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With high summer upon us, dance aficionados are looking forward to the upcoming performance year at the New York City Ballet, where tickets for the 2015-16 season go on sale August 2. Those for whom ballet is an occasional indulgence, or perhaps an unknown art form, might also be longing for some culture after a hot, sticky summer of beaches and outdoor activities. Either type of ballet fan considering a move would be well advised to look into apartments for sale on the Upper West Side, so they can enjoy easy access from their new home to the NYCB’s astounding offerings of traditional classics, premieres, and New York-oriented modern classics. Here are just some highlights of what’s in store as the New York City Ballet launches its upcoming season:
This year, the NYCB season kicks off in September with one of the most famous ballets of all time, Swan Lake, reimagined through the 1996 staging by the company’s ballet master in chief, Peter Martins. Martins premiered his version of the Tchaikovsky classic at the Royal Danish Ballet in Copenhagen; his production for the NYCB updates it with scenery and costumes by Per Kirkeby, one of Denmark’s most renowned contemporary artists. The Martins staging for this production is considered more mysterious and a shade darker than the whimsical original, and Kirkeby’s sets are abstract and wintery. Combined, the two approaches create a more mature, properly tragic, take on a well-known piece that just might give those familiar with the original some new ways to think about it.
October at the New York City Ballet will feature four 21st Century Choreographers performances, the first of which on Thursday, October 8, will include a number of world premieres: a piece set to Debussy’s final orchestral work, Jeux, by Danish choreographer Kim Brandstrup in his first work for an American dance company; a piece set to a lyrical William Walton piano quartet by San Francisco Ballet’s Myles Thatcher in his first NYCB production; a work set to New York native Steve Reich’s “Variations for Vibes, Pianos, and Strings” by NYCB resident choreographer Justin Peck—called “the most eminent choreographer of ballet in the United States” by The New York Times and a “boy wonder” by Vulture.com; NYCB’s own Troy Schumacher’s second ballet for the company, which features a commissioned score by Brooklyn-based Ellis Ludwig-Leone, songwriter and composer for baroque pop band San Fermin; and a piece set to selections from Ravel’s Miroirs for solo piano by Toronto prodigy Robert Binet from the National Ballet of Canada.
Also in October: a rarely staged abstract production by Jerome Robbins, N.Y. Export: Opus Jazz, a “ballet-in-sneakers” celebration of mid-20th-century America set to a jazz score by Robert Prince; and NYCB founding choreographer George Balanchine’s intimate Liebeslieder Walzer, a series of waltzes for piano and vocal quartet that was called a “ravishing manifestation of beauty” when the NYCB premiered it in 1960 and has since become a classic. Though the latter will be repeated in January for those who miss it this fall, for the avid arts connoisseurs who reside in luxury Upper West Side apartments, the NYCB season’s initial productions of such classics – and of world premieres – will represent its most exciting highlights.
With regular Friday pre-performance chats; occasional Monday evening discussions featuring NYCB dancers, composers, and choreographers; and regular movement workshops for adults and children alike – in addition to its amazing productions – the New York City Ballet represents an incredible neighborhood amenity that makes living in one of the most cultured neighborhoods in the country a dream experience for many.
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