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2018 Met Season

abatt

By abatt
in American Ballet Theatre

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abatt

abatt

Posted
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Posted

Yes, but for a ticketmaster event, most people attend one show.  Ballet seasons run for many weeks, and depend on repeat customers all season for their business. Thus, the facility fees start to really add up if you attend numerous ballets/numerous casts of a single ballet. 

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Vs1

Vs1

Posted
Posted (edited)

 

Just now, abatt said:

Yes, but for a ticketmaster event, most people attend one show.  Ballet seasons run for many weeks, and depend on repeat customers all season for their business. Thus, the facility fees start to really add up if you attend numerous ballets/numerous casts of a single ballet. 

I know people who follow bands to every show

Edited by Vs1
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Vs1

Vs1

Posted
Posted

Is there a retroactive application of the discount ?  Like the predicted casting fiasco, I have a predicted bunch of overpriced nondiscounted Giselle tickets  some of which I can't use at all (coupon problem happens as soon as  I buy anything at nycb or any drugstore as well)

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fondoffouettes

fondoffouettes

Posted
Posted
15 minutes ago, Vs1 said:

Is there a retroactive application of the discount ?  Like the predicted casting fiasco, I have a predicted bunch of overpriced nondiscounted Giselle tickets  some of which I can't use at all (coupon problem happens as soon as  I buy anything at nycb or any drugstore as well)

I highly doubt it, but you could always trying calling the box office or using the chat function on the Met's website to find out.

Not that you want to spend more money, but you could trade any of your Giselle tix for $20, if there are other shows you want to see. (I hadn't realized this was an option till yesterday's conversation about it on here.) 

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Vs1

Vs1

Posted
Posted
13 minutes ago, fondoffouettes said:

I highly doubt it, but you could always trying calling the box office or using the chat function on the Met's website to find out.

Not that you want to spend more money, but you could trade any of your Giselle tix for $20, if there are other shows you want to see. (I hadn't realized this was an option till yesterday's conversation about it on here.) 

I don't understand. I have 6 $150 tix 4 of which I want. I could exchange for 150 x2, or combo of 300, but nothing to see, since I have tix to shows I want.  

What is the $20 ref? I should have no fee, if that's what you mean.  

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Dale

Dale

Posted
Posted

First two weeks of casting:

 

AMERICAN BALLET THEATRE
Metropolitan Opera House - Spring, 2018

FIRST WEEK
Mon. Eve., May 14, 7:30 P.M. GISELLE Seo, Bolle, Murphy
Tue. Eve., May 15, 7:30 P.M. GISELLE Copeland, Cornejo, Abrera
Wed. Mat., May 16, 2:00 P.M. GISELLE Lane, Simkin, Shevchenko
Wed. Eve., May 16, 7:30 P.M. GISELLE Boylston, Whiteside, Teuscher
Thu. Eve., May 17, 7:30 P.M. GISELLE Abrera, Stearns, K.Williams*
Fri. Eve., May 18, 7:30 P.M. GISELLE Osipova+, Hallberg, Shevchenko
Sat. Mat., May 19, 2:00 P.M. GISELLE Murphy, Stearns, K.Williams
Sat. Eve., May 19, 8:00 P.M. GISELLE Seo, Bolle, Teuscher
SECOND WEEK
Mon. Eve., May 21, 6:30 P.M. GALA

HARLEQUINADE
(excerpts)

Boylston, Whiteside

PIÈCE D’OCCASION
(Dorrance World Premiere)

Company

AFTERITE
(World Premiere)

Ferri+, Copeland, Seo, Trenary, S. Williams,
Cornejo, Whiteside, Stearns, Hoven, Royal,
Cirio, Bell, Lyle

Tue. Eve., May 22, 7:30 P.M. FIREBIRD Shevchenko**, Forster**, Abrera, Stearns
AFTERITE Ferri+, Copeland, Seo, Trenary, S. Williams,
Cornejo, Whiteside, Stearns, Hoven, Royal,
Cirio, Bell, Lyle

Wed. Mat., May 23, 2:00 P.M. FIREBIRD Copeland, Cornejo, Trenary, Lyle**
AFTERITE Teuscher*, Boylston*, Brandt*, Hurlin*,
Shealy*, Shayer*, Forster*, Sebastian*, Scott*,
Ahn*, Simkin*, Maloney*, Whiteley*

Thursday, May 3, 2018
Wed. Eve., May 23, 7:30 P.M. FIREBIRD Teuscher**, Hammoudi, Brandt*, Zhurbin
AFTERITE Ferri+, Copeland, Seo, Trenary, S. Williams,
Cornejo, Whiteside, Stearns, Hoven, Royal,
Cirio, Bell, Lyle

Thu. Eve., May 24, 7:30 P.M. FIREBIRD Shevchenko, Forster, Abrera, Stearns
AFTERITE Teuscher, Boylston, Brandt, Hurlin, Shealy,
Shayer, Forster, Sebastian, Scott, Ahn, Simkin,
Maloney, Whiteley

Fri. Eve., May 25, 7:30 P.M. FIREBIRD Teuscher, Hammoudi, Brandt, Zhurbin
AFTERITE Ferri+, Copeland, Seo, Trenary, S. Williams,
Cornejo, Whiteside, Stearns, Hoven, Royal,
Cirio, Bell, Lyle

Sat. Mat., May 26, 2:00 P.M. FIREBIRD Shevchenko, Forster, Hurlin**, Zhurbin
AFTERITE Ferri+, Copeland, Seo, Trenary, S. Williams,
Cornejo, Whiteside, Stearns, Hoven, Royal,
Cirio, Bell, Lyle

Sat. Eve., May 26, 8:00 P.M. FIREBIRD Copeland, Cornejo, Trenary, Lyle
AFTERITE Teuscher, Boylston, Brandt, Hurlin, Shealy,
Shayer, Forster, Sebastian, Scott, Ahn, Simkin,
Maloney, Whiteley

+ Guest Artist
*Editors please note first time in a role
Thu., 5/17 K.Williams (Myrta) in Giselle
Wed. Mat., 5/23 Teuscher, Boylston, Brandt, Hurlin, Shealy, Shayer, Forster, Sebastian, Scott, Ahn,

Simkin, Maloney, Whiteley in AFTERITE

Wed. Eve., 5/23 Brandt (Maiden) in Firebird
**Editors please note first time in a role in New York
Tue., 5/22 Shevchenko (Firebird), Forster (Ivan) in Firebird
Wed. Mat., 5/23 Lyle (Kaschei) in Firebird
Wed. Eve., 5/23 Teuscher (Firebird) in Firebird
Sat. Mat., 5/26 Hurlin (Maiden) in Firebird

 

CASTING ANNOUNCED FOR FIRST TWO WEEKS OF
AMERICAN BALLET THEATRE’S 2018 SPRING SEASON

AT METROPOLITAN OPERA HOUSE

Guest Artist Alessandra Ferri to Dance in World Premiere Cast of AFTERITE

at Spring Gala, Monday, May 21 at 6:30 P.M.

Casting for the first two weeks of American Ballet Theatre’s 2018 Spring Season at
the Metropolitan Opera House was announced today by Artistic Director Kevin McKenzie.
The season will begin with eight performances of Giselle, beginning Monday,
May 14, with Hee Seo, Roberto Bolle and Gillian Murphy in the leading roles. Katherine
Williams will debut as Myrta on Thursday, May 17. Guest Artist Natalia Osipova will
dance the role of Giselle on Friday, May 18, opposite David Hallberg as Albrecht. Set to
music by Adolphe Adam, with scenery by Gianni Quaranta, costumes by Anna Anni and
lighting by Jennifer Tipton, Giselle features choreography after Jean Coralli, Jules Perrot and
Marius Petipa and has been staged for ABT by Artistic Director Kevin McKenzie.
The 2018 Spring Gala on Monday, May 21 at 6:30 P.M. will feature excerpts from
Alexei Ratmansky’s Harlequinade, led by Isabella Boylston as Columbine and James
Whiteside as Harlequin. An all-new production of Harlequinade, staged by Ratmansky
after the original by Marius Petipa, will be given its World Premiere by American Ballet
Theatre on June 4, 2018. The Spring Gala will also be highlighted by a pièce d’occasion
by tap dance choreographer Michelle Dorrance. A work for fifteen dancers, Dorrance’s
work is set to recorded music by the Brooklyn-based acoustic ensemble Dawn of Midi.
Co-commissioned with the Vail Dance Festival, the World Premiere by Dorrance is her
first work for ABT.
The World Premiere of AFTERITE by Wayne McGregor, Resident Choreographer
at The Royal Ballet, will round out the May 21 Gala program. In his first work for ABT,
McGregor creates a new scenario set to Igor Stravinsky’s The Rite of Spring, with sets and
costumes by Vicki Mortimer, video designs by Ravi Deepres and lighting by Lucy Carter.

The World Premiere of AFTERITE will be danced by Guest Artist Alessandra Ferri, Misty
Copeland, Hee Seo, Cassandra Trenary, Stephanie Williams, Herman Cornejo, James
Whiteside, Cory Stearns, Blaine Hoven, Calvin Royal III, Jeffrey Cirio, Aran Bell and
Duncan Lyle.
The second week of the Spring season will continue with seven performances of
McGregor’s AFTERITE sharing the program with Ratmansky’s Firebird. Devon
Teuscher, Isabella Boylston, Skylar Brandt, Catherine Hurlin, Courtney Shealy, Gabe
Stone Shayer, Thomas Forster, Jose Sebastian, Arron Scott, Joo Won Ahn, Daniil Simkin,
Tyler Maloney and Marshall Whiteley will debut in AFTERITE at the matinee on
Wednesday, May 23. The season’s first performance of Firebird features Christine
Shevchenko and Thomas Forster in their New York debuts as the Firebird and Ivan,
respectively, alongside Stella Abrera as The Maiden and Cory Stearns as Kaschei. On
Wednesday, May 23, Duncan Lyle will make his New York debut as Kaschei at the
matinee and Devon Teuscher will dance the title role for the first time in New York and
Skylar Brandt will debut as The Maiden at the evening performance. Catherine Hurlin will
make her New York debut as The Maiden at the Saturday, May 26 matinee. The one-act
Stravinsky classic with original choreography by Ratmansky features scenery by Simon
Pastukh, costumes by Galina Solovyeva, lighting by Brad Fields and projections by
Wendall K. Harrington. Ratmansky’s production of Firebird was given its World
Premiere at the Segerstrom Center for the Arts, Costa Mesa, California on March 29, 2012,
danced by Natalia Osipova (Firebird), Marcelo Gomes (Ivan), David Hallberg (Kaschei)
and Simone Messmer (Maiden). Ratmansky’s Firebird, co-commissioned by American
Ballet Theatre and Dutch National Ballet, is American Ballet Theatre’s fourth production
of the ballet.

Tickets for American Ballet Theatre’s 2018 Metropolitan Opera House season,
beginning at $22, are available online, at the Met box office or by phone at 212-362-6000.
The Metropolitan Opera House is located on Broadway between 64th and 65th streets in
New York City. For more information, visit ABT’s website at www.abt.org.

American Ballet Theatre's performances of Giselle are generously supported through an endowed
gift from Sharon Patrick.
Leadership support for AFTERITE is generously supported through the Leila and Mickey Straus
Family Foundation. Additional support through an endowed gift from The Toni and Martin Sosnoff
New Works Fund.
The World Premiere by Michelle Dorrance is generously supported through an endowed gift from
The Toni and Martin Sosnoff New Works Fund.
Leadership support for The Ratmansky Project, including Harlequinade and Whipped Cream, has
been generously provided by Avery and Andrew F. Barth, the Blavatnik Family Foundation, Mr.
and Mrs. Hamilton E. James, and The Ted and Mary Jo Shen Charitable Gift Fund. Additional
major support has been provided by Linda Allard, Sarah Arison, Lisa and Dick Cashin, Lloyd E.
Rigler - Lawrence E. Deutsch Foundation, The Susan and Leonard Feinstein Foundation, William J.
Gillespie, Brian J. Heidtke, Howard S. Paley, the Pearl T. Maxim Trust, Bernard L. Schwartz,
Melissa A. Smith, The H. Russell Smith Foundation/Stewart R. Smith and Robin A. Ferracone, the
Martin and Toni Sosnoff Foundation and Sutton Stracke. ABT gratefully acknowledges Dr. Joan
Taub Ades, Steven Backes, Mark Casey and Carrie Gaiser Casey, Linda and Martin Fell, Vicki
Netter Fitzgerald, The Abraham Fuchsberg Family Foundation, Robin Chemers Neustein, John
Leland Sills and Elizabeth Papadopoulos-Sills, and Sedgwick Ward for their generosity.
Firebird is generously supported through an endowed gift from The Toni and Martin Sosnoff New
Works Fund.
American Airlines is the Official Airline of American Ballet Theatre. Northern Trust is the Leading
Corporate Sponsor of the American Ballet Theatre Jacqueline Kennedy Onassis School. ABT is
supported, in part, with public funds from the National Endowment for the Arts; the New York State
Council on the Arts with the support of Governor Andrew Cuomo and the New York State
Legislature; and the New York City Department of Cultural partnership with the City Council. 

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fondoffouettes

fondoffouettes

Posted
Posted (edited)
9 minutes ago, nanushka said:

David Hallberg has been posting fairly often (for him, at least) on FB, and he's apparently in NYC, but I realized today that I haven't seen anything to suggest that he has been in rehearsal and/or in ABT studios.

Company members have been posting a ton of rehearsal videos and pics on Instagram, and I haven’t seen Hallberg in a single one. Maybe he’s planning to swoop in, guest-star-like, to dance that Giselle? Or perhaps he’s been testing out his physical capabilities in private. 

Edited by fondoffouettes
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ABT Fan

ABT Fan

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Posted
6 minutes ago, fondoffouettes said:

Company members have been posting a ton of rehearsal videos and pics on Instagram, and I haven’t seen Hallberg in a single one....perhaps he’s been testing out his physical capabilities in private. 

Agree. I'm shocked that he and Osipova are still on the schedule but there's still plenty of time for changes. I also wondered if he was still testing things out to make sure his injury was fully healed. 

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California

California

Posted
Posted
6 minutes ago, ABT Fan said:

Agree. I'm shocked that he and Osipova are still on the schedule but there's still plenty of time for changes. I also wondered if he was still testing things out to make sure his injury was fully healed. 

On the Royal Ballet schedule, she is scheduled to do Marguerite and Armand Friday, May 11: http://www.roh.org.uk/mixed-programmes/obsidian-tear-marguerite-and-armand-elite-syncopations

Then she's cast in their new production of Swan Lake, May 28: http://www.roh.org.uk/productions/swan-lake-by-liam-scarlett

Perhaps he is doing private rehearsals or therapy until she arrives in NYC?

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miliosr

miliosr

Posted
Posted

Writing this as I sit on the train to leave Penn Station . . .

I've been in New York the past three days to see the Limon company at the Joyce. As I walking back from breakfast this morning around 8:30AM, who should come charging out of his residence right in front of me and depart in a waiting car? David Hallberg. Here's the kicker: One of the building's superintendents was working outside and called out to him, "Flying off to the wild blue yonder again?" Hallberg shot him a wry look before the car sped away. Make of it what you will. You know you love me . . . XOXO . . . Gossip Girl!!! :thumbsup:

 

 

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nanushka

nanushka

Posted
Posted
2 minutes ago, miliosr said:

Writing this as I sit on the train to leave Penn Station . . .

I've been in New York the past three days to see the Limon company at the Joyce. As I walking back from breakfast this morning around 8:30AM, who should come charging out of his residence right in front of me and depart in a waiting car? David Hallberg. Here's the kicker: One of the building's superintendents was working outside and called out to him, "Flying off to the wild blue yonder again?" Hallberg shot him a wry look before the car sped away. Make of it what you will. You know you love me . . . XOXO . . . Gossip Girl!!! :thumbsup:

Wow! Amazing eyewitness reportage, miliosr! :clapping:

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nanushka

nanushka

Posted
Posted
1 minute ago, ABT Fan said:

Though, he could have been rushing off to ABT's studios to an early costume fitting. Or to a PT session. Or to get a much-needed cup of coffee. :)

Yes, the enigma of his response ("Hallberg shot him a wry look before the car sped away") just adds to the intrigue!

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CharlieH

CharlieH

Posted
Posted
8 minutes ago, ABT Fan said:

Abrera is no longer scheduled for Myrta; Teuscher replaces her on the 15th. The change is not on ABT's site yet, but it's on Met Opera's site and on Teuscher's Instagram. Abrera is still scheduled to do Giselle two days later on the 17th, so if she's injured, hopefully she'll be well enough for Giselle.

https://www.metopera.org/Season/2018-abt/Giselle/

They’re still showing Osipova & Hallberg dancing on the 18th - their joint birthdays. Fingers crossed!

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CharlieH

CharlieH

Posted
Posted (edited)
12 minutes ago, ABT Fan said:

Their joint birthdays?! Wow. Maybe instead of sipping wine in Act I, they can have cake!

Yes. Hallberg revealed that factoid at the public book discussion & signing in DC, the week of the last Kennedy Center engagement (with Michael Kaiser as emcee). Hallberg told us that he & “Natasha” had selected the date & that this performance means a lot to both of them...same birth date but different years.

In other words, Hallberg seemed to indicate that both would move mountains to make this happen (assuming both are healthy & free from injury).

Edited by CharlieH
clarification
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abatt

abatt

Posted
  • Author
Posted
24 minutes ago, ABT Fan said:

Abrera is no longer scheduled for Myrta; Teuscher replaces her on the 15th. The change is not on ABT's site yet, but it's on Met Opera's site and on Teuscher's Instagram. Abrera is still scheduled to do Giselle two days later on the 17th, so if she's injured, hopefully she'll be well enough for Giselle.

https://www.metopera.org/Season/2018-abt/Giselle/

Uh oh.  This is  a bad development.  If Abrera is out, I have a lot of exchanges to make.  Is this going to be a situation where they announce Abrera's absence from the lead role  the day before the show, or the day of the show? Gulp.

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Helene

Helene

Posted
Posted

I read these posts with a certain glee: Ballet Alert! was named for an Arlene Croce parody, in which she invented a fictitious phone alert system -- like the phone tree from back in the day when parents called each other to announce snow days -- to disseminate casting info. (She discusses the piece here: https://archive.nytimes.com/www.nytimes.com/books/first/c/croce-writing.html) Thanks to social media, we don't have to be home waiting for the phone or ABT to update the changes on its website. I wonder what Croce thinks of these changes.

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fondoffouettes

fondoffouettes

Posted
Posted (edited)
51 minutes ago, abatt said:

Uh oh.  This is  a bad development.  If Abrera is out, I have a lot of exchanges to make.  Is this going to be a situation where they announce Abrera's absence from the lead role  the day before the show, or the day of the show? Gulp.

My stomach sank when I saw that. At least Murphy would seem to be the obvious choice to fill in for Abrera, since she's already dancing with Stearns on Saturday and her one Myrtha is at the beginning of the week. I didn't think Murphy was a great fit for Giselle, but I'd probably go and see her rather than incur a $30 exchange fee on a $65 ticket. And, to be fair, last year she was dancing through an injury. But if Copeland is swapped in, it's a no-go for me.

I just did a quick scan of available seats for other Giselle performances and was shocked to see how undersold most of them are. Several evening performances are half-sold or much worse. (It looks like it could be a May run of Sylvia.) There are even plenty of seats available for the Copeland performance. I've never thought of Giselle as being a sure bet at the box office like Swan Lake or Romeo and Juliet, but the house has always felt relatively full in the past. Did the intense interest in the Hallberg/Osipova performance cannibalize sales for the rest of the week? Did people buy one expensive, dynamically priced ticket to the Friday evening performance rather than two or more other performances? Or maybe the casting just isn't compelling. This is the first time, in I can't remember how many years, that I've bought a ticket for only one evening performance of Giselle. I'm just not that curious to see Seo, Murphy or Boylston in the role...

Edited by fondoffouettes
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