ABT Fall 2024 Season

[volcanohunter]

24 minutes ago, California said:

Cornejo is 44  years old. Can you think of another male dancer who performed until he was 48 or 49 without embarrassing himself??

Roberto Bolle, now 49, has held up really well for a very long time. Manuel Legris faced mandatory retirement from the POB at 45--being grandfathered into the previous retirement age for men--in excellent condition, but continued with gala appearances long after that. At the Hamburg Ballet Carsten Jung and Alexandre Riabko danced brilliantly in their mid forties. I saw Richard Cragun do his signature triple tours en l'air when he was 45. Now that was something close to an ageless dancer!

Edited July 17 by volcanohunter

[ABT Fan]

Bolle is a unicorn. I really don't want to see Cornejo embarrass himself or the company and the baton needs to be passed. I really wonder what Murphy's plans are as well. Is Jaffe going to let them hold on much longer?

[aurora]

44 minutes ago, abatt said:

Delusional in so many ways.  Herman is currently operating on fumes a lot of the time.

 

Having seen Cornejo several times this season, we'll have to agree to vehemently disagree. 😀

He's been in very good form, compelling dramatically and fortunately for him (and us) much less injury prone for the last 5+ years.

Is his elevation what it once was? No. But it is still very good. And in exchange, his artistry and partnering have improved over time. He's still high on my list of male dancers I'd like to see.

[abatt]

Yes, first time in many years that Herman made it through the entire season.  Because of the rep, he did two difficult roles - SL and R&J.  His roles in Woolf Works and LWFC are relatively easy.    Herman was not in Onegin.  

[aurora]

1 hour ago, abatt said:

Yes, first time in many years that Herman made it through the entire season.  Because of the rep, he did two difficult roles - SL and R&J.  His roles in Woolf Works and LWFC are relatively easy.    Herman was not in Onegin.  

Again, I'm fairly sure that isn't true. I don't think he's been out with injury at all for the last many seasons.

[volcanohunter]

3 hours ago, ABT Fan said:

Bolle is a unicorn.

Yes, dancers with such longevity are very rare, especially among men, and to be clear, I don't think it's a good idea to dance leading roles past the mid forties, generally speaking. Once I see signs of "old ballerina syndrome"--when the legs still fly up, but the torso looks creaky--I want to avert my eyes, because I feel as though I'm seeing something that's not meant to be seen in public (like inadvertently walking in on an undressed stranger).

Edited July 17 by volcanohunter

[matilda]

I just listened to the podcast and with all respect to Cornejo and his incredible career, he came off as slightly... arrogant? Between thinking it's a good idea to hold out until his late 40s (I'm curious what rep he expects to still be dancing then), boldly stating he wants to become ABT's director someday, talking about how virtuoso roles are still "easy," and sounding a little bitter that he wasn't cast in Onegin because of his height. I wonder how he felt about about not getting Puck last fall. 

Well, I just hope Roxander doesn't have to wait until Cornejo retires to move up to principal. 

[ABT Fan]

10 hours ago, aurora said:

Again, I'm fairly sure that isn't true. I don't think he's been out with injury at all for the last many seasons.

You’re correct. Cornejo made it through last Met’s and fall season without injury too. I don’t remember what happened in 2022 but it’s been awhile since the days when he had to withdraw a LOT.

8 hours ago, volcanohunter said:

Yes, dancers with such longevity are very rare, especially among men, and to be clear, I don't think it's a good idea to dance leading roles past the mid forties, generally speaking. Once I see signs of "old ballerina syndrome"--when the legs still fly up, but the torso looks creaky--I want to avert my eyes, because I feel as though I'm seeing something that's not meant to be seen in public (like inadvertently walking in on an undressed stranger).

This is exactly how Murphy looks to me (I avoid her shows now unless casting re-shuffling makes that impossible) and Cornejo is definitely showing the signs too, though not as glaring as her.

28 minutes ago, matilda said:

I just listened to the podcast and with all respect to Cornejo and his incredible career, he came off as slightly... arrogant? Between thinking it's a good idea to hold out until his late 40s (I'm curious what rep he expects to still be dancing then), boldly stating he wants to become ABT's director someday, talking about how virtuoso roles are still "easy," and sounding a little bitter that he wasn't cast in Onegin because of his height. I wonder how he felt about about not getting Puck last fall. 

Well, I just hope Roxander doesn't have to wait until Cornejo retires to move up to principal. 

I felt the same. As much as I usually agree that height shouldn’t matter in most roles, sometimes it does. And, as much stage presence as Cornejo has, I feel that Onegin needs stature. Additionally, dancers as well as balletomanes, tend to forget it’s not just about one person being cast. It’s also about who could be paired with them. None of the Tatiana’s cast could dance with him, they’re too tall. He can ONLY dance reasonably with Brandt, Trenary, and Boylston (the later being a tad tall, though they made R&J work out of necessity). 

I would have liked to hear about his plan to acquire the skills needed to run a large, international ballet company. He seems to think that just being in the company for 30 years is enough. I’m not discounting that experience, but that alone isn’t enough. Even though that was McKenzie’s only experience as well.

[abatt]

After reading these portions of the interview with Cornejo, I'm starting to get a better perspective on why Lane preferred not to work with him.  

[California]

49 minutes ago, ABT Fan said:

I would have liked to hear about his plan to acquire the skills needed to run a large, international ballet company. He seems to think that just being in the company for 30 years is enough. I’m not discounting that experience, but that alone isn’t enough. Even though that was McKenzie’s only experience as well.

Jaffe gained important experience running the Pittsburgh company. In interviews at the time, McKenzie essentially said that he got the job because nobody else would take it. It was a rather desperate time for the company, as I remember.

[California]

51 minutes ago, ABT Fan said:

I felt the same. As much as I usually agree that height shouldn’t matter in most roles, sometimes it does. And, as much stage presence as Cornejo has, I feel that Onegin needs stature. Additionally, dancers as well as balletomanes, tend to forget it’s not just about one person being cast. It’s also about who could be paired with them. None of the Tatiana’s cast could dance with him, they’re too tall. He can ONLY dance reasonably with Brandt, Trenary, and Boylston (the later being a tad tall, though they made R&J work out of necessity). 

Daniil Simkin did Lensky with the Berlin company. We'll never know if Cornejo was offered that role or if everybody just felt it was "beneath" him. I'm glad we got to see Aran Bell as Lensky and hope we'll see him as Onegin some day.

[abatt]

According to his bio, Isaac Hernandez has done Onegin.  I wonder if this will be revived next spring. Short principals have been doing Lensky for some time.  I remember Corella doing Lensky.

Edited July 17 by abatt

[ABT Fan]

2 hours ago, California said:

Jaffe gained important experience running the Pittsburgh company. In interviews at the time, McKenzie essentially said that he got the job because nobody else would take it. It was a rather desperate time for the company, as I remember.

Right. But, that shouldn’t be the accepted plan going forward, meaning hiring someone with no experience out of necessity.

Edited July 17 by ABT Fan

[ABT Fan]

3 hours ago, abatt said:

After reading these portions of the interview with Cornejo, I'm starting to get a better perspective on why Lane preferred not to work with him.  

It’s making me think, for sure.

[FauxPas]

I was hoping to catch Cornejo as Romeo last season in 2022 with Cassandra Trenary but he canceled due to injury and was replaced by Calvin Royal.  Though Royal wasn't bad, he wasn't that good either (I have seen the best in that role).  So that was one recent season with injury.   The reports about his Romeo with Boylston were critical of his work and that is a hard role.  I saw him in it with Ferri and Obraztsova before the pandemic where he was on fire.  I don't need to see the middle-aged version.

I also remember before the pandemic in the late teens, a "Don Quixote" where Cornejo was injured during the final grand pas de deux.  He didn't come out for his solo and Blaine Hoven, the Espada that night, gamely jumped in to dance the coda in his place.  It was a strange night.

Regarding Cornejo this season:  I saw the Siegfried in "Swan Lake" and he still has a classical form, elegance and remnants of the bravura technique that gave a lot of pleasure.  There were places, especially in Act I, where his technique was spotty and he was fudging things and stumbling a bit.  His partnering, stage authority and chemistry with Brandt salvaged the evening.  Also his acting where he really brought out the internal struggles and emotional crises the prince faced from family expectations and his need to be a hero or have some purpose in life beyond marrying and having heirs really was vividly communicated.  So I got a lot of pleasure from his work in that, though I wish I had seen it last year.

He looked good in "Woolf Works" in a not very demanding but exposed role.  As for "Onegin" - there is a lot of hoisting and lifting over the head of the ballerina in the second act of that ballet.  He is more of a Lensky.  Also as we have seen the rights holders and authorized stagers of the Cranko Estate are picky and choosy about casting.

There is nothing in Wheeldon's choreography for "Like Water for Chocolate" that is going to challenge his technical ability, he'll be fine.

But going by this season, I would say that Cornejo definitely has lost a step or two.  Getting by on fumes?  Not exactly but definitely showing the passage of time and many injuries.

Personally, I am not so alarmed by Gillian staying in the game.  A lot of people really enjoyed her "Swan Lake" and I didn't hear anything about her torso being stiff or any big technical fails.  I found her clear form and greater elevation and technical security clarified the choreography of "Woolf Works" though Ferri had more specificity and depth in her acting.  Gillian worked in the role with her own strengths and projected a lot of the tensions in a simple, unfussy way.

I didn't see or read anything about Murphy's Juliet but I bet it still worked well.  I think Whiteside was her Romeo and that might not be a great matchup.

I think that Roxander definitely needs to dance the leads in some full-lengths before he is promoted to principal - but they need to start casting him pronto like they did with Misseldine.

Also, ABT really needs to start training more corps kids and soloists to be back up covers and have understudy casting in the repertory.  When injuries and what not shuffled the casting in "Onegin" and "Romeo and Juliet" they had to have dancers already cast do extra shows.  Boylston ended up doing two consecutive Juliets with two different partners.  Brandt should be taught Juliet - Ferri is around this season to coach her in it.  There needs to be another Romeo and two other Mercutios available now that Jonathan Klein who was so good in the part left the company.  As it is, Roxander and Gonzalez had to do extra shows and split the part to make up for Pogossian's injury.  Ditto Brandt having to take over Trenary's shows in "LWFC" as well has her own Tita and Gertrudis assignments.  That's a lot of dancing.

I am curious as to who they will promote to soloist - they are going to need to learn several roles and fast.

BTW:  Cory Stearns has not been injured this season and was solid if not brilliant.  Also Whiteside also managed a full season after a big injury with good response for his Onegin debut.  I saw both and preferred Cory's more remote, superficially more romantic take on Onegin.  However, Cornejo and Stearns and Whiteside are near or past retirement age and there needs to be several dancers being prepared to take their place.  Hernandez is a good replacement but he isn't that young - he is 34 and has been out there a while.  In five years, the company will be in big trouble unless they hire in or until the next generation of dancers appears.  And that new generation need to be cast and trained and developed NOW.

Edited July 17 by FauxPas

[abatt]

Thanks for the reminder about Cornejo withdrawing from R&J last season.  I knew he withdrew from something but couldn't recall the specifics.  

I thought Murphy looked a lot better this season as compared to Cornejo in terms of technique.

Edited July 17 by abatt

[baddancer]

I have not yet seen Cornejo this season but saw Murphy's Juliet. While she is still beautiful in the role, I didn't believe her relationship with Whiteside's Romeo whatsoever. I wish Juliet could be more of a soloist role. I'm happy she's still dancing but she should not be playing a 14 year old. I would even love to see Corps women in the role- imagine Elizabeth Beyer!!

[Marta]

4 hours ago, ABT Fan said:

It’s making me think, for sure.

 Above was in response to what abatt said: After reading these portions of the interview with Cornejo, I'm starting to get a better perspective on why Lane preferred not to work with him.  

 Making me think too!  As a big fan of Lane, I was really surprised when she made negative comments about him, although I don't think she named him.  I didn't want to believe that she was totally wrong.  I saw Lane and Cornejo in Ratmansky's Sleeping Beauty in  2019, and most recently I saw him in SL 2023.  There was a marked difference in technique in that 4 years. It's hard to imagine him dancing  for 4 more years.

[abatt]

The interview that I read of Lane's remarks was to the effect that she asked McKenzie if she could work with other partners instead of Cornejo, and McKenzie thereafter would barely cast her in anything.  I don't remember what publication.

Interestingly, she and Cornejo danced together many times not only at ABT, but for Angel Corella's company before it disbanded.  

 

Edited July 17 by abatt

[matilda]

Actually it was 2022 when Cornejo withdrew from R&J and was replaced by Royal for Trenary's debut. So Cornejo has now made it two Met seasons in a row without injury. Fun fact: the ABT website calendars for the summer and fall seasons let you click back in time and see program/casting info from past seasons. 

[Marta]

1 hour ago, abatt said:

The interview that I read of Lane's remarks was to the effect that she asked McKenzie if she could work with other partners instead of Cornejo, and McKenzie thereafter would barely cast her in anything.  I don't remember what publication.

Interestingly, she and Cornejo danced together many times not only at ABT, but for Angel Corella's company before it disbanded.  

 

Yes.  That interview was in Pointe magaziine.  I read it after reading about trouble between Lane and Cornejo somewhere else.

[Dale]

Company release about Fall season (CORRECTED):

AMERICAN BALLET THEATRE ANNOUNCES 2024 FALL SEASON AT THE DAVID H. KOCH THEATER, OCTOBER 16–NOVEMBER 3, 2024 

WORLD PREMIERE OF HELEN PICKETT’S CRIME AND PUNISHMENT AND WORLD PREMIERES BY KYLE ABRAHAM AND GEMMA BOND TO HIGHLIGHT THE SEASON 

 

ABT FAMILY FRIENDLY MATINEE PERFORMANCES ON SUNDAY, OCTOBER 20 AND 27, 2024, AT 12:30 P.M. 

 

BOX OFFICE TO OPEN WEDNESDAY, SEPTEMBER 4 AT 12:00 P.M. 

 

NEW YORK, NY (Thursday, July 18, 2024) – American Ballet Theatre’s 2024 Fall season was announced today by Artistic Director Susan Jaffe. The season will run from October 16–November 3 at the David H. Koch Theater and will feature four programs: Innovation Past and Present, Choreographers of the 20th and 21st Centuries, Signature Works, and Helen Pickett’s full-length Crime and Punishment. Within the programs, featured ballets include World Premieres by Kyle Abraham and Gemma Bond, Harald Lander’s Études, George Balanchine’s Ballet Imperial and Sylvia Pas de Deux, Alexei Ratmansky’s Neo, Twyla Tharp’s In the Upper Room and Sinatra Suite, Natalia Makarova’s The Kingdom of the Shades, and pas de deux from Lynne Taylor-Corbett's Great Galloping Gottschalk and Jessica Lang’s Children’s Songs Dance.  

 

Principal Dancers for the 2024 Fall season include Joo Won Ahn, Aran Bell, Isabella Boylston, Skylar Brandt, Daniel Camargo, Herman Cornejo, Thomas Forster, Catherine Hurlin, Chloe Misseldine, Gillian Murphy, Calvin Royal III, Hee Seo, Christine Shevchenko, Cory Stearns, Devon Teuscher, Cassandra Trenary, James Whiteside, and Roman Zhurbin. Isaac Hernández will join ABT as a Guest Artist for the 2024 Fall season. 

 

Fall Gala 

The 2024 Fall Gala will take place on Wednesday evening, October 23 at 6:30 P.M. at the Koch Theater. For more information on ABT’s Fall Gala, please contact the Special Events Office at specialevents@abt.org.  

 

World Premieres 

ABT’s Fall season will feature three World Premieres from choreographers Helen Pickett, Kyle Abraham, and Gemma Bond.  

 

With choreography, co-direction, and treatment by Helen Pickett, and direction and treatment by James Bonas, Crime and Punishment will receive its World Premiere on Wednesday, October 30 at 7:30 P.M. and will run for six performances. Based on Dostoyevsky’s 1866 modern psychological thriller, Crime and Punishment follows Raskolnikov in a story about an unstable human being in roiling turmoil resulting from a deadly, catastrophic choice. 

 

Raskolnikov’s duality as a human capable generosity and loyalty and a fraught murderer, provides a startling source from which to create a ballet. Crime and Punishment is a harrowing journey towards redemption, holding a mirror up to one’s humanity and to the world today. 

 

Crime and Punishment features music by Isobel Waller-Bridge, set and costume design by Soutra Gilmour, lighting design by Jennifer Tipton, and video design by Tal Yarden. 

 

Both Abraham and Bond’s World Premieres will be presented on Wednesday, October 16 at 7:30 P.M. and will run throughout Innovation Past and Present, the first program of the Fall season.  

 

In an interweaving of classical and contemporary vocabularies, Abraham’s World Premiere includes costume design by Karen Young and lighting design by Dan Scully. 

 

Described as an “abstract tutu ballet,” Bond’s World Premiere brims with emotion, ranging from rapture to yearning to sorrow. The new work includes music by Ottorino Respighi after Gioachino Rossini, set and costume design by Jean-Marc Puissant, and lighting design by Clifton Taylor.  

 

Innovation Past and Present 

Innovation Past and Present will be offered October 16–18, at the matinee performance on October 19, and on October 24, 2024. This first program will consist of Abraham and Bond’s World Premieres and Harald Lander’s Études. 

 

An exhilarating tribute to the art form of classical ballet, Harald Lander’s Études is set to music by Carl Czerny and arranged by Knudåge Riisager. Étudesingeniously illustrates the development of a dancer’s technique and artistry, from the regimen of exercises at the barre to the dazzling heights of balletic proficiency. Created in 1948 at the Royal Opera House in Copenhagen for the Royal Danish Ballet, Études was later staged for the Paris Opera Ballet in 1952 and has been performed by other leading companies in Moscow and London, among others. American Ballet Theatre first presented Études at the 54th Street Theatre, New York, New York, on October 5, 1961, with the cast headed by Toni Lander, Royes Fernandez, and Bruce Marks. Études was staged for ABT by Thomas Lund. 

 

Choreographers of the 20th and 21st Centuries 

Choreographers of the 20th and 21st Centuries is the second program of the 2024 Fall season, which will be performed at the evening performances on October 19, October 20, and October 25. Choreographers of the 20th and 21st Centuries will include George Balanchine’s Ballet Imperial, Alexei Ratmansky’s Neo, and Twyla Tharp’s In the Upper Room.  

 

Ballet Imperial, choreographed George Balanchine, set to Peter Ilyitch Tchaikovsky’s Concerto No. 2 in G for Piano and Orchestra with scenery and costumes by Jean-Marc Puissant and lighting by Mark Stanley, evokes the era of Russia’s Imperial Ballet with its grandeur. The ballet received its World Premiere by American Ballet Caravan at the Hunter College Playhouse, New York, New York, on May 27, 1941, danced by Marie-Jeanne, Gisella Caccialanza, and William Dollar. The American Ballet Theatre Company Premiere of Ballet Imperial was given on February 10, 1988, at the Auditorium Theatre, Chicago, Illinois, danced by Susan Jaffe, Ross Stretton, and Amanda McKerrow. Ballet Imperial was staged for ABT by Colleen Neary. 

 

Alexei Ratmansky’s Neo is a demanding pas de deux, challenging its dancers to perform a work that is fevered and sensuous, daring and stunning. Neo is set to music by Dai Fujikura with costumes by Moritz Junge and lighting by Brad Fields. The October 19 performance marks Neo’s Company Premiere. The piece was originally created on ABT Principal Dancers James Whiteside and Isabella Boylston for an online performance presented by The Joyce Theater, New York, New York, on May 19, 2021. 

 

In the Upper Room is a ballet in nine parts, choreographed by Twyla Tharp and set to music by Philip Glass with costumes by Norma Kamali and lighting by Jennifer Tipton. In the Upper Room was given its World Premiere by Twyla Tharp Dance on August 28, 1986, at the Ravinia Festival in Highland Park, Illinois, and received its American Ballet Theatre Premiere on December 10, 1988, at the Orange County Performing Arts Center in Costa Mesa, California. The ballet is staged for ABT by Shelley Washington and Blaine Hoven. 

 

Signature Works 

Signature Works will be offered at the matinee performance on Saturday, October 26, the evening performance on Saturday, October 26, and the evening performance on Sunday, October 27. This third program will feature The Kingdom of the Shades, a selection of iconic pas de deux, and Twyla Tharp’s In the Upper Room.  

 

Choreographed by Natalia Makarova after Marius Petipa, The Kingdom of the Shades is set to music by Ludwig Minkus, specially arranged by John Lanchbery, and features scenery by PierLuigi Samartitani, costumes by Theoni V. Aldredge and lighting by Toshiro Ogawa. The Kingdom of the Shades was first performed in the West by the Leningrad-Kirov Ballet in 1961. Makarova first staged The Kingdom of the Shades for American Ballet Theatre in 1974, and it received its Company Premiere at the State Theater in New York, New York, on July 3 of that year, danced by Cynthia Gregory as Nikiya and Ivan Nagy as Solor. 

 

At the matinee performance on Saturday, October 26 and at the evening performance on Sunday, October 27, the selection of iconic pas de deux will include Twyla Tharp’s Sinatra Suite and George Balanchine’s Sylvia Pas de Deux.  

 

With choreography by Twyla Tharp, Sinatra Suite features music by Frank Sinatra, costume design by Oscar de la Renta, and lighting design by Jennifer Tipton. Nine Sinatra Songs, from which Sinatra Suite is excerpted, was given its world premiere by Twyla Tharp Dance on October 14, 1982, at the Queen Elizabeth Theatre in Vancouver, British Columbia, Canada. Sinatra Suite was given its American Ballet Theatre Premiere on December 6, 1983, at the Kennedy Center for the Performing Arts in Washington, D.C., featuring Elaine Kudo and Mikhail Baryshnikov. 

 

Sylvia Pas de Deux features choreography by George Balanchine, music by Léo Delibes, lighting by Nananne Porcher, and staging by Marina Eglevsky. This production features costumes by Santo Loquasto. Sylvia Pas de Deux received its world premiere by New York City Ballet at City Center 55 Street Theater, New York, New York, on December 1, 1950. It received its Company Premiere on August 20, 1964, at Teatro Municipal in Rio de Janeiro, Brazil, with Sonia Arova and Royes Fernandez.  

 

During the evening performance on Saturday, October 26, in addition to The Kingdom of the Shades, Sylvia Pas de Deux, and In the Upper Room, a pas de deux from Great Galloping Gottschalk and Alexei Ratmansky’s Neo will be performed.  

 

Great Galloping Gottschalk, choreographed by Lynne Taylor-Corbett, was given its World Premiere on January 12, 1982, at Miami Beach Theater of the Performing Arts in Miami Beach, Florida. The excerpted pas de deux is set to music by Louis Moreau Gottschalk with costume design by Gretchen Warren and lighting design by Brad Fields based on the original lighting design by Edward M. Greenberg. 

 

Family Friendly Matinees 

American Ballet Theatre will offer two Family Friendly Matinee programs on Sunday, October 20 and Sunday, October 27 at 12:30 P.M. These programs are geared towards families as an entry point to ABT’s repertoire, introducing them to a shorter form afternoon at the ballet.  

 

At the matinee performance on Sunday, October 20, ABT will perform George Balanchine’s Ballet Imperial and Twyla Tharp’s In the Upper Room. At the matinee performance on Sunday, October 27, ABT will perform pas de deux from Lynne Taylor-Corbett's Great Galloping Gottschalk and Jessica Lang’s Children’s Songs Dances, Balanchine’s Sylvia Pas de Deux, and Harald Lander’s Études.  

 

Lang’s Children’s Songs Dance is set to selections from Children’s Songs by the late American jazz composer Chick Corea. The ballet was created on ABT Studio Company in January 2020 and received its ABT Company Premiere on August 9, 2022, as part of Lincoln Center’s BAAND Together Dance Festival. According to Lang, Children’s Songs Dance “draws its inspiration from the transition in life between being a child and becoming an adult, with the goal of never losing the spirit of play.” Children’s Songs Dance features costume design by Jillian Lewis and lighting by Nicole Pearce. 

 

Ticket Policies 

Tickets for American Ballet Theatre’s 2024 Fall season at the David H. Koch Theater will go on sale beginning Wednesday, September 4 at 12:00 P.M. Tickets can be purchased by phone at 212-496-0600, in person at the Koch Theater box office, or online at ABT’s website. Tickets start at $30. During the 2024 Fall season, ABT will offer audience members the opportunity to exchange tickets up until Noon the day of the performance at no charge, minus any difference in ticket price. We regret that there are no refunds or cancellations. 

 

Donor Advance Sale will begin Tuesday, August 20 at 12:00 P.M. Visit ABT’s website to learn more and become a member.  

 

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®. 

 

Leadership support of ABT’s New Works Initiative is provided by the Blavatnik Family Foundation, The Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. 

 

In addition, the Fall Season’s three World Premieres are made possible in part with support from the Rockefeller Brothers Fund. 

 

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. 

 

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

 

ABT is supported, in part, with public funds from 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.  

 

[JenniferV]

Not seeing Misty Copeland or Herman Cornejo listed as principals. Thoughts?

[Kristen]

Glad to finally get the dates - 3 full weeks - NICE! I so wish they'd do the full Great Galloping Gottschalk, but I'll settle for the PDD. Susan Jaffe was lovely in that back in the day. (ABT in San Francisco DVD)

[abatt]

15 minutes ago, JenniferV said:

Not seeing Misty Copeland or Herman Cornejo listed as principals. Thoughts?

Not surprised that Copeland is not listed.  She is de facto retired.  The fact that Herman is not listing is puzzling.  

So Aran Ball has withdrawn from the last two fall seasons.  Hopefully he will appear this fall.

I may be in the minority here, but it seems like In The Upper Room and Sinatra... are presented with too much frequency.  Tharp's company was at City Center two years ago and performed both of these works.  Push Comes To Shove would have been a better choice.

Interesting that they are also bringing back Sylvia pas, which NYCB is also reviving.

 

Edited July 18 by abatt