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NYCB 2018-2019 Season


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5 hours ago, cobweb said:

Wow, that is a TOTAL BUMMER!!!

The TWO pieces I was MOST looking forward to seeing next year were Union Jack and Liebeslieder Walzer!!

Me too! I was planning trips to NYC for both these programs. Oh well... it's always a fine night at the ballet with NYCB

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I almost changed my subscription package based on the ballets.  Now, I'm glad I left it alone.   If they've already changed three ballets, how many others will change.  I always map out my additional tickets well in advance.   I love most of the ballets anyway, but I almost revolved something very important around the Union Jack dates!  Anyway, like everyone on here, I'll keep checking NYCB for updates.

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I can't help but longingly wonder if I will ever see Union Jack again. It has a real hold on me. The middle section I like more or less, depending on who is doing it; Jenifer Ringer was terrific. But the rest of the ballet has me mesmerized. From the instant that rolling drumbeat starts I am rapt in my seat, and at some points, like when the two women's regiments approach and pass each other backwards, I find myself clutching the armrest with tense excitement. And then the exuberance and joy of the final section, sends me out of the theatre on a high. Come back, Union Jack!

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21 hours ago, canbelto said:

I assume this decision was made because Liebeslieder despite being so beloved has never sold well (it was this way during the premiere as well) and DAAG has always sold well. But you do have a chance to see Liebeslieder in the winter so ...

I always thought Liebeslieder wasn't programmed that often because the dancers need to rehearse with the singers and the four Brahms soloists are expensive. They have pianists on staff so I can't imagine too much added cost there. I went over 30 years as a Balanchine fan before I saw Liebeslieder. It was so beautiful and satisfying that I couldn't believe I'd missed it for so long. I'm not going to miss it again. Seems to me the theater was full the last time I saw it, but I would have been in the first ring. 

Why do you think it doesn't sell well?

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On 4/16/2018 at 12:01 PM, abatt said:

I guess I'm cynical, but since Justin Peck was in charge of or instrumental in selecting the last two new works, it was unlikely that Peck would pick a competitor within NYCB to make a new work.   Also, Lovette's work has been okay, but it has not been groundbreaking or exceptional in any way.  If part of the goal is to increase diversity, it made sense that they would choose Abraham, who also happens to be a MacArthur Genius award winner. 

I have really enjoyed Lauren Lovette's choreography, particularly Not Our Fate. It was groundbreaking enough to get an article with a large picture in the NY Times.

In my opinion, Justin Peck has more than enough going on to be secure and not petty about "competition" from other NYCB choreographers. I'm sure he has realized that one person can't choreograph an entire new season for 80-100 dancers every year. They need more choreographers, not fewer. He's quoted in a NY Times article (can't remember if it's the same one) as encouraging Lovette to choreograph, "If you want to do this, do it now."

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3 minutes ago, BalanchineFan said:

I have really enjoyed Lauren Lovette's choreography, particularly Not Our Fate. It was groundbreaking enough to get an article with a large picture in the NY Times.

In my opinion, Justin Peck has more than enough going on to be secure and not petty about "competition" from other NYCB choreographers. I'm sure he has realized that one person can't choreograph an entire new season for 80-100 dancers every year. They need more choreographers, not fewer. He's quoted in a NY Times article (can't remember if it's the same one) as encouraging Lovette to choreograph, "If you want to do this, do it now."

I agree that Peck is now so well established he doesn't need to concern himself with the competition.  However, next season he is choreographing 2 new works for NYCB, and this past season he choreographed 3 new works for NYCB.  A lot of his prior works are being revived as part of the rep.   I just find it interesting that under Martins, Lovette, Walker and Schumacher all got commissions.   The new interim team seems less interested in developing/commissioning choreographers from within, and has  predominantly gone outside the NYCB family for new works.

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34 minutes ago, cobweb said:

Ok, thanks for the reminder about the cost of the singers. Are Brahms soloists in particular expensive for some reason?

I think classical soloists are expensive, compared to rehearsing to piano. I can't imagine Liebeslieder goes onstage with just one rehearsal with all the musicians. Most  ballets are rehearsed with piano and get the full orchestra for the one dress rehearsal onstage. The conductor might attend one studio rehearsal prior to the onstage dress, but I'd think with Liebeslieder you'd need the singers there for more of the rehearsal process, which means even more money. 

It's hard to read the union minimums, but it looks like singers get 25% more than scale if there's only one person on a part. Pro rata is $348/3 hour minimum, plus 25%.... for each of the four singers. And I think it says they can only rehearse 4 hours a day.

Edited by BalanchineFan
clarity
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On 6/26/2018 at 8:19 PM, BalanchineFan said:

Will there be a place for people to post about the Balanchine at City Center programs? They look very interesting, several different companies on each program. NYCB appears only once doing Symphony in C, Oct 31st. Are they going on tour for the rest of the event?

If you want a dedicated thread, you can certainly make one yourself.  Up at the top of the page, next to "reply to this topic," click on "start new topic" (it's grey, and for some reason doesn't look like a button, but it is)

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I received an email from NYCB with the program info for the DeLuz farewell.  The program is:

Theme and Variations
Concerto Barocco
A Suite of Dances
Todo Buenos Aires

"Joaquin is scheduled to appear in Theme and Variations, A Suite of Dances, and Todo Buenos Aires."

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26 minutes ago, abatt said:

I received an email from NYCB with the program info for the DeLuz farewell.  The program is:

Theme and Variations
Concerto Barocco
A Suite of Dances
Todo Buenos Aires

"Joaquin is scheduled to appear in Theme and Variations, A Suite of Dances, and Todo Buenos Aires."

I just got it too.  Members and subscribers got advance notice to purchase tickets via mail or fax with the additional information below. 

Due to expected high ticket demand, seating will be assigned based on availability on a first come, first serve basis. We cannot guarantee seat locations comparable to, or located with, any subscription seats or your usual house seats. We have reserved extra seats to accommodate as many donors as possible. In addition, please note that we will not be able to exchange any tickets into this performance.

Offer available by fax and mail order. Tickets $75-$195. The preferred subscriber rate is not applicable for priority orders. Offer non-transferrable and the per ticket facility ($4) and service ($8) fees apply. No refunds or exchanges. Priority tickets for this farewell performance will be mailed in August, separate from any other ticket orders. Program subject to change.

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4 hours ago, abatt said:

I received an email from NYCB with the program info for the DeLuz farewell.  The program is:

Theme and Variations
Concerto Barocco
A Suite of Dances
Todo Buenos Aires

"Joaquin is scheduled to appear in Theme and Variations, A Suite of Dances, and Todo Buenos Aires."

Wow heavy duty. I have no knowledge of Todo Buenos Aires. Is it Balanchine? And, is this program in October? 

Edited by bcash
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Wow, what a great program! I just resubscribed to a flex series yesterday and the DeLuz Farewell was one of my picks. I also received today’s email about priority seating, so I’m glad I’m in the queue as of yesterday. The rep I ordered my series from told me that requests for good orchestra seats for this program are going to be difficult to fill.

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I got the email too - knowing there were upcoming retirements was precisely why I decided to subscribe. But I notice the attached form only has seats up to second ring. Obviously the place will sell out, so why only taking requests for up to second ring. Is this typical for retirement priority seating? Any insight from those who have done priority ticketing before?

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On 6/26/2018 at 8:19 PM, BalanchineFan said:

Will there be a place for people to post about the Balanchine at City Center programs? They look very interesting, several different companies on each program. NYCB appears only once doing Symphony in C, Oct 31st. Are they going on tour for the rest of the event?

The combined thread is here, in our Multi-Company performance forum:

https://balletalert.invisionzone.com/topic/43940-balanchine-at-city-center/?tab=comments#comment-403403

 

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Re the Joaquin de Luz farewell, I faxed in my order form. Do they send out a confirmation or acknowledgement that the order was received, or do they not acknowledge it and just send the tickets in August? Has anyone else received a confirmation?

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3 hours ago, cobweb said:

Re the Joaquin de Luz farewell, I faxed in my order form. Do they send out a confirmation or acknowledgement that the order was received, or do they not acknowledge it and just send the tickets in August? Has anyone else received a confirmation?

I also faxed in my order form but haven't heard anything. I am assuming they will just send the tickets in August. 

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16 hours ago, cobweb said:

Re the Joaquin de Luz farewell, I faxed in my order form. Do they send out a confirmation or acknowledgement that the order was received, or do they not acknowledge it and just send the tickets in August? Has anyone else received a confirmation?

I called specifically because I was worried about this -- being a millennial it was one of the first faxes I had ever sent and I was suspicious of the technology. 😂 They told me that my fax had been received and I have yet to get any sort of confirmation, so I assume they will just send the tickets.

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