ViolinConcerto

I'm passing on two sites of interest --

This is a site with photos of the original "On Your Toes:"

http://broadwayworld.com/board/readmessage.php?page=1&thread=963561&boardid=1

If you have a few thousand dollars to drop, here is a link to a photo of Mr. B. with the original women in "Jewels:"

http://www.artnet.com/auctions/Pages/Lots/50685.aspx?q=/auctions/contemporary-art/

I received a very formulaic reply to my (emailed and snail mailed) letter to Mr. Martins.

It repeats everything else that they've said, and does not leave room for revision. In part:

Thank you for taking the time to write regarding the Fourth Ring Society at New York City Ballet. We truly appreciate your loyal support, and want to make sure you know how grateful we are to have you as part of our audience.

We hope you received our recent letter letting you know that we are developing a new program that will replace the Fourth Ring Society and offer similar benefits..... we are taking your comments into consideration as we formulate the new program.

We recognize that some of the recent changes may alter the ways in which you have grown accustomed to attending NYCB. ....

We sincerely hope that you will continue to support New York City Ballet as we work through the launch of the new program, which will continue to offer you access to NYCB’s extraordinary performances at very affordable prices. You will be hearing more about this from us in the coming weeks.

Thank you again for taking the time to contact us. We look forward to welcoming you back to the theater next season.

Warm regards,

He had quite a rich and long and productive career! I second Bonnette in thanks to CM for posting and to Leonid for the clips.

It did not say if Zizi survives him. She was the ballerina in the film "Hans Christian Anderson, with Danny Kaye. Additionally, in approximately 1953-5 she was in one of the many flops my father worked on on Broadway, called "Girl in Pink Tights," about a French ballerina (and company?) coming to New York at the end of the 19th Century (it refers to the new "elevated railway"). I remember her as being as twinkling and cheery as her name implies. (I was about 8 years old.)

"Figure in the Carpet" was mentioned by several former dancers in the series of talks at NYU in the year following Balanchine's death, moderated by "Uncle" Francis Mason. All of the dancers who had been involved said that not only Balanchine, but most of the dancers had forgotten so much of the choreography that revival would be impossible. They also expressed regret about that, because they said it was very beautiful. I say "several," but cannot remember who they were, and my notes are packed away.

I will always be grateful for the many years I had the chance to absorb the great Balanchine-Robbins repertory by watching this sublime company of dancer-artists, that I followed so many great dancers from their earliest days in the company to their retirement, that now when I listen to "Stars and Stripes" on the 4th of July I see the Balanchine corps de ballet, led by a dancer in blue with a baton. That when I listen to many pieces of music I now hear the music and SEE in mind's eye the choreography. That my ballet period is at an end for me is not a time to mourn, though I do, but to be grateful for so many years with City Ballet. My life has been profoundly enriched, and I will cherish Balanchine's ballets now that I cannot see them onstage. I am forced by the new pricing policy to turn my attention elsewhere, to other idealistic goals, in my case, toward saving for a trip to the country close to my heart, where I have not been since my student days. But these great ballets played a central part in my aesthetic development, as I believe great art is not "entertainment", but that it directs you toward something higher, something of the sublime, the spiritual.

puppytreats, on 22 June 2011 - 11:23 AM, said:

I finally finished this book. It provided a good historical background for someone who needed to read a primer on ballet. I agree with much of the criticism discussed in this forum, but as someone just beginning to learn about ballet, I can overlook the book's shortcomings and feel grateful to have been able to learn from it. I am curious regarding instruction about dance history in ballet academies. Are academic, historical courses given in dance schools, or do dancers learn about the history and development of the dance solely by learning about individual dance steps, rehearsals, attending performances, and personal reading?

I was speaking recently to one of the directors of Kaatsbaan, which has several summer intensive courses in ballet for young people from all over the country. He is a former dancer, and when I asked him a similar question about dance students studying history, he said that in general, when they are young, all they want to do is dance, and be in the moment. Usually, after the major part of their career is over, they realize the importance of the history, BECAUSE THEY REALIZE THAT THEY ARE A PART OF IT!!!

It would shock me if Peter Martins was the only decision maker - or even an influential decision maker on ticket prices. The business manager for the company is probably the main decision maker, along with the chief accountant, and all of it approved by the BoD exec board. I think you need to go through the BoD to get the results.

So ultimately, what do you want to happen?

I think you are totally right about the decision making.

I don't know what anyone else wants to happen. I'd like the 3rd and 4th rings to be opened up with some reasonably ticket prices. Now the inexpensive tickets are really bad seats; not a way to build an audience. I went from subscriber to the cheapest but good seats (high up, but centrally located) to subscriber to better seats, to single ticket buyer when I became picky about casting. My point is that as time went on I spent more per ticket. When I look now, I'm priced out of seats that I'd be willing to sit in. I'm just not going to sit in bad seats - I'd rather not go.

I love NYCB and will probably go once or twice and spend the bucks, but I'll be even more selective about my ticket buying.

If sections are not filled will NYCB also remove those seats from sales, until only the front of orchestra is open.

Also, I'd love for NYCB to do the HD movie performances that the Met Opera is doing. It made me give opera a try and I am becoming a fan.

I just think NYCB is heading in the wrong direction in terms of building and audience for the future. Older fans like myself won't be bringing newbies or their kids or grandkids - too expensive.

Precisely what I said in my letter to Mr. Martins:

I wonder if you realize that many of the young people you want as your future audience first come to see NYCB as guests, children, nieces, nephews, friends and neighbors of the same middle-aged and older people of limited income that have now been alienated and angered by this new “initiative.” Read the responses to the article about the price rise in the New York Times and see what people feel.

I am surprised that you and the Board of Directors think this strategy will increase income, audience and loyalty. I hope you will be flexible enough to make changes that will welcome us all back to the home we feel we have been thrown out of.

I think that the generous Mr. Koch should fill the theater with his friends. Every night.

Maybe I'm naive, but rather than let those rings sit empty I'd fill them with students (of all ages) and build the audience of tomorrow. Surely there's a foundation or two somewhere who could be persuaded to throw a few bucks NYCB's way for the opportunity. Have a conversation with City Center of Music and Drama (Koch Theater sublessee), Lincoln Center (Koch Theater lessee), or New York City (Koch Theater Lessor) about a break in facility fees in exchange for making those seats available to the Board of Ed.

To me, throwing away those empty seats is like throwing away good food. There are a ton of kids in the metropolitan area who will never see the inside of a performing arts venue but need to. The powers that be -- the NYCB Board, the big donors and foundations who support the company, our elected officials -- could make that happen if they really wanted to.

Good suggestion! Why don't you put it on the Times.... the page is getting good responses. (Thanks to all who are posting.)

There was a mention by the union rep that the subscription system is "broken". NYCB has a $6m deficit. So I'll put it out to the interested posters on this thread: How would ycou fix the subscription system, and how would you resolve the deficit? It's easy to say "oh, all seats should be $5.00 and I should get two vouchers for wine". But that model is not sustainable.

I think we've aired out all the disgruntlement. But what is the solution?

I'll start: If full lengths ballets help resolve the budget deficit, then by all means, NYCB needs to do them, and embrace them, and use Balanchine ballets as much as possible (Coppelia, Nutcracker, La Sonnenbula, Swan Lake, etc). Create a "storybook" season ticket package for parents, with additional kids getting half price if they show some sort of proof of age.

Have an All-Balanchine "balletomanes' choice" rep - where the season ticket holders get to nominate and then vote on the weekend's selection in advance. Maybe once in the fall, and once in the spring. It would engage the audience, and allow them to see some of their favorites. Surely there is a way to engineer an election system online that is fair. Dancers could even campaign in youtube videos for their favorites.

Have an All Waltz rep for New Year's - Viennese Waltz mixed with a few others for New Year's Eve, or Valentine's, or some other holiday type of time. Make ballet a "date night".

Create some sort of outreach program for tourists, so that seeing NYCB in person is a "must do" while visiting the Big Apple. I'm not sure how to go about this, still an idea I'm working out. One way to make NYCB more visible is to do an outdoor concert, Morning Chat show performance, and/or follow the lead of Ballet in Cinema and do an HD Broadcast. Has NYCB recently done a joint exhibition with a museum to show off their Karinska costumes? Maybe do something with the met museum, and offer a special deal entry fee - see the costumes first and get a discounted ticket to a Balanchine ballet?

I don't know how to "fix" the subscription series, except to say that I'd rather sit center in the bleacher seats, than orchestra far far right or left with 1/3 of the stage obstructed, but a great view of the far wings and the loitering dancers waiting to go on.

I think these are very creative and interesting ideas and hope the Company sees your posting and uses it at least as a jumping off point.

Ladies and Gentleman, Start your engines!

The New York Times article by Daniel J. Wakin, is now open for comments!!!

I think that the Company, city, and world should see the things we have been saying.

...I am curious just how well the Balanchine black and white week sold--and whether it sold at retail indeed. I had also assumed that the reason NYCB is scheduling more full length works is that those are the top sellers even if they are not the works I (and many fans) most want to see them dance.

At the three performances I saw that first week, and the matinee of the last day the theater was FULL. And enthusiastic. And very young.

I am aware that a very high percentage of audience members are middle-aged (like myself) and older. We are very aware that if the Company is to survive, they must reach a younger audience. The question is "how?"

For at least the last 10 years there have been "audience surveys" given out after performances, asking about the viewers' age, how long he or she has been coming, how many performances they attend per season. So the Company has all that information at its fingertips. The things that they have attempted to draw in new audiences (the casual photos this year, in the past years the extreme contortions on bus stops, etc.) don't seem to have worked. They keep switching marketing companies and doing whatever these people tell them to do -- and usually these companies have NO idea what ballet is about, and what would draw new people in. I wouldn't be surprised if some of the Corporate hot-shots on the Board of Directors are behind these mis-guided efforts.

Aren't these summer engagements the new NYCB "Moves" group that was an issue during union negotiations? It's not the full company.

http://www.nycballet.com/news/press/pr01-07-11.html

Other than the Kennedy Center and Saratoga, I haven't noticed the full company touring North America in a long time. I do remember seeing the full company in Chicago at the Auditorium Theater in spring 1979 with Baryshnikov, but it's been a long time since the company visited Chicago. When did they stop this ambitious touring?

They did visit California in approx 1986.

When the FULL company tours, they have to take the portable stage, the entire orchestra, at least one conductor, huge containers of costumes, etc.

It's extremely expensive.

There is a "Contact Us" at the very bottom of the page. It opens to the following page (an email address, street address, and lots of 'important' phone numbers):

Contact NYCB

Thanks, Marga -- I looked, and it IS there, in a very, very pale shade of grey..... and the list has only titles, and phone numbers no names, , no email addresses and no administrators. I don't consider it particularly helpful. Of course, may corporate websites are notoriously dense and obfuscate these issues as well.

Aren't they going to be at the Vail Valley Festival as well?

Like many of you, I have been a loyal NYCB fan -- to the point of being exclusive -- for many years. My mother started taking me when I was 6 to City Center, and after moving back to NYC in the late 70's, I started going a few times a season ("Oh boy! Three performances! How extravagant!")

I learned about the fourth ring "AA" seats overhearing someone on the single tickets line, back in the days when the line would form very early in the a.m. the first day the Box Office opened. Some years (especially when Barishnikov was there) someone would give out numbers, so you could go get coffee while waiting for the Box Office to open.

In the 80's and 90's I went 3 to 4 times a week. When the 4th Ring society came into existence, things were a bit brighter. But I haven't been able to go as frequently for a long time now, especially since I moved out of town.

BUT STILL..... when the beauty of Balanchine (especially) has infected your soul, there's nothing that can substitute. I have long defined my passion as an addiction: I get "high" going, and I go through "withdrawal" when the Company is not dancing.... and now it looks like I'll be going cold turkey because I won't be able to cough up what it takes to get a "fix."

Someone emailed me the link to the Administration names on the website. But guess what, NO LINKS, NO EMAIL ADDRESSES!! Sure makes it seem as if they don't want to hear what we have say (good or bad)!

Here it is, just for the record: http://www.nycballet.com/company/personnel/administration.html

I can't decide whether to be angry or depressed.

So sorry to hear. I knew she had suffered greatly.

Well, for all of you who have been waiting, this is the time: Craig Hall has been cast in Apollo for the Dancer's Choice performance.

Rubies looks pretty tasty as well: Taylor and Suozzi (who we all think highly of, don't we) with Mearns doing the tall girl role.

Here's the link.

It appears as if the Company is changing some fundamental policies relating to SUBSCRIBERS, who have, since the beginning, been the cornerstone of the audience base.

These policies seem to obscure the pricing schemes for tickets other than for the precise seats of each person's subscription.

I've heard -- but am not sure of this is accurate-- that "day of" tickets will be more expensive to purchase.

This may be the time for us "loyalists" to let Mr. Martins know how we are affected, and will respond.

The "flaw" in "Diamonds" last night was a scary tumble by Maria Korowsky. She got up quickly and continued, but everyone's heart was in their mouth. I hope she didn't injure herself!!!!!

Any word????

In his pointed, opinionated way, Robert Gottlieb asked one of the questions we've all been wondering about: who or what is responsible for the incredible quality of dancing, especially in the Balanchine repertory, this season? (Here's the link to his article in "The Observer.") My own guess is that the question really comes down to WHO is responsible? Is someone new is coaching, or acting as Ballet Master? Has someone who really clicks with the dancers begun to work with them?

Does anyone have any insight into this?

Mr. Martins has a great and under-utilized talent for humor, as demonstrated in "Calcium Light Night," "Eight Easy Pieces," his acting/dancing role in Mr. B's "Le Bourgeois Gentilhomme," and others. I wish he would give full and free rein to this wonderful impish ability.

Jacob Julius Garfinkel (John Garfield -- who named his daughter Julie) was a serious NY actor, who studied Modern dance with some of the 30's crowd, including Helen Tamaris.

You can feel her passion!

This evening's performance was sadly not well attended, bit those that were there saw some lovely work and were very responsive.

"Divertmento #15" was a treat for the eyes and beautifully danced -- except for Jonathan Stafford nearly toppling sideways from a kneeling position with Ana Sophia Scheller. He actually did not look well, and I hope he is OK.

"Polyphonia" was danced with precision and seriousness that brought out the humor. I had not seen this cast, and liked the contrasts in the different dancers' bodies and approaches. Wendy Whelan and Tyler Angle were superb.

The cast for "Sonnambula " was different from Wed.'s cast. Jennie Somogyi and Robert Fairchild seemed to give the Poet and the Coquette more of a history together, yet when she removed her mask, he had no reaction. Jennie acted the jealous/deceived lover to the hilt, and Justin Peck as the Baron responded well. Janie Taylor was a natural as the "Sonnambula " though I wondered if she would be strong enough.... And the arms of a stage hand to help her out when she backed into the set were.very visible.