abatt

Justin Peck will choreograph a revival next season of Carousel on Broadway, starring Jessie Mueller, Joshua Henry & Renee Fleming. Amar Ramasar and Brittany Pollack of NYCB will play Jigger & Louise.

Rojo's balances were also truly spectacular. Didn't realize that she was 42 years young. Also, thanks for the correction on her partner.

Gorak has already done Romeo (2 yrs ago, with Copeland) at ABT. However, they did not cast him in it again the following year.

I attended the YAGP Stars of Today..., as well as the Bocca gala. There were many wonderful moments, but the highlight was the breathtaking performance of Rojo and Corrales in the Don Q pdd at the Bocca gala.

Given the NY Times' new approach to dance coverage, I'm wondering to what extent we will see any reviews of anything at ABT or NYCB this Spring in the Times. Instead of a review, we might get a human interest piece on what brand of coffee Gillian Murphy drinks to start her day. Also, just wanted to add that although the NY Times does pay for its own tickets, the companies advise the reviewers regarding which dates/performances reviewer tickets are being made available. I believe that ABT intentionally makes reviewer tickets available for Copeland's shows in order to increase the publicity for her performances and for ABT. I'd be interested in hearing from a professional reviewer whether ABT offers reviewer tickets to Lane's NY debut as Giselle. If David Hallberg returns for the Murphy Giselle (it's still TBA for the Albrecht role), I have no doubt that ABT will also offer reviewer tickets for Murphy's Giselle debut in NYC.

http://www.broadwayworld.com/bwwdance/article/NYC-Ballet-Announces-2017-18-Season-100th-Anniversary-of-Jerome-Robbins-Justin-Peck-World-Premiere-and-More-20170413 This two page article contains much more info re next season than the NY Times blurb.

I hope that In The Night finally returns to the rep. NYCB has not performed it n quite some time. Also hoping for the return of I'm Old Fashioned, Four Seasons, and Opus 19. Dybuk and Les Noces not so much.

https://www.nytimes.com/2017/04/13/arts/dance/jerome-robbins-tribute-new-york-city-ballet-season-2017-2018.html

week 2 casting here: https://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB_Casting_April-25-30-2017_lobby.pdf

No reviews, but here is a clip of what appears to be Copeland rehearsing the hops on pointe in Act I, from her Instagram.

https://www.nytimes.com/2017/04/10/arts/final-round-of-annenberg-fellowships-announced.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=stream&module=stream_unit&version=latest&contentPlacement=3&pgtype=sectionfront

Jennie Somogyi is opening up a ballet studio in Easton, PA http://jsballet.co/

Casting is the third item under "Season and Tickets".

Interesting that Georgina Paz. is returning to do the girl with the red purse role in Fancy Free. Is she on vacation from Cats, or is she returning to NYCB on a full time basis? I'm also glad to see that Reichlin is doing Choleric again.

https://www.bloomberg.com/news/articles/2017-04-05/former-visa-ceo-scharf-named-chairman-of-new-york-city-ballet Charles Scharf succeeds Jay Fishman, who died in August.

Casting is up for week one. Maria K. to lead the second movement of Symphony in C. https://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB_Casting_April-18-23-2017_lobby.pdf

At the time Polounin walked out on RB, was Monica Mason still in charge? The change in leadership may be an essential part of the equation here. Also, the current management seems to think very highly of Osipova, and she may have some influence on laying some groundwork for Polounin to have a relationship w. RB again.

This is the first year in which dynamic pricing went into effect on the day public sales started. Previously, the dynamic pricing went into effect a week after the box office opened for sale. Doing a completely unscientific perusal of the site, it seems like they have jacked up the prices regardless of how the tickets are selling. For example, the Boylston and Hee Seo Giselles are selling poorly at the balcony level, but they still raised the price to $50 (on subscription those same balcony tickets were $45). So is this just a uniform price increase? It doesn't seem to be based on the briskness of ticket sales.

Great comment, Jayne. LOL. I kept my Misty Don Q ticket because I'm interested in seeing J. Cirio. Also, Calvin Royal may be the TBA Espada, since he is apparently learning the role. The Oxford comma has been in the news lately. https://www.nytimes.com/2017/03/16/us/oxford-comma-lawsuit.html

Glad you had a good box office experience, but it seems clear that the box office policy changes daily, and your experiences are based on the mood of the box office person you happen to get. I also think people write and or call ABT to complain about stupid restrictions, and by later in the week the box office allows more flexibility. For example, on Sunday I was told I could not exchange into the gala, and that I could not buy gala tickets until the public on sale date of March 26. I returned a few days later when I was at Lincoln Center for a performance, and had a completely different experience. The box office allowed me to exchange into the gala without any difficulty. New day, new box office rep, completely different result. Based on my experience, I'm starting to believe that interacting with the Sunday box office crew is not a great idea. By later in the week, things are more relaxed.

There is a viewpoint that a ballet company should not be a museum for the same old works, and that a thriving ballet company should explore new choreography and unfamiliar territory. Not everyone agrees with that view, and a lot of audience members will only go to the old war horse ballets. Although it's absurd to think of the Cage as a new work, given how old it is, it is certainly different in style from what the Bolshoi is used to. Since Vishneva is the doyenne of trashy modern non-classical choreography in her solo shows, it seems a little hypocritical of her to complain that there isn't enough Giselle and Swan Lake being performed.

Casting is now up on the ABT calendar for the roles of Olga and Lensky in Onegin.

New York City Ballet also has some oddities in the way they deal with subscribers. In fact, NYCB is the only company I know of that does not have a subscriber priority ticket purchase/exchange period. Additionally, each and every year NYCB sends out the subscriber tickets about a month or six weeks AFTER the box office has opened to the general public. Subscribers should at least have their subscription tickets by the time the box office opens.

They still had the Trios this year. Maybe they got cheap and didn't mail out the Trios booklet, but they definitely offered trios. In fact I'm looking at the Trios booklet as I write this, because that is the only printed material that has the season in calendar format. The Trio booklets have been in the Met lobby for weeks or maybe months. Best of luck with your exchanges, Barbara.

https://www.nytimes.com/section/arts?WT.nav=page&action=click&contentCollection=Arts&module=HPMiniNav&pgtype=Homepage&region=TopBar