New York City Ballet 2021-2022 season

[Helene]

From what I've been reading here, it sounds like there is a fire hose worth of talent, both newcomers and dancers who are still young, but who have made the most of their opportunities so far. 

[BalanchineFan]

On 5/31/2022 at 8:57 AM, abatt said:

Nice tribute, canbelto. 

I'm not sure exactly who in the Company determined that Ramasar should be fired (it was probably a group decision).  I suspect they may have been advised by their counsel all along that the termination of Catazaro and Ramasar would likely be reversed if it went to arbitration, but the Company went ahead and fired them in order to publicly align themselves with the "me too" movement and improve the public image of management.  

At any rate, Ramasar did not appear to hold any ill will towards Stafford or Whelan.   I guess he had to make peace with management  in order to keep working at the Company that wrongfully terminated him.  Wishing him well in the next chapter, whatever that may be.

IIRC they were fired before there was a complete resolution of the Peter Martins situation. That may have played a part in the decision. Waterbury had named NYCB in her suit so that, too, was ongoing. It wasn't just public relations. I saw NYCB as trying to limit their liability. 

That said, I was overjoyed when Ramasar was reinstated, and he was dancing better than ever all season. He has always seemed apologetic and eager to make amends.

[California]

On 5/20/2022 at 12:21 PM, California said:

There is another astonishing move that Baryshnikov did in the final movement of Push Comes to Shove: fouette, then multiple pirouettes with turning leg lifted up. It's at 6:17 in this clip. . . .

 

The Instagram account Male Ballet Dancers just posted a clip of Baryshnikov doing FOUR of those pirouettes with the turning leg lifted off the floor. It's a clip from the TV special Baryshnikov in Hollywood, which came after Baryshnikov on Broadway.

https://www.instagram.com/p/CeYBKLCoM1m/

Edited June 4, 2022 by California

[lmspear]

$39.00 NYCB tickets for this Thursday and Friday!

The Kennedy Center is offering $39 tickets in ONLY SELECT ORCHESTRA PRICE ZONES SEATING on Thursday, June 9, 2022 at 7:30pm and Friday, June 10, 2022 at 7:30pm in the Opera House Theater for New York City Ballet: A Midsummer Night’s Dream. Tickets regularly priced at $89-$129.

 

ABOUT THE PROGRAM

A Midsummer Night’s Dream is dance maker and company co-founder George Balanchine’s first original evening-length ballet. Based on William Shakespeare’s cherished comedy and set to music by Felix Mendelssohn, Balanchine's two-act version is dance storytelling at its finest, portraying the adventures and misadventures of three couples in an enchanted forest. Featuring radiant choreography, bravura performances, and talented young student dancers as swarms of dancing insects, A Midsummer Night’s Dream culminates in a grand wedding celebration and a tender pas de deux that ranks among the most moving in ballet.

 

To purchase your tickets online, visit the event NYCB Midsummer Nights Dream Discount Offer enter "471879" in the Have A Promo Code? Section to apply your discount. (Please note, this discount is applicable in ONLY ORCHESTRA PRICE ZONES C-G SEATING ).  

• To purchase by phone, please call Instant Charge at 202-467-4600 and mention offer number "471879.” Instant Charge is open every day from 10am-6pm. 
• You may also purchase in person at our Box Office, located on site at The Kennedy Center. The Hall of States Box Office is open Monday – Saturday, 10am – 9pm and Sunday,12pm – 9pm

Please visit our Frequently Asked Questions page for more information: https://www.kennedy-center.org/contact/ 

TO RECEIVE YOUR DISCOUNT BY PHONE OR IN PERSON AT THE BOX OFFICE, MENTION OFFER NUMBER “471879”
(202) 467-4600 | Toll-free (800) 444-1324

[canbelto]

Besides the planned departures of Amar Ramasar and Andrew Scordato, it seems as if Sean Suozzi is no longer on the roster either.

[bellawood]

8 hours ago, canbelto said:

Besides the planned departures of Amar Ramasar and Andrew Scordato, it seems as if Sean Suozzi is no longer on the roster either.

I saw Sean Suozzi at Amar's farewell up close and didn't think he looked like someone who was dancing professionally anymore. Did he dance post-pandemic? I remember he was hurt in 2018 or 2019. 

[fondoffouettes]

4 hours ago, bellawood said:

I saw Sean Suozzi at Amar's farewell up close and didn't think he looked like someone who was dancing professionally anymore. Did he dance post-pandemic? I remember he was hurt in 2018 or 2019. 

I only recall seeing him cast as Drosselmeyer over the past several years. There may have been something in the spring season; I'm not sure. 

I find it baffling that Jared Angle remains on the roster but almost never dances. Has he appeared in anything besides La Valse (as Death) this season? Even before the pandemic, his performances were few and far between.

Edited June 8, 2022 by fondoffouettes

[JuliaJ]

Jared Angle danced Ivan in Firebird this past spring season. He looked out of shape, even in the generously forgiving, modest costume. Unclear why he's still on the roster, but at least the company recently promoted a handful of new male principals regardless. 

[Roberta]

19 hours ago, lmspear said:

$39.00 NYCB tickets for this Thursday and Friday!

The Kennedy Center is offering $39 tickets in ONLY SELECT ORCHESTRA PRICE ZONES SEATING on Thursday, June 9, 2022 at 7:30pm and Friday, June 10, 2022 at 7:30pm in the Opera House Theater for New York City Ballet: A Midsummer Night’s Dream. Tickets regularly priced at $89-$129.

 

ABOUT THE PROGRAM

A Midsummer Night’s Dream is dance maker and company co-founder George Balanchine’s first original evening-length ballet. Based on William Shakespeare’s cherished comedy and set to music by Felix Mendelssohn, Balanchine's two-act version is dance storytelling at its finest, portraying the adventures and misadventures of three couples in an enchanted forest. Featuring radiant choreography, bravura performances, and talented young student dancers as swarms of dancing insects, A Midsummer Night’s Dream culminates in a grand wedding celebration and a tender pas de deux that ranks among the most moving in ballet.

 

To purchase your tickets online, visit the event NYCB Midsummer Nights Dream Discount Offer enter "471879" in the Have A Promo Code? Section to apply your discount. (Please note, this discount is applicable in ONLY ORCHESTRA PRICE ZONES C-G SEATING ).  

• To purchase by phone, please call Instant Charge at 202-467-4600 and mention offer number "471879.” Instant Charge is open every day from 10am-6pm. 
• You may also purchase in person at our Box Office, located on site at The Kennedy Center. The Hall of States Box Office is open Monday – Saturday, 10am – 9pm and Sunday,12pm – 9pm

Please visit our Frequently Asked Questions page for more information: https://www.kennedy-center.org/contact/ 

TO RECEIVE YOUR DISCOUNT BY PHONE OR IN PERSON AT THE BOX OFFICE, MENTION OFFER NUMBER “471879”
(202) 467-4600 | Toll-free (800) 444-1324

Not a surprise. Sadly, last night's opening Visionary Voices triple bill at the Kennedy Center was sparsely attended, with maybe 20% of Tiers 1 and 2 occupied. I counted about 30 audience members remaining in Tier 2, after the second ballet of the night, Sidra Bell's SUSPENDED ANIMATION. That's a shame, as those who left early missed the far-and-away-best work of the night, Peck's newest sneakers ballet, PARTITA. On the whole, a rather sad opening with a (mostly) poorly-chosen program of ballets. I suppose that certain boxes were ticked. 

[Drew]

4 minutes ago, Roberta said:

Not a surprise. Sadly, last night's opening Visionary Voices triple bill at the Kennedy Center was sparsely attended, with maybe 20% of Tiers 1 and 2 occupied. I counted about 30 audience members remaining in Tier 2, after the second ballet of the night, Sidra Bell's SUSPENDED ANIMATION. That's a shame, as those who left early missed the far-and-away-best work of the night, Peck's newest sneakers ballet, PARTITA. On the whole, a rather sad opening with a (mostly) poorly-chosen program of ballets. I suppose that certain boxes were ticked. 

Wishful thinking perhaps, but I guess a few of those Tier 2 audience members may not have left but grabbed empty seats in the orchestra--seats that can usually be spotted from high up. In my (much) younger days, that's what I would have done with a sparsely attended house, and I sometimes even deliberately waited for second intermissions so I knew it wasn't late arrivals in those empty seats. Uh...I don't have the nerve for that kind of seat hopping now.... 

[abatt]

Great article describing what Amar Ramasar will be doing now that he is retired.  He will be staging ballets of Robbins and Balanchine.  Good for him.

https://www.nytimes.com/2022/06/08/arts/dance/amar-ramasar-city-ballet.html

[California]

15 minutes ago, abatt said:

Great article describing what Amar Ramasar will be doing now that he is retired.  He will be staging ballets of Robbins and Balanchine.  Good for him.

https://www.nytimes.com/2022/06/08/arts/dance/amar-ramasar-city-ballet.html

A few  months ago Ramasar was in Munich staging Pictures at an Exhibition. So he might have options for Ratmansky, too.

https://www.instagram.com/p/Cbj2icIgt93/

[Roberta]

40 minutes ago, Drew said:

Wishful thinking perhaps, but I guess a few of those Tier 2 audience members may not have left but grabbed empty seats in the orchestra--seats that can usually be spotted from high up. In my (much) younger days, that's what I would have done with a sparsely attended house, and I sometimes even deliberately waited for second intermissions so I knew it wasn't late arrivals in those empty seats. Uh...I don't have the nerve for that kind of seat hopping now.... 

Hmm...I didn't think about that. However, even Orchestra/Stalls section was far from full...maybe 50-60% full? Only the Box Tier (where the Presidential & Congressional boxes are located) was full. Overall, though, it was a poor program with sparse attendance. Also, I was told that the house had been "papered" with comp tickets but to what degree?

I forgot to mention the other ballet on view, EMANON, was horrible, danced to jazz that had me covering my ears. Worst of all were the tacky female solos that reminded me of the old Miss America talent shows with  "jazz ballet on pointe"! SUSPENDED ANIMATION was horrendous, especially the unflattering costumes - poor Emily Kikta looked like an inflated yellow plush toy. Justin Peck's PARTITA was the saving grace due to the lovely choral-vocal music...but even that one was far from classical, danced in sneakers. Between the terrible ABT mixed bill last month (ZigZag, etc.) and this, I've pretty much had it with the Kennedy Center's ballet programming. Maybe ballet is going to the Woke Crowd? They can keep it. They're not getting our money next season.

[YouOverThere]

Deleted.

Edited June 9, 2022 by YouOverThere

[canbelto]

18 hours ago, Roberta said:

Maybe ballet is going to the Woke Crowd? They can keep it. They're not getting our money next season.

I fail to see what's so "woke" about this KC program. It wasn't well planned but how is it woke?

[Roberta]

Less emphasis on European traditional classicism. Fewer tutus and tiaras. Less classical music. More sneakers and jazz. More non-traditional "couplings" depicted on stage, yadda, yadda.

NYCB's run will be followed by something called Reframing the Narrative, as if the Kennedy Center - and the rest of North American arts institutions - haven't been reframing all season. ROTFL. The traditional conservative paying public refuses to support this. I tore our family's 4-ticket subscription package for the paltry 2022/23 KC Ballet subscription...into the trashcan! We will enjoy the very last traditional show of our season subscription on Saturday - NYCB's Midsummer Night. After that, it's bye-bye Wokes.

[abatt]

The KC's loss of the annual Mariinsky engagement will be a real blow to its bottom line, including its ballet subscriber base.  I used to go the KC every season to see the Mariinsky.  Next year's ballet offerings just do not compel me to incur the expense or effort of making the trip to DC. 

Edited June 9, 2022 by abatt

[Helene]

Who knew that Balanchine, a great absorber of the influences around him, including jazz, and who was doing what was considered avant-garde choreography as a teenager, or, for that matter, Diaghilev before Balanchine emigrated to Paris, was "woke"?

 

[Marta]

25 minutes ago, Helene said:

Who knew that Balanchine, a great absorber of the influences around him, including jazz, and who was doing what was considered avant-garde choreography as a teenager, or, for that matter, Diaghilev before Balanchine emigrated to Paris, was "woke"?

 

Great comment.

[California]

1 hour ago, abatt said:

The KC's loss of the annual Mariinsky engagement will be a real blow to its bottom line, including its ballet subscriber base.  I used to go the KC every season to see the Mariinsky.  Next year's ballet offerings just do not compel me to incur the expense or effort of making the trip to DC. 

Same here! No KC for me next year. And the only interesting thing at Washington Ballet is the Balanchine program, but I have a schedule conflict, so I'll be skipping that, too!

Pre-COVID, Segerstrom typically had a Russian company, as did LA Music Center. I assume they needed major underwriters, and neither center has announced a ballet schedule for 22-23.

[canbelto]

4 hours ago, Roberta said:

Less emphasis on European traditional classicism. Fewer tutus and tiaras. Less classical music. More sneakers and jazz. More non-traditional "couplings" depicted on stage, yadda, yadda.

NYCB's run will be followed by something called Reframing the Narrative, as if the Kennedy Center - and the rest of North American arts institutions - haven't been reframing all season. ROTFL. The traditional conservative paying public refuses to support this. I tore our family's 4-ticket subscription package for the paltry 2022/23 KC Ballet subscription...into the trashcan! We will enjoy the very last traditional show of our season subscription on Saturday - NYCB's Midsummer Night. After that, it's bye-bye Wokes.

First of all, it's not my experience that ballet fans are politically conservative.  Arlene Croce was. But she wws the exception.

Second of all, I disliked Emanon bc it seemed so obviously derivative of the Balanchine jazz classics like Who Cares and Rubies.

Third of all, jazz is a musical tradition now over a hundred years old. It's not "woke."

[Balletwannabe]

10 hours ago, Roberta said:

Less emphasis on European traditional classicism. Fewer tutus and tiaras. Less classical music. More sneakers and jazz. More non-traditional "couplings" depicted on stage, yadda, yadda.

NYCB's run will be followed by something called Reframing the Narrative, as if the Kennedy Center - and the rest of North American arts institutions - haven't been reframing all season. ROTFL. The traditional conservative paying public refuses to support this. I tore our family's 4-ticket subscription package for the paltry 2022/23 KC Ballet subscription...into the trashcan! We will enjoy the very last traditional show of our season subscription on Saturday - NYCB's Midsummer Night. After that, it's bye-bye Wokes.

I no longer identify myself to people as "traditional" and "conservative" anymore, because people often think it means what you've described here, and I don't want any part of that.  

Edited June 10, 2022 by Balletwannabe

[Helene]

To be clear, I don't think that anyone who hasn't made a commitment to be present, paid or voluntary, has an obligation to see/attend anything, even if they live across the street, have nothing better to do, and are offered a free ticket in their favorite section of the theater.  I don't think anyone is obligated to stay for an entire program, as long as they leave and/or return at an appropriate time.  I don't think anyone should have to subscribe to and/or continue to support a company, let alone travel to see it, if they don't want to see what the company is offering.

As much as I might roll my eyes at a lot of new choreography, all companies present new work, most if it is tied to its time, and everything we might love was new at some time.  The last time I saw the Mariinsky for more than a single performance, it was the full week they presented mixed bills of contemporary choreography at City Center. (Not that it was new to City Center audience -- Forsythe had left ballet by that point -- but it would have been to the home audience.)

[Roberta]

On 6/9/2022 at 2:22 PM, California said:

Same here! No KC for me next year. And the only interesting thing at Washington Ballet is the Balanchine program, but I have a schedule conflict, so I'll be skipping that, too!

Pre-COVID, Segerstrom typically had a Russian company, as did LA Music Center. I assume they needed major underwriters, and neither center has announced a ballet schedule for 22-23.

ITA. It's primarily about the paying audience feeling as if it's getting its money's worth. Such a great rep at NYCB and we got that sad mixed bill? Enough. I will end my Kennedy Center subscription on a high tomorrow - Balanchine's A Midsummer Night's Dream. Can't go wrong there. Speaking of - Did anybody go to last night's opener? Sara Mearns was still listed as opening-night Titania.  Our family will be going Saturday night; Miriam Miller as Titania and Roman Mejia as Oberon. We cannot wait for that.

[abatt]

When Martins was running the company, did they regularly bring programs of all new works to the Kennedy Center?  My recollection is that they did bring new works, but they were sandwiched into programs that had some Balanchine & Robbins.  I'm thinking that the influence of Wendy Whelan may be the cause of this approach.  If you're going to bring all new works for a once a year visit, they need to be stellar  works.