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ABT 2019 Met Season

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1 hour ago, NinaFan said:

I'd love to see Shevchenko and/or Teuscher get a Manon with Hallberg as well. 

A Hallberg/Abrera Manon is my preference. I'd be there in a hot minute. Shevchenko/Teuscher can wait.

A Hallberg/Boylston SL could be interesting (though I did not like their R&J this past summer). I saw Boylston's SL several years ago with Simkin, and though it was a bit rough in several places, she was new to the role and also showed a lot of promise. From what else I've seen of her she's improved a lot since then so I imagine (hope) her O/O has grown considerably. 

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  I 've seen Boylston's SL twice - once with Gomes, and once with Lendorf.  The one with Gomes was more dramatically incisive than the one with Lendorf.  No surprise there.  Gomes could always improve the performance of his partner by his presence and charisma. As the NY Times wrote about Boylston's  SL with Lendorf, it lacked tragic  dimension.  Boylston's problems with sloppy  upper body ,  neck  and arm positions have not really improved much over the years.  Since upper body beauty are an integral part of the Odette role, Boylston will never be a great interpreter of this role until she can address these problems.  She is more suitable for  whiz bang roles with lots of spinning and jumping,  like Kitri.

 

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26 minutes ago, abatt said:

  I 've seen Boylston's SL twice - once with Gomes, and once with Lendorf.  The one with Gomes was more dramatically incisive than the one with Lendorf.  No surprise there.  Gomes could always improve the performance of his partner by his presence and charisma. As the NY Times wrote about Boylston's  SL with Lendorf, it lacked tragic  dimension.  Boylston's problems with sloppy  upper body ,  neck  and arm positions have not really improved much over the years.  Since upper body beauty are an integral part of the Odette role, Boylston will never be a great interpreter of this role until she can address these problems.  She is more suitable for  whiz bang roles with lots of spinning and jumping,  like Kitri.

 

Yes, I agree that Boylston definitely excels in the whiz bang roles with lots of spinning and jumping.  I've found her Swan Lake to improve over the years, with the most recent being this past Spring with Simkin.   It's the first time her Odette took on a whole new dimension and  actually made me tear up. 

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1 hour ago, ABT Fan said:

A Hallberg/Abrera Manon is my preference. I'd be there in a hot minute. Shevchenko/Teuscher can wait.

I can't think of a soloist who has ever been cast as Manon at ABT, but I think Trenary could be ravishing in the role, and there's something about her that seems just right for a ballet (maybe her old-world glamour?). But they seem to cast mature for the role. 

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I assume (uh-oh, there's that word again) the only reason they "cast mature" for Manon is to give roles to older principal dancers who've lost technique. While I do enjoy seeing these mature dancers use all the skills they've honed over the years (it reveals how dancing is so much more than technique), I would also  love to see a younger dancer cast as Manon every now and then just for comparison. 

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Just a prediction:

Corsaire

Harlequinade

Sleeping Beauty

Manon

Whipped Cream

Swan Lake

Jane Eyre, a full length import from Northern Ballet

A mixed reps

 

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8 minutes ago, mussel said:

Just a prediction:

...

Jane Eyre, a full length import from Northern Ballet

...

Let's hope for Jane Eyre -- which is choreographed by a woman, Cathy Marston. Lots of ballet companies are trying to give opportunities to women choreographers nowadays and this would be a nice twist.

https://northernballet.com/jane-eyre

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I've really enjoyed Whipped Cream but wish they'd give it a rest for a year. I wonder what Ratmansky's next big project for ABT will be.

It's very hard to get a real sense of Jane Eyre from a 40-second video in which no single shot is more than a few seconds long, but judging just from what's there I'm not yet very excited at the possibility of ABT spending a week on it.

 

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No new Ratmansky? Maybe in the mixed rep? What if they brought in some Joffrey rep (Aprino and/or Joffrey)? That would get a ton of buzz and sell.

I’d imagine their Swan Lake is due for a refresh soon. I truly hope they don’t go with Ratmansky’s reconstruction he did in Zurich (one reconstruction is enough for me). A new Swan Lake production would be a good “anchor” for the season, because it could really sell and get lots of publicity. They could stagger it, so a half a week (split with the mixed rep) and then a full week later on in the season.

I always wonder why they don’t try for the full length Paquita (doesnt Ratmansky already have one?), Marco Spada (good ballet for Hallberg), maybe even the Pharohs Daughter.... (I’d rather that than Corsaire for the millionth time) . A full length Esmeralda would be interesting too. 

I will pass on sitting through Whipped Cream again (I could use a year or two break from it- but understand that it probably sells well). 

 

Obviously, most of this is a wish list. I wouldn’t expect McKenzie to be this imaginative lol. 

Edited by Dancerboy90210

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57 minutes ago, Dancerboy90210 said:

I truly hope they don’t go with Ratmansky’s reconstruction he did in Zurich (one reconstruction is enough for me).

We heard a few months ago that Miami was going to do this in 2020 - the first North American performances. Presumably there is an agreement that they have it exclusively, in hopes of attracting some visitors from North America.

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2 hours ago, Dancerboy90210 said:

Marco Spada...maybe even the Pharohs Daughter....

I don't know whether the Bolshoi would be willing to loan these productions. Marco Spada has fallen by the wayside. It lasted there only two seasons and hasn't been performed since 2015, so the rights may have lapsed. It's no longer even listed on the Bolshoi web site. But then Pharaoh's Daughter languished for nearly six years before its most recent revival.

As for Pharaoh's Daughter, the Bolshoi likes to boast that it is an exclusive property. Besides, it's just too big. I doubt ABT could populate all the roles, and it's not the sort of piece worth doing in a scaled-down version.

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5 minutes ago, Fleurfairy said:

What makes you all think Jane Eyre will come to ABT? Was there an announcement I missed?

 

 

crystal ball reading by Mussel -- see earlier entries

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4 hours ago, mussel said:

Just a prediction:

Corsaire

Harlequinade

Sleeping Beauty

Manon

Whipped Cream

Swan Lake

Jane Eyre, a full length import from Northern Ballet

A mixed reps

 

Realizing that this list is only a prediction, still, I can imagine some principal-level movement with these ballets.

If, and I'm not wishing it, Murphy and/or Abrera are going to retire this year, it would make sense for Murphy to go out with SL (one of her signature roles). And, I could see Abrera going out with SB (though Giselle is more likely I think...).

And, Brandt/Trenary could be set up nicely with a slew of principal roles/debuts foreshadowing their promotions (would need Abrera/Murphy to retire to make room, though):

We all remember the very-last-minute and extraordinary debut that Brandt gave in Corsaire a few years ago. So she would of course dance Medora again, along with Columbine and Princess Praline. And, maybe she'd get a debut as Aurora.

Trenary, who got rave reviews for her Aurora, would reprise that role along with Columbine and Princess Praline as well. Perhaps she'd get a debut as Medora or Gulnare (preferably).

And, I want to see Lane get an O/O this year (with appropriate rehearsal time this go around), though I'm sure that's just very wishful thinking since she didn't get it this past season.

For the guys, I suspect we'll see more big debuts for Bell. I could see SB.

Hoping for a major role for Forster. I'd have preferred Albrecht, but I'll take Siegfried.

I'd also like to see a big debut for Royal. Looking at his rep, I guess he hasn't taken any of the leads in Corsaire. How about Conrad (which I thought he'd done) or Lankendem. And, would love a SL with Hurlin some day (ongoing wish list).

I wonder if Shayer will get Harlequin again, since Maloney is doing it on tour instead of him. He better be promoted this year, otherwise he should leave, IMO.

Edited by ABT Fan

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8 hours ago, Dancerboy90210 said:
9 hours ago, nanushka said:

I've really enjoyed Whipped Cream but wish they'd give it a rest for a year. I wonder what Ratmansky's next big project for ABT will be.

I will pass on sitting through Whipped Cream again (I could use a year or two break from it- but understand that it probably sells well). 

It sold very well it's first year but not at all this past summer; they really struggled to sell tickets but ultimately got the house decently full (maybe due to TDF or other discounting?). I really thought they'd give it a rest.

I don't think Corsaire is a great ballet for the company right now; they can't deliver night after night of must-see bravura dancers with their current roster.

If ABT were to forgo Bayadere next season, that would be pretty unusual for them, wouldn't it? I feel like they always do two seasons in a row of it. But maybe all the issues they had this past season with fielding 24 solid corps members for the shades scene might dissuade them. 

 

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I've also had enough Whipped Cream over the last two years.  I would only go as a last resort if I needed something to exchange into and didn't have any other option. 

I guess I should not prejudge, but Jane Eyre looks like a vehicle similar to Onegin and Lady of the Camellias. Not a great deal of technique required. 

Edited by abatt

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On 10/5/2018 at 10:18 AM, ABT Fan said:

Realizing that this list is only a prediction, still, I can imagine some principal-level movement with these ballets.

If, and I'm not wishing it, Murphy and/or Abrera are going to retire this year, it would make sense for Murphy to go out with SL (one of her signature roles). And, I could see Abrera going out with SB (though Giselle is more likely I think...).

And, Brandt/Trenary could be set up nicely with a slew of principal roles/debuts foreshadowing their promotions (would need Abrera/Murphy to retire to make room, though):

We all remember the very-last-minute and extraordinary debut that Brandt gave in Corsaire a few years ago. So she would of course dance Medora again, along with Columbine and Princess Praline. And, maybe she'd get a debut as Aurora.

Trenary, who got rave reviews for her Aurora, would reprise that role along with Columbine and Princess Praline as well. Perhaps she'd get a debut as Medora or Gulnare (preferably).

And, I want to see Lane get an O/O this year (with appropriate rehearsal time this go around), though I'm sure that's just very wishful thinking since she didn't get it this past season.

For the guys, I suspect we'll see more big debuts for Bell. I could see SB.

Hoping for a major role for Forster. I'd have preferred Albrecht, but I'll take Siegfried.

I'd also like to see a big debut for Royal. Looking at his rep, I guess he hasn't taken any of the leads in Corsaire. How about Conrad (which I thought he'd done) or Lankendem. And, would love a SL with Hurlin some day (ongoing wish list).

I wonder if Shayer will get Harlequin again, since Maloney is doing it on tour instead of him. He better be promoted this year, otherwise he should leave, IMO.

I see Stella retiring before Gillian, and even then she might want to stay on a few more years since she had such a short time as principal. Unless of course, McKenzie treats her the same way as Part. Gillian, still has fabulous technique and barring injury I think she could dance for a few more years(have you seen her insane turn videos on instagram?). I can see her start to retire certain roles or perform less in a season but for now I don't think she has any intention of retiring.

Though, I would love to see Brandt and Trenary get promoted soon! Brandt is just electric and I would love to see her as Medora, Aurora, Kitri! 

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It is my wish to see Obratzova in this production of SB but it won't happen since there are so many Aurora candidates within ABT. They probably won't need any guest for the 2019 season with the exception of Ferri. 

Edited by alexL

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On 10/3/2018 at 3:57 PM, ABT Fan said:

A Hallberg/Abrera Manon is my preference. I'd be there in a hot minute. Shevchenko/Teuscher can wait.

A Hallberg/Boylston SL could be interesting (though I did not like their R&J this past summer). I saw Boylston's SL several years ago with Simkin, and though it was a bit rough in several places, she was new to the role and also showed a lot of promise. From what else I've seen of her she's improved a lot since then so I imagine (hope) her O/O has grown considerably. 

About Stella, I just saw her dance the Seven Sonatas PDD with Marcelo Gomes. They were guests of The Washington Ballet and Stella was radiant, sleek, and beautiful.  I don't know how much technique that PDD really required but her stage presence was magnetic and electric.  I was sitting very close to the stage.  Marcelo was naturally wonderful as well, but my point in commenting is that I believe Stella has lots of wonderful dancing in her, if only Kevin would give her more opportunities.  I think she would be wonderful as Manon dancing with Hallberg.  

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It was announced tonight at the Gala that ABT will do Jane Eyre in June 2019 at the Met as part of their initiative to perform more work of women choreographers

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11 minutes ago, nyc10024 said:

It was announced tonight at the Gala that ABT will do Jane Eyre in June 2019 at the Met as part of their initiative to perform more work of women choreographers

Thanks for that. Any mention of any other ballets? Mussel, you called it.

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nothing else specific was mentioned (altho i must admit the speeches went on and on and i did tune out...)

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Does the short met season start in 2019? How many ballets can they actually squeeze in that time frame?

Edit: It starts in 2021

Edited by yukionna4869

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Official release:

 

AMERICAN BALLET THEATRE’S 2019 SPRING SEASON AT METROPOLITAN OPERA HOUSE, MAY 13 – JULY 6, 2019, TO CELEBRATE 10TH ANNIVERSARY OF
ABT ARTIST IN RESIDENCE ALEXEI RATMANSKY WITH WORLD PREMIERE AND ALL-RATMANSKY PROGRAM

COMPANY PREMIERE OF TWYLA THARP’S DEUCE COUPE TO HEADLINE ALL-THARP PROGRAM, MAY 30 – JUNE 3

COMPANY PREMIERE OF CATHY MARSTON’S JANE EYRESET FOR JUNE 4

ROBERTO BOLLE TO GIVE FAREWELL PERFORMANCE WITH ABT ON JUNE 20

American Ballet Theatre’s 2019 Spring season at the Metropolitan Opera House, May 13 – July 6, will feature a World Premiere work by ABT Artist in Residence Alexei Ratmansky in programs dedicated entirely to his works in honor of the choreographer’s 10th year with the Company. The eight-week season will also include the Company Premieres of Deuce Coupe by Twyla Tharp and the full-length Jane Eyre by Cathy Marston. The Spring season was announced today by Artistic Director Kevin McKenzie.

Principal Dancers for the 2019 Metropolitan Opera House season are Stella Abrera, Roberto Bolle, Isabella Boylston, Misty Copeland, Herman Cornejo, David Hallberg, Sarah Lane, Alban Lendorf, Gillian Murphy, Hee Seo, Christine Shevchenko, Daniil Simkin, Cory Stearns, Devon Teuscher and James Whiteside.

2019 Spring Gala Performance and World Premiere

American Ballet Theatre’s 2019 Spring Gala on Monday evening, May 20 will pay tribute to the 10th Anniversary year of Alexei Ratmansky as ABT Artist in Residence. Ratmansky, who was named ABT’s first Artist in Residence in 2009, has created 15 works for the Company. To celebrate his 10th year, the Gala evening will present the World Premiere of a new work by Ratmansky set to The Seasons by Alexander Glazounov, with sets and costumes designed by Robert Perdziola. For more information on ABT’s 2019 Spring Gala, please call the Special Events Office at
212-477-3030, ext. 3311.

All-Ratmansky Program and Full-Lengths

An All-Ratmansky program of repertory works is scheduled for four performances, May 21-23. In addition to the World Premiere work, the programs will include On the Dnieper (2009), Ratmansky’s first work of repertory for the Company, and Songs of Bukovina (2017), his most recent.

On the Dnieper, set to a score of the same name by Sergei Prokofiev, has scenery by Simon Pastukh, costumes by Galina Solovyeva, lighting by Brad Fields and projections by Wendall K. Harrington. Ratmansky’s production of On the Dnieperreceived its World Premiere on June 1, 2009 at the Metropolitan Opera House, performed by Veronika Part (Natalia), Marcelo Gomes (Sergei), Paloma Herrera (Olga) and David Hallberg (Olga’s Fiancé). Prokofiev’s score for On the Dnieper was originally commissioned by the Paris Opera, and the ballet received its World Premiere in 1932 by the Paris Opera Ballet.

Songs of Bukovina is set to music by Leonid Desyatnikov and features costumes by Moritz Junge and lighting by Brad Fields. The ballet was given its World Premiere on Wednesday, October 18, 2017 at the David H. Koch Theater in New York, performed by Christine Shevchenko and Calvin Royal III, as well as April Giangeruso, Lauren Post, Katherine Williams, Stephanie Williams, Marshall Whiteley, Joo Won Ahn, Duncan Lyle and Patrick Frenette.

American Ballet Theatre’s recognition of Ratmansky’s work continues with performances of his full-length ballets including Harlequinade, Whipped Cream andThe Sleeping Beauty.

Harlequinade, staged by Ratmansky after the original by Marius Petipa, will open the Company’s Spring season on Monday evening, May 13 with Isabella Boylston, James Whiteside, Gillian Murphy and Thomas Forster in the leading roles. The production received its World Premiere by American Ballet Theatre on June 4, 2018, led by the same cast. A comic ballet in two acts, Harlequinade is set to music by Riccardo Drigo and first premiered in 1900 in St. Petersburg, Russia. Ratmansky’s Harlequinadefeatures sets and costumes by Robert Perdziola and lighting by Brad Fields. The ballet will be given eight performances through Saturday evening, May 18.

Whipped Cream returns to the stage of the Metropolitan Opera House for seven performances beginning Friday, May 24 featuring Daniil Simkin, Hee Seo, Cory Stearns and Sarah Lane in the leading roles. Choreographed by Ratmansky, the ballet features scenery and costumes by artist Mark Ryden and lighting by Brad Fields. Whipped Cream, with a libretto and score by Richard Strauss, is based on the two-act ballet originally created as Schlagobers, which premiered at the Vienna State Opera in 1924. Ratmansky’s production received its World Premiere by ABT on March 15, 2017 at Segerstrom Center for the Arts in Costa Mesa, California danced by Daniil Simkin (The Boy), Stella Abrera (Princess Tea Flower), David Hallberg (Prince Coffee) and Sarah Lane (Princess Praline).

The Sleeping Beauty returns to the Metropolitan Opera House for the first time since 2016 for eight performances beginning Monday, July 1 with Isabella Boylston and Alban Lendorf in the leading cast. Set to the classic score by Peter Ilyitch Tchaikovsky,The Sleeping Beauty has choreography by Marius Petipa and staging and additional choreography by Ratmansky, with assistance by Tatiana Ratmansky. The production features scenery and costumes by Tony Award®-winning designer Richard Hudson. Hudson’s designs are based on the historic work of Léon Bakst, who created a seminal version of The Sleeping Beauty for Serge Diaghilev’s Ballets Russes in 1921. The Sleeping Beauty received its World Premiere on March 3, 2015 at Segerstrom Center for the Arts in Costa Mesa, California, danced by Diana Vishneva (Princess Aurora) and Marcelo Gomes (Prince Désiré).

Company Premiere

The Company Premiere of the full-length Jane Eyre, choreographed by Cathy Marston, is set for Tuesday evening, June 4 with Devon Teuscher in the title role and James Whiteside as Rochester. Jane Eyre features choreography and direction by Marston, music compiled and composed by Philip Feeney, scenery and costumes by Patrick Kinmonth and lighting by Brad Fields. The production received its World Premiere by Northern Ballet on May 19, 2016 in Doncaster, England performed by Dreda Blow as Jane Eyre and Javier Torres as Rochester. Jayne Eyre is a co-production with Joffrey Ballet and will be staged for ABT by Jenny Tattersall and Daniel de Andrade. Following the June 4 Company Premiere, the ballet will be given seven performances by ABT through Monday, June 10.

Company Premiere and All-Tharp Programs

Twyla Tharp’s 1973 hit Deuce Coupe will be given its Company Premiere on Thursday evening, May 30 as part of an All-Tharp program. Set to music by The Beach Boys, ABT’s premiere of Deuce Coupe will feature costumes by Santo Loquasto and lighting by Jennifer Tipton. Deuce Coupe was given its World Premiere in 1973 by Joffrey Ballet at the Auditorium Theater in Chicago, Illinois. The All-Tharp program will include performances of The Brahms-Haydn Variations and In the Upper Room.

A ballet for thirty dancers, The Brahms-Haydn Variations, originally entitledVariations on a Theme by Haydn, is set to music by the same name by Johannes Brahms and features costumes by Santo Loquasto and lighting by Jennifer Tipton, with staging by Susan Jones. The Brahms-Haydn Variations was given its World Premiere by American Ballet Theatre at the Kennedy Center for the Performing Arts in Washington, D. C. on Tuesday, March 21, 2000, danced by Jose Manuel Carreño, Angel Corella, Marcelo Gomes, Herman Cornejo, Maxim Beloserkovsky, Sandra Brown, Julie Kent, Paloma Herrera, Ashley Tuttle and Irina Dvorovenko.

In the Upper Room is set to music by Philip Glass with costumes by Norma Kamali and lighting by Jennifer Tipton. A ballet in nine parts, In the Upper Room was given its World Premiere by Twyla Tharp Dance on August 28, 1986. In the Upper Roomreceived its ABT Company Premiere on December 10, 1988 at the Orange County Performing Arts Center in Costa Mesa, California. The ballet will be staged for ABT by Shelley Washington, with Nancy Raffa.

Roberto Bolle Farewell and Returning Full-lengths

Eight performances of Kenneth MacMillan’s Manon are scheduled to begin Monday, June 17 with Hee Seo in the title role, Roberto Bolle as Des Grieux, Stella Abrera as Lescaut’s Mistress and James Whiteside as Lescaut. Bolle will give his farewell performance with ABT in the ballet on Thursday, June 20. Staged for ABT by Julie Lincoln and Robert Tewsley, the ballet is set to music by Jules Massenet and features scenery and costumes by Peter Farmer and lighting by Christina Giannelli. Manon, with scenery and costumes by Nicholas Georgiadis, was given its World Premiere by The Royal Ballet at the Royal Opera House, Covent Garden, London on March 7, 1974, danced by Antoinette Sibley as Manon and Anthony Dowell as Des Grieux. Manon received its United States premiere by The Royal Ballet at the Metropolitan Opera House, New York on May 7, 1974, danced by the same cast. The Company Premiere of the full-lengthManon was given on May 28, 1993 at the Metropolitan Opera House, New York, danced by Alessandra Ferri as Manon, Julio Bocca as Des Grieux, Gil Boggs as Lescaut, Kathleen Moore as Lescaut’s Mistress, Michael Owen as Monsieur G.M., Victor Barbee as Jailer and Georgina Parkinson as Madame. This production, featuring the Farmer designs, was premiered by Houston Ballet on May 19, 1994. Manon was last performed by ABT in 2014.

The season’s first performance of Le Corsaire on Tuesday evening, June 11 will feature Skylar Brandt, Herman Cornejo, Sarah Lane, Carlos Gonzales and Daniil Simkin in the leading roles. Based on the Lord Byron poem “The Corsair” (1814), the ballet features choreography by Konstantin Sergeyev after Marius Petipa and staging by Anna- Marie Holmes after Petipa and Sergeyev, with music by Adolphe Adam, Cesare Pugni, Léo Delibes, Riccardo Drigo and Prince Oldenbourg. Scenery and costumes are by Irina Tibilova, with additional costume designs by Robert Perdziola and lighting by Mary Jo Dondlinger. Le Corsaire received its Company Premiere by American Ballet Theatre on June 19, 1998 with Nina Ananiashvili (Medora), Ashley Tuttle (Gulnare), Giuseppe Picone (Conrad), Angel Corella (Birbanto), Jose Manuel Carreño (Ali, the slave) and Vladimir Malakhov (Lankendem). Last presented by ABT in 2017, Le Corsaire will be given seven performances through June 15.

Eight performances of Swan Lake, choreographed by Kevin McKenzie after Marius Petipa and Lev Ivanov, will be given beginning Monday, June 24 with Hee Seo and Cory Stearns leading the opening night cast. Swan Lake is set to the score by Peter Ilyitch Tchaikovsky and features scenery and costumes by Zack Brown and lighting by Duane Schuler. This production of Swan Lake premiered on March 24, 2000 at the Kennedy Center for the Performing Arts in Washington, D.C. with Julie Kent (Odette- Odile) and Angel Corella (Prince Siegfried).

ABTKids

ABTKids, American Ballet Theatre’s annual one-hour introduction to ballet for families, is scheduled for Saturday morning, May 20 at 11:00A.M. All tickets forABTKids are $25.

Subscriptions for American Ballet Theatre’s 2019 Spring Season at the Metropolitan Opera House, on sale beginning Wednesday, October 31, are available by phone at 212-362-6000, or online at ABT’s website www.abt.org.

Deuce Coupe is generously supported through an endowed gift from the Toni and Martin Sosnoff New Works Fund.

Leadership support for Harlequinade, part of The Ratmansky Project, has been generously provided by the Blavatnik Family Foundation and The Marjorie S. Isaac/Irving H. Isaac Fund.

Leadership support for Jane Eyre, part of the ABT Women’s Movement, has been generously provided by Denise Littlefield Sobel. Additional support has been provided by Mark Casey and Carrie Gasier Casey, Margee and John Falk, the Rockefeller Brothers Fund, Elizabeth Yntema, and through an endowed gift from the Toni and Martin Sosnoff New Works Fund.

American Ballet Theatre's performances of Le Corsaire are generously underwritten through an endowed gift from Irene and Fred Shen.

American Ballet Theatre's performances of Manon were generously supported through an endowed gift from Anka K. Palitz, in memory of Clarence Y. Palitz, Jr.

On the Dnieper is generously sponsored by Leila and Mickey Straus and through an endowed gift from the Toni and Martin Sosnoff New Works Fund

Leadership support for The Ratmansky Project has been 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 support has been provided by Dr. Joan Taub Ades, Linda Allard, Sarah Arison, Steven Backes, Lisa and Dick Cashin, Mark Casey and Carrie Gasier Casey, The Susan and Leonard Feinstein Foundation, Linda and Martin Fell, Vicki Netter Fitzgerald, William J. Gillespie, Brian J. Heidtke, The Marjorie S. Isaac/Irving H. Isaac Fund, Howard S. Paley, Pearl T. Maxim Trust, Lloyd E. Rigler – Lawrence E. Deutsch Foundation, Bernard L. Schwartz, John Leland Sills and Elizabeth Papadopoulos-Sills, Melissa A. Smith, The H. Russell Smith Foundation/Stewart R. Smith and Robin A. Ferracone, Martin and Toni Sosnoff Foundation, Sutton Stracke, and Sedgwick Ward.

ABT gratefully acknowledges Lead Sponsor of The Sleeping Beauty, David H. Koch. Additional leadership support is generously provided by the Lloyd E. Rigler - Lawrence E. Deutsch Foundation.

ABT’s production of Swan Lake has been generously underwritten by R. Chemers Neustein. Leadership support for Whipped Cream, part of The Ratmansky Project, has been generously provided by the Blavatnik Family Foundation and the Lloyd E. Rigler - Lawrence A. Deutsch Foundation.

American Airlines is the Official Airline of American Ballet Theatre.

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 Affairs, in partnership with the City Council.

ABTMetGrid2019.pdf

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Well,they are apparently not giving Stella the role of Manon. She is getting the secondary role of Lescaut's mistress. 

On the plus side, we will at least get Brandt returning as Medora in Corsaire.

I guess I will be seeing Seo as Manon, because she is partnered by Bolle in his farewell ballet with the company.

Edited by abatt

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