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2017 Met Season Prediction


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http://www.nytimes.com/2014/11/10/arts/dance/alexei-ratmansky-celebrates-richard-strauss.html

This is the review of the ballet Ratmansky did to Strauss music. It got a great review. Is this part of what ABT will present, or something different?

This review of the Ratmansky seems to refer to a different Strauss-Kröller collaboration as its (musical) source -- but I can't say I really know what may be in the offing...

http://lod.kfs24.de/2014/07/in-honor-of-richard-strauss/

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For those interested in Schlagobers, the first page of the 'Season 2016-17' thread in the Paris Opera Ballet forum has a discussion about it. There was some speculation that the Paris Opera Ballet would present it in 2016-17 (or beyond) but that became moot when Benjamin Millepied resigned.

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What's not to say that the DQ, Swan Lake and R&J (one or two or all) on the "Silicon Valley Prediction List" may not be the new editions by Ratmansky? I'm guessing the DQ, since ABT's current designs are ancient, having served three stagings of the ballet over the course of almost 40 years.

Dancerboy90210 refers to an existing Raymonda by Ratmansky. Really? Maybe he's thinking of Vikharev's recon for La Scala? I don't think that the Board would approve that because of union overtime rules. Anyway, Raymonda is not on the predictions list.

I'm guessing that Ashton will appear on that half-week mixed bill. I'd love to see a return of Birthday Offering, with those delectable female solos, pdd and male ensemble.

By the way, the Wikipedia entry on Richard Strauss' "Whipped Cream" says that it bombed at its 1924 premiere, on all counts, including the music. Why on earth would cash-strapped ABT invest a cent on it...unless, say, the designs (by Jerome Kaplan?) had already been commissioned & paid for??? Even a salvaging operation shouldn't be dumped on the NY public.

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I'm wondering if the Silicon valley geniuses know anything about the fall 2016 season - or at least when it will be announced. I have been asking the volunteers at the Friends table at the Met and reportedly the season will open October 19 at Koch, but that's all anybody seems to know. I'm hoping there are no plans for a revival of The Tempest, probably the worst Ratmansky I've ever seen! But I wouldn't mind seeing Bright Stream again.

The fall season is impossible to predict as there's no clear pattern. There's little or no overlap from one season to the next.

Bear in mind, this is only a prediction from an app. However, we tested it by "predicting" the 2016 Met season using the rep data from 1977 to 2015 while disabling the internet scanning function, the result is pretty amazing. The app cannot predict whether a rep is a new production.

P.S. If there's enough interest as a historical reference, I'd be happy to post the 1977-2015 Met season reps.

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P.S. If there's enough interest as a historical reference, I'd be happy to post the 1977-2015 Met season reps.

I would be very interested in seeing that. I really wish ABT had a performance archive like the Met Opera's!

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What's not to say that the DQ, Swan Lake and R&J (one or two or all) on the "Silicon Valley Prediction List" may not be the new editions by Ratmansky? I'm guessing the DQ, since ABT's current designs are ancient, having served three stagings of the ballet over the course of almost 40 years.

Dancerboy90210 refers to an existing Raymonda by Ratmansky. Really? Maybe he's thinking of Vikharev's recon for La Scala? I don't think that the Board would approve that because of union overtime rules. Anyway, Raymonda is not on the predictions list.

I'm guessing that Ashton will appear on that half-week mixed bill. I'd love to see a return of Birthday Offering, with those delectable female solos, pdd and male ensemble.

By the way, the Wikipedia entry on Richard Strauss' "Whipped Cream" says the it bombed at its premiere, on all counts, including the music. Why on earth would cash-strapped ABT invest a cent on it...unless, say, the designs (by Jerome Kaplan?) had already been commissioned & paid for???

I don't think Swan Lake or R&J would be ripe for Ratmansky make-overs. For one, I don't think McKenize wants the entire repertory to be Ratmansky. McMillan's R&J is really cemented in the history of ABT, so I don't think it would be likely to be replaced. Also, its a pretty solid production. Ratmansky has a reconstruction of Swan Lake (similar to his Sleeping Beauty) that correct me if I am wrong, I believe recently premiered in Zurich. I highly doubt that ABT would have two reconstructions in its repertory, especially because Swan Lake gets repeated annually. I think it would be more likely to see the existing SL production updated with new sets and costumes. Ratmanksy's Don Q, which I have only seen in YouTube videos and photos, doesn't seem to be a "big enough" production for the Met. I could be wrong, but wasn't it originally created for PNB and Dutch National? I'm not sure if it would read well at the Met (just my opinion).

I think Raymonda would be a good ballet for Ratmansky to do next season. I might be incorrect in thinking he has created a production already. Regardless, it is a production that would likely sell well and be able to be repeated often. The Anna Marie Holmes' Raymonda hasn't been repeated in quite some time. Based on what appears to be poor ticket sales this Met Season, I don't think we will see another production like Golden Cockerel. I think we might get a mixed bill with Ashton and Ratmansky, but I don't think the company will keep taking big risks. Raymonda is a safe bet. They could also cut it down to be within union rules. Also, with some of their senior dancers winding down their careers, they must balance the repertory to give them all opportunities to dance. I think Vishneva and Gomes are likely to retire in the near future. Both have the star-power to go into more project based work (like Wendy Whelan) and Gomes has expressed interest in choreography. I also think Gomes would be a good pick for ballet master. Because of this, I don't think their retirement from ABT will be the conclusion of their performing careers.

On a side note, I'd be surprised if Manon did not reappear next season. They have the women to dance it, but they might struggle to find enough men up to the task. Nothing worse than watching someone like Abrera, Part, or Murphy really giving it their all emotionally and the male doesn't return the favor! Maybe next year, they could import a few male guests. I do however, think Kevin will make one or two more male hires from the outside before the 2017 Met Season.

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P.S. If there's enough interest as a historical reference, I'd be happy to post the 1977-2015 Met season reps.

I'm quite certain I saw Baryshnikov with ABT at the Met in July 1976. I remember that mainly because it was the big Bicentennial year and a trip to NYC was part of a visit with a sister. (In January 1976, ABT was at the old Uris Theatre, which I don't think exists any more, so I'm thinking that the July season was the first at the Met.)

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I think Raymonda would be a good ballet for Ratmansky to do next season. I might be incorrect in thinking he has created a production already. Regardless, it is a production that would likely sell well and be able to be repeated often. The Anna Marie Holmes' Raymonda hasn't been repeated in quite some time. Based on what appears to be poor ticket sales this Met Season, I don't think we will see another production like Golden Cockerel. I think we might get a mixed bill with Ashton and Ratmansky, but I don't think the company will keep taking big risks. Raymonda is a safe bet. They could also cut it down to be within union rules. Also, with some of their senior dancers winding down their careers, they must balance the repertory to give them all opportunities to dance. I think Vishneva and Gomes are likely to retire in the near future. Both have the star-power to go into more project based work (like Wendy Whelan) and Gomes has expressed interest in choreography. I also think Gomes would be a good pick for ballet master. Because of this, I don't think their retirement from ABT will be the conclusion of their performing careers.

I love Raymonda, but on what basis could we assume that it "would likely sell well and be able to be repeated often"? I just don't see it being a big box office draw. Is it a big draw outside the ranks of those of us who already love and attend a lot of ballet?

Also, Gomes has done much more than "expressed interest in choreography." He has indeed choreographed a number of works, for ABT and elsewhere.

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I love Raymonda, but on what basis could we assume that it "would likely sell well and be able to be repeated often"? I just don't see it being a big box office draw. Is it a big draw outside the ranks of those of us who already love and attend a lot of ballet?

Also, Gomes has done much more than "expressed interest in choreography." He has indeed choreographed a number of works, for ABT and elsewhere.

I think Raymonda is a better known production than ballets like The Golden Cockerel. If marketed correctly (and sometimes ABT really drops the ball on marketing), Raymonda could be a hit. Its a Russian war-horse ballet. I think Raymonda seems like a good fit for a company like ABT. Perhaps they might go a different route.... What about a new Bayadere? Would that be too disrespectful to Makarova? Also, what about some Joffrey/Aprino repertory for the Fall or Met Season? Would that be a total wild card?

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Schlagobers translates to Whipped Cream. Anyone have a clue what this is about?

My personal prediction: Copeland will debut as Giselle.

We've lost 2 of our Tatiana's since the last run of Onegin. Wonder who they will pick. Stellaaaaaa.

I agree that a Copeland _Giselle_ debut seems somewhat likely: she mentioned in a Time Out interview from a few years ago that it was a dream role and she spent part of a fellowship getting coached on it by some of ABT's stars. (While I'd be curious to see Murphy and Part, if McKenzie opened the role to tall dancers, he'd have a male casting nightmare.)

For more info and thoughtful, serious-minded commentary on _Schlagobers_, see the Paris Opera thread at http://balletalert.invisionzone.com/index.php?/topic/41069-2016-2017-season/?fromsearch=1 . I can't say that I find this one likely, though: The Golden Cockerel was an unknown quantity to audiences, but had a compelling backstory and some nice buzz (and intriguing photos) from the RDB production. I don't think _Schlagobers_ has enough of a marketing hook for management to risk it.

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I have sometimes wondered (influenced by others on this site I should say) why ABT can't aim some marketing at the NY classical music audience -- if there were going to be a Strauss ballet at the Met next year, then what if performances of Strauss operas at the Met (or any Strauss programs at the Philharmonic) in the months beforehand were to include inserts/ads in their programs about ABT's new version of his 'unknown' ballet? Perhaps marketing types may have already researched this sort of thing and learned it doesn't work...??

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I'm quite certain I saw Baryshnikov with ABT at the Met in July 1976. I remember that mainly because it was the big Bicentennial year and a trip to NYC was part of a visit with a sister. (In January 1976, ABT was at the old Uris Theatre, which I don't think exists any more, so I'm thinking that the July season was the first at the Met.)

The Uris became the Gershwin, so if you've seen "Wicked" in NYC you've been there relatively recently.

I saw ABT do "Tales of Hoffman" there some time in the late '70s. I think the choreography was by Ronald Hand. I don't remember the time of year. It was pretty and I enjoyed it at the time, but having only seen it once I don't remember anything specific about it.

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The Uris became the Gershwin, so if you've seen "Wicked" in NYC you've been there relatively recently.

I saw ABT do "Tales of Hoffman" there some time in the late '70s. I think the choreography was by Ronald Hand. I don't remember the time of year. It was pretty and I enjoyed it at the time, but having only seen it once I don't remember anything specific about it.

I saw that too! I just looked it up and the choreography was by Peter Darrell. (Can't say from what I remember I would be much interested in a revival...)

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I've wondered why one doesn't read about more cross-pollination between opera companies, ballet companies, and symphonies myself.

But, then again, I suppose that if a ballet company DOESN'T share a musical director and orchestra with those two groups, the other arts have little reason to redirect traffic their way. (And I've always received the impression that ballet company orchestras and their rep are often held in rather low esteem by other musicians.)

The Mariinsky's 2011 Lincoln Center Festival engagement (led by the same musical director) was a bit of a Shchedrin festival. I wonder how well those performances were attended by the music community...

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Wish we could see a Stella O/O, based on this video from December with Sterling Baca, she would be ravishing.

I second that! At the ABT Kids performances, Stella danced the White Swan Pas with Thomas Forster. At the later performance, Forster danced it with Shevchenko. Makes me wonder if they're being groomed for the real thing. Shevchenko has at times reminded me of Irina Dvorovenko. I don't know how many open Odette/Odile slots there will be next season. If Seminova doesn't return, maybe that'll leave more openings. They should at least give Stella a go, before its too late.

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Dancerboy90210, Ratmansky has already choreographed an R&J for Canada, which garnered mostly-positive reviews. But, I agree with you that it will be hard to replace the Macmillan at this time. If I had to place a bet, it's that well see a new staging of Don Q in 2017...the existing Ratmansky staging that he did for Amsterdam & Seattle.

Here's the link to Wikipedia article on SCHLAGOBERS:

https://en.m.wikipedia.org/wiki/Schlagobers

Also, there's a highly detailed description of the work in Cyril Beaumont's Complete Book of Ballets. Lots of opportunities for solos by the different candies, pastries and liqueurs. The original production in Vienna-1924 was so luxurious (4 billion Kroner cost) that it was called "The Billionaires' Ballet." That fact alone contributed to negative reviews because of the economic shortages in Europe..."light whipped cream mixed up in a gaudy bowl..." as per one reviewer. Strauss' music was termed "too elaborate" and "undanceable..." So maybe it would be perfect for the Koch Brothers to underwrite "The Billionaires' Ballet"? As for sensitivity...I'll let someone else judge. :)

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I doubt Kevin will get rid of his "Swan Lake" staging and I also think that the "Don Quixote" is his staging as well? He gets residuals every time they stage his productions, am I correct? The MacMillan "Romeo and Juliet" is so iconic and I would prefer a staging of the Cranko over a new Ratmansky version. Also, the current ABT "R&J" is indeed a solid production that is in good shape.

"Raymonda" is a good idea and a Ratmansky reconstruction is a great idea, though I love the Vikharev from La Scala. Frankly I don't think you can get enough reconstructions. ABT's "La Bayadere" production is over 35 years old now - they spent a lot of money refurbishing the costumes recently. However, Doug Fullington has discovered that there are major sections that deviate from the 1900 Mariinsky production - the Sergeyev notes show a very different coda to the "KIngdom of the Shades" with Kschessinkaya as Nikiya executing the notorious "four corners" that Merrill Ashley was famous for in "Ballo alla Regina".

As for a tall male partner - let me again suggest hiring (as a regular guest or splitting his time if he doesn't want to leave the Joffrey) Fabrice Calmels.

Lendorf and Hallberg coming back full time would be an incredible boost to the male roster. Remember that Roberto Bolle is also likely to retire sooner rather than later - he is older than Marcelo though currently he is in great shape.

Johann Strauss also wrote a ballet "Aschenbrödel" which I once saw the Ballet Nacional de Cuba perform at City Center. The score is schmaltzy but fun. Maybe not a Ratmansky project - maybe Wheeldon?

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Ratmanksy's Don Q, which I have only seen in YouTube videos and photos, doesn't seem to be a "big enough" production for the Met. I could be wrong, but wasn't it originally created for PNB and Dutch National? I'm not sure if it would read well at the Met (just my opinion).

The picky part of me has to say that the production was made for the Dutch National -- PNB rented it when they performed it in 2012 and 2015. It's a lush production -- the historical research that went into it plays really well in the theater. I think it would read well at the Met, and that ABT would really shine in it.

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Regarding "Schlagobers", the ballet. In addition to not being a well known entity, it's odd to pronounce and certainly opens itself up to some negative play on words. "Schlockgoobers" anyone?

As to "Raymonda". She has a lot of friends and they ALL have variations! It would need some serious editing and also serious marketing in order for it to sell tickets. It is a long ballet; very long.

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