No Balanchine on NYCB opening night

[Michael]

There is also an institutional dimension to this. Ten years ago (speaking broadly) people like Lincoln Kirstein and Jerome Robbins were still alive. And there were Board Members and other people like Stanley Williams around whom Peter had to please, or whom at least it was dangerous or inconvenient for him to displease too much, people who had either taken part in the Ancien Regime or remembered and had loyalties to it. If he wanted to stage "Musagete" there was either risk or inconvenience to him if he went too far. That was restraining in many ways, it led to balance. Today, twenty years into the directorship, the power of the Royal Family has become nearly absolute and we all remember the dictum about absolute power and what it leads to, abuses at least of all kinds. A lot of the criticism and hostility to Martins' and his choices reflects, I think, a sort of across-the-board discomfort with the exercise of this absolute power, the people who criticise coming at this from half a dozen different directions.

Taken by itself there's nothing that shocking about an opening night without Balanchine, but as a symptom of this greater malaise it becomes much more disturbing.

[PetipaFan]

We don't even know why Martins put 'Fearful' on the Opening Night program, did he make the decision himself? I do know that the dancers began working on it Tuesday and they will spend an enormous amount of time and effort to pull it off.

Opening Night crowds are different from regular balletgoers, they are less the 'Ballet Maniacs' ('balletomanes') like here at Ballet Talk. It seems to me there is nothing symbolic about presenting those people with Balanchine.

There's going to be plenty of Balanchine performed in the coming season.

[drb]

The following quote from the Gia Kourlas article on Corps Dancers in today's Times (see today's LINKS) seems to speak to some of the issues on this thread:

"The most extreme landscape for the art form is found at City Ballet, where dozens of works, frustratingly underrehearsed, are performed each season. Yet by the very nature of the company's George Balanchine-heavy repertory, there is often ample opportunity for individual dancers to shine. The company, no longer the one Balanchine envisioned, has turned into the punk rock of ballet. Performances are jittery, raw, unpredictable and, at times, horrific, but at both its unprofessional worst and unnervingly beautiful best, programs at the New York State Theater are alive. You go because you can't fathom what will happen next. Consistency is a lost cause; City Ballet is about survival in impossible circumstances.

That remarkable dancers emerge from such a messy mosh pit is a tribute to their resilience and the School of American Ballet (affiliated with City Ballet), where most receive training."

[bart]

If you delete some of the words in Gia Koulas quotation, but leave the rest, it sounds remarkably like some of those wonderful evenings at City Center in the 50s and early 60s, when energy and risk-taking occasionally had to make up for deficiences in consistency and attention to rehearsal/coaching. Here's the part that is not ENTIRELY new to Martins' regime, IMO.

[revised quote=Oct 14 2005]"The most extreme landscape for the art form is found at City Ballet, where dozens of works, [add "sometimes"] frustratingly underrrehearsed, are performed each season. Yet by the very nature of the company's George Balanchine-heavy repertory, there is often ample opportunity for individual dancers to shine.. . [delete] ... Performances are jittery, raw, unpredictable and, at times, [delete].  [A]t both its [delete]worst and unnervingly beautiful best, programs at the [delete] are alive.

This revised critique sounds pretty good to me, at least compared to some of the competition.

Of course, words like "horrific" and "unprofessional" do change the tone a bit.

[carbro]

You've hit on a critical point, bart. Do we judge NYCB by the standard the company set for itself in the (quickly receding) past? Or do we judge it against what else is around now?

[ViolinConcerto]

Regarding NYCB and museums, NYCB was created by Balanchine (and Kirstein) to perform Balanchine's (and later, Robbins's) ballets.  This is a different mission from MoMA, whose goal is to present modern art, whoever creates it.  As Petipafan wrote, NYCB needs new choreography, but its core must remain Balanchine. 

<{POST_SNAPBACK}>

Maybe someone else has commented on this, but in the early days of NYCB, Balanchine invited quite a number of choreographers to create ballets, including Tudor, Ruthanna Boris, Tod Bolander, Cunningham, Graham, for example in the 40's and 50's. Cross pollination, not enough time, publicity....who knows what all the reasons were, but I think the parallel with MOMA is one to consider. However, ballet is a performance art and no two performances will ever be the same.

[Dale]

Many experts have said that it was Kirstein who was interested in having those choreographers come to the company. Once Balanchine gained more control and became the figure he is today, those types of people were not around -- just former company dancers who choreographed like Clifford, Martins, Taras etc...

[ViolinConcerto]

A few years after Balanchine's death, the stagebill noted a donation opportunity for le$$er givers which was dedicated to Balanchine rep.  Its mention vanished almost as quickly as it had appeared, my theory being that it drew too much money from new ballets and other purposes.

<{POST_SNAPBACK}>

In the small print at the back of the program are many funds: the Repertory Fund is one of them, which seems to support some new commissions, but also to "conserve on an ongoing basis seminal ballets in the NYCB repertory." That would seem to cover Balanchine works. Also, the Company seeks support for individual ballets, and I just checked to see that last season, Brahms-Schoenberg was supported by Exxon. (Oh great. Oil money.)

And one comment on the whole issue of "they're not doing/teaching X,Y or Z the way we used to...." last year, at one of the many seminars that were part of the 100th Anniversary -- Francia Russell, Kent Stowell, Tanner, Violet Verdy, Barbara Horgan and Peter Martins were in one -- (hope I'm not forgetting anyone), where they talked about how GB's classes changed through different periods in his life. there were some points when he paid very little attention to classes at all. Barbara Horgan also mentioned that there were several students, Suki Shorer was one, who wrote down everything that was said and done in those classes. So the point is that there is no one absolute standard, even from Balanchine's lifetime, against which today's classes, performances or dancers can be measured. It's all subjective.

[carbro]

In the small print at the back of the program are many funds:  the Repertory Fund is one of them, which seems to support some new commissions, but also to "conserve on an ongoing basis seminal ballets in the NYCB repertory."  That would seem to cover Balanchine works.

<{POST_SNAPBACK}>

Yes, ViolinConcerto. The fund supports the preservation of Balanchine ballets but also the preservation and creation of works which supplant them. It is a general fund. Few of us have the resources of Exxon to insist that our donations are dedicated to one ballet or one choreographer. (I wonder who at Exxon has a soft spot for B-SQ. )

The conflicting Voices of Authority regarding what and how Balanchine taught over the years -- how things changed over time -- is a topic discussed in various places on this board. Of course, it doesn't mean we can't continue that dialogue.

[Anna NYC]

Many experts have said that it was Kirstein who was interested in having those choreographers come to the company.  Once Balanchine gained more control and became the figure he is today, those types of people were not around -- just former company dancers who choreographed like Clifford, Martins, Taras etc...

<{POST_SNAPBACK}>

Exactly.

And, yes, there will always be very special talents, Boal, Whelan, Ansanelli, who excel and stand out under any circumstances, anywhere. They were beyond lucky to dance so many Balanchine ballets -- ballets that showed their talents to the best.

Many others, especially NYCB female corps, soloists, principals, could greatly benefit from inspiration and coaching from dancers who adored Balanchine's ballets, as well as performed in them under Balanchine's coaching. Peter Martins only knows his ballets and the parts he performed.

A very bad sign indeed.... as this post originally began.... that Peter doesn't consider Balanchine a necessary part of an opening night gala at Balanchine's NYCB.

Michael's post earlier is a brilliantly written, an absolutely accurate account of the present regime.

[drb]

"...A very bad sign indeed.... as this post originally began.... that Peter doesn't consider Balanchine a necessary part of an opening night gala at Balanchine's NYCB." Apparently some NYCB fans don't agree with Peter on this. Judging from the e-mail sent to registered users of NYCB's website, it isn't sold out:

THIS IS HOW IT ALL BEGINS!

New York City Ballet invites you to share in the glamour and magic of our Winter Season Opening Night Gala Performance on Tuesday, November 22 at 7:30pm. As a Registered User, and a special member of the NYCB family, we have set aside a select group of Orchestra and 2nd Ring Seats at a very special price - just for you!

Registered Users may purchase Opening Night Orchestra Seats for $60 each.

Registered Users may purchase Opening Night Second Ring Seats for $40 each.

Come celebrate the start of an extraordinary new season with a special "one time only" program:

AN AMERICAN MUSIC CELEBRATION

Fearful Symmetries

This stellar evening begins with the return of Peter Martins' dynamic and lightning-quick ballet set to a propulsive John Adams score. This exuberant work makes the mind race.

A New Ballet by Albert Evans

You know him as a talented principal dancer. Now, come and discover Albert Evans as choreographer when he presents a new work for the Company to music by one of America's most important composers, John Cage. You'll be part of the "in crowd" when you enjoy this ballet in its only performance of the season.

N.Y. Export: Opus Jazz

Get hip to this recently revived audience favorite with music by Robert Prince and choreography by the incomparable Jerome Robbins, featuring the coolest young dancers around.

[Dale]

drb, I was thinking the same thing.

[oberon]

NYC Ballet hardly ever sells out...the fact that there is no Balanchine on the programme has little or nothing to do with the size of the audience. Plenty of all-Balanchine nights fail to sell out, or come even close for that matter. In fact, aside from the farewells of Soto & Boal and a couple of SWAN LAKES, I cannot recall a sold out house at NYCB in recent memory. Even NUTCRACKER no longer sells out like it used to. Every time I take my partner to the ballet with me, he scans the house at 7:59 PM and says "So many empty seats!"

I don't know where people get the idea that cultural events routinely sell out; the Met Opera is having a horrendous year at the box office: there has been ONE sold out performance so far this season. ONE. Not even Renee Fleming's MANONs sold out. ABT regularly plays to acres of empty seats at the Met; I have no idea how they do in the smaller venue of City Center. NYC Opera plays to middling houses. Eve Queler's OONY used to be a major sell-out; now you can always get tix the night of the performance. The NY Philharmonic's subscriber base is dying off and younger people are not taking up the slack. Of course, one-time-only events like the Barenboim "farewell" or the Ben & Debbie Show (Heppner & Voigt) still stir up the box office, though friends of mine easily got comps to both of those nights.

I'm sure there are a few people who are skipping NYCB's opening because of "No Balanchine" but I would not imagine they account for the difference between a sold out or unsold-out house. 99.9% of the time you can get tickets for any performance at the box office 20 minutes before curtain; matinees tend to sell better than evenings but there are always empty seats, no matter what's on the bill.

[Farrell Fan]

Oberon, what you say is true, and totally irrelevant to NYCB's opening night benefit. This is, or used to be, a special occasion. I find the fact that second ring seats are available for $40 -- $60 off the original price -- and orchestra seats for $60 -- $140 off the original price -- terribly shocking. This is the beginning? To me it sounds like the beginning of the end.

[oberon]

The end of what? Over-priced galas with women all tarted up while their husbands doze contentedly to the strains of Tchaikovsky & Stravinsky? Good!

NYCB's opening night benefit is in the same boat as the Met's. The Opening Night of the Met season used to be THE big night for cultured New Yorkers. This season, even with Terfel, Gheorghiu & Domingo, it didn't sell out and friends of mine were able to get 1/2 price tickets the night of. My point is, it is not NYC Ballet alone that is struggling to keep/build an audience. NYC Opera's gala opening this year, at which Paul Kellogg was honored, had lots of empty seats; a few days later, he announced his retirement. Maybe Peter will make everyone happy by following suit.

Do you think if SYMPHONY IN C were on the programme instead of the silly & dated Robbins it would draw a bigger crowd?

[Farrell Fan]

Do you think if SYMPHONY IN C were on the programme instead of the silly & dated Robbins it would draw a bigger crowd?

<{POST_SNAPBACK}>

Now you're talking!

[sz]

NYC Opera's gala opening this year, at which Paul Kellogg was honored, had lots of empty seats; a few days later, he announced his retirement. Maybe Peter will make everyone happy by following suit. 

Do you think if SYMPHONY IN C were on the programme instead of the silly & dated Robbins it would draw a bigger crowd?

<{POST_SNAPBACK}>

For Sym in C with excellent casting (their other prob), sure, I'd think the house would sell far better than it currently has for Opus Jazz.

There is no comparison of NYCO to NYCB. NYCO hasn't had a strong place in the opera world for many, many years.

[Dale]

Replace Fearful Symmetries with Symphony in C (w/Sylvie in the 2nd mvt, maybe) and keep Opus Jazz, which I happen to NOT find dated, and you have me sitting in a State Theater seat!

[kfw]

Martins' ballet makes "the mind race"? Come to opening night and be part of the ""in crowd""? "Get hip" to a ballet by the "incomparable" Jerome Robbins danced by the "coolest young dancers around"? Is this tripe supposed to be tongue in cheek? Oh, and John Cage is one of the most important American composers. To whom?

[oberon]

Well, there are 8 SYMPHONY IN C performances coming up at non-gala prices so hopefully that will attract plenty of ticket buyers. I would imagine that a few of them will have some acceptable dancers taking part.

SZ, I mention NYCO as a Lincoln Center constituent company not as a comparison artistically to NYCB, although some people lump them together: NYCO & NYCB are the "people's companies" tending to be more affordable, mainly American in their rosters, and more adventurous in rep than the Met & ABT, which are more "glamourous", more international and have a somewhat more staid image.

The reality is, the performing arts in NYC (and, I suppose, in general) are going thru a very rough time in terms of audience building & maintaining. The fact that NYCB is lowering ticket prices for their opening is simply another aspect of this on-going problem. My friend who works in the Met administration says there is great concern there that their dwindling audience may evaporate altogether; as long-time patrons and donors die off there seems to be little interest among younger generations in the art form itself and certainly not in extending any financial assistance.

[Drew]

kfw -- I don't begrudge NYCB a little advertizing hype (though it tends to make me wince too) but I would add in response to your last point that John Cage IS one of the most important American composers...To whom? well, Merce Cunningham for one. Cage's long collaboration with Cunningham guarantees him a mention, if not a long discussion, in any serious history of twentieth-century dance. Histories of twentieth-century music (or of the vagaries of the twentieth-century's avant-garde) are at least as likely to consider him "important."

[drb]

The combo of Evans and Cage is intriguing. I wish they'd identified the Cage. But I don't think it'd be one of those mic-hanging-out-the-window pieces. I'd have bought (full-price) tickets long ago if there'd been a serious Balanchine, like Sym C or Strav Sym or Violin Concerto... After all, it is the only ballet in town till 2006. But it is a long wait, and the chance of getting good seats at such low prices... and the dancers are so great!

Doubtless they'd have sold the Big Tickets to the Society Elite no matter what, but most people who go to the Gala are balletomanes, and it would have meant a bit more $ to the company had they attracted "us" with some festive Mr. B! And, more importantly, not have sent such a negative message: remember, this is the time of their phone campaign for Guild renewals, upgrades, and new memberships.

Although there is a lack of rectitude in the following thought, perhaps weakness in the Met Opera attendance will lead to a bit of season shortening. Not that long ago they extended their season, stretching ABT into post July 4 low ticket sales. Who knows, maybe they could rest the opera mid-season, and NYC would finally get some time and space for the Mariinsky, like the rest of the country.

[Helene]

Just as an FYI, the Met didn't increase the number of performances: they decided to take a break in January, during a particularly slow period, which pushed out their end date.

Re: NYCO, until the last decade, when the Met started commissioning new pieces (aside from the opening Antony and Cleopatra), NYCO was the place to see modern works: Susannah, Ballad of Baby Doe, Don Rodrigo, Beatrix Cenci, Die Soldaten, Moses und Aron (years before the Met produced it), X, Die Tote Stadt, among others. Not to mention presenting Giulio Cesare -- before the recent influx of Handel operas -- for Sills and Treigle and the Donizetti Queen trilogy for Sills, and Idomeneo when it was ignored at the Met. Recently they've presented early operas and lesser works by Rossini. The company has always had a niche of its own at which it excelled.

Perhaps the recent blitz by NYCO to get younger folks in the theater for the gala is to send some energy to the dancers, who must feel they're performing to an audience of corpses, the typical gala audience.

[kfw]

Drew, of course you make a valid point about Cage. I’m aware of his reputation in some circles and I enjoy his work when it’s accompanied by Cunningham choreography, but surely he and the composers he influenced are important to relatively few music lovers. To my mind the designation is of a piece with the rest of the dumbed down, patronizing sales pitch – cool dancers, incomparable choreographer, star American composer! (As applied to Robbins, that bland, vague, off-the-rack “incomparable” is the worst).

At the risk of sounding patronizing myself, it’s hard to imagine that many people who don’t wince at language like that would respond attentively to Cage’s music as opposed to finding it, at best, entertainingly weird. In any case, I think the blurb’s tone trivializes Cage, whatever his true worth, and trivializes ballet, as if the program is just one more ‘exciting!’ entertainment option. In any case again, I’ll be watching Suzanne Farrell Ballet.

[oberon]

I believe the "hype" for the Robbins, at least, is based on 60's language which sounds corny to us today - and the "ballet" is pretty dated. It's really a period piece now. Of all the catalog of Robbins work that NYCB could have revived, why they chose this dud is beyond me.

Cage doesn't move me one way or the other but I can attest from my work that he is highly regarded still as a daring creative voice, and especially among musicians. I can see why Albert would want to work with Cage's music again, it turned out pretty well for him in HAIKU. I'm guesing the new piece is on a larger scale, and I'm curious to see how he manages it.

A couple seasons ago someone gave me a pair of orchestra seats for one of the NYCB galas; the people seated around me were not the least interested in what was happening onstage - conversations pre-curtain were about everything under the sun except dance or the programme about to commence. People talked or slept thru the ballets, with much whipping out of cell-phones to check for messages. And they couldn't be bothered to applaud the dancers, either sitting on their hands or rushing from their seats as the curtain fell to get to the bar during the breaks.

I really find the opening gala sort of pointless; why not just kick off with the first NUTCRACKER the day after Thanksgiving, with maybe some "gala" casting bits: Merrill Ashley & Peter Martins as the Stahlbaums, Baryshnikov as Drosselmeyer...