3869-fy19-seasonbrochure-final-3 · because of luck, prayers, ... very front rows can see the sweat...
TRANSCRIPT
2 0 1 8 / 1 9 S E A S O N
2 0 1 8 / 1 9 S E A S O N
FIRST COMES SWEAT THEN
COMES BEAUTY
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C H R I S T O P H E R G R A N T Hanro tank, PUMA leggings
L A U R E N L O V E T T E PUMA bra and sneakers, Capezio shorts I N D I A N A W O O D W A R D Baserange bra, PUMA leggings and sneakers
11
EDITORIAL Introduction
On Sweat by Maggie Shipstead
On Beauty by Patricia Lockwood
2018/19 SEASON Programs
Fall Performances
Fall Calendar
Winter Performances
Winter Calendar
Spring Performances
Spring Calendar
Subscriptions & Membership
The Company
Special Thanks
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T A B L E O F C O N T E N T S
13
L A U R E N L O V E T T E PUMA bra and sneakers, Capezio shorts I N D I A N A W O O D W A R D Baserange bra,
PUMA leggings and sneakers
George Balanchine said: "First comes
the sweat. Then comes the beauty—if you’re
very lucky and you’ve said your prayers."
There is a discipline at the heart of ballet.
Every day is marked by a series of exercises:
morning class, rehearsals, costume fittings,
physical therapy, hair and makeup, the
dressing room, and then – after a full day’s
work – the performance. A company of
bodies before an audience of thousands,
whose eyes are all fixed on the same stage,
whose hearts all beat the same rhythm.
When our Co-Founder said that the sweat
leads to the beauty, he was speaking to a
common truth. The sheer physical effort of
ballet remains in the background because
the eyes take in the aesthetic pleasure
first. Transcendence, a moment that feels
profound, can be a matter of luck meeting
preparation, of magic snapping into focus
after the practice. The body contains
both in equal measure. Holding together
competing ideas, its power is balanced
by its sweetness.
We asked two authors – Maggie Shipstead
and Patricia Lockwood – to ruminate on
the sweat and beauty that shapes the emo-
tions of ballet. Sometimes these connections
can be fleeting, but these performances
give you the opportunity to see it all. Beauty,
made visible. Because of luck, prayers,
and most of all—the sweat.
New York City Ballet sponsor PUMA provided the activewear featured in our season campaign — the perfect opportunity to express our shared passion for the human body and what it can achieve. #firstcomessweat #doyou
S A S O N A H H U T T E N B A C H PUMA bra, sweat pants, and sneakers P R E S T O N C H A M B L E E T Wang by
Alexander Wang tank, PUMA track pants and sneakers L A U R E N L O V E T T E PUMA bra and sneakers,
Capezio shorts G I O V A N N I V I L L A L O B O S Vintage tank, PUMA leggings and sneakers
R A C H E L H U T S E L L PUMA leggings and sneakers, dancer's own leotard C H A S E F I N L A Y Gap tank,
PUMA track pants and sneakers I N D I A N A W O O D W A R D Baserange bra, PUMA leggings and sneakers
C H R I S T O P H E R G R A N T Hanro tank, PUMA leggings and sneakers
CH
AS
E F
INL
AY
Gap
tan
k
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O N S W E A T
B Y M A G G I E S H I P S T E A D
G I O V A N N I V I L L A L O B O S Vintage tank, PUMA leggings and sneakers
We are living in a golden era for ballet
voyeurs. The digital age has opened a new
portal, one that leads offstage, into life.
Companies post videos of classes and
rehearsals, of costume fittings, of dancers
narrating their own performances, point-
ing out the hard or frightening parts. On
Instagram, dancers post photos of their
dogs, their moms, their sweat pants, their
gnarly feet. Some confess their injuries,
some share their rough days. Sara Mearns,
at home in her apartment, warms a heating
pad for her back. Megan Fairchild studies
for the GMAT. Chase Finlay and Zachary
Catazaro toss a football. We gaze through
our screens at their unmistakable humanity.
But always they return to work: at the barre,
in the Pilates studio and the PT room, on
the center floor, onstage.
The perfection of their bodies makes
them a little alien, a little uncanny, not quite
believably human. They have muscles we
didn’t know existed, joints that don’t follow
the usual rules. Their freedom of movement
invites a fantasy: in our imaginations,
we can be like them. There, our limberness
knows no bounds. We can make ourselves
understood without uttering a word.
We can be lovers and destroyers, revelers
and mourners. We can embody allegro,
then adagio.
I was once a sturdy kindergartner in pink
tights, brought to ballet class by my mother
in an experiment that failed quickly and
definitively. I retreated to the audience,
marveled at the figures onstage. From the
beginning I felt a gnawing curiosity about
what lay out of sight: the rehearsal rooms,
the barre. I pored over behind-the-scenes
photos in my mother’s ballet books.
I watched warbling 80s documentaries taped
off PBS. The biggest stars and the lowli-
est students interested me equally. I was
entranced by mundane images of dressing
rooms, elevators, cinderblock hallways,
water bottles, leg warmers, stockpiled
pointe shoes. Nothing seemed more fasci-
nating than ribbons being sewn, knees
being iced, naps taken in unlikely places,
endless pliés done to the clatter of a
rehearsal piano.
If performance is the dazzling, otherworldly
tip of the iceberg, I craved glimpses of the
bulk submerged below: fatigue, frustration,
cathartic silliness, effort. It wasn’t that I
liked watching dancers suffer. It was that
I wanted to see their sweat, their suffering,
so I might better admire their transcen-
dence of it. I wanted to witness the work
that ultimately renders itself invisible, that
does not create a dancer’s talent but slowly
reveals it, that holds art at its core like
rough, hard marble encasing the possibility
of a sculpture.
From the darkness of the theater, we gaze
through the portal of the proscenium,
and some dreaming part of us moves with
them, unfettered. Only those of us in the
very front rows can see the sweat fly as
they pirouette. Only those sitting at certain
angles can see into the shadowy wings,
glimpse them heaving and drooping and
dabbing their faces, exhaustion giving them
away as human, after all. Ruthlessly, relent-
lessly, they wring sweat from their bodies
and invite us, the lucky ones, to witness the
beauty left behind.
Maggie Shipstead is a New York Times-bestselling author and journalist. Her most recent novel, Astonish Me, is a sweeping ballet drama spanning from 1970s Paris to 21st-century New York as a young American dancer's doomed romance with a superstar Soviet defector reverberates through the decades that follow.
Left S A S O N A H H U T T E N B A C H PUMA bra and sweat pants
Above J O S E P H G O R D O N PUMA tank and sweat pants
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Left A S H L E Y B O U D E R PUMA bra, sweat pants, and sneakers
Above I N D I A N A W O O D W A R D Stella McCartney dress
A S H L E Y B O U D E R Esteban Cortazar dress, Baserange bodysuit M A R I A K O W R O S K I Ann Demeulemeester
dress, Wolford bodysuit O L I V I A M A C K I N N O N Live The Process bodysuit, New York City Ballet skirt
J O S E P H G O R D O N New York City Ballet leotard and tights
Left J O S E P H G O R D O N New York City Ballet leotard and tights
A S H L E Y B O U D E R Esteban Cortazar dress, Baserange bodysuit
I N D I A N A W O O D W A R D Sharon Wauchob dress, Live The Process bodysuit
Above C H R I S T O P H E R G R A N T New York City Ballet leotard and tights
L A U R E N L O V E T T E New York City Ballet leotard and skirt
31
O N B E A U T Y
B Y P A T R I C I A L O C K W O O D
C H A S E F I N L A Y New York City Ballet leotard and tights
I am not a dancer; I will never entirely know
the work that goes into ballet. I know what
it looks like. As far back as my notes go
there are descriptions of dancers. Here is a
description of Baryshnikov’s butt as God’s
Hamburger; here is one of Suzanne Farrell
as a tofu gazelle. Here I have written that
the collapsibility of Lauren Lovette is like
Pinocchio when he was half-marionette and
half-boy. There are descriptions, even,
of George Balanchine himself—that the
appraisal of his mouth was like the moon’s.
One Balanchine quote must be answered
with another—unfair, perhaps, that he was
also given a facility for language. “We can't
dance synonyms,” he once said. I believe
that he was wrong, or the likes would not
so readily leap to mind, according to their
own easy choreography: armpits like drift-
wood, leaps like scarves, cat’s eye marbles
in the joints, one escaped tendril like a
treble clef, yellow ruler against the neck, a
night-blooming lily at the center of a black
stage. Pale pulls of taffy and a folded crane
in each shoulder.
The discipline as close as a leotard. The
single muscle on any dancer that is a little
bit ugly, a little bit knobby, a little bit proud,
that must declare itself the product of a
thousand hours work, ongoing. It is almost
like the breaking of the fourth wall, that
declares shyly, “I am not just descended
from the sky, set down en pointe for you to
see. Someone did this. Dance made me—
through dance, I made myself.”
The word “beauty” has its own petals.
Its leaves point out like dancers’ feet.
Balanchine often spoke of his dancers in
terms of flowers: “When you have a garden
full of pretty flowers, you don't demand
of them, ‘What do you mean? What is your
significance?’… A flower doesn't tell you a
story. It is in itself a beautiful thing.”
Yet I look at dancers and see nothing but
meaning, nothing but the story of them: up
with the sun and in front of the mirror and
pouring their whole lives into their bod-
ies. That you would choose something so
difficult; that something so difficult could
choose you.
As a child, I had no access to dance, so
I watched documentaries and waited for the
moment when the dancer would emerge
from the close and counting air of NYCB into
the street, with her hair scraped away from
her temples. In the streets her scarves do
not leap, they are wrapped around her neck.
Her feet take calm little bites out of the
pavement. At those moments I never thought
of flowers, but something more difficult and
harder to hold, something that rolls away
from you and belongs entirely to itself. In the
streets the dancer looks as clean as a pearl,
borne forth on a whole sea of her sweat.
Patricia Lockwood is the author of two poetry collections, including Motherland Fatherland Homelandsexuals, a New York Times Notable Book. Her memoir, Priestdaddy, was named one of the best books of 2017 by The New York Times Book Review and has been optioned by Imagine Television.
Left I N D I A N A W O O D W A R D Sharon Wauchob dress, Live The Process bodysuit
S A S O N A H H U T T E N B A C H Norma Kamali dress L A U R E N L O V E T T E New York City Ballet leotard and skirt
Above A S H L E Y B O U D E R Esteban Cortazar dress, Baserange bodysuit
M A R I A K O W R O S K I Ann Demeulemeester dress, Wolford bodysuit
Left G I O V A N N I V I L L A L O B O S New York City Ballet leotard and tights
Above R A C H E L H U T S E L L Live The Process bodysuit, Rhie skirt
A S H L E Y B O U D E R Esteban Cortazar dress, Baserange bodysuit O L I V I A M A C K I N N O N Live The
Process bodysuit, New York City Ballet skirt I N D I A N A W O O D W A R D Sharon Wauchob dress, Live
The Process bodysuit J O S E P H G O R D O N New York City Ballet leotard and tights M A R I A K O W R O S K I
Ann Demeulemeester dress, Wolford bodysuit L A U R E N L O V E T T E New York City Ballet leotard
and skirt S A S O N A H H U T T E N B A C H Norma Kamali dress
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2 0 1 8 / 1 9 S E A S O N
2 5 P R O G R A M S , 6 3 B A L L E T S
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FALL SEP T 18 – O C T 14
Jewels
All Balanchine
21st Century Choreographers I
La Sylphide
21st Century Choreographers II
Short Stories
Robbins 100
WINTER JA N 2 2 – M A R 3
Stravinsky & Balanchine
Tschaikovsky & Balanchine
New Combinations
Classic NYCB
Robbins: A Master at Work
The Sleeping Beauty
All Balanchine
SPRING A P R 2 3 – J U N 2
21st Century Choreographers I
21st Century Choreographers II
All Balanchine
Spring Gala
Barber, Broadway & Balanchine
Classic NYCB I
Balanchine Meets Peck
Classic NYCB II
Balanchine: Big & Bold
Symphonic & Electronic
A Midsummer Night’s Dream
4140
F A L L
A cherished staple of the repertory since its debut
in 1967, Jewels was inspired by a visit George
Balanchine made to the jewelers Van Cleef & Arpels.
Widely considered to be the first full-length abstract
ballet, its three sections express the breadth of
Balanchine’s artistry: the lyricism of Emeralds, set
to the music of Fauré; the jazz-inflected energy
of Rubies, danced to Stravinsky; and the noble
classicism of Diamonds, to Tschaikovsky.
A program that reveals the wonderful variety
of George Balanchine’s distinctive neoclassical
style, this evening includes ballets created across
more than three decades. In Concerto Barocco
Balanchine matches the serene purity of Bach.
The Tschaikovsky Pas de Deux is a tour de force
that never fails to thrill. Stravinsky Violin Concerto dazzles with its intricate dynamics, while the
ebullient Symphony in C, set to Bizet, remains
one of the most treasured ballets of the
Balanchine repertory.
EMER A L D S (Fauré/Balanchine)
RUBIE S (Stravinsky/Balanchine)
DI A MOND S (Tschaikovsky/Balanchine)
C ONCER TO B A RO C C O (Bach)
T S CH A IKOV SK Y PA S DE DEU X (Tschaikovsky)
S T R AV IN SK Y V IOL IN C ONCER TO (Stravinsky)
S Y MP HON Y IN C (Bizet)
JEWELS
ALL BALANCHINE
J E W E L S | 1 B A L L E T, 3 A C T S
Pictured: Emeralds
A L L B A L A N C H I N E | 4 B A L L E T S
Pictured: Tschaikovsky Pas de Deux
SEP T 18 , 19, 2 0 , 2 2 m a t , 2 3 , 2 5
SEP T 21, 2 2 eve, 2 6
S E P T – O C T 2 0 1 8
Dance and design are again united for the fall gala,
which features three world premieres created by
choreographers in close collaboration with some of
fashion’s brightest lights. This year the renowned
choreographers Matthew Neenan and Kyle Abraham
will create their first ballets for NYCB, while Gianna
Reisen, who in Fall 2017 became the youngest to
ever create a ballet for the Company, returns with
her second offering. Also appearing at subsequent
performances of the program is Mauro Bigonzetti's
brooding, shadow-strewn In Vento, commissioned by
the Company in 2006.
*In Vento will not be performed at the fall gala.
21ST CENTURY CHOREOGR APHERS I
2 1S T C E N T U R Y C H O R E O G R A P H E R S I | 4 B A L L E T S
Pictured: In Vento
SEP T 2 7 (FA L L G A L A a t 7 P M)*, 2 8 , O C T 4 , 6 eve
The Danish choreographer August Bournonville’s
La Sylphide, a love story of ethereal and enduring
beauty, joined the repertory in 2015, in a version
staged by Peter Martins that retains much of
Bournonville’s revered choreography. It leads a
program that encompasses Balanchine’s scintillating
Allegro Brillante, Christopher Wheeldon’s romantic
Carousel (A Dance), and Justin Peck’s tribute to
Leonard Bernstein on the occasion of the centenary
of his birth.
A L L EGRO BRIL L A N T E (Tschaikovsky/Balanchine)
E A S Y (Bernstein)
C A ROUSEL ( A DA NCE ) (Rodgers/Wheeldon)
L A S Y L P HIDE (Løvenskjold/Martins after Bournonville)
LA SYLPHIDE
L A S Y L P H I D E | 4 B A L L E T S
Pictured: La Sylphide
SEP T 2 9 m a t & eve, 3 0 , O C T 2 , 3
NE W NEEN A N
(Dvorák)—World Premiere
IN V EN TO (Moretti/Bigonzetti)
NE W A BR A H A M—
World Premiere
NE W REI SEN
(Adams)—World Premiere
ˇ
4342
Like all art forms, ballet thrives on constant
renewal and discovery, as this program amply
demonstrates. Peter Martins’ Fearful Symmetries,
set to a vibrant score by John Adams, dates to 1990,
but the rest of the works here were created more
recently: Christopher Wheeldon’s haunting pas de
deux This Bitter Earth, danced to Dinah Washington’s
recording of the titular song, Alexei Ratmansky’s
pulsating Concerto DSCH, and Justin Peck’s playful
Pulcinella Variations.
Dance is wedded to story and character in this trio
of classics. Jerome Robbins’ buoyant Fancy Free, set
to music by Leonard Bernstein, depicts the roman-
tic adventures of sailors on leave. Robbins and
Bernstein reunited to create the classic Broadway
musical West Side Story, which Robbins later dis-
tilled into a dance suite in 1995. And Balanchine’s
Prodigal Son, featuring designs by the painter
Georges Rouault, tells the Biblical parable through
explosively expressive movement.
P ULCINEL L A VA RI AT ION S (Stravinsky/Peck)
T HI S BI T T ER E A R T H (Richter, Otis/Wheeldon)
C ONCER TO D S CH (Shostakovich/Ratmansky)
F E A RF UL S Y MME T RIE S (Adams/Martins)
FA NCY F REE (Bernstein/Robbins)
P RODIGA L S ON (Prokofiev/Balanchine)
W E S T SIDE S TORY SUI T E (Bernstein/Robbins)
21ST CENTURY CHOREOGR APHERS II
SHORT STORIES
2 1S T C E N T U R Y C H O R E O G R A P H E R S I I | 4 B A L L E T S
Pictured: Fearful Symmetries
S H O R T S T O R I E S | 3 B A L L E T S
Pictured: West Side Story Suite
O C T 5 , 6 m a t , 7, 9
O C T 10 , 13 eve
F A L L
October 11, 2018, marks the centenary of the birth
of Jerome Robbins, whose diverse creativity is
celebrated in this quartet of dances: the classic
Afternoon of a Faun, a quietly mesmerizing pas de
deux set to Debussy; Other Dances, performed to
Chopin, a Robbins favorite; the innovative Moves,
danced entirely without music; and SOMETHING TO DANCE ABOUT Jerome Robbins, Broadway at the Ballet, staged by Warren Carlyle, which brings to-
gether famous selections from Robbins’ celebrated
Broadway shows.
A F T ERNO ON OF A FAUN (Debussy)
O T HER DA NCE S (Chopin)
MOV E S S OME T HING TO DA NCE A BOU T: JEROME ROBBINS, BROADWAY AT THE BALLET (Bernstein, Bock, Gould, Rodgers, Styne/Robbins,
direction and musical staging by Carlyle)
ROBBINS 100
R O B B I N S 1 0 0 | 4 B A L L E T S
Pictured: SOMETHING TO DANCE ABOUT
O C T 11, 12 , 13 m a t
SUBSCRIBE —f o r —
BEST SEATSnycballet.com 212-496-0600
S E P T – O C T 2 0 1 8
45
2 5 JEWELS
2 LA SYLPHIDE
Allegro Brillante
Easy
Carousel (A Dance)
La Sylphide
9 21ST CENTURY CHOREOGRAPHERS I I
Pulcinella Variations
This Bitter Earth
Concerto DSCH
Fearful Symmetries
1 9 JEWELS
2 6 ALL BALANCHINE
Concerto Barocco
Tschaikovsky Pas de Deux
Stravinsky Violin Concerto
Symphony in C
3 LA SYLPHIDE
Allegro Brillante
Easy
Carousel (A Dance)
La Sylphide
1 0 SHORT STORIES
Fancy Free
Prodigal Son
West Side Story Suite
2 0 JEWELS
2 7 FALL GALA
New Neenan — World Premiere
New Abraham — World Premiere
New Reisen — World Premiere
4 21ST CENTURY CHOREOGRAPHERS I
New Neenan
In Vento
New Abraham
New Reisen
1 1 ROBBINS 100
Afternoon of a Faun
Other Dances
Moves
SOMETHING TO DANCE ABOUT Jerome Robbins, Broadway at the Ballet
T H U 7:30 PMW E D 7:30 PMT U E 7:30 PM
* SEE THE MUSIC... Includes an orchestral demonstration
7 P M
2 1 ALL BALANCHINE
Concerto Barocco
Tschaikovsky Pas de Deux
Stravinsky Violin Concerto
Symphony in C
2 8 21ST CENTURY CHOREOGRAPHERS I
New Neenan
In Vento
New Abraham
New Reisen
5 21ST CENTURY CHOREOGRAPHERS I I
Pulcinella Variations
This Bitter Earth
Concerto DSCH
Fearful Symmetries
1 2 ROBBINS 100
Afternoon of a Faun
Other Dances
Moves
SOMETHING TO DANCE ABOUT Jerome Robbins, Broadway at the Ballet
2 2 JEWELS
2 9
LA SYLPHIDE
Allegro Brillante
Easy
Carousel (A Dance)
La Sylphide
6 21ST CENTURY CHOREOGRAPHERS I I
Pulcinella Variations
This Bitter Earth
Concerto DSCH
Fearful Symmetries
1 3 ROBBINS 100
Afternoon of a Faun
Other Dances
Moves
SOMETHING TO DANCE ABOUT Jerome Robbins, Broadway at the Ballet
2 2 ALL BALANCHINE
Concerto Barocco
Tschaikovsky Pas de Deux
Stravinsky Violin Concerto
Symphony in C
2 9 LA SYLPHIDE
Allegro Brillante
Easy
Carousel (A Dance)
La Sylphide
6 21ST CENTURY CHOREOGRAPHERS I
New Neenan
In Vento
New Abraham
New Reisen
1 3 SHORT STORIES
Fancy Free
Prodigal Son
West Side Story Suite
2 3 JEWELS
3 0 * LA SYLPHIDE
Allegro Brillante
Easy
Carousel (A Dance)
La Sylphide
7 21ST CENTURY CHOREOGRAPHERS I I
Pulcinella Variations
This Bitter Earth
Concerto DSCH
Fearful Symmetries
1 4 JOAQUIN DE LUZ FAREWELL
Program to be announced
S U N 3 PMS A T 8 PMS A T 2 PMF R I 8 PM
M A T
M A T
M A T
M A T
E V E
E V E
E V E
E V E
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1 8 JEWELS
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W I N T E R
The collaboration between Stravinsky and Balanchine
was a landmark of 20th-century music and dance.
This program brings together three ballets that
have been called the “Greek Trilogy.” Apollo ex-
presses the Greek myth through pure neoclassi-
cism. Orpheus dramatizes the tale of Orpheus
and Eurydice with an elemental simplicity and pow-
er. And while Agon, which Balanchine once called
“the quintessential contemporary ballet,” eschews
plot entirely, its title comes from the classical
Greek word for “struggle.”
Balanchine retained a lifelong affection for
Tschaikovsky, whose music inspired several of his
greatest works. Serenade, the first original ballet
Balanchine created in America, remains as luminous
and alluring in its beauty as ever. Mozartiana, cho-
reographed to a Tschaikovsky composition derived
from Mozart piano pieces, creates an atmosphere of
hushed contemplation that captivates. The grandeur
of Tschaikovsky Piano Concerto No. 2 never fails to
weave its rapturous spell in concert with the sump-
tuous score.
A P OL LO
ORP HEUS
AGON
SEREN A DE
MOZ A R T I A N A
T S CH A IKOV SK Y P I A NO C ONCER TO NO. 2
STR AVINSKY & BALANCHINE
TSCHAIKOVSKY & BALANCHINE
S T R A V I N S K Y & B A L A N C H I N E | 3 B A L L E T S
Pictured: Apollo
T S C H A I K O V S K Y & B A L A N C H I N E | 3 B A L L E T S
Pictured: Serenade
JA N 2 2 , 2 4 , 2 6 eve, FEB 1, 2 m a t
JA N 2 3 , 2 5 , 2 6 m a t , 2 7, 2 9, 3 0
J A N – M A R 2 0 1 9
Two world premieres – from Justin Peck, in his
fourth collaboration with Oscar-nominated
composer Sufjan Stevens, and boundary-breaking
dance-maker Emma Portner, creating her first
ballet for the Company – are presented in the
annual program honoring the birthday of George
Balanchine. This year's premieres are joined by
encore viewings of a new work from Fall 2018, and
the first full performances of the internationally
renowned choreographer William Forsythe’s
Herman Schmerman since 1994.
This diverse program brings together two Balanchine
ballets – a classic and a rarity – and three works from
contemporary choreographers. From Balanchine
come the celebrated pas de deux Duo Concertant and
Variations Pour une Porte et un Soupir, an inventive
dance performed to a recorded sound score. They
are joined by Mauro Bigonzetti’s darkly powerful
In Vento, Christopher Wheeldon’s ever-entrancing
After the Rain Pas de Deux, and Justin Peck’s exuber-
antly youthful The Times Are Racing.
NE W P OR T NER —
World Premiere
NE W FA L L 2 018 B A L L E T
HERM A N S CHMERM A N (Willems/Forsythe)
NE W P ECK 1 (Stevens) — World Premiere
IN V EN TO (Moretti/Bigonzetti)
A F T ER T HE R A IN PA S DE DEU X (Pärt/Wheeldon)
VA RI AT ION S P OUR UNE P OR T E E T UN S OUPIR (Henry/Balanchine)
DUO C ONCER TA N T (Stravinsky/Balanchine)
T HE T IME S A RE R ACING (Deacon/Peck)
NEW COMBINATIONS
CLASSIC NYCB
N E W C O M B I N A T I O N S | 4 B A L L E T S
Pictured: Herman Schmerman
C L A S S I C N Y C B | 5 B A L L E T S
Pictured: The Times Are Racing
JA N 31, FEB 3 , 9 m a t , 10 , 2 7, M A R 2 eve
FEB 2 eve, 6 , 2 6
4948
Jerome Robbins embraced an astonishing range of
classic and contemporary music, as this program re-
veals. The joyous Interplay, danced to music from the
American composer Morton Gould, was only Robbins’
second ballet. For In the Night Robbins returned to a
favorite, Chopin, to create a series of delicately craft-
ed pas de deux infused with the mystery of romantic
attraction. N.Y. Export: Opus Jazz is an early example
of what we now call the “sneaker ballet.”
A classic fairy tale was transmuted into one of
the seminal works in the international repertory
when Marius Petipa first staged The Sleeping Beauty,
to a score by Tschaikovsky that ranks among the
finest ever composed for a ballet. Peter Martins
paid tribute to Petipa’s choreography in creating his
adaptation, which blends the majesty of the original
with the velocity and energy that remain a hallmark
of the Company.
*FEB 17 matinee begins at 1 PM; specially added Sunday evening
performance begins at 7 PM
IN T ERP L AY (Gould)
IN T HE NIGH T (Chopin)
N.Y. E X P OR T: OP US JA Z Z (Prince)
(Tschaikovsky/Martins after Petipa, Balanchine)
ROBBINS: A M ASTER AT WORK
THE SLEEPING BEAUTY
R O B B I N S : A M A S T E R A T W O R K | 3 B A L L E T S
Pictured: N.Y. Export: Opus Jazz
T H E S L E E P I N G B E A U T Y | 1 B A L L E T, 2 A C T S
FEB 5 , 7, 9 eve, M A R 3
FEB 13 , 14 , 15 , 16 m a t & eve, 17 * m a t & eve, 19, 2 0 , 21, 2 2 , 2 3 m a t & eve, 2 4
W I N T E R
Two richly contrasted Balanchine favorites illuminate
the expansiveness of his imaginative reach. Prodigal Son is a powerful expression through dance of the
Biblical tale of rebellion and redemption. Liebeslieder Walzer, set to the suite of Brahms songs of the title,
comprises a series of rhapsodic dances exploring
the graceful surfaces of romance and the deep
emotional forces at play within the formal rhythms
of the waltz.
P RODIGA L S ON (Prokofiev/Balanchine)
L IEBE SL IEDER WA L ZER (Brahms/Balanchine)
ALL BALANCHINE
A L L B A L A N C H I N E | 2 B A L L E T S
Pictured: Prodigal Son
FEB 2 8 , M A R 1, 2 m a t
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J A N – M A R 2 0 1 9
51
5 ROBBINS: A MASTER AT WORK
Interplay
In the Night
N.Y. Export: Opus Jazz
1 2
1 9 THE SLEEPING BEAUTY
2 6 CLASSIC NYCB
In Vento
After the Rain Pas de Deux
Variations pour une Porte et un Soupir
Duo Concertant
The Times Are Racing
2 9 TSCHAIKOVSKY & BALANCHINE
Serenade
Mozartiana
Tschaikovsky Piano Concerto No. 2
2 3 * TSCHAIKOVSKY & BALANCHINE
Serenade
Mozartiana
Tschaikovsky Piano Concerto No. 2
6 CLASSIC NYCB
In Vento
After the Rain Pas de Deux
Variations pour une Porte et un Soupir
Duo Concertant
The Times Are Racing
1 3 THE SLEEPING BEAUTY
2 0 THE SLEEPING BEAUTY
2 7 NEW COMBINATIONS
New Portner
New Fall 2018 Ballet
Herman Schmerman
New Peck 1
3 0 TSCHAIKOVSKY & BALANCHINE
Serenade
Mozartiana
Tschaikovsky Piano Concerto No. 2
2 4 STRAVINSKY & BALANCHINE
Apollo
Orpheus
Agon
7 ROBBINS: A MASTER AT WORK
Interplay
In the Night
N.Y. Export: Opus Jazz
1 4 THE SLEEPING BEAUTY
2 1 THE SLEEPING BEAUTY
2 8 ALL BALANCHINE
Prodigal Son
Liebeslieder Walzer
3 1 NEW COMBINATIONS
New Portner — World Premiere
New Fall 2018 Ballet
Herman Schmerman
New Peck 1 — World Premiere
2 2 STRAVINSKY & BALANCHINE
Apollo
Orpheus
Agon
T U E 7:30 PM W E D 7:30 PM T H U 7:30 PM
* SEE THE MUSIC... Includes an orchestral demonstration* SEE THE MUSIC... Includes an orchestral demonstration
2 5 TSCHAIKOVSKY & BALANCHINE
Serenade
Mozartiana
Tschaikovsky Piano Concerto No. 2
8 ONE-TIME-ONLY PROGRAM
Agon
Orpheus
N.Y. Export: Opus Jazz
1 5 THE SLEEPING BEAUTY
2 2 THE SLEEPING BEAUTY
1 STRAVINSKY & BALANCHINE
Apollo
Orpheus
Agon
1 ALL BALANCHINE
Prodigal Son
Liebeslieder Walzer
2 6 M A T TSCHAIKOVSKY & BALANCHINE
Serenade
Mozartiana
Tschaikovsky Piano Concerto No. 2
2 * M A T STRAVINSKY & BALANCHINE
Apollo
Orpheus
Agon
2 M A T ALL BALANCHINE
Prodigal Son
Liebeslieder Walzer
9 M A T NEW COMBINATIONS
New Portner
New Fall 2018 Ballet
Herman Schmerman
New Peck 1
1 6 M A T THE SLEEPING BEAUTY
2 3 M A T THE SLEEPING BEAUTY
2 6 E V E STRAVINSKY & BALANCHINE
Apollo
Orpheus
Agon
2 E V E CLASSIC NYCB
In Vento
After the Rain Pas de Deux
Variations pour une Porte et un Soupir
Duo Concertant
The Times Are Racing
2 E V E NEW COMBINATIONS
New Portner
New Fall 2018 Ballet
Herman Schmerman
New Peck 1
9 E V E ROBBINS: A MASTER AT WORK
Interplay
In the Night
N.Y. Export: Opus Jazz
1 6 E V E THE SLEEPING BEAUTY
2 3 E V E THE SLEEPING BEAUTY
2 7 TSCHAIKOVSKY & BALANCHINE
Serenade
Mozartiana
Tschaikovsky Piano Concerto No. 2
3 NEW COMBINATIONS
New Portner
New Fall 2018 Ballet
Herman Schmerman
New Peck 1
3 ROBBINS: A MASTER AT WORK
Interplay
In the Night
N.Y. Export: Opus Jazz
1 0 NEW COMBINATIONS
New Portner
New Fall 2018 Ballet
Herman Schmerman
New Peck 1
1 7 1 P M & 7 P M THE SLEEPING BEAUTY
2 4 THE SLEEPING BEAUTY
F R I 8 PM S A T 2 PM S A T 8 PM S U N 3 PM
50
5352
S P R I N G
The Company’s evolution through the commis-
sioning of new works is displayed in this program
featuring ballets from three leading choreogra-
phers: Alexei Ratmansky’s multihued ballet inspired
by Mussorgsky’s celebrated piano suite; Mauro
Bigonzetti’s folk-inflected Oltremare, a dramatic ru-
mination on the immigrant experience; and Rodeo: Four Dance Episodes, Justin Peck’s ballet danced to
the famous Aaron Copland score, distinctive in its
structure for its all-male corps de ballet.
The spring’s ample variety of contemporary works
continues with this quartet of ballets. For his taut,
high-energy Hallelujah Junction Peter Martins re-
turned to a favorite composer, John Adams, and his
score for two pianos that gives the ballet its title.
William Forsythe’s Herman Schmerman, staged for
the first time in its entirety after more than
20 years, joins Alexei Ratmansky's acclaimed
Concerto DSCH and Matthew Neenan’s first dance
for the Company, from Fall 2018.
*For MAY 1 only, a Fall 2018 premiere will be performed in
place of Herman Schmerman.
P IC T URE S AT A N E X HIBI T ION (Mussorgsky/Ratmansky)
OLT REM A RE (Moretti/Bigonzetti)
RODEO: FOUR DA NCE EP I S ODE S (Copland/Peck)
NE W NEEN A N
H A L L ELUJA H JUNC T ION (Adams/Martins)
HERM A N S CHMERM A N (Willems/Forsythe)
C ONCER TO D S CH (Shostakovich/Ratmansky)
21ST CENTURY CHOREOGR APHERS I
21ST CENTURY CHOREOGR APHERS II
2 1 S T C E N T U R Y C H O R E O G R A P H E R S I | 3 B A L L E T S
Pictured: Rodeo: Four Dance Episodes
2 1 S T C E N T U R Y C H O R E O G R A P H E R S I I | 4 B A L L E T S
Pictured: Concerto DSCH
A P R 2 3 , 2 5 , 2 6 , 2 7 eve
A P R 2 4 , 2 7 m a t , 2 8 , M AY 1*
A P R – J U N 2 0 1 9
Balanchine’s Scotch Symphony, a shimmering
tribute to the romantic ballets of the 19th Century,
leads a program that continues with one of his
celebrated Black and White works, the stately
Le Tombeau de Couperin, followed by the charm-
ing pas de deux Sonatine, like Tombeau created for
the Company’s 1975 Ravel festival. The program
concludes with Stravinsky Violin Concerto, a timeless
classic that never ceases to reveal new intricacies.
A new ballet from Resident Choreographer Justin
Peck headlines the annual spring gala, joined by the
return of Balanchine’s sumptuous Tschaikovsky Suite No. 3. This grand masterpiece, which might almost
be classified as four ballets in one, culminates
in the glittering classical showpiece Theme and Variations, a jewel since its creation in 1947.
S C O TCH S Y MP HON Y (Mendelssohn)
L E TOMBE AU DE C OUP ERIN (Ravel)
S ON AT INE (Ravel)
S T R AV IN SK Y V IOL IN C ONCER TO (Stravinsky)
NE W P ECK 2 —
World Premiere
T S CH A IKOV SK Y SUI T E NO. 3 (Tschaikovsky/Balanchine)
ALL BALANCHINE
SPRING GALA
S P R I N G G A L A | 2 B A L L E T S
Pictured: Tschaikovsky Suite No. 3
A L L B A L A N C H I N E | 4 B A L L E T S
Pictured: Le Tombeau de Couperin
A P R 3 0 , M AY 4 m a t , 8 , 2 4 , 2 5 eve
M AY 2 a t 7 P M
5554
The zestily comic Western Symphony, Balanchine's
playful tribute to the American Wild West – with toe
shoes instead of tumbleweeds – highlights a quartet
of dances that also includes Balanchine’s sweepingly
romantic Valse Fantaisie, set to the music of his fellow
Russian Glinka, Justin Peck’s spring gala premiere,
and A Suite of Dances, a rare solo ballet originally cre-
ated by Jerome Robbins for Mikhail Baryshnikov.
Music, in all its infinite varieties, has always been cen-
tral to the mission of New York City Ballet. Traversing
the terrain from classical to modern, this program
includes encore viewings of Diamonds, the sparkling
finale of Jewels, as well as Peter Martins’ Barber Violin Concerto and Balanchine’s Slaughter on Tenth Avenue,
the delightful dance climax of Rodgers & Hart’s
On Your Toes.
VA L SE FA N TA I SIE (Glinka/Balanchine)
A SUI T E OF DA NCE S (Bach/Robbins)
NE W P ECK 2
W E S T ERN S Y MP HON Y (Traditional American melodies,
orch. by Kay/Balanchine)
B A RBER V IOL IN C ONCER TO (Barber/Martins)
SL AUGH T ER ON T EN T H AV ENUE (Rodgers, orch. by Kay/Balanchine)
DI A MOND S (Tschaikovsky/Balanchine)
CLASSIC NYCB I
BARBER, BROADWAY & BALANCHINE
C L A S S I C N Y C B I | 4 B A L L E T S
Pictured: Western Symphony
B A R B E R , B R O A D W A Y & B A L A N C H I N E | 3 B A L L E T S
Pictured: Barber Violin Concerto
M AY 4 eve, 9, 11 m a t , 12
M AY 3 , 5 , 7
S P R I N G
Works by our Founding Choreographer and our
current Resident Choreographer come together
for the first time in a single program. Balanchine’s
electrifying Symphony in Three Movements, danced
to the Stravinsky composition of the title, is book-
ended by two Peck works, a winter premiere featur-
ing music by Sufjan Stevens and the propulsive
The Times Are Racing, an instant audience favorite
at its 2017 debut.
A Fall 2018 premiere joins the Jerome Robbins
masterwork Dances at a Gathering, among his most
emotionally resonant ballets, celebrating its 50th
anniversary on May 22. Balanchine’s Stars and Stripes combines classic American marches from
John Philip Sousa with classical choreography,
concluding this program with a splash.
NE W P ECK 1 (Stevens)
S Y MP HON Y IN T HREE MOV EMEN T S (Stravinsky/Balanchine)
T HE T IME S A RE R ACING (Deacon/Peck)
NE W FA L L 2 018 B A L L E T
DA NCE S AT A GAT HERING
(Chopin/Robbins)
S TA R S A ND S T RIP E S (Sousa, orch. by Kay/Balanchine)
BALANCHINE MEETS PECK
CLASSIC NYCB II
C L A S S I C N Y C B I I | 3 B A L L E T S
Pictured: Dances at a Gathering
B A L A N C H I N E M E E T S P E C K | 3 B A L L E T S
Pictured: Symphony in Three Movements
M AY 10 , 14 , 16 , 18 eve
M AY 11 eve, 17, 21, 2 2
A P R – J U N 2 0 1 9
5756
An emphasis on energetic, even ecstatic, rhythms
unites Hershy Kay's bold orchestrations with Dan
Deacon's synthesized sound. Stars and Stripes,
Balanchine’s witty expression of the American spirit,
kicks the program off with a flourish, followed by
Tarantella, a vivacious pas de deux, and the minia-
ture dance drama Slaughter on Tenth Avenue. Justin
Peck’s exhilarating sneaker ballet caps a program
sure to set hearts racing.
S TA R S A ND S T RIP E S (Sousa, orch. by Kay/Balanchine)
SL AUGH T ER ON T EN T H AV ENUE (Rodgers, orch. by Kay/Balanchine)
TA R A N T EL L A (Gottschalk, orch. by Kay/Balanchine)
T HE T IME S A RE R ACING (Deacon/Peck)
SYMPHONIC & ELECTRONIC
S Y M P H O N I C & E L E C T R O N I C | 4 B A L L E T S
Pictured: Slaughter on Tenth Avenue
M AY 2 5 m a t , 2 6
Balanchine evokes two distinct atmospheres in
the ballets sharing this program, each boasting a
cast of over 50 dancers. Brahms-Schoenberg Quartet brings alive the perfumed elegance of a distant
era in Europe, ending in an intoxicating gypsy finale,
and Tschaikovsky Suite No. 3 plumbs the romantic
depths of classical ballet, crescendoing with each
section before culminating in a majestic finale of
tutus and tiaras.
BR A HM S -S CHOENBERG QUA R T E T (Brahms, orch. by Schoenberg)
T S CH A IKOV SK Y SUI T E NO. 3 (Tschaikovsky/Balanchine)
BALANCHINE: BIG & BOLD
B A L A N C H I N E : B I G & B O L D | 2 B A L L E T S
Pictured: Brahms-Schoenberg Quartet
M AY 15 , 18 m a t , 19, 2 3
S P R I N G
For ballet lovers, the return of A Midsummer Night’s Dream is a welcome rite of spring. In his distillation
of Shakespeare’s comedy – the first full-length ballet
Balanchine created – the choreographer captures
all the mirth and merriment of the original. The
turmoil of the young lovers, the tug of war between
Oberon and Titania, and the Rude Mechanicals’
bumbling all combine to joyous effect in a ballet that
perfectly expresses the season of regeneration.
(Mendelssohn/Balanchine)
A MIDSUMMER NIGHT’S DREA M
A M I D S U M M E R N I G H T ’ S D R E A M | 1 B A L L E T, 2 A C T S
M AY 2 8 , 2 9, 3 0 , 31, J U N 1 m a t & eve, 2
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A P R – J U N 2 0 1 9
58 59
2 3 21ST CENTURY CHOREOGRAPHERS I Pictures at an Exhibition
Oltremare
Rodeo: Four Dance Episodes
7 BARBER, BROADWAY & BALANCHINE Barber Violin Concerto
Slaughter on Tenth Avenue
Diamonds
1 4 BALANCHINE MEETS PECK New Peck 1 Symphony in Three Movements The Times Are Racing
2 1 CLASSIC NYCB I I New Fall 2018 Ballet Dances at a Gathering
Stars and Stripes
2 8 A MIDSUMMER NIGHT’S DREAM
3 0 ALL BALANCHINE I Scotch Symphony
Le Tombeau de Couperin
Sonatine
Stravinsky Violin Concerto
2 4 21ST CENTURY CHOREOGRAPHERS II New Neenan Hallelujah Junction
Herman Schmerman
Concerto DSCH
8 ALL BALANCHINE Scotch Symphony
Le Tombeau de Couperin
Sonatine
Stravinsky Violin Concerto
1 5 BALANCHINE: BIG & BOLD
Brahms-Schoenberg Quartet
Tschaikovsky Suite No. 3
2 2 CLASSIC NYCB I I New Fall 2018 Ballet Dances at a Gathering
Stars and Stripes
2 9 A MIDSUMMER NIGHT’S DREAM
1 21ST CENTURY CHOREOGRAPHERS II New Neenan Hallelujah Junction
Herman Schmerman
Concerto DSCH
2 5 21ST CENTURY CHOREOGRAPHERS I Pictures at an Exhibition
Oltremare
Rodeo: Four Dance Episodes
9 CLASSIC NYCB I Valse Fantaisie
A Suite of Dances
New Peck 2 Western Symphony
1 6 BALANCHINE MEETS PECK New Peck 1 Symphony in Three Movements The Times Are Racing
2 3 * BALANCHINE: BIG & BOLD
Brahms-Schoenberg Quartet
Tschaikovsky Suite No. 3
3 0 A MIDSUMMER NIGHT’S DREAM
2 7 P M SPRING GALA New Peck 2 — World Premiere
Tschaikovsky Suite No. 3
T H U 7:30 PMW E D 7:30 PMT U E 7:30 PM
* SEE THE MUSIC... Includes an orchestral demonstration
2 6 21ST CENTURY CHOREOGRAPHERS I Pictures at an Exhibition
Oltremare
Rodeo: Four Dance Episodes
1 0 BALANCHINE MEETS PECK New Peck 1 Symphony in Three Movements The Times Are Racing
1 7 CLASSIC NYCB I I New Fall 2018 Ballet Dances at a Gathering
Stars and Stripes
2 4 ALL BALANCHINE Scotch Symphony
Le Tombeau de Couperin
Sonatine
Stravinsky Violin Concerto
3 1 A MIDSUMMER NIGHT’S DREAM
3 BARBER, BROADWAY & BALANCHINE Barber Violin Concerto
Slaughter on Tenth Avenue
Diamonds
2 7 M A T 21ST CENTURY CHOREOGRAPHERS II New Neenan Hallelujah Junction
Herman Schmerman
Concerto DSCH
4 M A T ALL BALANCHINE Scotch Symphony
Le Tombeau de Couperin
Sonatine
Stravinsky Violin Concerto
1 M A T A MIDSUMMER NIGHT’S DREAM
1 1 M A T CLASSIC NYCB I Valse Fantaisie
A Suite of Dances
New Peck 2 Western Symphony
1 8 M A T BALANCHINE: BIG & BOLD
Brahms-Schoenberg Quartet
Tschaikovsky Suite No. 3
2 5 M A T SYMPHONIC & ELECTRONIC Stars and Stripes
Slaughter on Tenth Avenue
Tarantella
The Times Are Racing
2 7 E V E 21ST CENTURY CHOREOGRAPHERS I Pictures at an Exhibition
Oltremare
Rodeo: Four Dance Episodes
4 E V E CLASSIC NYCB I Valse Fantaisie
A Suite of Dances
New Peck 2 Western Symphony
1 E V E A MIDSUMMER NIGHT’S DREAM
1 1 E V E CLASSIC NYCB I I New Fall 2018 Ballet Dances at a Gathering
Stars and Stripes
1 8 E V E BALANCHINE MEETS PECK New Peck 1 Symphony in Three Movements The Times Are Racing
2 5 E V E ALL BALANCHINE Scotch Symphony
Le Tombeau de Couperin
Sonatine
Stravinsky Violin Concerto
2 8 21ST CENTURY CHOREOGRAPHERS II New Neenan Hallelujah Junction
Herman Schmerman
Concerto DSCH
5 * BARBER, BROADWAY & BALANCHINE Barber Violin Concerto
Slaughter on Tenth Avenue
Diamonds
2 A MIDSUMMER NIGHT’S DREAM
1 2 CLASSIC NYCB I Valse Fantaisie
A Suite of Dances
New Peck 2 Western Symphony
1 9 BALANCHINE: BIG & BOLD
Brahms-Schoenberg Quartet
Tschaikovsky Suite No. 3
2 6 SYMPHONIC & ELECTRONIC Stars and Stripes
Slaughter on Tenth Avenue
Tarantella
The Times are Racing
S U N 3 PMS A T 8 PMS A T 2 PMF R I 8 PM
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A S H L E Y B O U D E R Esteban Cortazar dress, Baserange bodysuit
63
T H E C O M P A N Y
A S H L E Y B O U D E R Esteban Cortazar dress, Baserange bodysuit M A R I A K O W R O S K I Ann Demeulemeester dress,
Wolford bodysuit O L I V I A M A C K I N N O N Live The Process bodysuit, New York City Ballet skirt J O S E P H G O R D O N New York
City Ballet leotard and tights
9 0 D A N C E R S
P R I N C I P A L S Jared Angle
Tyler Angle
Ashley Bouder
Zachary Catazaro
Adrian Danchig-Waring
Joaquin De Luz
Megan Fairchild
Chase Finlay
Gonzalo Garcia
Anthony Huxley
Sterling Hyltin
Russell Janzen
Maria Kowroski
Ask la Cour
Lauren Lovette
Sara Mearns
Tiler Peck
Amar Ramasar
Teresa Reichlen
Abi Stafford
Taylor Stanley
Daniel Ulbricht
Andrew Veyette
S O L O I S T S Sara Adams
Harrison Ball
Emilie Gerrity
Joseph Gordon
Ashly Isaacs
Lauren King
Ashley Laracey
Megan LeCrone
Savannah Lowery
Georgina Pazcoguin
Justin Peck
Erica Pereira
Unity Phelan
Brittany Pollack
Troy Schumacher
Sean Suozzi
Indiana Woodward
C O R P S D E B A L L E T Devin Alberda
Marika Anderson
Daniel Applebaum
Eliza Blutt
Olivia Boisson
Jacqueline Bologna
Likolani Brown
Preston Chamblee
Christina Clark
Harrison Coll
Cameron Dieck
Meaghan Dutton-O’Hara
Silas Farley
Clara Frances
Christopher Grant
Laine Habony
Kennard Henson
Ashley Hod
Spartak Hoxha
Rachel Hutsell
Sasonah Huttenbach
Ralph Ippolito
Megan Johnson
Baily Jones
Ghaleb Kayali
Emily Kikta
Alec Knight
Claire Kretzschmar
Isabella LaFreniere
Alston Macgill
Olivia MacKinnon
Meagan Mann
Jenelle Manzi
Alexa Maxwell
Roman Mejia
Miriam Miller
Lars Nelson
Aaron Sanz
Andrew Scordato
Kristen Segin
Mary Elizabeth Sell
Gretchen Smith
Mimi Staker
Giovanni Villalobos
Sebastian Villarini-Velez
Sarah Villwock
Claire Von Enck
Emma Von Enck
Peter Walker
Lydia Wellington
As of March 2018
F O U N D E R S George Balanchine
Lincoln Kirstein
M U S I C D I R E C T O R Andrew Litton
F O U N D I N G C H O R E O G R A P H E R S George Balanchine
Jerome Robbins
I N T E R I M A R T I S T I C T E A M Jonathan Stafford
Justin Peck
Craig Hall Rebecca Krohn
P E R F O R M A N C E P H O T O G R A P H Y © P A U L K O L N I K . The artwork and photographs in this brochure depict choreography copyrighted by the
individual choreographers. Choreography by George Balanchine © The George Balanchine Trust. George Balanchine is a trademark of The George
Balanchine Trust. “New York City Ballet” and the block letter logo are registered trademarks of New York City Ballet, Inc.
6564
S P O N S O R S
P U B L I C S U P P O R T
Programming is made possible by public funds from the New York City Department of
Cultural Affairs, in partnership with the City Council, and in part by the New York State
Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State
Legislature, and by the National Endowment for the Arts.
S P E C I A L T H A N K S
OFFICIAL CHAMPAGNE OFFICIAL MAKE-UP PARTNER
New York City Ballet is grateful to the following individuals, foundations, corporations,
and sources of public support, for their outstanding annual contributions that ensure the
Company’s artistic excellence and support the performances of our world class artists.
Major support for new work is provided by members of the New Combinations Fund. 2018/19 commissioning support for emerging choreographers is provided by the Rudolf Nureyev Fund for Emerging Choreographers, established through a leadership grant from the Rudolf Nureyev Dance Foundation, with additional grants from the Harriet Ford Dickenson Foundation and the Joseph and Sylvia Slifka Foundation. New York City Ballet gratefully acknowl-edges The Jerome Robbins Foundation for leadership support of its Ballet Masters who ensure the excellence and vitality of the Company’s repertory performances. The Corps de Ballet is endowed in part by the Carl Jacobs Foundation.
The Stepping Forward Fund to support the salaries of NYCB dancers during their first year in the Company has been made possible through the generosity of the Joseph and Sylvia Slifka Foundation and Martha and Bob Lipp. The creation and maintenance of New York City Ballet’s costumes are endowed in part by the LuEsther T. Mertz Costume Fund. New York City Ballet’s musical leadership is endowed in part by the Agnes Gund and Daniel Shapiro Fund for Musical Excellence. The creation and performance of works by Peter Martins is funded in part by an endowment gift from the Solomon family, given in loving memory of Carolyn B. Solomon.
New York City Ballet’s performances of works by George Balanchine are supported in part by the Balanchine Production Fund, an endowment created through The Campaign for New York City Ballet. New York City Ballet’s student matinees are generously underwritten in memory of Ralph W. Kern. New York City Ballet wishes to acknowledge Holland and Knight LLP for generously providing legal services.
Project Ballet is made possible by a leadership gift from Denise R. Sobel. The Company also wishes to thank the thousands of generous donors making gifts up to $100,000.
M A J O R F U N D I N G I S P R O V I D E D B Y
Anonymous
Maria-Cristina Anzola
Harriet Ford Dickenson
Foundation/Miss Gillian Attfield
Zoë Baird and Bill Budinger
Cynthia and Ronald Beck
Franci Blassberg and Joe Rice
Emily and Len Blavatnik
Ursula M. Burns and Lloyd F. Bean
Jeff and Susan Campbell
Stuart H. Coleman and
Meryl Rosofsky
Mr. and Mrs. David E.R. Dangoor
Doris Duke Charitable Foundation
Barbara and Brad Evans
Professor and Mrs. Meyer Feldberg
Jay+ and Randy Fishman
Ford Foundation
Barry S. Friedberg and
Charlotte Moss
Howard Gilman Foundation
The Florence Gould Foundation
The Hearst Foundation, Inc.
Marlene Hess and James D. Zirin
Geoffrey C. Hughes Foundation
JPMorgan Chase & Co.
In Memory of Ralph W. Kern
Elysabeth Kleinhans
Lincoln Center Corporate Fund
Martha and Bob Lipp
The Honorable and
Mrs. Earle I. Mack
Joyce F. Menschel
LuEsther T. Mertz Charitable Trust
Whitney and Clarke Murphy/
Russell Reynolds Associates
Karen and Tommy Murphy
The New York Community
Trust – Mary P. Oenslager
Foundation Fund
The Paiko Foundation
Tom Raynor
Stephen Kroll Reidy
The Jerome Robbins Foundation
The Fan Fox and Leslie R. Samuels
Foundation
Charles and Amy Scharf
The Ted and Mary Jo Shen
Charitable Gift Fund
The SHS Foundation
The Shubert Foundation, Inc.
Joseph and Sylvia Slifka Foundation
Denise R. Sobel
Mr. and Mrs. Howard Solomon
Michael and Sue Steinberg
Angel Shine Foundation/
Allyson Tang and Thomas Widmann
Danielle and Paul Taubman
Mr. and Mrs. Donald Textor
Virginia B. Toulmin Foundation
John L. and Barbara Vogelstein
The John L. and Sue Ann Weinberg
Foundation
+In Memoriam
As of March 2018
A S H L E Y B O U D E R Esteban Cortazar dress, Baserange bodysuit M A R I A K O W R O S K I Ann
Demeulemeester dress, Wolford bodysuit J O S E P H G O R D O N New York City Ballet leotard and tights
S A S O N A H H U T T E N B A C H Norma Kamali dress I N D I A N A W O O D W A R D Sharon Wauchob dress, Live
The Process bodysuit L A U R E N L O V E T T E New York City Ballet leotard and skirt