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This sounds very exciting -- I'll be curious to see what the actual programming is.

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Posted (edited)

From the description "will present ballets both made at City Center and popular works performed as part of New York City Ballet’s regular seasons at our historic theater from 1948 – 1964." That means ballets will be limited to pre-1965, Not a complaint, just so we can dream of the fantasy programs within this perimeter.

ABT will compete with itself in the fall season.

Edited by mussel

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Posted (edited)

This would have been an ideal showcase for The Suzanne Farrell Ballet, with their reconstructions of lesser-known ballets from Balanchine’s City Center years, e.g., Gounod Symphony, Pas de Dix, Ragtime, Meditation. Alas, TSFB is no more.

Edited by CharlieH

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Will Square Dance be presented in the City Center version with on-stage caller and hillbilly band? The Joffrey used to dance that version.

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I prefer the hybrid version where the caller only calls the Wilde solo.  This version may only be in my head, but I don't care.

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Posted (edited)

One thing to keep in mind is that the City Center stage is smaller than some, e.g. the one at the former New York State Theater.  I don't have accurate dimensions handy, but performing ballets made to be performed there makes sense to me from that angle. 

I remember seeing the Joffrey perform the original version of Square Dance several times in the City Center in the '70s.  I found that the caller's voice, amplified as it was, made it harder to follow the Corelli and Vivaldi numbers Balanchine had selected (the string playing was on a higher, more conventional concert-style level than "hill-billy" might imply), and so I tried an experiment:  I put in some earplugs, and they cut down the amplified sound more than the live acoustical sound of the violins, and I was happy.

My own preference is for the later version of Square Dance, not only because I can hear the music better and see the dancing better in the new costumes (with the musicians in the pit, too), but especially for the majestic new male solo, especially when it was danced by the dancer who inspired it, Bart Cook.

That week in the '70s exemplified Robert Joffrey's interests in historic revivals as well as an already accomplished newcomer.  If I remember correctly, Petrushka was also on the program, which was rounded out by, again IIRC, a remarkable piece of work called As Time Goes By, choreographed by someone with the taking name of Twyla Tharp.   

Edited by Jack Reed

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This is good news.  We need to see Balanchine danced by many different companies rooted in different traditions. 

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Apologies if this is the wrong forum but does anyone recall a recent ABT performance of Balanchine's Symphonie Concertante (Mozart)? I'm just trying to anticipate possible casting for November 3 and 4. Thank you.

https://www.nycitycenter.org/pdps/2018-2019/Balanchine/?utm_source=wordfly&utm_medium=email&utm_campaign=DEV18BalanchineAnnounceMEM&utm_content=version_A

Edit: oops, never mind, the photo shows Gillian Murphy and Stella Abrera.

abt_symphonie-concertante_gillian-murphy

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5 minutes ago, fondoffouettes said:

Here's some additional production history:

https://www.abt.org/ballet/symphonie-concertante/

I believe the three casts last time were Herrera/Kent, Wiles/Part and Murphy/Abrera (as seen above). 

I have some vague memories of seeing this at the Kennedy Center in 1983. I remember that a major criticism at the time was that it was too robotic or flat, which was blamed on the use of notation to reconstruct it, without bringing in people who had performed the original to add style. Still, it was heralded as a major revival of an otherwise "lost" work. Alas, none of the original performers from 1947 are alive today to remember anything about style, although I think they were in 1983.

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I saw it with Wiles/Part in 2006. My now vague impressions were that it was a sibling of Ballet Imperial, less robust, less imperious, maybe influenced by Balanchine's movie work. There are two women (originally opposites Le Clercq and Tallchief)  and one man who appears later and partners them, six demis and directs a corps of 22 women, everyone winding in and out. The music is the Mozart concertante for violin, viola and orchestra - don't remember if the soloists' work is divided up between the two strings as in Concerto Barroco. ABT style for Balanchine, which I wasn't used to, seemed very lush, almost languorous - but there were some beautiful combinations and transitions. One of the reasons I chose to go (I was on a short visit to New York) was to see Veronka Part who was very much being discussed here and by James Wolcott in Vanity Fair. Unfortunately I mistook Michele Wiles for Part (for some reason I thought Part had red hair) and only afterwards realized my error and was never able to unscramble my impressions.

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24 minutes ago, DanielBenton said:

Does anyone have tips for best seating at City Center? Thanks

Just one suggestion: the first row in the first tier has a horrible bar in front of you interfering with sight lines. The second row is steeply raked and is much better.

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On 5/19/2018 at 3:17 PM, DanielBenton said:

This is good news.  We need to see Balanchine danced by many different companies rooted in different traditions. 

YES!  This week I saw on youtube the Mariinsky in "La Valse".  Never saw those intricate arm movements performed better.  All the dancing was superior to what I saw at NYCB this season.

As to the seats at the City Center---I have spent many years at that theater watching the Denham Ballet Russe, Ballet Society and NYCB.  I always sat in the 2nd balcony (the rows go from A to H. with an upper part of the balcony which at times was not in use). My favorite seat was H1

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Can someone comment on the front row (row A) Orchestra seats?  For some reason these seats are significantly cheaper than those a couple of rows behind. I have never been to theCity Center fro a dance performance and would appreciate any input.  Thank you.

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Thanks everyone for your replies. I bought a ticket for Saturday evening, November 3.

The Mariinsky Ballet Apollo (Stravinsky)
The Royal Ballet Tarantella (Gottschalk)
Paris Opera Ballet Pas de Deux from Agon (Stravinsky)
American Ballet Theatre Symphonie Concertante (Mozart)

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Posted (edited)

from the wings 

 

Edited by maps

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Tickets are quite expensive:

$150-$275 Orchestra

$50-$275 Grand Tier/Mezzanine

$35-$75 Balcony

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Posted (edited)
17 hours ago, Dreamer said:

Tickets are quite expensive:

$150-$275 Orchestra

$50-$275 Grand Tier/Mezzanine

$35-$75 Balcony

I just logged in to by tickets and they've mapped the house so nearly all tickets are at least over $100 dollars, with most being much more. And I remember the view from Balcony feeling very strange. (I think it was a combination of being in a shallow auditorium but also up high; it provided a weird angle of the dancers.) I guess they are counting on this event generating lots of buzz and tickets sales, like the three-company Jewels, but wow, tickets are shockingly expensive compared to your typical NYCB or ABT performances.

Edited by fondoffouettes

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I ruled out any performances with NYCB or ABT, since I have seen/can see them do the same pieces at lower cost, and I'd rather spend on a program where all the companies are ones I wouldn't otherwise see. I was interested in Programs III and IV, but given the prices, just went for one - Program IV. Intrigued by the Joffrey doing Four Temperaments. 

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