Posts Tagged ‘Benjamin Millepied’

A Healthy Paris Opera

Tuesday, December 6th, 2016

By: Frank Cadenhead

The numbers for the Opéra national de Paris’ 2015-2016 season, recently released, gives a positive impression despite the effects of the murderous series of terrorist attacks on the 13th of November of last year. Attendance has remained steady and private donations are up. The attack on the Bataclan Theater, which lasted over three hours and killed 97 of the total 130 that evening, would have a major effect on the performing arts in most cities but Parisians continued to buy tickets. All venues were closed for a bit less than a week but, when they resumed, the public was there. The Bataclan opened again on the anniversary of the attack with a concert by Sting.

The government made an effort to compensate for the loss of sales for the week performances where shut down but it was only for the major venues and strictly related to lost revenue from the closure. It was not intended to cover the effect of the tourism slide. Tourism in Paris fell in the area of 15 to 20 percent and tourist often buy tickets to the opera. This was evident in the drop in income the Opéra collects from tours to the iconic Palais Garnier. Some 730,000 tickets were sold in the previous period compared with 556,000 for the 2015-2016 season.

Support from public sources, the national government and regional and city governments, has been steadily slipping noted Stéphane Lissner, the opera director. In 2010, for example, public support was 105.5 million Euros and is now 95.7 million. It still represents 47% of the budget, but makes increased private support all the more important. There is some hope that the announced 5.5% increase in the government budget for the arts for 2017 might begin to reverse this trend. Despite these problems, however, the ONP was in the red only 200,000 Euros for the 2015-2016 season compared with a 3.7 million Euro surplus the previous period.

Fortunately, Lissner’s effort to increase private sponsorship was successful and contributed income from corporations alone increased by 40%. Major names like Dior, Rolex, Total and BNP are among corporations on the donor list. As a total part of the budget receipts for the reporting period, 30% represents individual and corporate donations, a figure what was in the single digits only a few years ago.

While the opera managed a 92.65% occupancy for the past season, it was a slightly lower that the previous season and would also have been affected by the dip in tourism in France. Ticket income was down from 68.5 million euros to 64.1 million. The Opéra also had four performances cancelled because of strikes by opera unions in sympathy with national unions opposed to a government effort to contain social expenditures. The departure of Benjamin Millepied from the ONP’s ballet in early 2016 did not seem to hurt seat sales or private donations and, in general, two thirds of private donors increased their support level.

Some figures in the 2015-2016 report include a total budget of 200.2 million Euros, a payroll of 114 million (a 2.25% drop), 802,921 spectators for 362 performances (opera, ballet, concerts), tickets sold on the internet, 56.8% and the average audience age is an agreeably fresh 46 with the under 28s comprising 17.1% of that audience.

May Dance in New York City

Monday, May 2nd, 2011

By Rachel Straus

May 1-2

Guggenheim Museum

The popular Works + Process series presents “American Ballet Theatre on to Act II.” Current ABT dancers will perform excerpts from their upcoming Metropolitan Opera House season. ABT alumni will discuss the challenges dancers face in the second act of their careers.  You can watch the event each night at 7:30 via livestream.

May 2

Baryshnikov Arts Center

In the final spring installment of BAC Flicks: Mondays With Merce, two Charles Atlas films of Merce Cunningham’s dances will be projected on widescreen. In “Crises” (1960), elastic cords connect the dancers to each other. Dramatic entanglements ensue. In “Native Green” (1985), John King’s music and William Anastasi’s evoke a scintillating spring. Cunningham scholar Nancy Dalva will speak to former Cunningham dancer Gus Solomons, Jr.

May 3-June 12

The David H. Koch Theater

The opening week of the New York City Ballet’s spring season will showcase 12 of Balanchine’s works, which insiders refer to as “black and white” ballets because the costuming is bare bones. Most often, the women wear black leotards and white tights. The men wear black tights and white t-shirts. The choreography is hardly sparse. Up next will be the May 11 world premiere of Lynne Taylor-Corbett’s “The Seven Deadly Sins,” set to the Kurt Weill score, featuring Patti LuPone and Wendy Whelan as sisters (which will be hard to believe). The final week’s performances are titled “See the Music…” and will highlight NYCB’s musical repertory as performed by its 62-piece orchestra. The June 12 “Dancer’s Choice” performance will feature works handpicked by the company’s dancers. Over the seven-week season, the company will perform 19 works by Jerome Robbins, Susan Stroman, Christopher Wheeldon, NYCB Ballet Master in Chief Peter Martins, and George Balanchine.

May 3

The Apollo Theater

This Alvin Ailey American Dance Theater benefit performance will showcase Camille A. Brown’s 2007 solo “Evolution of a Secured Feminine,” which catapulted this complex, hip, young choreographer into the spotlight.


May 10-22

The Joyce Theater

The two-week engagement of Cuba’s Danza Contemporanea de Cuba stands out for its offering of three works: The U.S. premiere of “Casi-Casa,” created by the quirky, inventive Swedish choreographer Mats Ek, set to disco, hip-hop, swing and jazz; the world premiere of “Horizonte” by former Ballet Hispanico dancer Pedro Ruiz; and “Demo-N/Crazy,” made by Sydney Dance Company artistic director Rafael Bonachela, which has been said to wow for its athletic partnering and semi nudity.

May 12-14

Cedar Lake Theater

Cedar Lake Contemporary Ballet will present a new installation created by artistic director Benoit-Swan Pouffer. Part choreographed dance performance and part interactive installation, audience members are invited to move freely through the space where the dancers will be performing.

May 12-15

Dicapo Opera Theatre

Dances Patrelle will present the world premiere of Francis Patrelle’s “Gilbert & Sullivan, The Ballet!” an evening-length work, featuring live music and singers, and inspired by characters drawn from Gilbert and Sullivan’s comic operas.

May 13

Buttenwieser Hall at 92nd St. Y

The “Fridays at Noon” free series will culminate with informal performances by tap and step dancing virtuosos Marshall Davis, Jr., Andrew Nemr, and their guests. Davis, Jr. performed in Savion Glover’s Tony Award winning “Bring in ‘Da Noise Bring in ‘Da Funk.” Nemr has the credentials too, having performed along side the Duke Ellington Orchestra, Jimmy Heath, Les Paul, Harry Connick and the Lionel Hampton Orchestra.

May 16-June 29

Metropolitan Opera House

American Ballet Theatre will hold its annual seven-week season. The big event will be the New York premiere (June 9) of Alexei Ratmansky’s “Bright Stream.” Also of interest will be two world premieres (May 24-26) by Ratmansky and Christopher Wheeldon, a New York premiere by Benjamin Millepied, and a revival of Antony Tudor’s “Shadowplay.” The full-length ballet offerings will be “Giselle,” “Swan Lake,” “Cinderella,” “Coppelia,” “Don Quixote,” “The Sleeping Beauty,” and “Lady of the Camellias.”

May 20

Ailey Citigroup Theater

“Performing the Border” aspires to blend and build on the grammar of two Indian classical dance forms, Bharata Natyam and Odissi.  David Phoenix Singh, who runs Dakshina Company, a Bharata Natyam and modern dance company, and Nandini Sikand, who directs Sakshi Productions, a neo-classical and contemporary Odissi dance company, will collaborate.


May 21

Manhattan streets

This year’s New York City Dance Parade will showcase 65 dance genres. The parade will start on 21st street, move down Broadway, pass through Union Square, and take over University Place, Eighth Street and St. Mark’s. The House, Techno and Disco floats will lead the celebrants to Tompkins Square Park and to DanceFest, which will offer stage and site specific dance performances and free dance lessons. This will not be a sedentary experience.

May 23

Judson Memorial Church

This year’s Movement Research Gala will feature Trisha Brown’s “Set and Reset” (1983) as performed by its original cast of dancers, who have become dance makers in their own right.