Richard Esteves, Margee and John Falk, Janine and J. Tomilson Hill, The Laurie M. Tisch Illumination Fund, National Endowment for the Arts, Rockefeller Brothers Fund, Elizabeth Yntema, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund.
  16. What many of us have been wishing for!
  17. Happy to see revivals of rarely performed Balanchine and Robbins works: JEROME ROBBINS’ Piano Pieces and Concertino,BALANCHINE’s “Variations” from Episodes, Haieff Divertimento and Sylvia: Pas de Deux. I know Suzanne Farrell Ballet performed Haieff and Miami and POB regularly performed Sylvia but I'm happy to see them at the home theater. They will be great vehicles for today's dancers. ETA: Plus Danses Concertantes, Divertimento from ‘Le Baiser de la Fée! La Source etc..so many other wonderful Balanchine ballets. And a Ratmansky new ballet. I've always thought he does some of his best work at NYCB.
  18. It's very interesting, and sure to shine a light in what is the most important/powerful trust in ballet. And, I was thinking, right before some works might go into the public domain. Apollo and Prodigal Son being the oldest, most regularly performed works by Balanchine. (Maybe some of our legal people will know. There seems to be different rules for works before and after 1977) https://fairuse.stanford.edu/overview/faqs/copyright-basics/ https://www.nyulawreview.org/wp-content/uploads/2018/08/NYULawReview-80-6-Lakes.pdf
  19. I understand that feeling. But I've been happy to see Patricia McBride, Edward Villella and Baryshnikov coach at the company since Martins left. Mearns posted a photo of Villella coaching Prodigal Son this week, which is amazing. It would be great to see more of that. It does seem as if the new leaders are open to that. \
  20. Well, the news is out but I'll plant this here as reference: NEW YORK CITY BALLET AND THE SCHOOL OF AMERICAN BALLET ANNOUNCE NEXT GENERATION OF ARTISTIC LEADERSHIP JONATHAN STAFFORD NAMED ARTISTIC DIRECTOR OF NYCB AND SAB WENDY WHELAN NAMED ASSOCIATE ARTISTIC DIRECTOR OF NYCB NYCB Resident Choreographer and Soloist Justin Peck to Take on Additional Role of Artistic Advisor for NYCB NEW YORK – February 28, 2019 – The Boards of Directors of New York City Ballet (NYCB) and its affiliate training academy, the School of American Ballet (SAB), today announced the appointment of Jonathan Stafford as Artistic Director of NYCB and SAB, and Wendy Whelan as Associate Artistic Director of NYCB, establishing the esteemed former NYCB dancers, SAB alumni, and prominent industry notables as the next generation of artistic leadership at two of the world’s most acclaimed and storied dance institutions. At NYCB, Stafford and Whelan will serve in a new management structure designed to ensure that one of the world’s preeminent dance companies will continue to present performances of the highest artistic caliber while providing a supportive and nurturing environment for all of its artists, including more than 90 dancers and the 62-piece New York City Ballet Orchestra. “New York City Ballet is proud to usher in this next generation of leadership with two of our own brightest luminaries at the artistic helm,” said Charles W. Scharf, Chairman of New York City Ballet’s Board of Directors. “Jonathan Stafford, whose 20-year career with the Company includes remarkable work as both an exemplary principal dancer and indispensable ballet master, has done an extraordinary job as our interim artistic leader over the past year. Wendy Whelan is one of the most important and beloved dancers in our Company’s history who went on to a build a dynamic post-NYCB career as an innovative and collaborative artist. “I would also like to thank members of the joint search committee which was comprised of board members from both NYCB and SAB and co-chaired by Barry Friedberg and Barbara Vogelstein,” added Scharf. “The boards of NYCB and SAB tasked the committee with gathering feedback from more than 220 artists, employees, and various stakeholders across the larger cultural community and then evaluating the broadest candidate pool as possible to establish our artistic leadership for the future. We are thrilled with the selection of Jonathan and Wendy, who have more than 50 years of combined experience with NYCB and SAB, and also bring fresh perspectives. “I would also like to express my appreciation to Justin Peck, Craig Hall, and Rebecca Krohn who provided outstanding service to NYCB over the past year as members of the interim artistic team; and finally, I would like to thank the entire New York City Ballet community of dancers, musicians, ballet masters, production crew, staff, board, donors, and audience members who have been steadfast in their support of the Company during this transitional period,” Scharf said. Barbara Vogelstein, Chairman of the School of American Ballet’s Board of Directors, added, “The shared artistic leadership of School and Company, originally modeled by George Balanchine, will ensure that our organizations continue to work seamlessly to maintain our distinctly American brand of classical ballet. Jonathan’s accomplishments as a dancer and his long tenure with the School as a faculty member uniquely position him to lead SAB’s efforts in producing the highest caliber artists for NYCB and companies around the world.” Candidates from across the globe submitted applications and others were nominated for consideration by multiple sources. From that pool of candidates, 20 of the most qualified individuals were invited to in-person interviews with the full search committee. Outside counsel and management of the entire process was led by Phillips Oppenheim, a leading non-profit consultancy firm. Stafford, who has been serving in interim leadership roles for NYCB and SAB since December 2017, will begin his new positions immediately and Whelan will begin her new role with NYCB in mid-March. NEW YORK CITY BALLET The new artistic leadership structure at NYCB – with both an Artistic Director and Associate Artistic Director – acknowledges the growing and evolving demands of an arts organization of its size and stature. NYCB is the largest dance organization in America and currently function with an annual operating budget of approximately $88 million and supports more than 450 employees, including both artists and administrators. The board concluded that the demands of maintaining the highest standards of artistic excellence and managing the artistic needs of the Company are best served with the complementary skills of Stafford and Whelan. As Artistic Director for NYCB, Stafford will supervise all areas of the Company’s artistic operations, working closely with NYCB Executive Director Katherine Brown, who is responsible for all administrative functions for both the Company and its home, the David H. Koch Theater at Lincoln Center. Stafford will also continue to teach Company class and rehearse and prepare ballets for performance. During his career with NYCB, Stafford performed an extensive repertory of leading roles in works by Balanchine, Robbins, Peter Martins, and numerous other choreographers, and was renowned for his outstanding partnering skills. As a ballet master for NYCB and teacher and educator for SAB, Stafford has played an integral role in the School and Company’s diversity, equity, and inclusion efforts, and also spearheaded a mentorship program which partners current NYCB dancers with new apprentices from SAB to help guide them through their first year with the Company. Stafford was also SAB’s first-ever Professional Placement Manager, a role created to assist students with the transition into their professional careers. In the role of Associate Artistic Director for NYCB, Whelan will focus on conceiving, planning, and programming NYCB’s annual performance season; commissioning new work from choreographers, composers, and other artistic collaborators; and working closely with NYCB’s dancers in the rehearsal studio, both teaching class and coaching numerous works in NYCB’s unparalleled repertory. During her 30-year career as a dancer with NYCB, Whelan performed roles in nearly all of the Company’s heritage repertory of works by Balanchine and Robbins, and was also the dancer most choreographed on in NYCB history, creating leading roles in countless new works by such choreographers as Jerome Robbins, Twyla Tharp, William Forsythe, and numerous others. Whelan also had close working relationships with Christopher Wheeldon and Alexei Ratmansky, collaborating with the choreographers on several of their most critically-acclaimed works. Since leaving NYCB in 2014, Whelan has pursued a variety of multi-disciplinary projects with cultural organizations around the world. The new leadership formation at NYCB will also expand the involvement of Resident Choreographer Justin Peck, who will add the role of Artistic Adviser to his portfolio. In this capacity, and at Stafford and Whelan’s invitation, Peck will work closely with both of them on ideas for programming and new commissions. Throughout the past year, Peck played an important part in these areas as a member of the interim artistic team, and has been instrumental in several recent commissions for NYCB including Kyle Abraham’s The Runaway, which premiered last fall to great acclaim; and a new work from choreographer Pam Tanowitz, who will create her first-ever ballet for NYCB during the 2019 Spring Season. Following the 2019 Spring Season, Peck will transition off NYCB’s dancer roster where he is currently a Soloist. SCHOOL OF AMERICAN BALLET As Artistic Director of the School of American Ballet, Stafford will work closely with Chairman of Faculty Kay Mazzo and SAB Executive Director Carrie Hinrichs to ensure that the most promising ballet students in the United States have the training, resources, and guidance to develop into world-class artists and healthy, well-rounded individuals. While Whelan will not take on a formal leadership role at SAB, she is expected to guest teach with regularity. Based at Lincoln Center, the School trains approximately 1,000 students per year and actively recruits nationally and abroad for the intermediate and advanced students who live onsite. Each year, New York City Ballet selects up to 10 students to join the Company as apprentices. All but two of NYCB’s current dancers trained at SAB. As Artistic Director, Stafford will be charged with maintaining the high quality of the School’s training and curriculum and support essential fundraising initiatives for scholarships and programming. “For more than a decade, Jon has been an important figure in the life of the School, serving as a faculty member, creating the role of Professional Placement Manager, and spearheading the introduction of a formal mentorship program for apprentices,” said Barbara Vogelstein, Chairman of the School of American Ballet’s Board of Directors. “In all of these roles, Jon has been widely admired as a natural leader who is immensely invested in the success and growth of the School’s students. We are confident that the School will thrive under his leadership, and that students will also benefit tremendously from the presence of one of the greatest ballerinas of her generation, Wendy Whelan, in our classrooms.” ARTISTIC LEADERSHIP STATEMENTS “For me there are no more treasured institutions than New York City Ballet and the School of American Ballet,” said Stafford. “My time with the School and Company began in 1996, and each year that I have spent here, I have grown as a person and artist. I have developed a deep appreciation for the organizations, their commitments to Balanchine, Kirstein, and Robbins, and all of the people – past and present – who comprise NYCB and SAB. I am immensely proud to serve as Artistic Director, and to stand with Wendy Whelan to lead us forward. “This appointment represents a homecoming for me, and I could not be more thrilled to return to New York City Ballet,” said Whelan. “I feel a strong, personal need to be here and to share all that I have to offer to instill positive growth and change for the Company. Having served as a role model during my career as a dancer, I am excited to now have the opportunity to contribute in a leadership capacity. The magnitude of what my appointment represents for female dancers, and all women, is of critical importance to me. The moment for change at New York City Ballet is now, and I am excited to help welcome it with Jonathan Stafford.” “I am overjoyed to team up with Jonathan Stafford and Wendy Whelan, two individuals I admire greatly,” said Peck. “I look forward to working with them closely and to the future of New York City Ballet, and am especially excited for all that we will accomplish together to bring innovative new works to our stages, inspiring both artists and audience members alike.” BIOGRAPHICAL INFORMATION Jonathan Stafford Stafford is a Ballet Master and a former Principal Dancer with New York City Ballet, and a permanent faculty member at the School of American Ballet. He has been leading the interim artistic team of NYCB since December 2017, working closely with the rest of the Company’s artistic staff to oversee and manage the day-to-day artistic life of NYCB. During his performing career with NYCB, he danced an extensive repertory of featured roles in numerous ballets by George Balanchine, Jerome Robbins, Peter Martins, and Christopher Wheeldon, and also originated featured roles in works by Mauro Bigonzetti and Alexei Ratmansky. As an educator, Stafford served as a member of SAB’s guest faculty beginning in 2006 and joined the School’s permanent faculty in 2007. In 2015 he was named SAB’s first Professional Placement Manager, a role created to assist students with the transition into their professional careers. He graduated summa cum laude from the Fordham School of Professional and Continuing Studies with a B.A. in Organizational Leadership. Born in Carlisle, Pennsylvania, Stafford studied at Central Pennsylvania Youth Ballet before first entering SAB in the summer of 1996. Named an NYCB apprentice in October 1998, Stafford joined the Company as a member of the corps de ballet in February 1999. He was promoted to the rank of Soloist in March of 2006 and became a Principal Dancer in May 2007. Upon retiring from performing in May 2014, Stafford was named one of NYCB’s Ballet Masters. Wendy Whelan Whelan, one of the most acclaimed dancers of her generation, performed with New York City Ballet for 30 years. With a repertory of more than 50 ballets, Whelan danced virtually all of the major Balanchine roles, worked closely with Jerome Robbins on many of his works, and originated roles in ballets by such choreographers as William Forsythe, Twyla Tharp, Alexei Ratmansky, Christopher Wheeldon, Jorma Elo, Lynne Taylor-Corbett, Wayne McGregor, Peter Martins, and numerous others. Following her retirement from NYCB in 2014, she has cultivated multi-disciplinary performance projects with a range of collaborators including choreographers Kyle Abraham, Joshua Beamish, Brian Brooks, Alejandro Cerrudo, Lucinda Childs, Daniele Désnoyers, Javier De Frutos, David Neumann, Annie-B Parson, and Arthur Pita. Her awards include the Dance Magazine Award in 2007, and in 2009 she was given a Doctorate of Arts, honoris causa, from Bellarmine University in her hometown of Louisville, Kentucky. In 2011, she received both the Jerome Robbins Award and a Bessie Award for Sustained Achievement in Performance. Whelan began studying dance in Louisville with Virginia Wooton, a local teacher, and at the Louisville Ballet Academy. In 1981 she received a scholarship to the Summer Course at SAB and a year later, enrolled as a full-time student. She was named an apprentice with NYCB in 1984 and joined the corps de ballet in 1986. She was promoted to Soloist in 1989 and to Principal Dancer in 1991. Whelan’s last performance as a dancer with NYCB, which took place on October 17, 2014, was a landmark evening that brought together generations of artists and audience members in a celebration of her remarkable performing career. Justin Peck In addition to his role as Resident Choreographer and Soloist for NYCB, Peck is also one of the most acclaimed and in-demand choreographers of his generation, and has created more than 35 works for ballet companies around the world. His artistic collaborators include composers Dan Deacon, Bryce Dessner, Philip Glass, Steve Reich, and Sufjan Stevens; and visual artists John Baldessari, Jules de Balincourt, Marcel Dzama, Shepard Fairey, Karl Jensen, and Sterling Ruby. He is the recipient of a 2018 Tony Award for his choreography for the Broadway revival of Rodgers and Hammerstein’s Carousel, and is currently collaborating with Academy Award- winning director Steven Spielberg on a new film adaptation of West Side Story, which Peck will choreograph. Peck will transition off NYCB’s dancer roster, where he is currently a Soloist, at the end of the Company’s 2019 Spring Season. A native of San Diego, California, Peck studied at California Ballet and the School of American Ballet. He has danced with NYCB since 2007, where he performs a variety of repertory by George Balanchine, Jerome Robbins, Alexei Ratmansky, and Christopher Wheeldon, among others. Peck first choreographed as a student at SAB in 2005 and participated in a working session at the New York Choreographic Institute, an affiliate of NYCB, in the fall of 2009. He was named NYCB’s Resident Choreographer, the second in the Company’s history, in July 2014. About New York City Ballet New York City Ballet is one of the foremost dance companies in the world, with a roster of more than 90 dancers and an unparalleled repertory of modern masterpieces. The Company was founded in 1948 by the legendary choreographer George Balanchine and arts patron Lincoln Kirstein, and quickly became world renowned for its contemporary style and a repertory of original ballets that has forever changed the face of classical dance. In 1949 Jerome Robbins joined the Company as Associate Director and together with Balanchine created a vast and varied repertory that grew each season. From 1983 until his retirement in 2017, Peter Martins was the Company’s Ballet Master in Chief. In 2009 Katherine Brown was named NYCB’s first- ever Executive Director, a position created to oversee the administrative management of the Company and its long-time home, the David H. Koch Theater at Lincoln Center. In February 2019, NYCB named Jonathan Stafford Artistic Director and Wendy Whelan Associate Artistic Director. About the School of American Ballet The School of American Ballet is widely regarded as America’s leading ballet school. It is the official academy of New York City Ballet, trains almost all of New York City Ballet’s dancers as well as dancers for companies around the globe, and is world renowned for the excellence of its classical training as established by the School’s founders – the legendary teacher and choreographer George Balanchine and the visionary arts patron and writer Lincoln Kirstein. Students enrolled in the 2018-19 Winter Term hail from throughout New York City, 25 states and 5 foreign countries, and 42 percent identify as students of color. Approximately 20 advanced students embark on professional dance careers annually. Beyond the footlights, the School’s alumni have made their mark over the past 85 years as founders, artistic directors, choreographers and teachers for dance companies and schools around the world. While closely affiliated with New York City Ballet, SAB is an independent 501(c)(3) non-profit organization with its own board, administration, budget, and fundraising. Peter Martins succeeded George Balanchine as Artistic Director and Chairman of Faculty in 1983. After Mr. Martins’ retirement at the end of 2017, Kay Mazzo was named Chairman of Faculty. In February 2019, Jonathan Stafford was appointed Artistic Director to oversee the School’s operations alongside Executive Director Carrie Hinrichs.
  21. I love seeing these types of performances. As you say, it's like seeing a minor league game. Thank you for reporting back.
  22. A release: American Ballet Theatre to Receive $65,000 Grant from the National Endowment for the Arts New York, New York - National Endowment for the Arts Acting Chairman Mary Anne Carter has approved more than $27 million in grants as part of the Arts Endowment’s first major funding announcement for fiscal year 2019. Included in this announcement is an Art Works grant of $65,000 to American Ballet Theatre for the ABT Women’s Movement. Art Works is the Arts Endowment’s principal grantmaking program. The agency received 1,605 Art Works applications for this round of grantmaking, and will award 972 grants in this category. “The arts enhance our communities and our lives, and we look forward to seeing these projects take place throughout the country, giving Americans opportunities to learn, to create, to heal, and to celebrate,” said Mary Anne Carter, acting chairman of the National Endowment for the Arts. ABT Executive Director Kara Medoff Barnett said, “ABT was the first grantee of the NEA in 1965, and we are thrilled that the National Endowment for the Arts continues to generously support innovation and inclusion at America’s National Ballet Company®.” Announced in 2018, the ABT Women’s Movement is a multi-year initiative to support the creation, exploration and staging of new works by female choreographers for American Ballet Theatre and ABT Studio Company. The ABT Women’s Movement will support at least three female choreographers to create new works each season. In most years, one work will be designated for ABT’s main Company, one for the ABT Studio Company and one will be a work- in-process workshop for ABT or Studio Company dancers. Each choreographer works with her respective group of dancers for a two-to-five week period, receiving guidance and feedback from ABT’s artistic staff. For 2019, the ABT Women’s Movement includes work by Stefanie Batten Bland, Gemma Bond, Cathy Marston, Claudia Schreier and Twyla Tharp. For more information, visit www.abt.org/womensmovement. For more information on projects included in the NEA grant announcement, visitarts.gov/news. Follow American Ballet Theatre on Twitter at http://twitter.com/ABTBalleton Facebook at http://facebook.com/AmericanBalletTheatre or on YouTube at http://www.youtube.com/user/ABTBalletTheatre
  23. Guest artist news: BROOKLYN MACK TO DEBUT WITH AMERICAN BALLET THEATRE AS GUEST ARTIST FOR 2019 SPRING SEASON AT THE METROPOLITAN OPERA HOUSE MACK SCHEDULED TO DANCE THREE PERFORMANCES OF LE CORSAIRE, JUNE 12 MATINEE, JUNE 13 EVENING AND JUNE 15 EVENING Brooklyn Mack, a former member of The Washington Ballet and ABT Studio Company, will join American Ballet Theatre as Guest Artist during the Company’s 2019 Spring season at the Metropolitan Opera House. It was announced today by Artistic Director Kevin McKenzie. Mack will dance the role of Ali in Le Corsaire at the matinee on Wednesday, June 12 and the role of Conrad on the evenings of Thursday, June 13 and Saturday, June 15. Mack began his ballet training at age 12 at the Pavlovich Dance School in Elgin, South Carolina. At age 15, he received a full scholarship to study at The Kirov Academy of Ballet in Washington, D.C. Mack joined the Joffrey Ballet in Chicago as an apprentice in 2004 and began training with ABT Studio Company in 2005. He joined Orlando Ballet in 2006 and The Washington Ballet in 2009. His numerous awards include a silver medal at the 2006 USA International Ballet Competition in Jackson, Mississippi, the 2007 Princess Grace Awards fellowship, the silver prize at the 2009 Helsinki International Ballet Competition, the Grand Prix at the 2012 Istanbul International Ballet Competition and the Gold Medal at the 2012 Varna International Ballet Competition. The 2019 Spring performances are Mack’s first appearances with American Ballet Theatre. Subscriptions for American Ballet Theatre’s 2019 Spring Season at the Metropolitan Opera House are available by phone at 212-362-6000, or online at ABT’s website www.abt.org. Individual tickets, starting at $22, go on sale beginning Sunday, March 24 at 12:00 Noon. The Metropolitan Opera House is located on Broadway between 64th and 65th streets in New York City.
×
×
  • Create New...