ABT Met Season 2023

[attitudebalance]

Sorry if this is off topic as I'm new to the forum but I'm an ABT fan and wondering if anyone knows why they have so little digital content/performance recordings compared to other companies? ie. the royal and nycb seem to have many performance clips on their youtube but ABT has none and I've heard they are extremely strict. is this due to met rules? ballet choreography licenses? or just company policies? seems so counter intuitive when they already struggle to sell tickets it seems...

[California]

9 minutes ago, attitudebalance said:

Sorry if this is off topic as I'm new to the forum but I'm an ABT fan and wondering if anyone knows why they have so little digital content/performance recordings compared to other companies? ie. the royal and nycb seem to have many performance clips on their youtube but ABT has none and I've heard they are extremely strict. is this due to met rules? ballet choreography licenses? or just company policies? seems so counter intuitive when they already struggle to sell tickets it seems...

ABT has something called On Demand for members: https://www.abt.org/support/abt-on-demand/

Periodically I get email that they will live stream a rehearsal or do an interview with a dancer.

During the worst of the lock-down, they released several things (like the Live from Lincoln Center in 1978 with the Kirkland-Baryshnikov T&V and Manon with Bolle and Ferri). 

But I've always understood that they have problems with the rights. The things that exist on tape often are owned by somebody else.

Still, their promotion via free, public clips is very limited and part of their problem. Several dancers post extensive rehearsal clips on social media (especially Instagram) -- Aran Bell, Herman Cornejo, Skylar Brandt -- all worth following. And "ABT Official" on Instagram posts a lot that way. 

[Helene]

AD's and General Directors of opera and ballet companies have spoken about how, even if they own the rights, they have to negotiate with all of the unions involved, which is complex.  I remember getting an email from one of our local (Seattle) companies that things were in place for streaming pending resolution with one of the unions, which eventually happened.   I would hope that digital is on the table when contracts are renewed.

Some European and Russian companies have production companies that produce their content, and it certainly helps to have sponsors.  When Key Arena was being renovated and morphed into Climate Pledge Arena, the arena video equipment was housed in McCaw Hall where PNB and Seattle Opera were able to use it.   People used to as Speight Jenkins regularly at post-performance Q&A's why they didn't release DVD's of the Green Ring, and he always answered that it would take over $1million to produce it.  If money was the only object, there wasn't donor or foundation money or an independent producer.

Without looking at the financials of individual companies, though, it's hard to say whether streaming is profitable for that company, whether it subsidized  by a sponsor(s), whether there are grants specific to media that subsidize them -- PNB's original pre-pandemic upgrade in media in general came from a multi-year grant, for example -- through designated media fundraising campaigns, or any combination of the three.

Some opera companies, like Lyric Opera of Chicago and Seattle Opera offered streaming  last and this season only if your ticket isn't scanned; LOC said in the fine print of its 2023-24 season brochure that it would not strean next season, because usage is so low.  (I haven't seen anything to indicate whether SFO or SO will continue streaming next season.)   PNB has offered stand-alone and add-on digital subscriptions for the last few years, and San Francisco Opera offered streams for each opoera this season and two of their 100th anniversary programs for $27.50/stream.  Met Opera has extended Live in HD to people who are outside a certain radius of movie theaters. (I'm not sure how they validate it -- IP? Billiing zip code?)   For at least a year, Houston Grand Opera was part of marquee tv, but I'm not sure if that's still true.  Philadelphia Opera has had streaming for at least a couple of seasons.  In Europe, there have been variations of streaming services and premium TV packages for many years, and Vienna State Opera had the Lamberghini of all monthly streaming services before the pandemic, with mutliple live streams available for 72 hours afterwards and three archival selections/mo.  They, like the Met, offered daily streams for free in the first year of the pandemic, include the ballet, but Vienna never started that service again .

[On Pointe]

I attended ABT's Sunday matinee at the Auditorium Theater in Chicago,  with a program of short,  newer pieces,  with not a tutu in sight - Ratmansky's Songs of Bukovina,  Christopher Rudd's male duet Touché,  a blast from thd past,  Clark Tippet's Some Assembly Required,  and Jessica Lang's ZigZag.  There was piano and violin accompaniment played live,  and Tony Bennett and Lady Gaga on tape (more likely digital),  but no orchestra.  It appeared that less than half of the company's dancers were present.  Nevertheless,  the audience reception was rapturous.  It was sad that ABT only performed in Chicago for three days.  For years they have played the Auditorium for a full week.  (Despite its plain Jane name,  the Auditorium is an exquisite grand house,  more than one hundred and thirty years old,  with excellent sightlines for dance,  the perfect venue for big ballets.). I got my Dress Circle ticket for just $38 online at Hot Tix and it was a great bargain.

I feel that ABT is dropping the ball regarding merchandizing.  There were only a few dull black hoodies for sale,  and no souvenir program.  The free program was a couple of folded pages with a QPR code,  very difficult to access.  The television spot they ran was bare bones too.  I did overhear an interesting exchange from an attendee.  The woman next to me told her seatmate that she came out to see ABT because Misty Copeland was her favorite ballerina,  and since this was Misty's home company,  they must be good!  These were white audience members,  in case you were wondering.  

[attitudebalance]

thanks for all who responded!! i understand all the workers need to get  paid but really feels like they shoot themselves in the foot not even having performance clips for youtube 😕 but probably not a priority it sounds like

[canbelto]

Part of the issue is ABT not really having a home theater. Home theaters have their own camera systems to record performances for archival purposes. ABT only rents out theaters so they dont own that archival footage.

[Helene]

Pacific Northwest Ballet rents McCaw Hall.  

[volcanohunter]

3 hours ago, Helene said:

Vienna State Opera had the Lamberghini of all monthly streaming services before the pandemic, with mutliple live streams available for 72 hours afterwards and three archival selections/mo.  They, like the Met, offered daily streams for free in the first year of the pandemic, include the ballet, but Vienna never started that service again .

There were plans to move the Vienna State Opera onto the paid My Fidelio platform. As I understand it, the archive is now there, but it's available only in Austria, Germany and Switzerland. (Again, probably a rights thing.)

The Vienna State Opera continues to stream, much less frequently than before, generally once a month, free of charge and with a 72-hour viewing window. As it happens, the next stream will be a ballet program.

https://play.wiener-staatsoper.at/

Edited April 18, 2023 by volcanohunter

[volcanohunter]

I may be remembering this incorrectly, but during the lockdown, when ABT and NYCB streamed some long-unseen Live from Lincoln Center performances, it turned out those broadcasts weren't owned by them or by PBS, but by Lincoln Center.

[California]

6 hours ago, volcanohunter said:

I may be remembering this incorrectly, but during the lockdown, when ABT and NYCB streamed some long-unseen Live from Lincoln Center performances, it turned out those broadcasts weren't owned by them or by PBS, but by Lincoln Center.

That's also my memory - that Lincoln Center owned several things that were released. Also, for many of the things released during that time, including NYCB, Pennsylvania, and PNB, they typically thanked the many unions who waived rights so they could be streamed during the lockdown. Everyone seemed to understand the importance of keeping audiences interested in their product. And they almost always asked for donations, which was fine. 

Edited April 18, 2023 by California

[Pointe533]

Hi everyone! I apologize if this is not the right place as I am new here. 
 

I‘m looking to buy tickets for a performance of Giselle for the Met season. I specifically really want to see Chloe Misseldine dance Myrtha, but it doesn’t look like the site shows Myrtha casting for any of the performances. Does anyone know if this information is typically posted ahead of time, or will it just be the principal couple posted only? 

[nanushka]

46 minutes ago, Pointe533 said:

I‘m looking to buy tickets for a performance of Giselle for the Met season. I specifically really want to see Chloe Misseldine dance Myrtha, but it doesn’t look like the site shows Myrtha casting for any of the performances. Does anyone know if this information is typically posted ahead of time, or will it just be the principal couple posted only? 

It will be posted eventually, yes, but probably not before single tickets go on sale Monday. You shouldn't have trouble getting tickets later, though, once the Myrtha casting is up.

[balletlover08]

5 hours ago, Pointe533 said:

Hi everyone! I apologize if this is not the right place as I am new here. 
 

I‘m looking to buy tickets for a performance of Giselle for the Met season. I specifically really want to see Chloe Misseldine dance Myrtha, but it doesn’t look like the site shows Myrtha casting for any of the performances. Does anyone know if this information is typically posted ahead of time, or will it just be the principal couple posted only? 

I’m assuming it will show up maybe in the next week or so? 

She does have two Myrthas on tour: one with Cassie and James, and one she did with Isabella Boylston and Joowon. I would guess that she would likely dance one or two Myrthas at the MET with either couple. 

[Caballetfan]

Just glanced at the summer Met casting on the website and curious as to why ABT still hasn’t yet cast Trenary as O/O in a Swan Lake or Brandt as Juliet in R&J. Saw Trenary rehearsing SL with Cornejo on her IG stories a few weeks back…(potentially in anticipation of getting cast?) and for sure thought she’d land a show this time around!

[balletlover08]

10 hours ago, Caballetfan said:

Just glanced at the summer Met casting on the website and curious as to why ABT still hasn’t yet cast Trenary as O/O in a Swan Lake or Brandt as Juliet in R&J. Saw Trenary rehearsing SL with Cornejo on her IG stories a few weeks back…(potentially in anticipation of getting cast?) and for sure thought she’d land a show this time around!

My guess is the lack of short male principals? Cornejo dances with Brandt in SL and maybe 2 shows is too much? For R&J, cornejo dances with Trenary, but I guess they could have casted Royal with Brandt if they wanted to but cast him with Hurlin instead. 

[Papagena]

11 hours ago, Caballetfan said:

Just glanced at the summer Met casting on the website and curious as to why ABT still hasn’t yet cast Trenary as O/O in a Swan Lake or Brandt as Juliet in R&J. Saw Trenary rehearsing SL with Cornejo on her IG stories a few weeks back…(potentially in anticipation of getting cast?) and for sure thought she’d land a show this time around!

Too many principal dancers, too few shows. Seo is the only repeat for SL (which baffles me, frankly) so I suppose Trenary could have taken one of hers, but R&J is crowded to the point where there are no repeats. 

Short season with 8 principal women (9 if you count Copeland, who is on leave) doesn't leave much room for debuts in the full length classics. This of course could have been alleviated a bit if they sliced out some LWFC performances. 

I imagine Murphy is retiring next year, and we'll be seeing a couple new O/Os as a result 

Edited April 23, 2023 by Papagena

[abatt]

16 minutes ago, Papagena said:

Too many principal dancers, too few shows. Seo is the only repeat for SL (which baffles me, frankly) so I suppose Trenary could have taken one of hers, but R&J is crowded to the point where there are no repeats. 

Short season with 8 principal women (9 if you count Copeland, who is on leave) doesn't leave much room for debuts in the full length classics. This of course could have been alleviated a bit if they sliced out some LWFC performances. 

I imagine Murphy is retiring next year, and we'll be seeing a couple new O/Os as a result 

Yes, now that the season  length has been reduced, there are obviously far fewer opportunities for these dancers.   If/when Copeland returns, there will be even fewer opportunities for the current roster of principal women.  Seo is really wonderful in the adagio portions of SL, and I thought her work with Aran Bell was sublime and very moving. 

[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 TODAY, MONDAY, APRIL 24 AT 12:00 P.M. 

 

NEW YORK, NY (April 24, 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 today, April 24 at 12:00 P.M. 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 11:00 A.M. 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 go on sale today, Monday, April 24 at 12:00 P.M. 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 64th and 65th 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.

ABT 2023 Met Season Grid.pdf

[FauxPas]

BTW: the casting is up for the Met season run of "Like Water for Chocolate" on the ABT website master calendar.  

In case any of you were holding off buying tickets which went on sale at the Met box office yesterday.

Edited April 25, 2023 by FauxPas

[GB1216]

I’m so excited - got tickets for the July 5th Gisele with Brandt and Cornejo.  Can’t wait to see her interpretation.

[attitudebalance]

Any reports from ABT on tour? Especially interested to hear about Devon's Giselle and Chloe's Myrta! I was just reflecting today about how ABT's touring model makes it harder for the company to have a consistent new york presence/audience when there's so much time between seasons and important debuts happen in one off locations...

[gigi]

I passed on seeing ABT in Chicago, which I felt horrible about, but it felt expensive for a mixed bill that included a work they have presented here in the recent past (Songs of Bukovina) and 3 other pieces that either recieved lukewarm reviews in other cities or just weren't exciting to me.  If anyone from ABT is reading this, I wish you had brought Giselle or another full length - there is a shortage of classical ballet presented in Chicago, and people want to see large-scale productions and the classics to complement the local dance scene which skews more contemporary.    

[MRR]

ABT has not updated its casting for Myrtha, but Devon Teuscher confirms she will be dancing the role on the Saturday, July 8th evening show (Murphy/Forster).

https://www.instagram.com/p/Cr58eRku95z/?hl=en

Edited May 8, 2023 by MRR

[nysusan]

Now that Simkin has left the Staats Ballet Berlin ABT should really do whatever they have to do - absolutely ANYTHING to GET HIM BACK!!!

Although I honestly believe that they are more in need of top level ballerinas, they desperately need a star like Simkin. Bring him back!

[MarzipanShepherdess]

1 hour ago, nysusan said:

Now that Simkin has left the Staats Ballet Berlin ABT should really do whatever they have to do - absolutely ANYTHING to GET HIM BACK!!!

Although I honestly believe that they are more in need of top level ballerinas, they desperately need a star like Simkin. Bring him back!

Agree wholeheartedly, I'd love to see Simkin return, even if just for more regular guesting!  Years ago, I used to attend ABT as often as 3x a week because there were so many dancers I wanted to see that I couldn't pick just one cast. Now, it's a struggle for me to find one cast where I'm excited to see at least one of the leads and can tolerate the other. I think they need more of a middle road between the old regime, which had so many guest artists and international stars joining as principals, and now, when it's all home-grown talent.