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ABT 2016 Met Season


abatt

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Single-ticket purchases have now gone live on the Met's website, but, oddly, it's not allowing you to select your seats. I hope this is just a technical error that will be corrected.

Updated at 12:02 p.m.: Website is still now allowing seat selection. Has ABT let us down yet again?

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Single-ticket purchases have now gone live on the Met's website, but, oddly, it's not allowing you to select your seats. I hope this is just a technical error that will be corrected.

Plea

Updated at 12:02 p.m.: Website is still now allowing seat selection. Has ABT let us down yet again?

If the problem continues, try using another browser. I may be stating the obvious, but it is offered with helpful intentions. :-)
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Any non-subscribers actually went to the box office today? Was it very crowded? How did it go in general?

Yes, it was very crowded, but it went smoothly. I am a subscriber, but I needed to buy some additional tickets. I got there ten minutes before the box office opened and waited an hour. They had 6 windows open, plus they were using the opera ticket window when no one else was waiting. Fortunately the timing worked out perfectly as I had tickets for Paul Taylor at 2:00PM.

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Just ordered my tickets for the season. I'm glad I waited, because when I looked on Sunday, it said most of the Grand Tier front row box seats were sold out for the Saturday matinees, but today they were open. Weird.

Got orchestra tickets for Copeland's R&J. That one is selling fast, not much left in the orchestra.

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So Misty's R&J is almost sold out, already. Only back row side box seats and family circle left. Crazy.

I think I might have Misty to thank for the lack of guest artists. She is bringing in the cash for ABT.

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So Misty's R&J is almost sold out, already. Only back row side box seats and family circle left. Crazy.http://www.freep.com/story/entertainment/arts/2016/04/01/sleeping-beauty-abt-detroit-opera-house/82490208/

I think I might have Misty to thank for the lack of guest artists. She is bringing in the cash for ABT.

Not surprising, I think its obvious at this point that she is a super star, known and admired WELL beyond ballet circles. Look at this review of ABT's opening night in Detroit. They talk about the opulence of the production, about the center's ballet program and about Misty. The principal dancers are barely mentioned, the review is all about MIsty's 8 minutes in the Bluebird pas de deux.

http://www.freep.com/story/entertainment/arts/2016/04/01/sleeping-beauty-abt-detroit-opera-house/82490208/

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A warning about Goldstar, you will not be able to choose your seat and you will not find out your seat location until you pick up your tickets at will call. I've had good and less than ideal seats.

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According to the Goldstar site they take a 5% commission on tickets:

https://www.goldstar.com/company/supplier_details

The other way they make money is through the fees and membership in Red Velvet, which offers comps and other benefits.

The link describes their purpose and approach.

They don't mention this, but I think it's important to note that they enable the loyal audience to stretch its incremental dollars to see more performances, and, frankly, seeing two butts in seats instead of one is good for perception in general.

I hate seeing empty seats. I pay subscription prices and get subscriber discounts where available and I'm a donor, and I don't care what the person next to me paid, as long as they're quiet, don't wear heavy scent, or block my view.

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Not surprising, I think its obvious at this point that she is a super star, known and admired WELL beyond ballet circles. Look at this review of ABT's opening night in Detroit. They talk about the opulence of the production, about the center's ballet program and about Misty. The principal dancers are barely mentioned, the review is all about MIsty's 8 minutes in the Bluebird pas de deux.

http://www.freep.com/story/entertainment/arts/2016/04/01/sleeping-beauty-abt-detroit-opera-house/82490208/

The sales for her performances of The Firebird are also extraordinary. The house is almost sold out for both of her performances. Mixed programs always sell so poorly at the Met, so what a boon to ABT. And everything but Family Circle is sold out for her Swan Lake! Sales for her Fille mal gardée seem about on par with other casts, which make sense since it's not a title with widespread recognition.

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The sales for her performances of The Firebird are also extraordinary. The house is almost sold out for both of her performances. Mixed programs always sell so poorly at the Met, so what a boon to ABT. And everything but Family Circle is sold out for her Swan Lake! Sales for her Fille mal gardée seem about on par with other casts, which make sense since it's not a title with widespread recognition.

It is unfortunate that La Fille does not have the recognition it deserves. IMO, it is just about the most enjoyable of ballets.

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Sadly, LA Fille suffers from the same disrespect that most comedies face, with few exceptions, like Marriage of Figaro and The Importance of Being Earnest.

It's exquisitely crafted, but no one dies.

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It's exquisitely crafted, but no one dies.

I like it when no one dies. One of the things I appreciate about the newish Coen brothers' film (Hail, Caesar) is that, unlike many of their other films, no one dies.

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Sadly, LA Fille suffers from the same disrespect that most comedies face, with few exceptions, like Marriage of Figaro and The Importance of Being Earnest.

It's exquisitely crafted, but no one dies.

It also has to have very good principal cast to succeed. I love Stella but i can't see her as Lise. Maybe because she always plays serious roles. I hope she proves me wrong. I wonder who will be Mother Simone in the present revival?

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I would have felt doubt about Abrera too, but I saw her give an unexpectedly zesty Mercedes in Don Q a few years ago. (So, she might not be playful enough this year, but she has the range to grow into it by next year.) Her mastery of the Ashton style isn't in question.

For the Widow, I'm guessing Salstein, Zhurbin, Easter, Stewart, and one of the male up-and-comers (primarily for the stage time). The time commitment would probably be too much for Gomes to indulge in it, even if he wanted it.

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I would have felt doubt about Abrera too, but I saw her give an unexpectedly zesty Mercedes in Don Q a few years ago. (So, she might not be playful enough this year, but she has the range to grow into it by next year.) Her mastery of the Ashton style isn't in question.

I'm right with you there, choriamb. When I read bingham's post (and before I read yours), I immediately remembered Stella's terrific performance as Mercedes in Don Q. I predict she'll be a wonderful Lise. This year.

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I think the only thing that could make up for a slightly lackluster 2016 Met Season would be casting Stella as Juliet and Odette/Odile. I'd def get my tickets right away! I don't understand Kevin's casting at all. Of course, I'll go see Stella in pretty much anything she dances. But, after her Giselle, its hard to imagine anyone not thinking that Juliet is the next logical step. He was clearly wrong to keep her sidelined for so many years, he could at least make up for it by casting her in appropriate works for her, before its too late. Instead, we just get more Hee Seo....

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