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When live music is possible, she said, dancers can learn to take direction from artistic directors and conductors alike. Some see the musicians as part of the performance, “and although I don’t disagree with that, it is out of reach for some ballet companies.” “I think that when the music is treated carefully, that it doesn’t necessarily take away from the experience to have recorded music,” Rivera said. For the recorded shows, a music supervisor manually times and keys each piece to the pace of the performance. The company features an orchestra in some of its “Nutcracker” shows. “The marriage of music and dance is a hallmark of NYCB,” its statement said, calling the New York City Ballet Orchestra’s performance of the “magnificent” score “a tremendous enhancement to the production.”īut it’s not uncommon for smaller or midsize companies to use recordings, with the cost of music sometimes eclipsing dancers’ pay, said Julia Rivera, director of audience development for the Los Angeles Ballet. The ballet, too, was pleased about reaching an agreement.

It was a relief when both sides shook hands, said Cutler, who believes live music enhances the experience for everyone from dancers to audience members. Was there going to be a ‘Nutcracker’? Was the orchestra going to participate in ‘Nutcracker’? We never said we wouldn’t, but it was definitely a hanging question.” “And so yes, there were questions leading up to it.

“All of that literally got resolved the weekend before ‘Nutcracker’ opened,” she said. The ballet’s musicians took a pay cut across the board after pandemic closures were lifted and were still far behind 2019 compensation rates when negotiations started, she said. The union’s largest local started negotiating with the ballet in May - a long, hard process, she said. This year, though, the show opened about 10 minutes after voting ended to ratify the musicians’ contract, said Cutler, president of Associated Musicians of Greater New York, an American Federation of Musicians union. Even though it came with unexpected challenges - like when blocking had to be changed so that Cutler’s harp would no longer be hit by a ballerina’s falling shoe, thrown each performance to defeat the Mouse King - it was like a ”comfortable slipper that we settle into every Christmastime,” Cutler said. Sara Cutler, who retired earlier this year as principal harpist, has performed “The Nutcracker” about 2,000 times in over four decades, only taking a year off during the pandemic shutdowns. Pit performances are arduous, he said, but “when you see the faces of the kids coming down and hanging over the pit, you know it’s their first experience, it definitely rejuvenates you time after time.”Ī pit orchestra performs with the New York City Ballet, which debuted “George Balanchine’s The Nutcracker” in 1954. The broadcast is also available on Sirius Satellite Radio on channels 138 or 381 or through the app (Packers Radio Network feed).“Things can happen so quickly with staging and the dancers,” said Kovach.They surpassed Jim Irwin and Max McGee for the most regular-season and postseason games broadcast for the Packers with 313 at the 2018 season opener against Chicago. After originally being paired together in 1999, McCarren and Larrivee enter their 25th season of broadcasts together. McCarren first joined the team's broadcasts in 1995 and enters his 29th season calling Packers games.

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Wayne Larrivee (play-by-play), two-time Packers Pro Bowler Larry McCarren (analyst), and three-time Packers Pro Bowler John Kuhn (sideline reporter) call the action.

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For a map and full listing of radio affiliates, go to /video/radio-network. 97.3 The Game – WRNW-Milwaukee begins its second season as the flagship station of the Packers Radio Network.

All Packers games can be heard on the Packers Radio Network, which is made up of 51 stations in Wisconsin, Michigan, Minnesota, Illinois and North and South Dakota.