Ardani Artists are presenting the Kirov Ballet at the City Center from April 1-20, 2008 in some amazing programs:

http://www.nycitycenter.org/events/event_d...vent_code=KIR08

Tickets go on sale Friday, April 20th at 11:00am!!

Apr 01, 7:30 PM
Act One Raymonda (Act 3)
Music: Alexander Glazunov
Choreography: Marius Petipa

Act Two Paquita (Grand Pas)
Music: Ludwig Minkus
Choreography: Marius Petipa

Act Three La Bayadere (The Kingdom of Shadows)
Music: Ludwig Minkus
Choreography: Marius Petipa

------------------------------------

Apr 02, 7:30 PM
Act One Raymonda (Act 3)
Music: Alexander Glazunov
Choreography: Marius Petipa

Act Two Paquita (Grand Pas)
Music: Ludwig Minkus
Choreography: Marius Petipa

Act Three La Bayadere (The Kingdom of Shadows)
Music: Ludwig Minkus
Choreography: Marius Petipa

--------------------------------------

Apr 03, 7:30 PM
Act One Raymonda (Act 3)
Music: Alexander Glazunov
Choreography: Marius Petipa

Act Two Paquita (Grand Pas)
Music: Ludwig Minkus
Choreography: Marius Petipa

Act Three La Bayadere (The Kingdom of Shadows)
Music: Ludwig Minkus
Choreography: Marius Petipa

----------------------------------------

Apr 04, 8:00 PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine

Act Three Scheherazade
Music: Nikolai Rimsky-Korsakov
Choreography: Michel Fokine

-------------------------------------

Apr 05, 2:00 PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine

Act Three Scheherazade
Music: Nikolai Rimsky-Korsakov
Choreography: Michel Fokine

-------------------------------------

Apr 05, 8:00 PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine

Act Three Scheherazade
Music: Nikolai Rimsky-Korsakov
Choreography: Michel Fokine

---------------------------------------

Apr 06, 3:00 PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine

Act Three Scheherazade
Music: Nikolai Rimsky-Korsakov
Choreography: Michel Fokine

-------------------------------------------

Apr 08, 7:30 PM
Act One The Awakening of Flora
Music: Riccardo Drigo
Choreography: Marius Petipa

Act Two Diana and Acteon (Pas de Deux)
Music: Cesare Pugni
Choreography: Agrippina Vaganova

Pause

Don Quixote (Grand Pas de Deux)
Music: Ludwig Minkus
Choreography: Alexander Gorsky

Act Three La Bayadere (The Kingdom of Shadows)
Music: Ludwig Minkus
Choreography: Marius Petipa

------------------------------------------

Apr 09, 7:30 PM
Act One The Awakening of Flora
Music: Riccardo Drigo
Choreography: Marius Petipa

Act Two Diana and Acteon (Pas de Deux)
Music: Cesare Pugni
Choreography: Agrippina Vaganova

Pause

Don Quixote (Grand Pas de Deux)
Music: Ludwig Minkus
Choreography: Alexander Gorsky

Act Three La Bayadere (The Kingdom of Shadows)
Music: Ludwig Minkus
Choreography: Marius Petipa

--------------------------------------------------------------

Apr 10, 7:30 PM
Act One The Awakening of Flora
Music: Riccardo Drigo
Choreography: Marius Petipa

Act Two Diana and Acteon (Pas de Deux)
Music: Cesare Pugni
Choreography: Agrippina Vaganova

Pause

Don Quixote (Grand Pas de Deux)
Music: Ludwig Minkus
Choreography: Alexander Gorsky

Act Three La Bayadere (The Kingdom of Shadows)
Music: Ludwig Minkus
Choreography: Marius Petipa

-------------------------------------------------------

Apr 11, 8:00 PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine

Act Three Etudes
Music: Karl Czerny
Choreography: Harald Lander

-----------------------------------------

Apr 12, 2:00 PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine

Act Three Etudes
Music: Karl Czerny
Choreography: Harald Lander

-------------------------------------------------

Apr 12, 8:00 PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine

Act Three Etudes
Music: Karl Czerny
Choreography: Harald Lander

------------------------------------------------

Apr 13, 3:00 PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine

Act Three Etudes
Music: Karl Czerny
Choreography: Harald Lander

-------------------------------------------

Apr 15, 7:30 PM
Act One Steptext
Music: J.S. Bach
Choreography: William Forsythe

Act Two Approximate Sonata
Music: Thom Willems
Choreography: William Forsythe

Pause

The Vertiginous Thrill of Exactitude
Music: Franz Schubert
Choreography: William Forsythe

Act Three In the Middle, Somewhat Elevated
Music: Thom Willems
Choreography: William Forsythe

---------------------------------------------

Apr 16, 7:30 PM
Act One Steptext
Music: J.S. Bach
Choreography: William Forsythe

Act Two Approximate Sonata
Music: Thom Willems
Choreography: William Forsythe

Pause

The Vertiginous Thrill of Exactitude
Music: Franz Schubert
Choreography: William Forsythe

Act Three In the Middle, Somewhat Elevated
Music: Thom Willems
Choreography: William Forsythe

-------------------------------------------------

Apr 17, 7:30 PM
Act One Steptext
Music: J.S. Bach
Choreography: William Forsythe

Act Two Approximate Sonata
Music: Thom Willems
Choreography: William Forsythe

Pause

The Vertiginous Thrill of Exactitude
Music: Franz Schubert
Choreography: William Forsythe

Act Three In the Middle, Somewhat Elevated
Music: Thom Willems
Choreography: William Forsythe

-------------------------------------------------

Apr 18, 8:00 PM
Act One Jewels (Rubies)
Music: Igor Stravinsky
Choreography: George Balanchine

Act Two Serenade
Music: Pyotr Tchaikovsky
Choreography: George Balanchine

Act Three Ballet Imperial
Music: Pyotr Tchaikovsky
Choreography: George Balanchine

-------------------------------------------------

Apr 19, 2:00 PM
Act One Jewels (Rubies)
Music: Igor Stravinsky
Choreography: George Balanchine

Act Two Serenade
Music: Pyotr Tchaikovsky
Choreography: George Balanchine

Act Three Ballet Imperial
Music: Pyotr Tchaikovsky
Choreography: George Balanchine

-------------------------------------------------

Apr 19, 8:00 PM
Act One Jewels (Rubies)
Music: Igor Stravinsky
Choreography: George Balanchine

Act Two Serenade
Music: Pyotr Tchaikovsky
Choreography: George Balanchine

Act Three Ballet Imperial
Music: Pyotr Tchaikovsky
Choreography: George Balanchine

-------------------------------------------------

Apr 20, 3:00 PM
Act One Jewels (Rubies)
Music: Igor Stravinsky
Choreography: George Balanchine

Act Two Serenade
Music: Pyotr Tchaikovsky
Choreography: George Balanchine

Act Three Ballet Imperial
Music: Pyotr Tchaikovsky
Choreography: George Balanchine

The ticket prices:

$110.00 Orchestra
$110.00 Grand Tier Center
$35.00 Grand Tier Sides
$75.00 Mid-Mezzanine
$75.00 Mid-Mezzanine Sides 1
$35.00 Mid-Mezzanine Sides 2
$60.00 Rear Mezzanine (J-Q)
$35.00 Rear Mezzanine (R-V)
$35.00 Rear Mezzanine Sides
$60.00 Front Gallery Center
$35.00 Front Gallery Sides
$35.00 Rear Gallery

That's absolutely amazing!!!!!!!!

And you have to buy tickets a year in advance, huh?

Oh well, it's a great opportunity

That's quite an understatement. Thanks, Dale! Thanks, Ardani! Thanks, Kirov!

And let's hope the programs as announced are what we end up seeing.

The City Center stage seems small for the Shades section of La Bayadere although it would probably be interesting to see the soloists closer.

Whew!!--this news really opened my eyes this morning. Dale, do you know if online ordering will be available tomorrow?

Interesting - Ardani usually presents Eifman during that time. Will we be spared? ;)

Spectacular news! One has to wonder if this will be THE 2008 Mariinsky Festival, here in the USA? [Won't the Mariinsky be closed next year?] Regardless - it will certainly be a festival for us.

It's nice that we know about this one full year in advance, so as to make appropriate vacation & lodging plans. Some of us may be 'camping out' in NYC for an extended period. )

Can't breathe here! WOW! Thank you Ardani!

Further information:

KIROV BALLET
AND ORCHESTRA
TO PERFORM AT
NEW YORK CITY CENTER
April 1 – 20, 2008
Featuring Uliana Lopatkina, Diana Vishneva,
Igor Zelensky and Leonid Sarafanov

New York, NY – April 18, 2007 - Ardani Artists and New York City Center are proud to announce that the
world renowned Kirov Ballet, also known as Ballet Company of the Mariinsky Theatre of St. Petersburg, Russia,
returns to New York for a three-week engagement in April 2008. The season will be presented by Ardani Artists
in association with New York City Center, and will run from April 1 through April 20, 2008. Tickets will go on
sale April 20, 2007.

During its three-week season, the 200-year-old Russian company, under the Artistic Direction of Valery Gergiev
and Director of the Ballet Makhar Vaziev, will be performing a wide range of works by the choreographers and
artists who have made the Kirov one of the world’s greatest ballet companies, as well as works by contemporary
dance makers. The company’s rich classical repertoire includes works by Marius Petipa, Michel Fokine and
George Balanchine and more modern works by William Forsythe. The Kirov Ballet will bring some of its most
acclaimed repertory classics: Petipa’s The Kingdom of Shadows from La Bayadere; Fokine’s Scheherazade and Chopiniana;
Gorsky’s The Grand Pas de Deux from Don Quixote; Balanchine’s Jewels (Rubies) and Ballet Imperial; as well as
Forsythe’s Steptext.

It will be first appearance of the Kirov Ballet and Orchestra at New York City Center, home to some of the country’s leading dance companies, including Alvin Ailey American Dance Theater, American Ballet Theatre and
Paul Taylor Dance Company.

“We look forward to returning to New York City,” said Mr. Gergiev, “and especially to our first season at New
York City Center, which has a long history of presenting world-class companies and choreographers, just like our
home at the Mariinsky in St. Petersburg.”

The historic Kirov Ballet was founded in 1783 and is closely linked with the legacy of classical Russian ballet, and
throughout the centuries, the company has produced the world’s greatest dancers in ballet, including such
legendary performers as Anna Pavlova, Vaslav Nijinsky, Rudolf Nureyev, Mikhail Baryshnikov, Natalia Makarova
and many more.

Under the artistic direction of Valery Gergiev since 1988, the Kirov continues its tradition of discovering
exceptional dancers: Uliana Lopatkina, Diana Vishneva, Daria Pavlenko, Igor Zelensky, Igor Kolb, Andrian
Fadeev, Danila Korsuntsev and Leonid Sarafanov will be part of the 200-member company performing at City
Center.

Ardani Artists Management was founded in Moscow by arts promoter Sergei Danilian in 1990, and entered the
American market in 1994. The Company has brought to the U.S. some of the best exponents of arts and culture
from the former Soviet Union. In 1998, Ardani Artists introduced American audiences to the Eifman Ballet of St.
Petersburg, Russia’s leading contemporary ballet company. Since 1998, the Eifman Ballet has appeared regularly at
New York City Center, and toured the U.S. on regular basis. Ardani Artists has also presented the Bolshoi Ballet
on a U.S. tour in 2002, and the Mariinsky (Kirov) Ballet in 2003, 2005, and 2006 U.S. tours. In 2006, in
collaboration with the Orange County Performing Arts Center, the West Coast’s premier presenter of dance,
Ardani Artists produced the critically acclaimed “Kings of the Dance” and The Mariinsky Festival (Opera, Ballet,
Orchestra) as part of the Center’s 20th Anniversary celebrations and opening of its new concert hall. Ardani
Artists’ upcoming projects include another co-production with OCPAC: “Diana Vishneva: Beauty in Motion,”
Teatro alla Scala Ballet Company U.S. tour and a “Kings of the Dance” tour in Russia.

New York City Center has long been known and beloved by New York audiences not only as one of the city's
preeminent performing arts institutions but also as an accessible and welcoming venue for dance. New York City
Center is the New York home to some of the country’s leading dance companies, including Alvin Ailey American
Dance Theater, American Ballet Theatre and Paul Taylor Dance Company. Continuing to fulfill its mission to
make the arts accessible to the broadest possible audiences, in 2004 New York City Center launched the
acclaimed Fall for Dance Festival which, for $10 a ticket, annually celebrates the vitality and creativity of dance
today. In 2006, New York City Center and London’s Sadler’s Wells Theatre created a partnership to facilitate the
exchange of innovative dance works and new commissions by up-and-coming and acclaimed choreographers and
dance companies, both in London and in New York City. In addition to its rich dance offerings, New York City
Center also produces the Tony®-honored Encores! musical theater series, and is the home of Manhattan Theatre
Club, one of New York City’s premier theater companies.

Tickets for the Kirov’s 2008 New York City Center season will be available beginning April 20 at the New York
City Center Box Office (West 55th Street between 6th and 7th Avenues), through CityTix® at 212-581-1212, or
online at www.nycitycenter.org. Tickets for the Orchestra and Grand Tier are $110; Mid-Mezzanine tickets are
$75; tickets for the Rear Mezzanine are $60 and $35.

The Kirov will be performing the following ballets and excerpts during its City Center engagement:

Paquita (Grand Pas), Marius Petipa
Raymonda (Act 3), Marius Petipa
La Bayadere (The Kingdom of Shadows), Marius Petipa
Chopiniana, Michel Fokine, Michel Fokine
The Dying Swan, Michael Fokine
Le Spectre de la Rose, Michel Fokine
Scheherazade, Michel Fokine
Diana and Acteon (Pas de Deux), Agrippina Vaganova
Don Quixote, (Grand Pas de Deux), Marius Petipa
The Awakening Flora, Marius Petipa
La Bayadere (The Kingdom of Shadows), Marius Petipa
Etudes, Harald Lander Steptext, William Forsythe
Approximate Sonata, William Forsythe
The Vertiginous Thrill of Exactitude, William Forsythe
In The Middle, Somewhat Elevated, William Forsythe,
Jewels (Rubies), George Balanchine
Serenade, George Balanchine
Ballet Imperial, George Balanchine

I'm ecstatic!!!

Thank you, Dale, for the heads up!!!!!

Can't take the credit...a very nice person gave me the heads-up.

I'll be up in the area Saturday afternoon, so I thought I'd try to get something for one of the Rubies performances. Does anyone have any idea if this sort of thing sells out so fast I shoudn't even wait that long? I could do it by phone or online tomorrow, but I like going to the box office when I can. Please advise.

Given the dearth of Good Seats in City Center, I would recommend buying at the soonest opportunity, not the second soonest.

I'm putting together a list of programs I'd like to see.

Great intentions. It'll be interesting to see next April how the programs match what they are showing now.

A year is a long time in advance to put out a schedule.

One should temper one's enthusiasm.
Point 1: Most of what will be on stage will be blocked from view. See recent venues discussion, not to mention the leaners problem. Unless you are in the (W)NBA, I hope you can get Grand Tier, Row A, 3 digits. But definitely not row B.
Point 2: Some of what is promised will not fit on that stage. I would assume that at some point the Mariinsky will learn the stage dimensions.

I won't assume anything -- at least ahead of time, but a reduced Shades corps of 24 should be okay. Balanchine's Theme & Variations, with its 24 corps & demis combined, plus two principals, premiered on that stage, and ABT has performed it recently there.

There is the additional matter of no wing space, which I hope comes as no surprise by the time the company arrives on 55th St.

The Kirov (and the Vaganova school) did the Shades scene at BAM and the company did it at the smaller of the 2 theaters at the Kennedy Center. It wasn't the perfect space but I think they're used to those conditions. Not every theater they perform in is as big as it's home theater, the Royal Opera House or the Met.

Thanks, I agree, and had not immediately noticed that that will be all-Balanchine--should be stupendous, even in that theatre. Good Seats in City Center are definitely in dearth supply, as we all know...

I guess I'll try the phone first, and if I don't get through in five minutes, then do it online.

This is just plain thrilling, especially after I was recently lamenting not finding it practicable to travel to Russia (nor terribly wanting to) to see the Kirov. I hope the Royal will see fit to re-visit us too, even if we get the same sea-level arrangement (if it's good enough for the Kirov, it's good enough for me and anybody else, if I do say so myself).

Wow, great news!!! tempted to go and get tickets to EVERY performance ;-)) (will go bankrupt then). Is it common that tickets go on sale so long in advance? a year?
... anyway, praying that I can stay in the USA next year... and if it happens - contact me if you need "the camp out" solutions ;-)) NY is such an expensive place for even camping out ;-))

Purchase done successfully over the City Center website. Nice Center Mezz seats for all of my choices. Now I need to hide the bill from my husband.... Awww, just kidding! He loves ballet, too!

Me too! Very fast and easy and I got decent seats. I bought three programs I wanted to see, maybe will pick up more later.

Got mine, too. I feel weird ordering tickets a year in advance. I'll have to tell my next of kin about them! My guess is they'll use the revenue generated by the early ticket sales the same way sports teams use their early season ticket renewal money.

Truly weird. One of the dates I bought was the closing performance, the matinee on April 20, 2008 and I thought, "that's exactly a year from today"

Oh well, nothing wrong with doing something different

I've been trying to get onto the City Center site since 7:30am PDT, to no avail Diagnostics says the City Center host is not responsive to a ping.

Am I the only one hesitant because of the inevitable program changes?

And this is just me, but between the Kirov doing Balanchine at the tail end of the run and going to Paris/London for the programs from 4/20-24, I'm going to opt for Paris/London. It's not that I think the Kirov won't do Balanchine well; I just want to go to Paris

I phoned in my order for 3 performances. Fairly good seats---mid-mezzanine Row A. Price is a bit steep for that location. ($75.)

The big Kirov Shuffling Game is usually with the announced casting. Perhaps one out of three ballets on a mixed bill may be changed, e.g., Theme & Variations in place of Ballet Imperial. 'Flora's Awakening' and 'Raymonda Act 3' are, IMO, the huge novelties (for the US) and, thus, lures of this run; they wouldn't dare change that.

We can almost guess the casting.

The first night will undoubtedly include Lopatkina and Vishneva. I can easily see the following casting for the opening night:

Raymonda A3 - Lopatkina/Zelensky
Paquita - Vishneva/Kolb
Bayadere Shades - Pavlenko/Sarafanov (...they wouldn't dare cast Somova first night, would they?)

...or...it could be Lopatkina leading every ballet on opening night, as this program mirrors one of her 2005 galas, in which she led each of these ballets in a single night!

Other educated guesses:

* Dying Swan will flip-flop between Lopatkina and Pavlenko

* Ballet Imperial will be first-cast Lopatkina, with possibly Zelensky; Obraztsova as 2nd soloist (Lopatkina recently took on the leading role) Tereshkina/Korsuntsev are also very fine in this. Tkachenko also dances Ballet Imperial (I think), as well as having recently debuted Raymonda...perhaps we'll see her in Raymonda A3? Maybe-maybe, although my guess is that the Raymondas will most likely be, in this order: Lopatkina, Pavlenko, Tereshkina.

* Somova will surely be cast as Nikiya and in Etudes. Sarafanov is fantastic in the '2nd solo guy' role in Etudes...but, if so, expect to see Ilya Kuznetsov or some other tall guy perform the portions of the role that involve partnering the lady. [The Kirov is the only place where I've seen a '3rd solo man' in Etudes, employed just to do the lifting because one of the solo men is too slight.]

* Ayupova might make a 'cameo appearance' in Spectre de la Rose, if she comes. Korsakov and Kolb as the Rose.

* Scheherazade - let's brace ourselves for Farouk Ruzimatov as the Golden Slave; then again, he is ageless in this role, a true artist! IF Farouk dances Golden Slave, then perhaps we'll see his usual recent-partner as Zobeide -- Makhalina? Nioradze may also do a 'cameo' in the role, althoughher recent appearances at the Mariinsky are fewer than even those of Vishneva and Makhalina.

* Novikova/Sarafanov will undoubtedly be first-cast Don Q pdd

* Ekaterina Osmolkina has made a name for helself in Diana & Acteon at competitions and galas; expect to see her in this, perhaps with Shklyarov or Korsakov

* Rubies is Vishneva's signature role, although Novikova dances it regularly now. Fadeev is usual male lead. Golub used to also dance the lead but has, in fact, danced little of anything since the summer '06 Shostakovich fiascos (not her fault; just a coincidence); not sure if Golub has been injured or otherwise indisposed during the present season.

* Serenade - Gumerova & Ostreikovskaya are usually in the female lead casting for this; Dumchenko used to dance it beautifully but doesn't seem to be cast in it very often nowadays

* Chopiniana - Pavlenko! Pavlenko! Pavlenko! She is incomparable in the Prelude. Sukhorukova and Ostreikovskaya have also made names for themselves in this ballet, in recent years. Kolb is a recent-notable male lead. Shklyarov may have already debuted in the role? Sergeev almost surely will, too.

* in the Forsythes, we already know the 'regulars' - see recent Mariinsky Festival cast and/or DC casts, e.g., Andrei Ivanov in Approx Sonata; Pavlenko or Vishneva leading Steptext; Sarafanov/Fadeev as the men in Vertiginous Thrill; Pavlenko & Vishneva exchange the lead in 'Middle' with tall redheaded Kondaurova as the 2nd lead.

* Flora is Obraztsova. It would be great to see her dance the ballet with Fadeev, as they formed such a magical duo in 'Romeo & Juliet' at the Kennedy Centr, last January. Osmolkina also dances Flora. I wouldn't be surprised to also see Novikova in the mix among Floras, come 2008.

Prepare to see LOTS of Alexander Sergeev, who is being pushed mightily by the Kirov coaches nowadays. I wouldn't be surprised, come next April, to see him partnering Lopatkina in Bayadere! Shklyarov is a very wonderful young dancer who will undoubtedly also be featured heavily at City Center.

Perhaps by the time that 2008 rolls around, 2006 graduate Maria Chugai will be taken on tours. She's a real dazzler! The star of the '05 class, Daria Vasnetsova, should also be dabbling in featured roles by then.

THE ONE BUMMER with this programing: No full-evening-length ballet! Folks, this is a season of only 'one acters.' (Inevitable, given the limited wing space at the venue.) Well, at least we'll get the complete 'Bayadere' at the Kennedy Center a couple of months before this.

All in all, the tour is quite promising. What will be the actual casting, one year from now, is anyone's guess.

It is unheard of, except for the Kirov. The tickets for this summer's Ring Cycle by the Kirov Opera at the Met went on sale over a year ahead of time. Then this, with the ballet. I wonder if it is a matter of managing cash flow. Smart, when you have surefire hits such as the Ring and these wonderful programs.

I arrived at 55th St. at 10:20, expecting the box office to open at 11:00, but surprised to discover 1) it didn't open until noon, by which time, I was sure, my specific seats of choice would all be snatched up by phone and internet buyers; and 2) I was, in a historic moment, Number ONE! The second customer, a friend of friends, was number two, arriving ten minutes later. Number three arrived closer to 11:00, as I recall. Joining the line soon thereafter were a few BT-ers. Fortunately, we had beautiful weather to enjoy as we queued.

I bought tickets for myself and a friend, both of us to at least one of each program, all exactly as I requested. Now I just have to remember -- for a year -- where I've tucked my tickets for safekeeping.

Thanks for sharing the on-site aspect of this morning's ticket saga, carbro.

I just saw my boss about taking time off in April 2008 to see the Kirov. You should have seen the dumbfounded expression on his face, as if to say "You have to be kidding!" Then he chuckled, "You've taken this ballet thing to a whole new level." No problem - vacation time has been reserved! No proposal deadline is important enough to keep me from taking my annual leave as requested today. of course, it will take a few reminders between now & then.

I had no problem getting through to any other sites by the City Center site from the USB modem with my laptop. I just went onto my building's shared computer, and voila! Tickets for April 17 and 18.

If I can get off from work to do this trip to Paris/London, I may be sleepwalking through the school performance on the 20th, but it will be worth it

Edited to add: Mais non! I forgot this would be from NYC, where there are morning flights to London that get in early-mid evening, avoiding all semblance of a Saturday the 19th red-eye. An overnight in London, hopefully close to Waterloo station, and then on the 9:09 Eurostar to Gare du Nord, giving me 1.5 hours to get to Palais Garnier by 2:30pm for the school performance with only one transfer on the Metro

I figure if I'm not taking more than three days in a row off between July 2007 and February 2008, I should be able to convince my boss that taking two weeks in March and ten days in April is only fair

Helene - starting May 1 there's AF 004 to Paris - leaves JFK 7:50 am arr CDG 9 pm. Saves you the London transfer - my guess is you can do a split ticket on AF or a skyteam ally (go AF out, then AF to LHR and DL the rest of the way as a codeshare.)

I'll see you there.

My tickets came Monday!!!

Mine came on Monday too! Now I have a whole year to misplace them!

They seem to be aware of the absurdity and risk in selling tickets so far in advance:
I was told by the phone sales person to save my order number, so they could take care of me if I misplaced the tickets.

Here's a suggestion, if you'll forgive my overfamiliarity: In your underwear drawer, taped so the top of the envelope is near the top of the drawer. That way, you'll see them every day.

Or so.

Just got my tickets too: orchestra seats for the last night of the Forsythe, and the first night of the Balanchine.

--Andre

post deleted by author

I got mine, too. I've always kept my ballet tickets & travel vouchers in their very own jewel box, all stacked in chronological order. My treasures - a stack of ballet tickets beats a bag full of diamonds, in my book.

I hope it will not look too inappropriate if I ask what kind of seats everybody managed to secure.

I bought mine at the box office and was told that the best orchestra seats that were actually available started at row K or (in some instances) L. I found it quite unbelievable that they had sold all the center seats in all the front rows for all the performances in just a couple of days (I went to get mine early last week) and was told by the gentleman in the window that those seats (center, rows A through J) had been reserved by the "house". I understand that this is a common practice everywhere and that not every single goes on sale to the general public. But all of the first 9 rows? I was absolutely stunned.

Hence my question. What kind of seats did YOU get? What section were you interested in and was your request accomodated? Were you disappointed in what they offered you or pleasantly surprised? Did you get the section that you wanted? Or is it possible that I was discriminated against and am actually the only person that the box office clerk decided to move as far away from the stage as possible?

As far from the stage as possible? Are you kidding?

I'm in Rear Mezzanine, row R or S, depending on the date. I got exactly the seats I requested, because I ordered by price (cheapest, as money is a big consideration) and seat number, not row number. But those are the lowest rows at that price. I made a huge effort to get to the box office as soon as it opened, because I expected prime tickets at each price level to be snatched up very quickly. This is, after all, the Kirov, and it always sells out in New York.

However, if money were not a consideration, I still would not want to sit in the front of City Center's orchestra. It's better than it used to be, but there's still the matter of not seeing feet. "The best" is not necessarily the closest. The rake is such that you can be assured you'll see the feet in those "best" rows. You can almost be guaranteed not to from the first few rows, though. If one must sit in the orchestra, the rear is much better. It is still pretty close to the stage compared to similarly lettered rows at the Met, for example.

Don't you like to look down and see the whole stage picture, Waelsung? I find I miss a lot when I sit on the orchestra level. At City Center, the Grand Tier is very close to the stage, but gives a nice, elevated view, enabling you to see the dancers in the back rows as well as everyone's face.

P.S. I would be surprised if the Box Office did not set a fair number of center orchestra seats aside for the Kirov itself. It's conceivable that some will go on sale within days of the performance, but you'd be taking a huge risk if you wait in hopes of getting some.

Well, I was not looking for the very first rows, but rather for row E or F. I think they're sufficiently removed from the stage to allow the full picture including the feet. Am I wrong on this?

As for the seemingly eternal Orchestra vs. Balcony argument, I do like to be able to look down and see the whole stage, but the first rows of the Grand Tier do not seem to be for sale, either and I can hardly tolerate leaners

Please correct me, if I'm wrong, but Kirov itself is not selling tickets when they go on tours. Sure, they get some seats reserved for them, but the first 9 rows? I have an impression Ardani Artists (the agency that represents the Kirov Ballet in the States) decided they would need to accomodate a lot of V.I.P.s later on and simply pulled all the best (or what is perceived as such by uninitiated) seats.

They may change their mind, but I completely agree with you, Carbo, about the risks involved in waiting to see if these seats ever do go on sale, that's why I decided to take what was offered to me.

Now I might need a good bankrupcy lawyer

Me too.

Seat number only possible if you go to the box office or call, I think? that's why I don't order online unless it's for out of town.


I liked the attitude, because I always feel that anything I'm enthusiastic about will sell out immediately, so if I hadn't called the box office and found out things were pretty lethargic (not the old Maria Callas days) I'd have had the pleasure of meeting you, since I think you said you were first in line. However, I was still able to get Center Aisle on Row R to see 'Rubies' and it was just this past Thursday, so those still looking should still be able to find something, but not wait too long.

From Ardani's website:

Ardani has reserved (all center, i.e., numbered in the 100's) Orchestra Rows A-J, Grand Tier Row A (best, but only if you have very tiny legs...) for VIPs at $500, and Mid Mezz Row A for poorer VIPs at $250 for Opening Night. A post-perf party, photo book, and signed poster are the bonuses. They also say there will be VIP seats for the rest of the run. However, so far only some seats for the first few orchestra rows are no longer available. Those lucky VIPs, who will get a great view of the back of the conductor's head and avoid the sight of toe shoes... Well, Opening Night I'll have a great view of the back of their heads!

So all of this will probably be sold out way before the performances, if not sold out already?.. I really want to see them, but I don't know what my schedule will be like at that time. Why did they put them on sale so far in advance?

I don't know for sure, but it's an expensive tour. Getting a good share of box office in advance probably helps make it financially viable.

For the fun of it, I checked the closing performance (April 20) ticket availability on City Center's site. Ignoring the seats listed as held back by Ardani (for Opening Night and ???, centers for Orch A-J, GT A, Mezz A), I found that first row center seats were available in each price range. So not exactly selling like hotcakes! Also, only a few of those VIPs are listed as sold for Opening Night by Ardani. I would guess those closer rows (obviously, some of these very undesirable) will eventually become available at more normal prices, wouldn't you think? Didn't check other dates, as the closing, with such a great program, should be relatively desired.
http://www.nycitycenter.org/index.cfm

I'm ready to take the plunge. Despite just spending $700 on 4 Royal Ballet performances and outlaying a ton of cash for my StPetersburg trip (with a couple days in Moscow), I'm ready to buy the VIP tix to Opening Night if only to see and meet these wonderful dancers. I'll try to get less unreasonable tix to some other shows, but since i'll be coming up from Arizona, i'll end up with a limited selection, i expect.

Anyway, I'm looking at the Ardani website and it shows quite a few of the tix available for opening night. Orch A-J center and Grand Tier A (all). So, what should i get? Is Grand Tier preferable to Orch?

Grand Tier A 107-108?
or Orch J 108-109?

how close is too close for the Orchestra?

thx
-goro-

(I'm seeing JEWELS and CHOPINIANA/FIREBIRD/SCHEHEREZADE at Maryiinski and DON Q at Bolshoi, so i'm most excited about the Petipa program!)