215 items found

  • Terms & Conditions of Sales | Los Angeles Ballet

    2021/2022 Season > Ticket Information > Terms & Conditions of Sales Terms & Conditions of Sales Before purchasing tickets, please carefully review the Terms and Conditions of Sale. ​ 1. Refund and Exchange Policy Pre COVID-19 there were No Refunds and No Exchanges. All Tickets sales were final. However COVID-19 has impacted Refunds and Exchanges. Please read the COVID-19 Ticketing Policy for updates. ​ 2. Reserved Seating This purchase is for tickets in designated seats at a designated price level, as chosen and/or approved by you as the ticket purchaser. Please be sure you are happy with your seat selection before finalizing your purchase. ​ 3. Confirmation Number Please be sure to record/save your confirmation number, as this is required for replacing lost tickets and locating reservations. The confirmation page is NOT a ticket. ​ 4. Mail Delivery The standard mailing fee is $1.50 per order for regular ticket purchases and $3 per order for group sales. If you choose to have your tickets mailed to you they will arrive within 7-10 business days. If your tickets have not arrived within one week of the performance date, please call the Los Angeles Ballet Box Office at 310.998.7782. Please have your confirmation number available. ​ 5. Will Call Will Call opens at all venue box offices one hour prior to each performance and remains open until the performance begins. Identification is required for Will Call pick-up. 6. Lost Tickets Lost tickets will be replaced provided you have your confirmation number available. Please call the Los Angeles Ballet Box Office at 310.998.7782 to request replacement tickets. 7. Performance Cancellation or Date/Time Change Policy If a performance is cancelled for any reason other than “force majeure,” (see Clause 7a below), Los Angeles Ballet will refund the face value of tickets purchased. Delivery charges are non-refundable. A performance is not considered “cancelled” if it is stopped at any point after Act 2 has begun, in which case Los Angeles Ballet is not required to refund the value of any tickets purchased for said performance. Los Angeles Ballet will accommodate you at subsequent performances when possible. ​ Los Angeles Ballet reserves the right to change the date and/or time of any performance no later than 5 weeks before the originally scheduled date of the performance. If a change occurs, patrons will be notified immediately and alternate accommodations or reimbursements will be arranged, as necessary. 7a. Force Majeure Los Angeles Ballet does not guarantee a refund or exchange on tickets purchased for a performance that is cancelled, or is rescheduled less than 5 weeks before the original performance date/time, as a result of “force majeure.” “Force majeure” means any event which Los Angeles Ballet could not, even with all due care, foresee or avoid. Such events may include war or threat of war, riot, civil strife, terrorist activity or threatened terrorist activity, industrial dispute, natural or nuclear disaster, adverse weather conditions, fire and all similar events outside Los Angeles Ballet’s control. In the event of a cancellation or rescheduling due to “force majeure,” Los Angeles Ballet will accommodate you at subsequent shows when possible. ​ 8. Late Seating Policy Arriving late to a performance can be extremely disturbing to the artists and your fellow audience members. Latecomers will be seated at the discretion of the house staff at an appropriate pause in the program. ​ 9. Reselling Policy Tickets may not be resold or offered for resale. Tickets may not be used for advertising, promotion, or other commercial purposes except with the express written consent of Los Angeles Ballet, Inc. Los Angeles Ballet reserves the right to refuse entry to any customer who has purchased tickets and resold them, or to any person attempting to attend a performance with such tickets. ​ 10. Reproduction Policy It is unlawful to reproduce any tickets in any form. In the event of reproduction, Los Angeles Ballet reserves the right to refuse entry to the original purchaser as well as any person attempting to attend a performance with reproduced tickets. ​ 11. Review Upon Receipt Please review your tickets and confirmation upon receipt. If any detail of your order is incorrect, please contact the Los Angeles Ballet Box Office immediately at 310.998.7782. Los Angeles Ballet will not be responsible for any discrepancies if you do not contact the box office within 24 hours after receiving your tickets. ​ 12. Agreement Submitting a ticket order indicates your AGREEMENT to these terms and conditions. In-person Ticket Sales Group Sales Venues Accessibility Gift Certificates Tax-Deductibe Donations Terms & Conditions of Sales In-house Policies Privacy Policy For additional information and assistance, please contact the Box Office Call (310) 998-7782 or email tickets@losangelesballet.org Our Commitment to You Please review our COVID-19 Ticketing Policy REVIEW POLICY

  • Visions of Nutcrackers | Los Angeles Ballet

    Visions of Nutcrackers November 23, 2006 Los Angeles Daily News by Vicki Smith Paluch DOWNLOAD PDF 2021/2022 Season > News > Previous Item Next Item

  • Subscribe to the 2021/2022 Season | Los Angeles Ballet

    Subscribe 2021/2022 SEASON Ticket Information Single Tickets to Los Angeles Ballet’s 2021/2022 Season are On-Sale now! LEARN MORE MAY/JUNE 2022 The Sleeping Beauty The Sleeping Beauty is one of the greatest story ballets of all time.This cherished fairy tale tells the story of an enchanted sleep and the love between a beautiful princess and a handsome prince. Arrested by a powerful evil, Princess Aurora is awakened after 100 years only through the power of pure love. GET TICKETS NOW Full Season Subscription No Longer Available Subscription offered one date/time at any venue for three productions Choose-2 Subscription No Longer Available Subscription offered one date/time to any venue for two productions *LAB Orchestra at Dolby Theatre Adding to the enchantment of The Nutcracker , LAB will once again perform Tchaikovsky’s iconic score with the Los Angeles Ballet Orchestra at Dolby Theatre with Conductor Andrea Quinn. December 23rd through 26th. 2021/2022 Season Subscriptions are no longer available. ​ 2022/2023 Season Subscriptions will be available in June 2022. ​ Best Prices Take advantage of best pricing and discounts all season long Keep Your Seat Like your seats this season? Retain your seats for subsequent seasons Priority Seating Subscribers receive first choice of Los Angeles Ballet venue seating Free Exchanges Receive the exclusive benefit of free exchanges within the same production Bring A Friend For only $25, introduce someone to world-class ballet Need More Tickets? Subscribers get 10% off Add-On Single Tickets 2021/2022 Season > Subscribe Subscribe

  • A backstage look at the Nutcracker | Los Angeles Ballet

    A backstage look at the Nutcracker December 14, 2014 Watch at CCTV.com CCTV.com by CCTV WATCH AT SOURCE 2021/2022 Season > News > Previous Item Next Item

  • Bloom | Los Angeles Ballet

    Bloom Ghosts , Apollo and Bloom , three ethereal works, were performed exclusively at The Broad Stage in Santa Monica. Ghosts , by master contemporary choreographer Christopher Wheeldon presents a realm where ghosts manifest in a dark watery playground. Apollo , one of George Balanchine’s most iconic and best-loved works, depicts the young Greek god of music being visited and instructed by three Muses. Bloom , by Belgian-Colombian choreographer Annabelle Lopez Ochoa, is inspired by the ritual Puja, a worship ritual from Hinduism in which flower offerings are laid out at the door-step 3 times each day. Gala 2022 immediately followed a special performance of Bloom & Ghosts on Saturday, April 23rd. ​ Apollo Choreographed by George Balanchine © The George Balanchine Trust Ghosts Wheeldon/Winger Apollo Balanchine/Stravinsky Bloom Lopez Ochoa/Glass Bloom Bloom Bloom Annabelle Lopez Ochoa Apollo Apollo Apollo George Balanchine Ghosts Christopher Wheeldon Bloom Bloom Bloom Annabelle Lopez Ochoa Apollo Apollo Apollo George Balanchine Ghosts Christopher Wheeldon Bloom Bloom Bloom Annabelle Lopez Ochoa Apollo Apollo Apollo George Balanchine Ghosts Christopher Wheeldon Out of gallery Double-click image to view media at fullscreen. 2021/2022 Season > Bloom APRIL 21, 22 & 23, 2022 Bloom Ghosts /Wheeldon Apollo /Balanchine Bloom /Lopez Ochoa ABOUT Bloom Choreographers Christopher Wheeldon, George Balanchine & Annabelle Lopez Ochoa. LAB is known for its superb stagings of the Balanchine repertory, and its commitment to new works. Read about the remarkable choreographers of Bloom . THE CHOREOGRAPHERS SATURDAY, APRIL 23, 2022 Gala 2022 Immediately following the April 23rd performance of Bloom at The Broad Stage in Santa Monica, Gala 2022 will be a celebration of LAB’s return to the stage! Proceeds support LAB’s mission to provide world-class performances and offer diverse arts education outreach programs throughout Southern California. Contact Rachel Malkenhorst, Director of Development for more information. CONTACT View Full Season The Sleeping Beauty

  • Colleen Neary to Stage Balanchine with the Norwegian National Ballet | Los Angeles Ballet

    Colleen Neary to Stage Balanchine with the Norwegian National Ballet October 1, 2012 LAB Artistic Director, Colleen Neary will work with The Norwegian National Ballet in October 2012 and early January 2013 to stage Balanchine's Symphony in C and Ballet Imperial. She previously worked with this company in 2004, staging Symphony C. Company News from the Staff at LAB 2021/2022 Season > News > Previous Item Next Item

  • Los Angeles Ballet tries the untraditional | Los Angeles Ballet

    Los Angeles Ballet tries the untraditional May 9, 2010 Kate Highstrete made Myrtha, the Queen of the Wilis, an other-worldly creature of pitiless steel. Los Angeles Times by Victoria Looseleaf DOWNLOAD PDF 2021/2022 Season > News > Previous Item Next Item

  • error404 | Los Angeles Ballet

    2021/2022 Season > Our Apologies! The page you have requested has either been moved or no longer exists. Please select the menu or search tool at top right of this page to help you find the content you may be looking for. We welcome you to visit the new home page and enjoy Los Angeles Ballet's presentation of the 2021/2022 Season . VISIT NEW HOME PAGE

  • Passing the Balanchine Baton | Los Angeles Ballet

    Passing the Balanchine Baton May 15, 2013 An elite group of artists called “repetiteurs “ carry on the works of one of the greatest choreographic masters of all time, George Balanchine. For 30 years since his death on April 30, 1983, these human “style guides” for the Balanchine aesthetic have served as guardians of his expansive repertoire of nearly 400 works, and storytellers of his legacy. Many have danced the roles themselves under his tutelage, such as Colleen Neary, co-artistic director of Los Angeles Ballet. She, along with about 30 other New York City Ballet disciples -- the acclaimed ballet company that he founded in 1948 -- have the stamp of approval from the Balanchine Trust to stage the choreographer’s works. As such, they travel the world ensuring that professional ballet companies who present Balanchine on their playbill, perform it, just so. “There was always a style and way of dancing the role that was very important to him,” Neary says. “He gave you the freedom to do what you wanted but not to the extreme where it took the piece another direction. And we grew up around that style - we saw what he wanted. We all respect each other but we all have differences in the years we danced with Balanchine and for versions we danced in. When I danced “Rubies” and “Symphony in C” in the same roles as my sister, [Patricia Neary for whom many roles were created by Balanchine], she was a decade before me, and he may have changed it for me, or changed his mind on certain timings. He changed as he went along. We always say ‘Before Death.’ Those are the years we look at. And after he died, things kept changing, so we try to keep it as tight as we can,” she says. Noelle “Rubies” Neary danced as a soloist from 1969 to 1979 in The New York City Ballet under the direction of Balanchine. Like her sister, she also had numerous roles created for her by Balanchine, as well as by other acclaimed choreographers such as Peter Martins, Jacques d’Amboise and others, throughout her career. Now Neary is poised to pass the Balanchine baton to a new generation of dancers at her own company, which she founded nine years ago with husband and former Royal Danish Ballet and New York City Ballet dancer Thordal Christensen. To commemorate Mr. B’s death (as he’s called fondly) and to celebrate his work, Los Angeles Ballet recently launched a Balanchine Festival 2013. Having just wrapped “Balanchine Gold” in March and April, Los Angeles Ballet recently launched part two of the series, “Balanchine Red” across Southern California that runs through June 9. Balanchine Red features his works, “Agon,” “La Valse,” and “Rubies.” The next performance takes place Saturday, May 18 at the Carpenter Performing Arts Center, followed by a night at the Valley Performing Arts Center May 25, an afternoon at the Alex Theatre May 26 and ending at Royce Hall June 9. Each performance is accompanied by lectures prior to curtain by experts in Balanchine’s work, including Kent Stowell, Francia Russell, Lewis Segal, Victoria Loos leaf, and of course, Neary herself. One of Los Angeles Ballet’s principal dancers is Southern California native Allynne Noelle. A tall, lithe figure who crackles on stage, Noelle has been with the company since 2011, coming from Miami City Ballet where she also performed Balanchine under the direction of Eddie Villella, another former principal dancer with New York City Ballet. Kenta, Noelle, “TchaiPas” “I like ‘Rubies’ ‘Tall Girl.’ LOVE Jewels as a whole ballet. Oh, and ‘Tchai Pas’ is fun (that’s ballet slang for 1960’s Tchaikovsky Pas de Deux),” she says, ticking off her favorite Balanchine ballets similar to how someone of a different milieu might rattle off pop music hits. “I really like “Apollo” too, but I’ve never performed it.” In Los Angeles Ballet’s “Balanchine Festival Red,” Noelle will dance the Pas de Deux in the notoriously challenging Agon (1957) an abstract masterpiece in which nary a note is lost on movement; and she will revisit “Tall Girl” in Rubies (1967). The fact that Neary has coached her in a masterpiece that Neary herself has danced for the master is clearly not lost on her. “I was a little scared at first because I know [Neary] has done the role,” she says. “Colleen gives me the freedom to do what I want with the role as an artist, but if there’s a step that isn’t right she lets me know. Even though it’s crazy hard technically, it’s artistically freeing.” Neary is quick to dispel any notion that she expects a cookie cutter interpretation of how she performed the part. “It’s perfect for Allynne. I give her feedback as to how I did it, but I don’t like to say: ‘This is MY role!’; even though you might feel like it’s your role. I want to train the next generation who are dancing the Balanchine ballets and dancing them well so eventually The Balanchine Trust might approve them to stage the ballets. The Balanchine Trust is very tight with [its] mechanism, and typically, they come from New York City Ballet. But I think it’s important for those of us who are with other companies to train the next generation to be able to rehearse his work,” she says. Mr. B, Pat, Colleen. Meanwhile Neary’s next repetiteur “gig” will be with the Paris Opera Ballet staging the original “Symphony in C” called “Palais de Cristal.” Neary also invites other repetiteurs to Los Angeles to stage Balanchine on Los Angeles Ballet dancers. “It’s good for the dancers to work with someone different. Although sometimes it’s hard for me to keep my mouth shut,” she laughs. Noelle, a self-proclaimed repetiteur in waiting, is one of six dancers with Los Angeles Ballet from Southern California. Noelle grew up in Huntington Beach and began classical ballet training at age 5. She remembers limited exposure to professional productions beyond seeing New York-based companies like New York City Ballet, American Ballet Theatre and “the occasional Russian company” breeze through to perform. “The cultural growth (in Southern California) has been exponential since then,” Noelle says. “I’m so happy to be back here dancing in a company that offers the opportunity to perform such great ballets. Last time I was on stage performing ‘Tchai Pas’ I thought, ‘Wow, this is my job. Should I really be having this much fun?’” KCET by AC Remler DOWLOAD PDF 2021/2022 Season > News > Previous Item Next Item

  • Los Angeles Balanchine Presents the Balanchine Festival | Los Angeles Ballet

    Los Angeles Balanchine Presents the Balanchine Festival February 1, 2013 Balanchine GOLD (March/April 2013) and Balanchine RED (May/June 2013) A celebration of George Balanchine’s life, choreography and his time working in Hollywood with performances of seven of his greatest ballets and discussions with noted dance critics, historians and répétiteurs of The George Balanchine Trust at: Redondo Beach Performing Arts Center Royce Hall – UCLA Valley Performing Arts Center – CSU Northridge Alex Theatre – Glendale Carpenter Performing Arts Center – CSU Long Beach Los Angeles Ballet presents its Balanchine Festival , celebrating the genius of the most important and influential choreographer of the 20th century. Extending over three months, the Festival centers on seven of Balanchine’s greatest ballets performed in two programs (GOLD and RED), presented at each of LAB’s five home theaters. Special Festival events will include discussions and interviews with those who worked with Balanchine, and an examination of Balanchine’s Hollywood years with screenings of his film choreography. Los Angeles Ballet co-artistic directors Thordal Christensen and Colleen Neary assembled the program to represent Balanchine in his many styles and eras. Both Christensen and Neary danced with Balanchine’s New York City Ballet. Balanchine personally selected Neary to stage his ballets, and to become a répétiteur for The George Balanchine Trust. She has staged his ballets for major companies in America and internationally, including the Paris Opera Ballet, the Bolshoi Ballet, the Mariinksy (formerly Kirov Ballet) and American Ballet Theatre, to name a few, as well as for Los Angeles Ballet. “Selecting only seven ballets from the rich trove Balanchine created over the decades was not easy,” Christensen said. Neary added, “Each of these ballets has a specific mood and reflects a distinct musical and choreographic composition and style. Each ballet also has stories surrounding its creation, the music, and those who danced it, which will be part of the conversations that ticket holders can also experience as part of the performances.” Balanchine GOLD includes La Sonnambula , a one-act story ballet with love, jealousy, murder and a mysterious sleepwalker; Concerto Barocco, one of Balanchine’s signature works set to Bach’s Concerto in D-minor for Two Violins ; Tchaikovsky Pas de Deux , a bravura duet set to what was the original music for the Black Swan pas de deux; and Four Temperaments, with music Paul Hindemith composed at Balanchine’s request and wherein the choreographer fused classical and contemporary movement to explore the medieval “humors” attributed to the human body. Balanchine RED opens with another one-act story ballet, La Valse , where Maurice Ravel’s music is the backdrop for a young woman’s fascination with a sinister figure at a ball. Agon employs Igor Stravinsky’s score for a series of contests among the dancers, and Balanchine returns to Stravinsky for Rubies , the jazzy, exuberant center section of the full length ballet, Jewels . George Balanchine, (or Mr. B as he was called by those who knew and worked with him), began his career in Russia, built his reputation as a choreographer at Sergei Diaghilev’s Ballet Russe de Monte Carlo, then came to the United States where he established the School of American Ballet and built what became the New York City Ballet. But Balanchine also spent time in Hollywood, often choreographing for his then wife Vera Zorina. Balanchine’s time in Hollywood is one of the aspects of his career that will be explored by a rotating roster of guest commentators that includes arts journalists Lewis Segal, Victoria Looseleaf, and Sasha Anawalt, and Balanchine répétiteurs including Colleen Neary, her sister Patricia Neary, Kent Stowell and Francia Russell. During his life Balanchine selected répétiteurs authorized to stage his ballets. Since his death in 1983, The Balanchine Trust and its répétiteurs have continued to ensure the integrity of the staging of Balanchine’s ballets while introducing new generations to Balanchine’s legacy. (The George Balanchine Trust, established in 1987 with the mission of preserving and protecting Balanchine’s creative works, is the center from which the business operations relating to the licensing of George Balanchine’s creative output emanate. The Trust has the responsibility of disseminating and protecting the integrity and the copyrights of George Balanchine’s work in the present and for the future, and assigns répétiteurs to teach and coach Balanchine ballets around the world.) “April 30, 2013 marks the 30th anniversary of Mr. B’s death,” Christensen noted. “We had added two more theaters for a total of five home venues, and as Los Angeles Ballet was entering its seventh season in 2012-2013, it seemed the appropriate time for a festival to celebrate Balanchine’s genius and life. It was a happy coincidence when the Music Center announced its festival celebrating the 100th anniversary of Igor Stravinsky’s Rite of Spring, L.A.’s Rite: Stravinsky, Innovation, and Dance. ” “Our Balanchine Festival fit like a glove with the Stravinsky festival,” Neary said. “Balanchine and Stravinsky were great friends and loved to collaborate. With Agon and Rubies already part of Los Angeles Ballet’s Balanchine Festival, we were very pleased with the invitation to perform those ballets this summer as part of the Stravinsky festival to honor both Balanchine and Stravinsky at the same time.” ​ LAB Public Relations DOWNLOAD PDF 2021/2022 Season > News > Previous Item Next Item

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