ABT Met Season 2023

[Becki Lee]

Sorry, one more gala question. (Not my world.)

I think last year it was Don Quixote and a different cast for every act? Is that typical for gala night? Would they do that with a new ballet? 

[ABT Fan]

23 minutes ago, Becki Lee said:

Sorry, one more gala question. (Not my world.)

I think last year it was Don Quixote and a different cast for every act? Is that typical for gala night? Would they do that with a new ballet? 

No, not typical.

Gala night is rarely a full length. Usually excerpts or shorter ballets.

Edited March 24, 2023 by ABT Fan

[maps]

-

Edited May 18, 2023 by maps
delete

[nysusan]

I received my ABT subscription tickets yesterday. Their subscriber exchange week starts Monday and they still haven't announced casting for LWFC. I find that very unusual, and frustrating!

[abatt]

Ditto what mysusan said.  If there is no casting published for LWFC during subscriber priority week, I'm not getting tickets for it.  What is the  cause of the delay?!

I would see the Trenary - Cornejo cast and the Park-Carmago cast, but I'm not likely to see the Ahn cast.  Ahn in my opinion is wooden.  No acting ability.

[nysusan]

2 minutes ago, abatt said:

Ditto what mysusan said.  If there is no casting published for LWFC during subscriber priority week, I'm not getting tickets for it.  What is the  cause of the delay?!

I would see the Trenary - Cornejo cast and the Park-Carmago cast, but I'm not likely to see the Ahn cast.  Ahn in my opinion is wooden.  No acting ability.

Exactly. I have Friday night of the second week on my sub. There's no way I'll go If its the Teuscher/Ahn cast but I definitely want to see the other 2 casts. The only consolation is that I doubt it will sell well so I can still probably get whatever night I want after for this production after exchange week.

[Becki Lee]

If guessing for opening weekend, do you think there is any way they wouldn’t give the premiere to Trenary/Cornejo?

Then my best guess would be Park/Carmago Friday…

Barring some really drastic shifts which could be the delay?

[nysusan]

24 minutes ago, Becki Lee said:

If guessing for opening weekend, do you think there is any way they wouldn’t give the premiere to Trenary/Cornejo?

Then my best guess would be Park/Carmago Friday…

Barring some really drastic shifts which could be the delay?

That would make sense but you never know.

And to make things more confusing, ABT's calendar shows the 1st performance of LWFC on Thurs 6/22 but the Met's calendar shows a gala on Thurs with the 1st performance of LWFC on Friday. So I'm waiting till casting is posted.

[Becki Lee]

I had previously asked a membership associate…

”Regarding the Gala - it is the opening night of our Summer Season, and it is also the New York premiere of Like Water for Chocolate. There is one cast being featured that night. There will be performance-only tickets available, just not in the orchestra…”

[nysusan]

21 minutes ago, Becki Lee said:

I had previously asked a membership associate…

”Regarding the Gala - it is the opening night of our Summer Season, and it is also the New York premiere of Like Water for Chocolate. There is one cast being featured that night. There will be performance-only tickets available, just not in the orchestra…”

Ahh, that clears it up. Thank you.

[Josette]

I saw all casts in Orange County two weeks ago and found that Teuscher gave the most detailed, thought-out, and nuanced performance of the three Titas, and her willowy, graceful dancing was a plus. Consequently, I thought she was amazing and watched her throughout and did not watch Ahn all that much.   From the standpoint of the two leads, the Park/Carmago pairing was the most satisfying of the three, mainly because of Carmago's fully-engaged, emotional acting and superb dancing, and Park was lovely and her character developed in each act with great genuineness. Their final pas de deux was superb.  Trenary's dancing was technically impressive but she does not have a pliable or expressive back, which, for me, greatly hampered her characterization; I was not affected emotionally by her performance and found myself evaluating  why I was not affected (and figured it out).  She mostly used her face for her characterization and not much else happened except for her executing the choreography more than capably from her neck down - which is not what I've seen from the other five dancers who have danced Tita.  I was disappointed. 

 I love the character of Dr. John Brown and was particularly taken with Calvin Royal III's compassion and warmth in the role; both he and Tom Forster danced their too-short solo in the opening of Act II beautifully and with great breadth of movement.  (I saw Matthew Ball dance it in London three times and all he had to do was come on stage and I was distressed to tears about what Dr. John was going to suffer.)   I preferred Skylar Brandt (warm personality and depth) to K. Hurlin (superficial and cute, but entertaining, given the role) as Gertrudis. As the oldest sister, Rosaura, both Hee Seo and Betsy McBride were excellent; in particular, McBride's characterization with her gorgeous smile was unlike anything I would have expected in this role and changed the dynamics of the ballet. I felt that Chloe Misseldine was miscast, given the talent in the company: she was stiff in her acting and in her dancing (another unexpressive back like a block of wood with appendages attached - at least at this point in her career) and she made the mistake of smiling out at the audience instead of at all times communicating with the other persons on stage.  

Christine Shevchenko and Zhong-Jing Fang were both excellent as Mama Elena. I preferred Shevchenko's brilliant and nuanced performance the three times I saw her, and she is  the more beautiful dancer of the two, but Zhong-Jing Fang's Elena is definitely worth seeing. 

There seemed to be a few production changes from when I saw the ballet last June in London, but I haven't had time to compare it to The Royal Ballet's version which is streaming through the ROH.   

[stuben]

17 hours ago, Josette said:

I saw all casts in Orange County two weeks ago and found that Teuscher gave the most detailed, thought-out, and nuanced performance of the three Titas, and her willowy, graceful dancing was a plus. Consequently, I thought she was amazing and watched her throughout and did not watch Ahn all that much.   From the standpoint of the two leads, the Park/Carmago pairing was the most satisfying of the three, mainly because of Carmago's fully-engaged, emotional acting and superb dancing, and Park was lovely and her character developed in each act with great genuineness. Their final pas de deux was superb.  Trenary's dancing was technically impressive but she does not have a pliable or expressive back, which, for me, greatly hampered her characterization; I was not affected emotionally by her performance and found myself evaluating  why I was not affected (and figured it out).  She mostly used her face for her characterization and not much else happened except for her executing the choreography more than capably from her neck down - which is not what I've seen from the other five dancers who have danced Tita.  I was disappointed. 

 I love the character of Dr. John Brown and was particularly taken with Calvin Royal III's compassion and warmth in the role; both he and Tom Forster danced their too-short solo in the opening of Act II beautifully and with great breadth of movement.  (I saw Matthew Ball dance it in London three times and all he had to do was come on stage and I was distressed to tears about what Dr. John was going to suffer.)   I preferred Skylar Brandt (warm personality and depth) to K. Hurlin (superficial and cute, but entertaining, given the role) as Gertrudis. As the oldest sister, Rosaura, both Hee Seo and Betsy McBride were excellent; in particular, McBride's characterization with her gorgeous smile was unlike anything I would have expected in this role and changed the dynamics of the ballet. I felt that Chloe Misseldine was miscast, given the talent in the company: she was stiff in her acting and in her dancing (another unexpressive back like a block of wood with appendages attached - at least at this point in her career) and she made the mistake of smiling out at the audience instead of at all times communicating with the other persons on stage.  

Christine Shevchenko and Zhong-Jing Fang were both excellent as Mama Elena. I preferred Shevchenko's brilliant and nuanced performance the three times I saw her, and she is  the more beautiful dancer of the two, but Zhong-Jing Fang's Elena is definitely worth seeing. 

There seemed to be a few production changes from when I saw the ballet last June in London, but I haven't had time to compare it to The Royal Ballet's version which is streaming through the ROH.   

Thank you for these insightful thoughts and I look forward to reading your comparison thoughts about the ROH version with this. IMHO I have wondered about the fast track of some promotions like Misseldine's, her bio shows little to no rep of significance compared to the likes of seasoned soloists or principals. I often wondered about "competition" dancers since I am not a believer that ballet should be a competition much like my feelings about reality shows. It feels like they produce mechanical robots with tricks vs the true art form, especially when you watch the YAGP with every one of these dancers doing the same rep showing off their fouettés and jumps, that is great to show their technical skills but what happens when they get into the real deal? She, like many from these types of competitions, is good technically with the fouettés and jumps, etc, but that all needs time to mature into the all-round dancer they become, and yet they get moved up and into roles so quickly that they don't seem to be ready.

[matilda]

While I did not see Misseldine in Like Water for Chocolate in California, from what I have seen of her in New York in Ratmansky ballets, she's a real standout who seems years beyond her age in artistry and stage presence, kind of like ABT's version of Mira Nadon. Her quick promotion to soloist felt well-deserved from my vantage point. 

[nanushka]

23 minutes ago, matilda said:

While I did not see Misseldine in Like Water for Chocolate in California, from what I have seen of her in New York in Ratmansky ballets, she's a real standout who seems years beyond her age in artistry and stage presence, kind of like ABT's version of Mira Nadon. Her quick promotion to soloist felt well-deserved from my vantage point. 

I agree. She made a considerable impact in the role of Lady Capulet, for instance — definitely not one that relies on "competition tricks."

[balletlover08]

I wondered if perhaps Chloe just had too much on her plate the last few months.  Perhaps she was either miscast in LWFC or didn’t have enough rehearsal time. She had her Myrtha debut in NC that she spent months preparing (justifiably so that’s an important soloist role). The next week she flew to Toronto for the Erik Bruhn competition that she also spent months preparing for (they did grand pas and a work by Lauren lovette). Everyone else was already in OC preparing for LWFC while she was at the competition. She flew directly to OC to perform there. Then she did 2 YAGP galas back to back and is now heading to Chicago on tour again. I did get to see quite a bit of the black swan pas de deux and that actually looked good to me! Could definitely use more work but good for one so young. She’s definitely one that will likely get a Swan Lake sometime in the near future.

Source: I follow her on instagram so I see the stories she posts about rehearsals and I didn’t see her post much on LWFC at least compared to the others. 

[stuben]

9 hours ago, balletlover08 said:

I wondered if perhaps Chloe just had too much on her plate the last few months.  Perhaps she was either miscast in LWFC or didn’t have enough rehearsal time. She had her Myrtha debut in NC that she spent months preparing (justifiably so that’s an important soloist role). The next week she flew to Toronto for the Erik Bruhn competition that she also spent months preparing for (they did grand pas and a work by Lauren lovette). Everyone else was already in OC preparing for LWFC while she was at the competition. She flew directly to OC to perform there. Then she did 2 YAGP galas back to back and is now heading to Chicago on tour again. I did get to see quite a bit of the black swan pas de deux and that actually looked good to me! Could definitely use more work but good for one so young. She’s definitely one that will likely get a Swan Lake sometime in the near future.

Source: I follow her on instagram so I see the stories she posts about rehearsals and I didn’t see her post much on LWFC at least compared to the others. 

Actually, that is what I meant by "competition" since a friend's daughter did the YAGP, and she took months to train in the one piece she performed in. I had assumed that is how Erik Bruhn competition worked too. That to me is the key issue about young dancers coming out of competition and being moved up so quickly without the proper introduction into reality. I would think the reality of a professional company dancer would most likely have several pieces to learn at one time, and that, I am sure, takes time to get into the groove by experience.

Therefore, I wonder if other more seasoned dancers were given the opportunity to audition for these types of roles vs just placing someone without more rep time as many of the seasoned dancers. I, too, follow many of the dancers on their social media and I see that Chloe's mother was a soloist, and is now a ballet mistress for the Studio Co. This is only speculation but I can't help but wonder how much influence she has in her child's career, it would not surprise me as things like this happen to any business. Again, I don't disagree with others that she has potential but doesn't that require more time to allow her to grow before moving her up so quickly? I have often wondered about so many within the company who have potential (I am sure they would not have been hired if otherwise) yet are never given the same opportunities or coaching that a few do. Perhaps the company has a lack of coaches these days as well.

[vagansmom]

Chloe's mom has probably had a major influence on her career and that's a very lucky and wonderful thing for Chloe who, to me, seems like a very talented, deserving dancer. She has been lucky to have a mom who can guide and perhaps teach or at least help her polish her technique through the years. Are you implying it's an unfair advantage? To my mind, as long as a dancer is deserving in her own right, it doesn't matter how she reached that point. If you often read the bios of dancers as do I, you will find that many started out in their (usually) mothers' studios. 

[stuben]

34 minutes ago, vagansmom said:

Chloe's mom has probably had a major influence on her career and that's a very lucky and wonderful thing for Chloe who, to me, seems like a very talented, deserving dancer. She has been lucky to have a mom who can guide and perhaps teach or at least help her polish her technique through the years. Are you implying it's an unfair advantage? To my mind, as long as a dancer is deserving in her own right, it doesn't matter how she reached that point. If you often read the bios of dancers as do I, you will find that many started out in their (usually) mothers' studios. 

I am not implying any "unfair" advantage, you might be reading too much into my comment, however, you are correct that it might be an advantage nonetheless that others who are less fortunate might have, it is very lucky for her. And, I do believe all the dancers in the company are "deserving in their own right" since they must have been hired for good reasons 🙂.

[balletlover08]

4 hours ago, stuben said:

Actually, that is what I meant by "competition" since a friend's daughter did the YAGP, and she took months to train in the one piece she performed in. I had assumed that is how Erik Bruhn competition worked too. That to me is the key issue about young dancers coming out of competition and being moved up so quickly without the proper introduction into reality. I would think the reality of a professional company dancer would most likely have several pieces to learn at one time, and that, I am sure, takes time to get into the groove by experience.

Therefore, I wonder if other more seasoned dancers were given the opportunity to audition for these types of roles vs just placing someone without more rep time as many of the seasoned dancers. I, too, follow many of the dancers on their social media and I see that Chloe's mother was a soloist, and is now a ballet mistress for the Studio Co. This is only speculation but I can't help but wonder how much influence she has in her child's career, it would not surprise me as things like this happen to any business. Again, I don't disagree with others that she has potential but doesn't that require more time to allow her to grow before moving her up so quickly? I have often wondered about so many within the company who have potential (I am sure they would not have been hired if otherwise) yet are never given the same opportunities or coaching that a few do. Perhaps the company has a lack of coaches these days as well.

The Erik Brun competition is one that ABT competes at every time it’s held. She wasn’t competing only for herself but also representing ABT. Cat Hurlin and Aran competed last time for ABT. I assume she was chosen by Jaffe and obviously she has to rehearse it since ABT wouldn’t want to be embarrassed on the stage. I think that’s quite different from other big competitions. 

Yan has been a part of ABT for quite awhile teaching at their summer intensives and as guest ballet mistress of ABT Stuco prior to Chloe joining. Obviously ballet is often about connections and who you know, but there are other children of ABT dancers who were never promoted. And yes, I’m sure it’s great that she has her mom to coach her, perhaps that’s an additional reason why she’s cast. Management feels like she would be “ready” with the additional coaching.Skylar Brandt famously sought out private coaching for Giselle and swan lake prior to getting cast because she wanted to show she was ready and should be cast. Irina cannot simply coach everyone as great as she is. And if you wait around for coaching that can’t happen you may not get cast. 

i think there is a trend again in the ballet world of early promotions of young dancers from the US to Russia. It’s expected that there will be a learning curve and some bumps in the road. But I expect that their dancing to improve vastly as they continue to develop in their roles. This isn’t just a defense of Chloe, but a defense for most of the younger dancers being promoted earlier now. There is also a trend now of dancers doing YAGP, Prix de Lausanne or other competitions to get noticed by schools or companies and I don’t see that changing in the future. ABT handles it pretty well though requiring most dancers to do Stuco before entering the main company. 

Edited April 15, 2023 by balletlover08

[volcanohunter]

The Erik Bruhn Prize is a competition for young professionals. Bruhn envisioned the competition for dancers from the companies with which he felt most closely associated: the Royal Danish Ballet, Royal Ballet, ABT and National Ballet of Canada. Occasionally one of these companies is unable to participate, so there might be representatives from other companies instead. But it's never a question of rehearsing a single variation for months and months, because the dancers are actively performing in their companies' seasons.

The competition's track record is pretty darned good: Rose Gad, Errol Pickford, Silja Schandorff, Stephen Legate, Julie Kent, Johan Kobborg, Jaimie Tapper, Johan Persson, Vanessa Zahorian, Jhe Russell, Gennadi Nedvigin, Michele Wiles, Friedemann Vogel, Tina Pereira, Ulrik Birkkjær, Elena Lobsanova, Cory Stearns, Maria Baranova, Joseph Gorak, Ida Praetorius, Andreas Kaas, Hannah Fischer, Carlo Di Lanno, Natasha Sheehan, Angelo Greco, Catherine Hurlin, Siphesihle November. 

Edited April 16, 2023 by volcanohunter

[mille-feuille]

On 4/13/2023 at 10:36 AM, matilda said:

While I did not see Misseldine in Like Water for Chocolate in California, from what I have seen of her in New York in Ratmansky ballets, she's a real standout who seems years beyond her age in artistry and stage presence, kind of like ABT's version of Mira Nadon. Her quick promotion to soloist felt well-deserved from my vantage point. 

Totally agree. I can't keep my eyes off Misseldine when she's dancing, even if she's dancing a demi-soloist role behind a principal dancer. I selfishly wish she was at NYCB so I could see more of her!

[tutu]

On 4/15/2023 at 6:44 PM, mille-feuille said:

Totally agree. I can't keep my eyes off Misseldine when she's dancing, even if she's dancing a demi-soloist role behind a principal dancer. I selfishly wish she was at NYCB so I could see more of her!

Yep.  She’s a really special talent.

[Dale]

From the company:

 

NEW YORK PREMIERE OF CHRISTOPHER WHEELDON’S LIKE WATER FOR CHOCOLATE TO OPEN AMERICAN BALLET THEATRE’S SUMMER SEASON AT THE METROPOLITAN OPERA HOUSE, JUNE 22 - JULY 22, 2023 

 

SEASON TO INCLUDE FULL-LENGTH CLASSICS GISELLE, SWAN LAKE, AND ROMEO AND JULIET 

 

OPENING NIGHT GALA FEATURING LIKE WATER FOR CHOCOLATE 

 

GENERAL PUBLIC ON SALE BEGINS MONDAY, APRIL 24 AT 12:00PM 

 

NEW YORK, NY (April 17, 2023) – American Ballet Theatre returns to the Metropolitan Opera House with four stories of love for its 2023 Summer season, June 22–July 22. The season will feature the New York Premiere of two-time Tony Award®-winner Christopher Wheeldon’s Like Water for Chocolate, as well as full-length classics Giselle, Swan Lake, and Romeo and Juliet.  General public on sale for ABT’s 2023 Summer season begins on Monday, April 24 at 12:00PM at the Metropolitan Opera House box office. 

 

Principal Dancers for the 2023 Summer season include Joo Won Ahn, Aran Bell, Isabella Boylston, Skylar Brandt, Daniel Camargo, Herman Cornejo, Thomas Forster, Catherine Hurlin, Gillian Murphy, Calvin Royal III, Hee Seo, Christine Shevchenko, Cory Stearns, Devon Teuscher, Cassandra Trenary, James Whiteside, and Roman Zhurbin. 

 

New York Premiere 

The New York Premiere of Christopher Wheeldon’s Like Water for Chocolate is set for Thursday, June 22, 2023, with Cassandra Trenary and Herman Cornejo in the leading roles of Tita and Pedro, respectively. Based on Laura Esquivel’s bestselling novel of the same name, Like Water for Chocolate is Wheeldon’s latest full-length ballet and a co-production with The Royal Ballet. The three-act ballet follows Tita, a young Mexican woman who struggles with familial duty in the face of forbidden love, expressing herself the one way she knows how, through cooking. Like Water for Chocolate is set to an original score by Joby Talbot and features scenery and costumes by Bob Crowley, lighting by Natasha Katz, and video design by Luke Halls. American Ballet Theatre is excited to welcome Alondra de la Parra to conduct the first four performances of Like Water for Chocolate at the Metropolitan Opera House. A globally renowned conductor, de la Parra has worked with some of the most prestigious orchestras across the world and holds the distinction of being the first Mexican woman to conduct professionally in New York City. ABT additionally welcomes Tomás Barreiro, a decorated and internationally recognized Mexican composer, orchestrator, guitar player, and teacher, on Solo Guitar for all 12 performances, as well as Venezuelan-born singer Maria Brea, whose soaring soprano accompanies the final, climatic pas de deux. 

 

Like Water for Chocolate received its World Premiere by The Royal Ballet on June 2, 2022, at the Royal Opera House, Covent Garden, London. It received its North American Premiere by American Ballet Theatre on March 29, 2023, at Segerstrom Center for the Arts in Costa Mesa, California. At the Metropolitan Opera House, the ballet will be given 12 performances through Saturday, July 1. 

 

Opening Night Gala Celebrating Yolanda Santos 

American Ballet Theatre will host its June Gala on Thursday, June 22, 2023, at 6:30PM at the Metropolitan Opera House featuring the New York Premiere of Like Water for Chocolate. Following the performance, Gala guests are invited to join ABT for a black-tie dinner and dancing on the Promenade of the newly opened David Geffen Hall. The Gala evening will honor Yolanda Santos, Founding Member of ABT’s Global Council and Founder of Ballet de Monterrey, for her championship of classical ballet and contemporary visual arts, nationally and internationally. Laura Esquivel, author of Like Water for Chocolate, will serve as Honorary Chair of the event. For more information or to purchase tickets and tables, please contact Megan Stahlberg at mstahlberg@abt.org.

 

Full-Length Works 

ABT will perform the full-length production of Giselle for a total of eight performances beginning on Monday, July 3, with Hee Seo in the title role and Cory Stearns as Albrecht. Staged by Kevin McKenzie with choreography after Jean Coralli, Jules Perrot, and Marius Petipa, Giselle is set to music by Adolphe Adam, orchestrated by John Lanchbery, with scenery by Gianni Quaranta, costumes by Anna Anni, and lighting by Jennifer Tipton. The World Premiere of Giselle, one of the oldest continually performed ballets, occurred at the Theatre de l’Academie Royale de Musique in Paris on June 28, 1841. The ballet was first presented by ABT (then Ballet Theatre) at the Center Theatre in New York City on January 12, 1940, with choreography by Anton Dolin and scenery and costumes by Lucinda Ballard. The leading roles were danced by Annabelle Lyon and Anton Dolin. ABT’s sixth production, featuring scenery by Gianni Quaranta and costumes by Anna Anni, was created for the film Dancers, produced in 1987 by Cannon Films. This production’s first public performance was given on March 20, 1987, at the Shrine Auditorium in Los Angeles, California, with Marianna Tcherkassky as Giselle and Kevin McKenzie as Albrecht. The current staging is by McKenzie, using the Quaranta and Anni designs. The Saturday, July 8 performance of Giselle will be “In Tribute to Lupe Serrano” in honor of the late Lupe Serrano, former ABT Principal Dancer from 1953-1971, who, after retiring from the stage, taught classes for the ABT main Company, ABT Studio Company, ABT Jacqueline Kennedy Onassis School, and Summer Intensives. 

 

Eight performances of Swan Lake will begin Monday, July 10, with Isabella Boylston as Odette-Odile and Daniel Camargo as Prince Siegfried. Set to music by Peter Ilyitch Tchaikovsky, Swan Lake is choreographed by Kevin McKenzie after Marius Petipa and Lev Ivanov. The ballet features scenery and costumes by Zack Brown and lighting by Duane Schuler. This production of Swan Lake premiered on March 24, 2000, at The John F. Kennedy Center for the Performing Arts in Washington, D.C. with Julie Kent (Odette-Odile) and Angel Corella (Prince Siegfried). The Friday, July 21 performance of Swan Lake will be a “Special Evening for Susan Jaffe” to celebrate Jaffe’s first Met season as Artistic Director of American Ballet Theatre, a homecoming for the former ABT Principal Dancer of 22 years.  

 

Kenneth MacMillan’s Romeo and Juliet will be given seven performances beginning Tuesday, July 18, with Devon Teuscher and Aran Bell in the title roles. Set to the score by Sergei Prokofiev, Romeo and Juliet features scenery and costumes by Nicholas Georgiadis and lighting by Thomas Skelton. Romeo and Juliet received its World Premiere from The Royal Ballet in London on February 9, 1965, and February 9, 1965, and was given its ABT Company Premiere at The John F. Kennedy Center for the Performing Arts in Washington, D.C. on January 3, 1985, with Leslie Browne and Robert La Fosse in the leading roles.  

 

ABTKids 

ABTKids, American Ballet Theatre’s annual one-hour introduction to ballet for families, will return to the Metropolitan Opera House stage on Saturday, June 24 at 11:00AM. The family-friendly showing of selections from the ABT main Company’s illustrious repertoire will be hosted by ABT Principal Dancer James Whiteside. All tickets for ABTKids are $25. 

 

Single Tickets 

Single tickets for American Ballet Theatre’s 2023 Summer season at the Metropolitan Opera House will be on sale beginning Monday, April 24 at 12:00PM. Tickets can be purchased by phone at 212-362-6000, in person at the Met Box Office, or online at ABT’s website. Tickets start at $30. The Metropolitan Opera House is located on Broadway between 64^th and 65^th streets in New York City.  

 

Ticket holders for the 2023 Summer season at the Metropolitan Opera House may exchange tickets up until Noon the day of the performance at no charge, minus any difference in the ticket price. We regret that there are no refunds or cancellations.  

 

Student Ticket Policy 

American Ballet Theatre offers $12–$30 advance tickets and Day of Rush tickets for any full-time undergraduate or graduate student. A valid student ID is required. Tickets are subject to availability and require advance registration on the Met website. Limit two tickets per person, per performance.  

 

American Ballet Theatre offers $35 orchestra day of rush tickets to the general public for all performances. Two tickets may be purchased for one performance every seven days. Tickets are subject to availability and require advance registration on the Met website. 

 

American Ballet Theatre offers theatergoers under 30 years old $30 advance tickets to select performances. A limited number of tickets are available. Tickets are subject to availability and require an ID for pick up. Limit two tickets per person, per performance. 

 

Health and Safety Protocols 

American Ballet Theatre and the Metropolitan Opera House ask audiences to review the following health and safety protocols on the Met website before attending performances.

 

ABOUT AMERICAN BALLET THEATRE 

American Ballet Theatre is one of the greatest dance companies in the world. Revered as a national treasure since its founding season in 1940, its mission is to create, present, preserve, and extend the great repertoire of classical dancing for the widest possible audience. Headquartered in New York City, ABT is the only cultural institution of its size and stature to extensively tour, enchanting audiences for eight decades in 50 U.S. states, 45 countries, and over 480 cities worldwide. ABT’s repertoire includes full-length classics from the nineteenth century, the finest works from the early twentieth century, and acclaimed contemporary masterpieces. In 2006, by an act of Congress, ABT was designated America's National Ballet Company®. 

 

Major support of the 2023 season production of Like Water for Chocolate is provided by Alexandra and Alan Airth. Additional support is provided by Michèle and Steve Pesner. 

 

Leadership support of ABT’s New Works Initiative is provided by Mark Casey and Carrie Gaiser Casey, The Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. 

 

American Ballet Theatre’s performances of Giselle are generously supported through an endowed gift from Sharon Patrick.

  

Swan Lake is generously underwritten by R. Chemers Neustein.  

 

American Ballet Theatre’s performances of Romeo and Juliet are generously underwritten through an endowed gift from Ali and Monica Wambold. 

 

Commissions and presentations of new works by women choreographers are supported by the ABT Women’s Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Additional leadership support is provided by the Virginia B. Toulmin Foundation. 

 

Special thanks to Denise Littlefield Sobel for her leadership gifts to ABT’s Media Fund, advancing the Company’s digital endeavors; and ABT RISE, fueling the Company’s commitment to diversity, equity, and inclusion. 

 

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 The Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council.  

 

For more information, please visit www.abt.org.

 

[abatt]

All casting for LWFC is on the website.  Look on the Master Calendar section.

[Kamicos]

Zimmi Coker is cast as Gertrudis in 4 shows. That’s a perfect role for her! Glad to see Jaffe sees her talent. Can’t wait to see it.