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Live From Lincoln Center 30th Anniversary

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Let's vote for lots of ballet!

The release:

Vote for Your Favorite Broadcast!

In celebration of its 30th anniversary, Live From Lincoln Center - the only series of live opera, dance, theater and music performances on American television - will present a special of rarely seen performance highlights from its first 30 years on Thursday, May 25 at 8:00pm on PBS (check local listings). Featuring clips of some of the greatest artists ever to appear on Lincoln Center's stages - including Luciano Pavarotti, Beverly Sills, Dame Joan Sutherland, Marilyn Horne, Leonard Bernstein, Zubin Mehta, Isaac Stern, Yo-Yo Ma, Itzhak Perlman, André Watts, Stephen Sondheim, Wynton Marsalis, the New York City Ballet, Peter Martins, Natalia Makarova, and many more - this is a one-time only opportunity to glance back at some of the major moments drawn from the vaults of Live From Lincoln Center, most of which have not been seen by audiences since the original live broadcasts. (Artists subject to change.)

BY POPULAR DEMAND - Live from Lincoln Center is asking its loyal viewers to help select one of the performances that will be shown during the telecast. Through Monday, April 17, fans can visit the Live From Lincoln Center page at www.LincolnCenter.org to vote for their favorite moment. The top choice will be featured on the May 25 broadcast.

Vote here:


Live From Lincoln Center is made possible by a major grant from MetLife.

In addition to underwriting from MetLife, the series is made possible with generous support from Thomas H. Lee and Ann Tenenbaum and the Robert Wood Johnson Jr. Charitable Trust.

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Dale, thanks so much. I cast my vote for:

October 10, 1983

A Lincoln Center Special

"New York City Tribute to Balanchine"

Artists: Suzanne Farrell, Sean Lavery, "Mozartiana"

Second choice, if one had been allowed:

May 17, 1978

"American Ballet Theatre at the Metropolitan Opera House"

Artists: Baryshnikov, Kirkland in "Theme and Variations"

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Here are the dance excerpts I found; I'm sure there was dancing in those New Year's Galas, but it's not broken out:

New York City Ballet

May 30, 2002

NYC Ballet's Diamond

Project: Ten Years of New Choreography

Beverly Sills, Host

Stravinsky, JEU DE CARTES

Choreographed by Peter Martins, conductor:

Andrea Quinn.

Janie Taylor, Benjamin Millepied, Damian

Woetzel, Nikolaj Hübbe

Francesco Geminiani, CHIAROSCURO

Choreographed by Lynne Taylor-Corbett,

conductor: Maurice Kaplow.

Jock Soto, Rachel Rutherford, Jennie Somogyi,

Pascal van Kipnis, James Fayette, Tom Gold.

Marsalis, THEM TWOS

Choreographed by Peter Martins: Guest

conductor: Robert Sadin.

Charles Askegard, Maria Kowroski, Nikolaj

Hübbe, Yvonne Borree, Jock

Soto, Darci Kistler.

Hindemith, VIOLA ALONE

Choreographed by Kevin O'Day; (no


Carrie Lee Riggins, Jennie Somogyi, Jeroen

Hofmans, Alexander Ritter.


Choreographed by Richard Tanner; conductor:

Mauarice Kaplow.


Carla Körbes, Philip Neal


Janie Taylor, James Fayette


Alexandra Ansanelli, Sébastien Marcovici

Evelyn Ficarra, LA STRAVAGANZA

Choreographed by Angelin Preljocaj; (no


Richard Einhorn, RED ANGELS

Choreographed by Ulysses Dove (no

Tom Gold, Benjamin Millepied.

conductor). Electric Violin: Mary Rowell.

Maria Kowroski, Wendy Whelan, Albert

Evans, Peter Boal.

Shostakovich, MERCURIAL MANOEUVERSChoreographed by Christopher Wheeldon; conductor: Andrea Quinn.

Jenifer Ringer, Jock Soto, Benjamin Millepied,

Ashley Bouder, Lindy Mandradjieff.

Live backstage intermission feature with Beverly Sills and Peter Martins;Pretaped intermission feature: Peter Martins, dancers' choreographers and Andrea Quinn (conductor) talk about music/ballet; Peter Martins, choreographers and dancers talk about dance; Pretaped intros to all dances are done by the choreographers except for "Red Angels" which is introduced by Wendy Whelan (dancer) and Mary Rowell (Elec. Violin).


New York City Ballet

May 5, 2004

New York City Ballet: Lincoln Center Celebrates Balanchine 100

Stravinsky, Fanfare for a New Theater; Tschaikovsky, None but the Lonely Heart; Drigo, Harlequinade (excerpt); Stravinsky, Duo Concertant (excerpt); Brahms, Brahms-Schoenberg Quartet (First Piano Quartet in G minor, Op. 25); Brahms, Liebeslieder Walzer (exerpts); Bach, Concerto Barocco (excerpt) Concerto for Two Violins in D Minor: Largo; Gershwin, The Man I Love (excerpt from Who Cares?); Strauss, R., Vienna Waltzes (excerpt)

Pretaped: Susan Stroman introduces archived video of Balanchine.


New York City Ballet

Hugo Fiorato, Conductor

Peter Martins, Choreographer

Miranda Weese, Odette/Odile

Damian Woetzel, Prince Siegfried

Jock Soto, Von Rotbart

May 5, 1999

Tschaikovsky - SWAN LAKE (Ballet in 2 Acts; choreographed by Peter Martins after Marius Petipa, Lev Ivanov and George Balanchine; Scenery and Costumes by Per Kirkeby)

Beverly Sills, Host


Pretaped intermission feature: Beverly Sills in conversation with Peter Martins, Darci Kistler and Damian Woetzel.

Pretaped feature in celebration of NYCB's 50th Anniversary: "Fifty By Five", featuring: John Guare, Bert Stern, Robert Caro, Paul Cadmus and Wendy Wasserstein.

Program Length: 2:51:37


New York City Ballet

Robert Irving, Conductor

Maria Calegari (Titania)

Ib Anderson (Oberon)

Jean-Pierre Frohlich (Puck)

Merrill Ashley, Adam Luders (Divertissiment)

May 24, 1986

Mendelssohn, A MIDSUMMER NIGHT'S DREAM (choreography by George Balanchine)

Patrick Watson, Host

Live intermission interview backstage with Irving/Peter Martins, Ballet Master in Chief.

Program Length: 1:58:46


American Ballet Theatre

Jack Everly, Conductor

Natalia Makarova (Juliet)

Kevin McKenzie (Romeo)

Johan Renvall (Mercutio)

May 7, 1988

Prokofiev, ROMEO AND JULIET (ballet in 3 acts, choreographed by Kenneth MacMillan)

Patrick Watson, Host

Pretaped intermission feature with Natalia Makarova in 2 segments with Watson commentary live backstage; live interviews backstage with Kevin McKenzie, Georgina Parkinson, Dance Mistress.

Program Length: 2:57:46


New York City Ballet

Ray Charles, Ray Charles Band, The Raeletts, Judith Fugate, Stephanie Saland, Heather Watts, Lindsay Fischer, Robert LaFosse, Jock Soto, Allison Brown, Florence Fitzgerald, Tom Gold, Nilas Martins, Gordon Stevens, Robert Irving, Conductor, New York City Ballet Orch.

May 12, 1989

"Ray Charles in Concert with the New York City Ballet"

(A FOOL FOR YOU, choreographed by Peter Martins).

(no host)

Carmichael/Gorrell, "Georgia on My Mind"; Charles, "Ain't That Love" (Fugate/Saland/Watts/LaFosse/Brown/Fitz); Charles, "Don't You Know" (Watts/Soto); Curtis, "It Should've Been Me" (LaFosse/Brown/Fitz); Mayfield, "Hit the Road Jack" (Fugate/Soto/Watts); Charles, "Rockhouse" (Fugate/Saland/LaFosse/Fischer); Nugetre, "Mess Aroung" (Brown/Fitz/Gold/Martins/Stevens); Charles, "A Fool For You" (Watts/Soto); Charles, "I Got A Woman" (Fugate/LaFosse); Glover, "Drown in My Own Tears" (Saland/Fischer); Charles, "What'd I Say" (Entire cast); Kern/Hammerstein, II, "Ol' Man River"; "America the Beautiful" (adapted by Charles).

Program Length: 57:46


American Ballet Theatre

Alan Barker, Conductor

May 20, 1981

Martine van Hamel, Alexander Godunov, Elaine Kudo, George de la Pena, Ruth Mayer, Kevin McKenzie

Susan Jaffe, Lisa de Ribere

Marianna Tcherkassky, Fernando Bujones

Natalia Makarova, Mikhail Baryshnikov

Cheryl Yeager, Danilo Radojevic, Cynthia Harvey

Glazounov, RAYMONDA Divertissements

(choreography by Petipa)

Delibes/Minkus, "Jardin Animé scene from LE CORSAIRE (choreography by Petipa; orchestration by Hershy Kay).

Hertel, Act I Pas de Deux from LA FILLE MAL GARDEE (Choreography by Jean Dauberval & Petipa)

Tchaikovsky, THE SLEEPING BEAUTY Act III (choreography by Petipa)

Live intermission interviews with Baryshnikov; Godunov, Van Hamel.

Program Length: 2:28:45


A Lincoln Center Special

New York City Ballet

Robert Irving, Conductor

October 4, 1982 (Perf. Tapings: June 18-19, '82)

Peter Martins, Suzanne Farrell, Kyra Nichols, Maria Caligari

Martins, Adam Luders, Karin von Aroldingen, Victoria Hall

"Stravinksy & Balanchine: Genius Has A Birthday!"

(2 ballets choreographed by George Balanchine, with music by Igor Stravinsky) Introductory remarks by Balanchine and Lincoln Kirstein.

APOLLO: Apollo (Martins), Terpsichore (Farrell), Polyhymnia (Nichols), Calliope (Calegari)

ORPHEUS: Orpheus (Martins), Dark Angel (Luders), Euridyce (Aroldingen), Leader of Bacchantes (Hall).


A Lincoln Center Special

New York City Balled

Robert Irving, Conductor

October 10, 1983

(Perf. Tapings: May 27-28, 1983)

Kyra Nichols, Heather Watts, Elyse Borne, Karin von Aroldingen, Suzanne Farrell, Sean Lavery, Helgi Tomasson, Bart Cook, Peter Martins, Adam Luders

Suzanne Farrell, Victor Castelli, Ib Anderson

Lourdes Lopez, Heather Watts, Patricia McBride, Sean Lavery

"New York City Ballet Tribute to George Balanchine"

(3 ballets choreographed by Balanchine)

(no host)

J. Strauss, II, Franz Lehar, Richard Strauss VIENNA WALTZES

Tchaikovsky, MOZARTIANA

George Gershwin, WHO CARES? (adapted & orchestrated by Hershy Kay.)

Program Length: 1:58:46


American Ballet Theatre

Akira Endo, Conductor

Natalia Makarova (Odette/Odile)

Ivan Nagy (Prince Siegfried)

June 30, 1976

Tchaikovsky, SWAN LAKE (ballet in 4 acts choreography by Marius Petipa & Lev Ivanov)

Dick Cavett, Host

Live intermission interviews backstage with Clive Barnes, Dance Critic, New York Times; Erick Bruhn (a principle dancer of the ABT); Makarova, Lucia Chase (Director of ABT).

Program Length: 2:58:48


American Ballet Theatre

John Lanchberry, Conductor

Natalia Makarova (Giselle)

Mikhail Baryshnikov (Count Albrecht)

Martine van Hamel (Myrta)

June 2, 1977

Adolphe Adam, GISELLE (ballet in 2 acts, choreography by Jean Coralli & Jules Perrot. Orchestration by John Lanchbery).

Dick Cavett, Host

Live intermission interview with Erik Bruhn (a principle dancer of the ABT).

Program Length: 1:58:48


New York City Ballet

Robert Irving, Conductor

Patricia McBride (Swanhilda/Coppelia)

Helgi Tomasson (Frantz)

Shaun O'Brien (Dr. Coppelius)

January 31, 1978

Delibes, COPPELIA (ballet in 3 acts, choreography by George Balanchine and Alexandra Danilova after Petipa. Book by Charles Nuitter after E.T.A. Hoffman).

Edward Villella, Host

Live intermission interviews backstage with McBride/Tomasson, Danilova; O'Brien, Irving.

Program Length: 2:28:48


American Ballet Theatre

Akira Endo, Conductor

May 17, 1978

Rebecca Wright, Marianna

Tcherkassky, Ivan Nagy

Natalia Makarova, Fernando Bujones

Gelsey Kirkland, Mikhail Baryshnikov

Cynthia Gregory (The Firebird), John Meehan (Tsarevitch), Leslie Browne, (Tsarevna), Marcos Paredes (Immortal Kostchei)

"American Ballet Theatre at the Metropolitan Opera House" (in 3 acts)

Robert MacNeil, Host

Chopin, LES SYLPHIDES (choreography by Michel Fokine)

Leon Minkus, Grand pas de deux from DON QUIXOTE (choreography after Marius Petipa)

Tchaikovsky, THEME AND VARIATIONS (choreography by George Balanchine)

Stravinsky, THE FIREBIRD (choreography by Michel Fokine)

Live intermission interviews backstage with Makarova, Bujones, Erik Bruhn, (a principle dancer of the ABT); Kirkland, Bruhn.

Program Length; 2:44:57


American Ballet Theatre

John Lanchbery, Conductor

Cynthia Gregory (Princess Aurora)

Fernando Bujones (Prince Florimund)

May 2, 1979

Tchaikovsky, THE SLEEPING BEAUTY (ballet in Prologue and 3 acts, staged by Mary Skeaping after Marius Petipa & Nicholas Sergeyev)

Robert MacNeil, Host

Live intermission interviews with Marcos Paredes (Wicked Fairy), Jolinda Menendez (Lilac Fairy); Gregory, Bujones, Lanchbery.

Program Length: 2:58:48


American Ballet Theatre

John Lanchbery, Conductor

Natalia Makarova (Nikiya)

Anthony Dowell (Solor)

Cynthia Harvey (Gamzatti)

Victor Barbee (Rajah Dugmanta)

Alexander Minz (High Brahmin)

Danilo Radojevic (Head Fakir/Bronze Idol)

(Marianna Tcherkassky replaced Makarova after Act I).

May 28, 1980

Minkus, LA BAYADERE (ballet in 3 acts, choreography by Makarova after Petipa. Music arr. By John Lanchbery).

Pia Lindstrom, Host

Live intermission interviews backstage with Lanchbery, Israel Chorberg, ABT Concert- master; Dowell, Makarova.

Program Length: 2:28:46

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I chose the 1977 Makarova/Barykshnikov Giselle. I was going through one of my radical-culture phases and was boycotting all dance classics. S-t-u-p-i-d (but youngish) :blink:

An afterthought: what a wealth of serious and beautiful performances this list (and this series) presents.

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Considering they can broadcast all these events I assume that means they have copies of the complete performance. Better yet: broadcast/release THAT!!
Here, here, Giannina! Release them!

Worth noting that they request "SEGMENTS," so if you are hoping for a full broadcast of, say, the Makarova-Nagy Swan Lake or the McBride-Tomasson Coppelia, you won't likely get it.

I need to see the Kirkland Baryshnikov T&V again, too. :P Oh, yes, I do!

Remember the 25th anniversary year of Lincoln Center, when they draped that screen over the face of the Met and played the compilation of highlights? Used to run over regularly just to catch Kirkland in her variation. :clapping:

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Slightly off topic but I wonder.... why isn't at least half of this list on DVD? If they have the rights to broadcast it, they probably have the rights to sell it, no?

As niche as the dance dvd market is, it, still, is a market that has a place for at least 2 different DVD versions for each of the 4 best known Grigorovich choreographies.... Or for 4 different Cloud Gate Theater DVDs (I just mean that CGT are not very mainstream, for European audiences at least)

So why isn't there a place for Balanchine? Why only 3-4 dvds? Are there many people who doubt he was the greatest choreographer of the 20th century? I don't think so.... So why, if the recordings exist, can't they be made availlable?

Can anyone please explain this?

Edited by chrisk217
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I don't want to veer away from the topic too much so please move this post if appropriate...

Helene, thank you for your answer... If I understand correctly you are saying that in case of release on other media (not tv broadcast) new contracts must be negotiated...

What I still don't understand is this: aren't the artists and the backstage personnel much better off if something is released and they do get some royalties? Not to mention, recognition by a larger audience for those artists still working... In what way is keeping a video in the vaults or impeding its release financially rewarding?

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that why I want to see Makrova's orignal staging of Byaadere so bad!!!!! I have always wanted to, especially for the interviews.




Edited by Solor
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What an astonishing list.

And I remember big bunches of them -- I must be older than I think!

The Baryshnikov/Kirkland Theme and Variations is indeed a revelation, but there's so much to choose from.

(is this the Makarova/Mackenzie Romeo where he has his warmups on during the crypt scene?)

Edited by sandik
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What an astonishing list.

Yes, isn't it? Live from Lincoln Center has really programmed a lot over the years.

And although slightly :jawdrop: as this is a ballet board, there is still a contingent here that are also opera fans. And all the Met Opera telecasts from 1977 are NOT included. Sure they are from Lincoln Center, but the Met has chosen to brand them Live from the Met (although they are almost never "live" these days")

NYCO has evidently been agreeable to have their telecasts under the general Live From Lincoln Center umbrella.

Also ABT hasn't had any entries for a while. I guess they have been taping from othere venues


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legal experts in rights etc. could say somethings more accurately but i as understand these 'contracts' the rights to tape and air certain performances are written to cover only those telecasts. putting the same telecasts on the commercial market means renegotiating with all parties concerned: house technicians, musicans, and dancers.

this explains, one supposes why for ex. when the 'choreog. by balanchine' series got put on the video market it ended up w/o the commentaries spoken by villella and written by croce and w/o two of the dance segments: RUBIES pas de deux and ALLEGRO BRILLANTE - in both these cases it would fair to say that the dancers involved chose not to sign on for the commercial contract.

essentially then, more is at stake once the filming gets put on the wider commercial market, more longevity and thus more profit to consider.

still, from the look of performing arts sections of video lists, it would appear that it's somewhat easier to get opera footage on the mass market than dance.

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. . . I want to see Makrova's orignal staging of Byaadere so bad!!!!! I have always wanted to, especially for the interviews.
For the broadcast, Makarova herself danced only the first act of this ballet. She was suffering from a knee problem, and Marianna Tcherkassky took over as Nikiya from the Betrothal on.

The RB did Makarova's Bayadere -- exact same production -- starring Assylmuratova, Mukhamedov and Bussell, and it's available on video. No interviews that I know of on that, but you do get the same staging, sets and costumes.

ABT seems to have stopped broadcasting live -- from Lincoln Center or anywhere else. I suspect the sweatpants incident may have been a big influence on that decision. Pre-taping also allows the editor to use bits and pieces from various performances, or even to have dancers perform particular sections just for the camera. Any mishap -- wardrobe or otherwise -- can easily be fixed.

A casual perusal gives the impression that the ratio of ballet to non-ballet has fallen drastically over the years. :jawdrop:

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American Ballet Theatre has a relationship with Dance in America. ABT has been consistently shown on PBS over the past 5 or so years, but it's been on DIA. That deal with DIA involves releasing the programs on video. Whereas, NYCB appears to have a relationship with LFLC, which rarely releases for the reasons rg and others have mentioned.

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