susanger

Just checking to see if others noticed this detail in Cinderella. In the scene where various family portraits are hanging, did anyone else notice that one of the portraits was Wheeldon in drag?

I wondered if that was an image of Wheeldon! I thought the same thing.

I'm so tired of Mr. Macaulay's snarky comments, including this one: "...there are signs that Adrian Danchig-Waring, Rebecca Krohn and Ana Sophia Scheller may be waking up to their responsibilities as principal dancers." Does he think they've been lazy, indolent dancers who aren't dedicated to their artistry? I just find him annoying.

The Festival has posted some wonderful videos: http://www.youtube.com/playlist?list=PL3F1EE01054E93655

Who's been to the festival and can tell us about the partnerships and performances? We can't totally rely on Mr. Macaulay's review.

The program is:

Cute video about their partnership in and out of the studio on Lincoln Center's video portal: http://lincolncenter.magnify.net/video/Spotlight-On-Robert-Fairchild-T;Spotlight-On-2

Congratulations to Austin Bachman, Harrison Coll, Silas Farley, Ghaleb Kayali, Sebastian Villarini-Velez and Claire Von Enck as they join the company. I haven't studied the roster to see who, besides Christian Tworzyanski, left the company.

http://www.nycballet.com/Dancers/Dancers-by-Rank.aspx

What is a "revival premiere?" Either it's a revival or a premiere, or am I missing something?

Oh, this breaks my heart! I hope they hang on to the old NYC Ballet photographs, especially the ones that lined the staircase down to the bathrooms.

Why does she have no arch in her foot? Was it because of the structure of the shoe? Was it not the style to arch one's foot?

Oh my goodness, yes, people buy signed pointe shoes and men's ballet slippers. As a volunteer at both the NYC Ballet gift shop (when volunteers staffed it) and ABT's gift shop, I can tell you that signed shoes are very popular especially if the pointe shoes still have their ribbons or like Wendy Whelan's shoes, still have the paper towels stuffed in the tops. ABT dancers will sometimes note for which performance the shoes were worn. Young dancers and balletomanes buy the shoes of their favorite dancers; parents and grandparents buy them as gifts for their children and grandchildren. Some fans make shadowboxes that include the shoes, photos and autographed programs.

I'd be so curious to know if any Ballet Alerters have signed shoes. I do: Teresa Reichlen, Megan Fairchild, Rachel Rutherford (signed with a green pen because of her Emeralds role), Lauren Lovette (pink and black ribbons) and Wendy Whelan (ribbons and paper towels).

Looks like it was just launched today. Looks great!

The guy in the cap is Johan Kobborg. A woman standing next to me said the guy before Saviliev was Ethan/Evan Thomas (?).

Any advice on what to see when the Australian Ballet is at Lincoln Center June 12 - 17, 2012? They are bringing

Swan Lake - June 15 - 17

"This dazzling version, created by superstar Australian choreographer Graeme Murphy, gives this most classical of ballets a modern twist. Set to Tchaikovsky’s immortal score, this spectacular interpretation features a contemporary storyline full of drama, wit and passion."

Infinity - June 12 & 13

"The Australian Ballet shows off its agility, athleticism and unique Australian style in Infinity, a daring mixed bill. The program features Wayne McGregor’s rule-breaking Dyad 1929, a work created in 2009 especially for the company’s dancers; an electrifying collaboration between The Australian Ballet and Bangarra Dance Theatre, Australia’s Indigenous dance company; and a sensational selection of excerpts from the company’s most loved ballets set against a multimedia backdrop."

Casting is not posted yet.

Both NYC Ballet and Roslyn Sulcas tweeted a few hours ago that Ana Sophia Scheller and Rebecca Krohn were promoted to Principals!

Actually, I'm not sure that's correct, susanger. They raised the subscription price from $49 to $51 for one section. I know my subscription ticket price thiis season for those tickets was $49. Also, I believe they raised the price in second highest category from $102 or $103 last season to $108 next season. The price level that I'm sure remained the same was the $26 section (full price $29).

So they didn't disappoint me. They did raise the prices. Thankfully, I have a $26 subscription.

Amazingly enough, the company did not raise the subscription renewal prices. Could have knocked me over with a feather when I saw that.

Here's the YouTube clip:

Any reports on how the company looks in performance at the David H. Koch Theater (better know at the NY State Theater) at Lincoln Center?

Why were they able to do this? Because Mearns, Peck, and Reichlen are cast for the last performance, that's why.

Hopefully you will get that cast. Last night Megan Fairchild substituted for Sara Mearns as Dewdrop -- and she was fabulous.

I checked the casting for the week ending December 24, and Kathryn Morgan still has not been cast. There's only one week left of the season. I have not checked what she has said on Twitter, as Twitter is a mystery to me. I am rather heartsick at not seeing Morgan's name yet again on the casting list. What a talent she is. She was one of my favorite dancers and I am fearful for her career. Does anyone have any information?

Are you on Facebook? She's very active there: https://www.facebook.com/profile.php?id=510105185. She posts lots of comments and advice, but no word of her upcoming performance schedule.

Here's the program (with help from Google Translates)

Friday, 19 August

21:45 hours

Rufolo Villa Belvedere | An American Gala

Principals of New York City Ballet

Apollon Musagète

choreographer : George Balanchine | Music : Igor Stravinsky | first performance : June 12, 1928, Sarah Bernhardt Theatre, Paris

with Gonzalo Garcia, Tiler Peck, Megan Fairchild, Ashley Bouder

Chaconne

choreographer: George Balanchine | Music: Christoph Willibald Gluck | premiere: January 22, 1976, Lincoln Center, New York

with Sara Mearns and Tyler Angle

Tchaikovsky pas de deux

choreographer: George Balanchine | Music : Peter Ilyich Tchaikovsky | first performance: March 29, 1960, City Center of Music and Drama in New York

with Tiler Peck and Joaquin De Luz

Tarantella

choreographer: George Balanchine | Music : Louis Moreau Gottschalk | first representation: January 7, 1964 , City Center of Music and Drama in New York

with Megan Fairchild and Gonzalo Garcia

Agon

choreographer: George Balanchine | Music : Igor Stravinsky | first presentation: December 1, 1957, City Center of Music and Drama in New York

with Sara Mearns and Sebastien Marcovici

Stars and Stripes

choreographer : George Balanchine | Music : John Philip Sousa | first performance: 17 January 1958, City Center of Music and Drama in New York

with Ashley Bouder and Andrew Veyette

Who cares?

choreographer : George Balanchine | Music : George Gershwin | first performance : February 7, 1970, Lincoln Center, New York

with Ashley Bouder, Megan Fairchild, Sarah Mearns, Tiler Peck, Tyler Angle and Joaquin De Luz, Sebastien Marcovici, Andrew Veyette

Mercurial Manoeuvres

choreographer : Christopher Wheeldon | Music: Dmitri Shostakovich | first performance : April 28, 2000, Lincoln Center, New York

with Tiler Peck and Tyler Angle

Five Variations on a theme

choreographer : David Fernandez | music: Johann Sebastian Bach | first performance : November 23, 2008, Theatre of 'Opera in Kiev

with Joaquin De Luz

In the night

choreographer: Jerome Robbins | Music: Fryderyk Chopin | first representation : January 29, 1979, New York State Theatre

with Sebastien Marcovici, Tyler Angel, Andrew Veyette, Sara Mearns, Megan Fairchild, Tiler Peck and Ashley Bouder | Pianist : Roger Enrica

From the Arts Beat column of The New York Times today:

City Ballet Offers New Discount Program After Complaints

Under the new arrangement, the ballet said, Society NYCB members will be able to buy two tickets per performance, excluding “George Balanchine’s The Nutcracker.” Some performances of other ballets will be blacked out. For most performances at least 70 such tickets will available, which could be for seats in any section of the theater. The program will not be open to new memberships, though that may change in the future.

I don't know how many 4th Ring Society folks attended each past performance, but is 70 tickets a reasonable number to make available for most performances?

http://www.nycballet.com/DHKT/2011-2012SeatingChart.html

NYCB has removed the price list from the bottom of the seating chart page, as well as the color coded guide that was there previously. Even more interesting, there is now a statement at the bottom of the page that there are "few" partial view seats. I guess they have been reading the comment/complaints on this board regarding their new plan.

Their definition of partial is different from mine if they claim there are "few" partial-view seats.

Here is a wonderful clip of Justin Peck describing his choreographic experience and the NYCB dancers working on the piece for the Nantucket Debut. I was there for the performance, and other than the theater and stage not having air conditioning (poor dancers!) during last week's heat wave, it was wonderful. Congratulations to all!

http://www.plumtv.com/videos/7-for-seven/

Thank you so much for sharing! I recognized Teresa Reichlen, Amar Ramasar, Sterling Hyltin, and Chase Finley—who were the other three dancers?

The other three dancers were Ana Sophia Scheller (dark hair), Ashley Laracey (blonde hair) and Troy Schumacher.

Finally, a reply, received yesterday, to my two letters. From Peter Martins and addressed to me, not Dear Subscriber, and with a live signature. Mr. Martins thanks me for writing and for renewing my subscription. He writes that George Balanchine told him "more than once, 'People don't like change, but often change is necessary.' And perhaps the greatest thing about Mr. B was his ability to adapt to changing times." Even he has had to change his seat in the theater, Mr. Martins writes, re-locating to the far side of the rear orchestra from his seat in the back center of the First Ring. He says he is enjoying this new perspective and hopes I, too, will "embrace" the changes the company has instituted.

I appreciate his response but really, Peter Martins can sit in any seat in the house -- for free. The cost of his seat didn't increase by 50%. I think I'll invite him to come sit in the $29 seats in the Third Ring so he can enjoy that new perspective too.

Mr. Martins closes by explaining that he is seeking to achieve a balance between "maintaining for our loyal subscribers like yourself your continued pleasure in watching our performances into the future while at the same time increasing revenue and filling the house in the best way possible."

I understand the company's need to close its deficit and maximize its revenues. Their current plan just does not seem to be "the best way possible."