NYCB brochure - New York City Ballet

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NYC BALLET
Swan Lake Season Opener
7 World Premieres
Commissioned Scores by
Ellis Ludwig-Leone & Bryce Dessner
Ballo della Regina
15-16
West Side Story Suite
2015–2016 Season
NE W YORK CIT Y BALLE T
2015 —16 SE ASON
Home
to some
of the best
dancers
in the
world.
—The New York Times
The Company
Founders
George Balanchine
Lincoln Kirstein
Founding
Choreographers
George Balanchine
Jerome Robbins
Ballet Master in Chief
Peter Martins
Music Director
Andrew Litton
Principals
Jared Angle
Tyler Angle
Ashley Bouder
Adrian Danchig-Waring
Joaquin De Luz
Megan Fairchild
Robert Fairchild
Chase Finlay
Gonzalo Garcia
Sterling Hyltin
Maria Kowroski
Rebecca Krohn
Ask la Cour
Sara Mearns
Tiler Peck
Amar Ramasar
Teresa Reichlen
Ana Sophia Scheller
Jennie Somogyi
Abi Stafford
Daniel Ulbricht
Andrew Veyette
Soloists
Antonio Carmena
Zachary Catazaro
Craig Hall
Anthony Huxley
Russell Janzen
Lauren King
Ashley Laracey
Megan LeCrone
Lauren Lovette
Savannah Lowery
Georgina Pazcoguin
Justin Peck
Erica Pereira
Brittany Pollack
Taylor Stanley
Sean Suozzi
Corps de Ballet
Sara Adams
Devin Alberda
Marika Anderson
Daniel Applebaum
Faye Arthurs
Austin Bachman
Harrison Ball
Olivia Boisson
Jacqueline Bologna
Likolani Brown
Preston Chamblee
Stephanie Chrosniak
Harrison Coll
Cameron Dieck
Alina Dronova
Meaghan Dutton-O’Hara
Silas Farley
Emilie Gerrity
Joseph Gordon
Laine Habony
Ashley Hod
Spartak Hoxha
Ralph Ippolito
Ashly Isaacs†
Dana Jacobson
Megan Johnson
Ghaleb Kayali
Emily Kikta
Claire Kretzschmar
Isabella LaFreniere
Austin Laurent
Olivia MacKinnon
Meagan Mann
Jenelle Manzi
Alexa Maxwell
Gwyneth Muller
Lars Nelson
Allen Peiffer
Unity Phelan
David Prottas
Aaron Sanz
Troy Schumacher
Andrew Scordato
Kristen Segin
Mary Elizabeth Sell
Gretchen Smith
Mimi Staker
Joshua Thew
Lara Tong
Giovanni Villalobos
Sebastian Villarini-Velez
Sarah Villwock
Claire Von Enck
Peter Walker
Lydia Wellington
Indiana Woodward
† Janice Levin
Dancer Honoree
SEP TEMBER 2 2 — OCTOBER 18
later, a fifth world premiere takes the stage,
by Kim Brandstrup, also in his NYCB debut.
The 2015-16 Season is flush with treasures
from the Company’s diverse repertoire —
56 ballets, including an astonishing seven
world premieres. Just as impressive is
a musical repertory with 45 composers,
two newly commissioned scores, and the
debut of recently appointed Music Director
Andrew Litton.
Two all-Balanchine programs provide contrasting looks at this 20th-century master.
Balanchine Black & White brings together
five of his iconic leotard ballets, and a second program illuminates his classical and
romantic sides.
The fall takes flight with a weeklong run of
Peter Martins’ poignantly romantic Swan
Lake. Following this dramatic opener is the
2015 Fall Gala, showcasing new work with
premieres by Resident Choreographer
Justin Peck and Corps de Ballet Member
Troy Schumacher, as well as Robert Binet
and Myles Thatcher, both making their firstever pieces for the Company. Only a week
Also included in the four-week fall period
are Peck’s Winter 2015 ‘Rōdē,ō: Four Dance
Episodes, highlighting the powerful men
of NYCB, Martins’ gripping Ash, Jerome
Robbins’ vibrant N.Y. Export: Opus Jazz, and
George Balanchine’s bewitching Broadway
hit Slaughter on Tenth Avenue.
—8—
Fall
SEPT 22, 23, 24, 25, 26 Mat & Eve, 27, 29
——
OCT 1, 3 Eve, 6, 11
——
SWAN LAKE
ALL BALANCHINE
Tschaikovsky/Martins after Petipa, Ivanov, Balanchine
Liebeslieder Walzer (Brahms)
—
Tschaikovsky Suite No. 3 (Tschaikovsky)
A must-see full-length event, Peter Martins’ staging of Swan
Lake infuses the preeminent story ballet with New York
Romance both refined and impassioned overtakes the
City Ballet’s signature musicality, speed, and sharpness of
attack. Last performed in 2013 to sold-out houses, this seminal work features Tschaikovsky’s heartbreakingly beautiful
score and turbulent, abstract set and costume designs by
acclaimed Danish artist Per Kirkeby. A stunning and powerfully
romantic tragedy, each performance is shaped by the central
role of Odette/Odile, an interpretation that is both technically and
emotionally demanding.
stage in this all-Balanchine double bill. Set in an elegantly
appointed ballroom to 18 Brahms waltzes with onstage
singers, Liebeslieder Walzer is a lyrical and intimate twopart ballet that finds its four couples in the midst of their
affection — an intimate joy for waltz lovers and classical
music devotees. In 1947, Balanchine created Theme and
Variations, a regal classical ballet; then more than two
decades later he crafted three preceding sections to
complete his Tschaikovsky Suite No. 3. Beginning on a
somber note, each movement swells with ardor, culminating
SEPT 30 at 7 PM
——
in a magnificent chandeliered finale.
FALL GALA
Swan Lake
‘Rōdē,ō: Four Dance Episodes
OCT 2, 3 Mat, 4, 7
——
New Ludwig-Leone/Schumacher — World Premiere
—
New Ravel/Binet — World Premiere
—
New Walton/Thatcher — World Premiere
—
New Reich/Peck — World Premiere
AMERICANA x FIVE
Both balletomanes and fashionistas will have their eyes on
the 2015 Fall Gala, which will continue NYCB’s tradition of pairing couturiers with contemporary choreographers. Following
his critically-acclaimed first NYCB outting, Clearing Dawn,
Ash (Torke/Martins)
—
Sonatas and Interludes (Cage/Tanner)
—
Tarantella (Gottschalk, orch. by Kay/Balanchine)
—
‘Rōdē,ō: Four Dance Episodes (Copland/Peck)
—
Slaughter on Tenth Avenue (Rodgers, orch. by Kay/Balanchine)
Corps de Ballet Member Troy Schumacher will set his
Like the varied choreography presented onstage, the
second ballet for the Company to a commissioned score by
music for this program of all-American composers ranges
Ellis Ludwig-Leone of the baroque pop band San Fermin. Two
from warmly traditional to bold and contemporary. Matching
rising talents will make their first pieces for the NYCB stage, The
the accelerated tempo of its Michael Torke music, Martins’
National Ballet of Canada’s Robert Binet, who spent time as
Ash launches a cast of ten into stylish solos and sensual pas
The Royal Ballet’s first and only Choreographic Apprentice, will
de deux. Sonatas and Interludes' two dancers unfold through
create to selections from Maurice Ravel’s piano score Miroirs,
fluid yet crisp movements to the percussive sound of a
and San Francisco Ballet’s Myles Thatcher, who was mentored
John Cage score for prepared piano. Transitioning to more
by Alexei Ratmansky, will work with a piano quartet by William
traditional melodies, the virtuosic pas de deux Tarantella
Walton. Recently declared “the most eminent choreographer
showcases two pyrotechnical dancers in an ever grow-
of ballet in the United States” by The New York Times, Resident
ing profusion of steps. Peck re-envisioned Aaron Copland’s
Choreographer Justin Peck will complete the gala program with
well known Americana score when he created 'Rōdē,ō: Four
the first of his two new ballets this season, set to Steve Reich’s
Dance Episodes, a plotless take that pairs a lone woman with
Variations for Vibes, Pianos, and Strings.
a cast of 15 jocular, energetic, and charming male dancers.
Ending with some showbiz glam, Slaughter on Tenth Avenue
is a vampy ballet about a jealous Russian premier danseur
and his hoofing American rival.
Tschaikovsky Suite No. 3
— 11 —
Fall
OCT 13, 14, 15, 17 Mat
——
OCT 8, 9, 16, 17 Eve
——
21ST CENTURY CHOREOGRAPHERS
MASTERS AT WORK
New Ludwig-Leone/Schumacher
—
New Ravel/Binet
—
New Walton/Thatcher
—
New Reich/Peck
—
New Debussy/Brandstrup – World Premiere
Harlequinade (Drigo/Balanchine)
—
N.Y. Export: Opus Jazz (Prince/Robbins)
“City Ballet is the world’s foremost home of 21st-century
act story ballet in the commedia dell’arte style, offering
choreography” (The New York Times), and these five new
colorful characters, vivid sets and costumes, and a slew of
works are the latest additions to an already prolific reper-
supporting roles for the tiniest of dancers from the School of
tory. The four world premieres from our fall gala will be joined
American Ballet. N.Y. Export: Opus Jazz was choreographed
on the stage by a new ballet from Kim Brandstrup. Having
only a year after the landmark West Side Story opened on
established himself as an award-winning choreographer
Broadway — the dancers in this ballet in sneakers evoke
working extensively in Europe, Brandstrup’s first-ever work
a post-war New York City with their cool jazz moves and
for an American dance company will be set to Claude
angst-ridden beats.
This program of fanciful characters and zippy teens illustrates how Balanchine and Robbins’ contrasting styles
harmoniously married to create the foundation of the New
York City Ballet repertory. Harlequinade is a charming two-
Debussy’s Jeux, the French composer’s last orchestral
work, which was originally commissioned by Serge
Movements for Piano and Orchestra
Episodes
Diaghilev for the Ballet Russes.
OCT 10 Mat & Eve, 18
——
BALANCHINE BLACK & WHITE
Concerto Barocco (Bach)
—
Monumentum pro Gesualdo (Stravinsky)
—
Movements for Piano and Orchestra (Stravinsky)
—
Episodes (Webern)
—
The Four Temperaments (Hindemith)
Founding Choreographer George Balanchine challenged
the dance world by asserting that ballet need not require
a plotline, then he forever plunged the craft into a realm of
neoclassicism with his unadorned Black & White leotard
ballets that focus solely on music and movement. One of
his greatest masterpieces, Concerto Barocco is music
made visible as two elegant yet dynamic lead ballerinas
each depict one of the instrumental soloists in a virtuosic
double violin concerto. Performed back to back since 1966,
Monumentum pro Gesualdo is known for its formal beauty
while Movements for Piano and Orchestra sweeps audiences away on a wave of exacting precision. Perhaps the most
avant-garde of the Black & Whites, Episodes uses Webern's
edgy tones for a series of four striking interludes. A ballet
with unceasing appeal, The Four Temperaments references
Harlequinade
the medieval concept of psychological humors through its
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classically grounded but definitively modern movement.
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N.Y. Export: Opus Jazz
— 13 —
JA N UA R Y 1 9 — F E B R UA R Y 2 8
The Most Incredible Thing, Peck unites the
worlds of contemporary ballet, music, and
art with a commissioned score by Bryce
Dessner and sets and costumes by Marcel
Dzama. Coinciding with the occasion is the
return of Christopher Wheeldon’s Estancia,
originally created for the 2010 Architecture of
Dance festival.
New Music Director Andrew Litton raises
the baton to begin winter with a tribute to
American composers who influenced his
career: Barber, Bernstein, and Gershwin.
Three programs celebrating Founder George
Balanchine follow, offering eternal favorites
such as Agon and Symphony in C, along with
Ballo della Regina (last performed in 2009)
and the edgy Kammermusik No. 2. Two of
these will be featured on January 23 when
we mark his birthday at the annual Saturday
at the Ballet with George, a day of events
and performances paying homage to the
Company’s raison d’être.
Peter Martins’ staging of the romantic story
ballet La Sylphide also returns, paired with
Balanchine’s sparkling Tschaikovsky Piano
Concerto No. 2. Additional highlights include
two thrilling works, Jerome Robbins’ Glass
Pieces and Martins’ The Infernal Machine,
as well as Peck’s Paz de la Jolla, the creation
of which was chronicled in Jody Lee Lipes’
acclaimed cinéma vérité film Ballet 422.
Justin Peck’s second premiere of the season will be the centerpiece of the annual
New Combinations evening on February 2.
Based on Hans Christian Andersen’s fairytale
— 14 —
Winter
JAN 19, 24, 28, 30 Mat, 31
——
JAN 21, 23 Eve, FEB 3, 6 Mat, 7
——
ALL BALANCHINE I
MUSIC DIRECTOR'S CHOICE
Ballo della Regina (Verdi)
—
Kammermusik No. 2 (Hindemith)
—
Tschaikovsky Suite No. 3 (Tschaikovsky)
Overture from Candide performed by
the NYCB Orchestra (Bernstein)*
—
Barber Violin Concerto (Barber/Martins)
—
Fancy Free (Bernstein/Robbins)
—
Who Cares? (Gershwin, adapt. & orch. by Kay/Balanchine)
Over the course of six decades, Balanchine created a varied repertory reflecting his diverse inspirations, and these
three ballets highlight that multiplicity, ranging from virtuoso
Newly appointed Music Director Andrew Litton curates a
dancing to graceful romance. The jaw-dropping technical
program honoring three American composers whose works
feats of Ballo della Regina’s exuberant choreography were
had major impact on his career, from Barber’s moving, world
originally devised to challenge the lead ballerina, who must
famous violin concerto to the bold and brassy tones of
exhibit carefree joyousness while performing steps that push
Gershwin's Broadway. Alternately noble and quixotic, Barber
the limits of physical possibility. Requiring great energy, speed,
Violin Concerto contrasts a classical couple with a bare-
and precision, the striking choreography in Kammermusik
footed modern couple as they interchange partners in varying
No. 2 echoes the intricacies of its modernist score with jagged
combinations. Evoking the Great White Way, Fancy Free is
lines and stylized gestures. Tschaikovsky Suite No. 3's lilting
the precursor to Broadway’s On the Town, presenting three
opening blossoms into a regal, classical finale — a stunning
sailors and their escapades on shore leave in Manhattan.
conclusion to an immersive all-Balanchine experience.
Recognized as an authority on Gershwin, Litton closes his
Who Cares?
Ballo della Regina
program with Who Cares?, the composer's radiant melo-
Note: the Jan 23 Eve performance is part of
Saturday at the Ballet with George.
dies serving as the basis for syncopated group dances and
balmy, romantic duets. On January 19 only, the evening will
commence with an orchestral presentation of the overture
from Candide.
*Jan 19 performance only
JAN 20, 22, 27, 29
——
MASTERS AT WORK
Liebeslieder Walzer (Brahms/Balanchine)
—
Glass Pieces (Glass/Robbins)
The quiet romance of poetic waltzes meets the bustling
pace of city life for a program juxtaposing NYCB’s two
founding choreographers. Four couples take the waltz to
extraordinary heights in Liebeslieder Walzer’s elegant ballroom for a two-part ballet of which Balanchine said, “In the
first act, it is the real people who are dancing. In the second
act, it is their souls.” Expansive in scope and streamlined
in style, Glass Pieces captures the pulsating heartbeat of
metropolitan life with its charged, urban choreography,
concluding in a finale that propels the corps de ballet across
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the stage at a racing pace.
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Glass Pieces
— 17 —
Winter
JAN 23 Mat, 26, 30 Eve, FEB 4, 5, 27 Mat
——
FEB 12, 13 Mat & Eve, 14 Mat & Eve*, 16, 17, 18
——
Walpurgisnacht Ballet (Gounod)
—
Sonatine (Ravel)
—
Mozartiana (Tschaikovsky)
—
Symphony in C (Bizet)
La Sylphide (Løvenskjold/Martins after Bournonville)
—
Tschaikovsky Piano Concerto No. 2 (Tschaikovsky/Balanchine)
ALL BALANCHINE II
LA SYLPHIDE
The most recent of the enduring classic story ballets to
enter NYCB’s repertory, Peter Martins’ staging of August
Bournonville’s La Sylphide is filled with passion and un-
The Company draws upon its vast Balanchine repertory to
requited love. Returning to the stage from its Spring 2015
exhibit some of his most luminous works. Balanchine once
premiere for eight performances, this celebrated romance
famously said "ballet is woman," and in Walpurgisnacht
tells the tale of love led astray and features the elusive fairy
Ballet he sends 24 women soaring across the stage with wild
all little ballerinas dream of one day becoming and a diaboli-
abandon. The polished simplicity and emotional interplay of
cal witch who preys upon the conceits of an unsuspecting
the rarely-seen Sonatine evokes the elegance of the French
man. Paired for the occasion is Balanchine’s Tschaikovsky
artists on which it was made. Mozartiana’s prayerful open-
Piano Concerto No. 2, an ebullient outpouring of classical
ing will touch your spirit, and the upbeat theme and variations
virtuosity with tiaraed tiers of corps de ballet dancers.
that follows builds to pure exhilaration. Culminating with a
grand classical showpiece, Symphony in C sparkles with over
*Specially added Sunday evening performance on Feb 14 begins at 7:30 PM
50 dancers covered in Swarovski elements, a spectacular
Walpurgisnacht Ballet
Mozartiana
finale to a brilliant program.
Note: the Jan 23 Mat performance is part of
Saturday at the Ballet with George.
FEB 2, 6 Eve, 9, 10, 11
——
NEW COMBINATIONS
New Ludwig-Leone/Schumacher
—
New Ravel/Binet
—
New Walton/Thatcher
—
New Dessner/Peck — World Premiere
—
Estancia (Ginastera/Wheeldon)
As part of our mission to champion the creation of new works,
each winter we present a world premiere on the New Combinations program. Based on Hans Christian Andersen’s The
Most Incredible Thing, the story of a young man who creates a
magnificent clock in an effort to win a contest and the peculiar
consequences that ensue, Resident Choreo-grapher Justin
Peck’s first narrative work will be set to a commissioned
score by composer Bryce Dessner of The National. Peck’s
collaborative vision will feature 50 dancers, including 11
children from the School of American Ballet, and costumes
and scenic designs by the renowned contemporary artist
Marcel Dzama. Also onstage will be Wheeldon’s Estancia,
in which a city boy learns to wrangle horses and the heart
of a country girl on the Argentine pampas, along with encore performances of fall premieres from Troy Schumacher,
For ballet trailers and more
nycballet .com /explore15 -16
Robert Binet, and Myles Thatcher.
Estancia
Tschaikovsky Piano Concerto No. 2
— 19 —
Winter
FEB 19
One Time Only
——
FEB 24, 26, 27 Eve, 28
——
BALANCHINE BLACK & WHITE
CLASSIC NYCB
Episodes (Webern)
—
Agon (Stravinsky)
—
The Four Temperaments (Hindemith)
Ash (Torke/Martins)
—
This Bitter Earth (Richter, Washington/Wheeldon)
—
The Infernal Machine (Rouse/Martins)
—
New Dessner/Peck
—
The Four Temperaments (Hindemith/Balanchine)
Balanchine’s minimalist vision serves as the unifying principle
for this spectacular collection of neoclassical leotard ballets —
streamlined works that continue to exhilarate audiences
decades after their creation. A four-part avant-garde work,
Four choreographers converge for an exemplary NYCB
Episodes grew out of his enthusiasm for Anton von Webern’s
evening of contemporary works. The fourth in a series of
orchestral music, which Balanchine once wrote “fills the air
collaborations between Martins and Torke, Ash's five cou-
like molecules.” The apex of his collaborations with Igor
ples blaze through this quicksilver ballet. Two contrasting
Stravinsky, Agon is an intense masterpiece, ever contem-
pas de deux follow: Wheeldon’s This Bitter Earth is a heart-
porary in its athletic competitiveness. One of his earliest
felt expression of a tenderly remixed Dinah Washington
Black & White ballets, The Four Temperaments is a timeless
song and Martins’ The Infernal Machine finds a man and
favorite to be enjoyed over and over, featuring three intro-
woman intertwined as they push and pull their way through
ductory themes that parallel their Paul Hindemith score and
a buzzing score. Peck tackles his first narrative ballet,
Paz de la Jolla
four following movements that expand upon the invigorat-
coupling composer Bryce Dessner and artist Marcel
ing, consuming music.
Dzama for a singular work that is sure to be a focal point of
the season. Concluding the evening is Balanchine’s
neoclassical masterwork The Four Temperaments — an
enthrallingly stark ballet with an intensely moving score.
FEB 20 Mat & Eve, 21, 23, 25
——
21ST CENTURY CHOREOGRAPHERS
Ash (Torke/Martins)
—
This Bitter Earth (Richter, Washington/Wheeldon)
—
The Infernal Machine (Rouse/Martins)
—
New Debussy/Brandstrup
—
Paz de la Jolla (Martinů/Peck)
Some of the brightest contemporary dance-makers share
the stage for a program focusing on modern works. Two
Martins ballets, his supercharged Ash and the intricately
winding pas de deux The Infernal Machine, surround
Christopher Wheeldon’s poetic pas de deux, an exploration
of the haunting, tenuous melodies of a remixed rendition
of “This Bitter Earth.” The subject matter of the 2014
feature-length documentary Ballet 422, Justin Peck’s Paz
de la Jolla evokes the bouyant and beachy feeling of his
Agon
home state, California. This program also provides four more
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opportunities to view Kim Brandstrup's first work for NYCB.
nycballet.com or (212) 496–0600
The Four Temperaments
— 21 —
A P R I L 1 9 — M AY 2 9
Additional spring highlights include Jerome
Robbins' beloved Dances at a Gathering and
West Side Story Suite, each displaying his
prowess for evoking human emotion through
movement, as well as Balanchine’s sublime
Vienna Waltzes and Peter Martins’ driving
Hallelujah Junction.
Distinct in music and mood in the embodiment of emeralds, rubies, and diamonds,
the elegance of George Balanchine's plotless full-length Jewels ushers in the spring.
Shortly thereafter the 2016 Spring Gala
will see the homecoming of Christopher
Wheeldon, who will contribute the season’s
seventh world premiere.
A
longstanding
springtime
traditon,
Balanchine's full-length production of
Shakespeare's A Midsummer Night’s Dream
closes the season, flooding the stage with
its sumptuous sets and costumes.
Contemporary ballets abound with two
programs dedicated to works created within
the past decade, both featuring ballets by
Justin Peck, Alexei Ratmansky, and Wheeldon.
— 22 —
Spring
APR 20, 24, 29, 30 Mat
——
APR 19, 23 Eve, 27, 28, MAY 1
——
JEWELS
21ST CENTURY CHOREOGRAPHERS I
Fauré, Stravinsky, Tschaikovsky/Balanchine
Estancia (Ginastera/Wheeldon)
—
Pictures at an Exhibition (Mussorgsky/Ratmansky)
—
Everywhere We Go (Stevens/Peck)
One of the most brilliant works in the Balanchine repertoire,
Jewels manifests the multifaceted elegance of three coveted stones. Emeralds moves at Fauré's mesmerizing tempo,
Three of today’s most in-demand choreographers join forces
embodying the poetic perfume of France, while Rubies
on a program accented by impressive and atmospheric
tears like lightning through Stravinsky's piano capriccio in an
scenery. Famed architect Santiago Calatrava painted the
evocation of America's galloping pace and vast expanse.
luscious sets for Estancia, depicting the rich landscape
With its symphonic Tschaikovsky score, Diamonds venerates
of Argentina, the perfect visuals for a narrative set on
the regality of Balanchine’s classical Russian heritage in all
the South American plains. Like the ballet's ever-changing
its elusive grandeur. This opulent experience attracts audi-
Wassily Kandinsky watercolors, the ten dancers in Pictures
ences with its exquisite visual beauty, eliciting audible gasps
at an Exhibition move in varying combinations while display-
at every performance.
ing a plethora of emotion, from raw and wild to solemn and
soulful. The epic Everywhere We Go features 25 dancers in
a nine-part exploration of Sufjan Stevens' cinematic score,
the indie-pop icon's first orchestral work, with each section
accented by a multi-layered and shifting, geometric back-
Rubies from Jewels
drop by Karl Jensen.
Diamonds from Jewels
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Pictures at an Exhibition
Everywhere We Go
— 25 —
Spring
APR 21, 30 Eve, MAY 7 Mat
——
MAY 4 at 7 PM
——
Barber Violin Concerto (Barber/Martins)
—
N.Y. Export: Opus Jazz (Prince/Robbins)
—
New Dessner/Peck
New Wheeldon – World Premiere
AMERICAN MUSIC
SPRING GALA
Fresh from his Broadway directoral debut (An American in
Paris), former NYCB Resident Choreographer Christopher
Wheeldon returns to create a world premiere for the 2016
One of Martins’ most popular works is joined by Robbins’
Spring Gala. Additional ballets to be performed at this highly
ballet in sneakers and the Winter 2016 Peck premiere for a
anticipated event will be announced at a later time.
program of ballets all set to American music. Choreographed
for the Company’s 1988 American Music Festival, Barber
Violin Concerto juxtaposes and interchanges a classical pair
and a modern couple, the emotional dynamic varying as they
alternate partners. The ballerinas kick off their pointe shoes
for N.Y. Export: Opus Jazz, a reflection of youth in the 1950s
post-war era. Peck’s tenth ballet for the Company since 2012
will be his greatest in scale to date with a commissioned score
and an impressively large cast that unites NYCB's dancers with
students from the School of American Ballet as he interprets
an eccentric fairytale.
Barber Violin Concerto
Symphony in Three Movements
APR 22, 23 Mat, 26, MAY 3, 5
——
CLASSIC NYCB I
Bournonville Divertissements
(E. Helsted, Paulli/Bournonville)
—
Moves (Robbins)
—
Tschaikovsky Pas de Deux (Tschaikovsky/Balanchine)
—
Symphony in Three Movements (Stravinsky/Balanchine)
Two popular Balanchine ballets accompany the virtuosic
Bournonville Divertissements and a Robbins work created
without an orchestral score for a quintessential NYCB program. One of the few ballets in our repertory by the Danish
master choreographer August Bournonville, Bournonville
Divertissements provides a parade of principal roles and a
cascade of nimble footwork. Forgoing elaborate costumes,
set design, and even musical accompaniment, Moves
enthralls with the unexpected intensity derived from sounds
produced by the dancers themselves. A virtuosic ballet,
Tschaikovsky Pas de Deux is brief, beautiful, and beloved –
an adrenaline rush for both dancers and audiences. One of
Balanchine’s most celebrated leotard ballets, Symphony in
Three Movements is bold and breathtakingly jet-propelled,
Go inside the season
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a kinetic achievement, striking for its confidence and power.
Moves
— 27 —
Spring
MAY 6, 8, 10, 12
——
MAY 11, 13, 14 Mat & Eve, 15
——
ALL BALANCHINE
ALL ROBBINS
Ballo della Regina (Verdi)
—
Kammermusik No. 2 (Hindemith)
—
Vienna Waltzes (J. Strauss, Lehár, R. Strauss)
Dances at a Gathering (Chopin)
—
West Side Story Suite (Bernstein)
Bringing Balanchine’s prismatic genius into the spotlight,
apparent than in this program that pulls uncontested
these three works are at turns virtuosic, streamlined, and
masterpieces from the two fields where he excelled:
romantic. Back on the NYCB stage after a six year hiatus,
ballet and Broadway. After years of spectacular Broadway
Ballo della Regina is a non-stop display of variations exhibit-
success, Robbins' return to New York City Ballet was marked
ing the technical bravura of a contingent of ballerinas and a
by Dances at a Gathering, a landmark for its invention and
dashingly agile cavalier. With an uncommonly seen corps
constantly shifting emotions. With its crackling energy and
de ballet comprised exclusively of men, Kammermusik
heart-rending poignancy, Robbins’ West Side Story Suite
No. 2 is one of the most unique works in Balanchine’s
collects songs and dances from the smash international
neoclassical canon, with a complex structure that echoes
stage and screen musical.
Robbins’ many talents as a choreographer are never more
Hindemith’s composition of the same name. A work of
monumental scale with a magnificent finale, the five-part
Vienna Waltzes is set in moonlit Austrian forests and the
regal ballrooms of Vienna.
Vienna Waltzes
MAY 7 Eve, 18, 20, 21 Mat
——
21ST CENTURY CHOREOGRAPHERS II
Belles-Lettres (Franck/Peck)
—
New Wheeldon
—
Concerto DSCH (Shostakovich/Ratmansky)
A recent hit and a favorite from 2008 come together with a
brand new creation for the spring’s second program featuring
three of today’s most sought-after choreographers. Layering
Franck's lyrical score with Mary Katrantzou's intricately embroidered lace lettered garments, Belles-Lettres is one of Peck’s
most amorous ballets, replete with swooning pas de deux that
build to an emotional climax. Audiences have four chances to
view Wheeldon's newest creation after it enters the repertory
at the annual spring gala. With its thrilling Shostakovich score
Belles-Lettres
and dramatic texture, Concerto DSCH puts forth classical
SUBSCRIBERS ENJOY EXCLUSIVE BENEFITS
ingenuity and contemporary stylishness.
nycballet.com or (212) 496–0600
West Side Story Suite
— 29 —
Spring
MAY 17, 19, 21 Eve, 22
——
MAY 24, 25, 26, 27, 28 Mat & Eve, 29
——
Serenade (Tschaikovsky/Balanchine)
—
Hallelujah Junction (Adams/Martins)
—
Duo Concertant (Stravinsky/Balanchine)
—
Western Symphony (Kay/Balanchine)
Mendelssohn/Balanchine
A MIDSUMMER NIGHT’S DREAM
CLASSIC NYCB II
Enter the enchanted land of Shakespeare's A Midsummer
Night’s Dream, a lush forest besieged by quixotic love
triangles and feuding fairy kingdoms, awash with magic at
every turn. Balanchine's staging of this tale of merry
An audience favorite by Martins is paired with three cherished
romance, mischievous make-believe, and mistaken identity
Balanchine pieces for an experience ending with a rousing
features luxurious sets and costumes recreated in 2014
finale that brings the curtain down. The first ballet Balanchine
from Karinska's original designs and a cast of over 100 NYCB
choreographed in America, Serenade is a romantic work of
dancers and students from the School of American Ballet.
immense sweep, set to a transcendent Tschaikovsky score.
This classic summer story is simply not to be missed.
Martins’ Hallelujah Junction is a living locomotive of propulsive
vitality, set to a pulsing John Adams score played by two
onstage pianists. An animated dance for a neoclassical
couple set to onstage piano and violin accompaniment, Duo
Concertant ends with a dramatic scene that takes place in a
pool of light on a dark stage. Western Symphony is a rodeo of
frisky fillies with a spirited ending that captures the entire cast
Serenade
Hallelujah Junction
of over 30 dancers onstage.
CUSTOMIZE YOUR NYCB EXPERIENCE
With Three or More Performances
Packages Start At $90
nycballet.com or (212) 496–0600
For behind-the -scenes content
nycballet .com /explore15 -16
Western Symphony
A Midsummer Night’s Dream
— 31 —
Subscriber Access & Savings
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securing prime locations before the general public. Packages start at only $90, and you'll also gain
access to exclusive subscriber benefits.
Choose Your Package
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Savvy buyers, subscribers save over regular prices by purchasing their dates as a package. Plus, Standard Series buyers and
Create Your Own Series buyers with six or more performances
lock in the preferred rate for additional purchases throughout
the 2015–16 Season.
STANDARD SERIES
Available through August 21, 2015
Ranging from three to eight performances, Standard Series
dates are always on the same day of the week at the same
curtain time.
Best Seats in the House
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Subscribers are first in line for seat locations, and Standard
Series holders can lock in seats across seasons provided the
same series is renewed.
CREATE YOUR OWN SERIES
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choosing any three or more dates. Select six or more performances and you’ll lock in the preferred subscriber rate for any
additional ticket purchases throughout the season.
Order your subscription by June 19, 2015, and you'll qualify for
early access to George Balanchine’s The Nutcracker™, so you
can secure tickets at the best possible pricing.
Create Your Own Series do not guarantee the same seats at each
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May 4 are not available on Create Your Own Series.
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service fees.**
Order Today
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Visit nycballet.com/subscribe15-16 for complete subscription and season details. You can also download an order form,
PDF calendars, and a full listing of Standard Series.
Please note: Standard Series subscribers and Create Your Own Series
subscribers with six or more performances make exchanges at no cost.
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Note: programs and pricing subject to change. Required charges to phone,
internet, and box office sales apply. No refunds once tickets have been processed
and/or mailed. We regret that we cannot replace or refund tickets for performances you miss. Performances begin at the announced start time, and in deference
to the viewing and listening pleasure of the audience in the auditorium, and to the
performers onstage, there is no late seating, or reseating for those who leave
the auditorium, once the performance begins.
* $30 tickets are not discounted. The preferred subscriber rate does not apply for
Nutcracker or specially-priced performances on Sept 30, Feb 6 Eve, 11, 19, and May 4.
For information on accessibility,
please visit nycballet.com/accessibility.
** Following a $22 subscription handling fee, subscribers are exempt from service
fees when ordering additional repertory tickets online with a registered login and
by phone via the exclusive subscriber hotline. Benefit does not apply to Nutcracker
tickets. All orders are subject to a $3 facility fee per ticket.
† Exchanges are vaild across Fall 2015, Winter 2016, and Spring 2016 repertory per-
formances and must be made no later than one day in advance of the originally
scheduled performance. Subscription tickets cannot be exchanged in to Feb 6 Eve,
11, 19, or Nutcracker performances. The difference of ticket cost will be incurred
by Standard Series subscribers exchanging out of specially-priced performances.
‡ Orders of four or more installments, or orders with outstanding balances at the
time of the August ticket printing, will incur an additional $15 installment fee.
— 35 —
Special Thanks
New York City Ballet is grateful to the following individuals, foundations, and corporations for their
outstanding annual contributions that ensure the Company's artistic excellence and support the
performances of our world class artists.
Major Funding is Provided by:
Harriet Ford Dickenson Foundation/
Miss Gillian Attfield
Ursula M. Burns and Lloyd F. Bean
Cindy Chao
Cordelia Corporation
Randy and Jay Fishman
Ford Foundation
The Florence Gould Foundation
Geoffrey C. Hughes Foundation
Carl Jacobs Foundation
Jane B. Jacobs
The Leon Levy Foundation
Lincoln Center Corporate Fund
Martha and Bob Lipp
LuEsther T. Mertz Charitable Trust
The Ambrose Monell Foundation
The New York Community Trust –
Mary P. Oenslager Foundation Fund
Point Gammon Foundation
The Jerome Robbins Foundation
Major support for new work is provided by Cynthia and Ronald Beck, Jeffrey and
Shiou-Der Kossak, Stephen Kroll Reidy, Joseph and Sylvia Slifka Foundation, The Ted
and Mary Jo Shen Charitable Gift Fund, and members of the New Combinations Fund.
2015-16 commissioning support for Justin Peck is provided by the New York Choreographic Institute and 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 acknowledges the Cordelia Corporation for leadership
support of its Ballet Masters who ensure the excellence and vitality of the Company’s
repertory performances.
New York City Ballet gratefully acknowledges the Lila Acheson and DeWitt Wallace
Endowment Fund, which provides support for new work and audience development.
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.
The Fan Fox and Leslie R. Samuels
Foundation
New York City Ballet’s student matinees are generously underwritten in memory of
Ralph W. Kern.
The Ted and Mary Jo Shen Charitable Gift Fund
Project Ballet is made possible by a leadership gift from Denise R. Sobel.
The Shubert Foundation
The Company also wishes to thank the thousands of generous donors making gifts
up to $100,000.
Joseph and Sylvia Slifka Foundation
Michael and Sue Steinberg
John L. and Barbara Vogelstein
New York City Ballet is Pleased to Recognize its Corporate Sponsors:
PROUD SUPPORTER
OFFICIAL CHAMPAGNE
M A K E - U P
OFFICIAL TIGHTS
P R O V I D E D
B Y
OFFICIAL MAKEUP
Public Support for Programming
is Provided by:
CREDITS Illustrations by Jamie Lee Reardin © 2015: Vienna Waltzes, Kammermusik No. 2, Everywhere We Go, Swan Lake, Glass Pieces, Emeralds from Jewels, N.Y. Export:
Opus Jazz, Paz de la Jolla, Serenade. Performance photography © Paul Kolnik. 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.
— 37 —
Fall 2015
Winter 2016
SEPTEMBER 22 — OCTOBER 18
Spring 2016
JANUARY 19 — FEBRUARY 28
APRIL 19 — MAY 29
Tue
Wed
Thu
Fri
Sat
Sat
Sun
Tue
Wed
Thu
Fri
Sat
Sat
Sun
Tue
Wed
Thu
Fri
Sat
Sat
Sun
at 7:30 PM
at 7:30 PM
at 7:30 PM
at 8 PM
at 2 PM
at 8 PM
at 3 PM
at 7:30 PM
at 7:30 PM
at 7:30 PM
at 8 PM
at 2 PM
at 8 PM
at 3 PM
at 7:30 PM
at 7:30 PM
at 7:30 PM
at 8 PM
at 2 PM
at 8 PM
at 3 PM
SEPTEMBER 22 †
SEPTEMBER 23
SEPTEMBER 24
SEPTEMBER 25 †
SEPTEMBER 26 †
SEPTEMBER 26
SEPTEMBER 27
JANUARY 19 †
JANUARY 20
JANUARY 21 †
JANUARY 22 †
JANUARY 23 †
JANUARY 23 †
JANUARY 24 †
APRIL 19
APRIL 20 †
APRIL 21
APRIL 22 †
APRIL 23 †
APRIL 23 †
APRIL 24
SWAN LAKE
SWAN LAKE
SWAN LAKE
SWAN LAKE
SWAN LAKE
SWAN LAKE
SWAN LAKE
MUSIC DIRECTOR'S
CHOICE
MASTERS AT WORK
ALL BALANCHINE I
MASTERS AT WORK
ALL BALANCHINE II
ALL BALANCHINE I
CLASSIC NYCB I
CLASSIC NYCB I
JEWELS
Liebeslieder Walzer
——
Glass Pieces
Walpurgisnacht Ballet
——
Sonatine
——
Mozartiana
——
Symphony in C
Ballo della Regina
——
Kammermusik No. 2
——
Tschaikovsky
Suite No. 3
21ST CENTURY
CHOREOGRAPHERS I
AMERICAN MUSIC
Ballo della Regina
——
Kammermusik No. 2
——
Tschaikovsky
Suite No. 3
MUSIC DIRECTOR'S
CHOICE
JEWELS
Liebeslieder Walzer
——
Glass Pieces
Barber Violin Concerto
——
N.Y. Export: Opus Jazz
——
New Dessner/Peck
Bournonville
Divertissements
——
Moves
——
Tschaikovsky
Pas de Deux
——
Symphony in
Three Movements
Bournonville
Divertissements
——
Moves
——
Tschaikovsky
Pas de Deux
——
Symphony in
Three Movements
21ST CENTURY
CHOREOGRAPHERS I
Overture from Candide
(NYCB Orchestra)
——
Barber Violin Concerto
——
Fancy Free
——
Who Cares?
Barber Violin Concerto
——
Fancy Free
——
Who Cares?
Estancia
——
Pictures at an Exhibition
——
Everywhere We Go
Ginastera 100
Estancia
——
Pictures at an Exhibition
——
Everywhere We Go
Ginastera 100
SEPTEMBER 29 †
SEPTEMBER 30
OCTOBER 1 †
OCTOBER 2
OCTOBER 3
OCTOBER 3
OCTOBER 4 †
JANUARY 26
JANUARY 27 †
JANUARY 28 †
JANUARY 29
JANUARY 30 †
JANUARY 30 †
JANUARY 31
APRIL 26
APRIL 27 †
APRIL 28 †
APRIL 29
APRIL 30
SWAN LAKE
FALL GALA
at 7 PM
ALL BALANCHINE
AMERICANA x FIVE
AMERICANA x FIVE
ALL BALANCHINE
AMERICANA x FIVE
ALL BALANCHINE II
MASTERS AT WORK
JEWELS
JEWELS
Liebeslieder Walzer
——
Tschaikovsky
Suite No. 3
Ash
——
Sonatas and Interludes
——
Tarantella
——
‘R­ō dē,ō:
Four Dance Episodes
——
Slaughter on
Tenth Avenue
Walpurgisnacht Ballet
——
Sonatine
——
Mozartiana
——
Symphony in C
Liebeslieder Walzer
——
Glass Pieces
MUSIC DIRECTOR'S
CHOICE
CLASSIC NYCB I
Ash
——
Sonatas and Interludes
——
Tarantella
——
‘R­ō dē,ō:
Four Dance Episodes
——
Slaughter on
Tenth Avenue
MUSIC DIRECTOR'S
CHOICE
ALL BALANCHINE II
Ash
——
Sonatas and Interludes
——
Tarantella
——
‘R­ō dē,ō:
Four Dance Episodes
——
Slaughter on
Tenth Avenue
MUSIC DIRECTOR'S
CHOICE
MASTERS AT WORK
Liebeslieder Walzer
——
Tschaikovsky
Suite No. 3
21ST CENTURY
CHOREOGRAPHERS I
21ST CENTURY
CHOREOGRAPHERS I
Estancia
——
Pictures at an Exhibition
——
Everywhere We Go
Estancia
——
Pictures at an Exhibition
——
Everywhere We Go
Ginastera 100
Ginastera 100
MAY 7
MAY 7 †
MAY 8 †
21ST CENTURY
CHOREOGRAPHERS II
ALL BALANCHINE
New Ludwig-Leone/
Schumacher
World Premiere
——
New Ravel/Binet
World Premiere
——
New Walton/Thatcher
World Premiere
——
New Reich/Peck
World Premiere
——
Thou Swell
OCTOBER 6 †
OCTOBER 7 †
ALL BALANCHINE
AMERICANA x FIVE
Liebeslieder Walzer
——
Tschaikovsky
Suite No. 3
Ash
——
Sonatas and Interludes
——
Tarantella
——
‘R­ō dē,ō:
Four Dance Episodes
——
Slaughter on
Tenth Avenue
OCTOBER 8
OCTOBER 9 †
OCTOBER 10
OCTOBER 10 †
21ST CENTURY
CHOREOGRAPHERS
21ST CENTURY
CHOREOGRAPHERS
BALANCHINE
BLACK & WHITE
BALANCHINE
BLACK & WHITE
New Ludwig-Leone/
Schumacher
——
New Ravel/Binet
——
New Walton/Thatcher
——
New Reich/Peck
——
New Debussy/
Brandstrup
World Premiere
New Ludwig-Leone/
Schumacher
——
New Ravel/Binet
——
New Walton/Thatcher
——
New Reich/Peck
——
New Debussy/
Brandstrup
Concerto Barocco
——
Monumentum
pro Gesualdo
——
Movements for Piano
and Orchestra
——
Episodes
——
The Four
Temperaments
Concerto Barocco
——
Monumentum
pro Gesualdo
——
Movements for Piano
and Orchestra
——
Episodes
——
The Four
Temperaments
OCTOBER 11 †
ALL BALANCHINE
Liebeslieder Walzer
——
Tschaikovsky
Suite No. 3
OCTOBER 14 †
OCTOBER 15
OCTOBER 16 †
OCTOBER 17 †
OCTOBER 17
OCTOBER 18
MASTERS AT WORK
MASTERS AT WORK
MASTERS AT WORK
Harlequinade
——
N.Y. Export: Opus Jazz
Harlequinade
——
N.Y. Export: Opus Jazz
21ST CENTURY
CHOREOGRAPHERS
MASTERS AT WORK
Harlequinade
——
N.Y. Export: Opus Jazz
21ST CENTURY
CHOREOGRAPHERS
BALANCHINE
BLACK & WHITE
New Ludwig-Leone/
Schumacher
——
New Ravel/Binet
——
New Walton/Thatcher
——
New Reich/Peck
——
New Debussy/
Brandstrup
Concerto Barocco
——
Monumentum
pro Gesualdo
——
Movements for Piano
and Orchestra
——
Episodes
——
The Four
Temperaments
New Ludwig-Leone/
Schumacher
——
New Ravel/Binet
——
New Walton/Thatcher
——
New Reich/Peck
——
New Debussy/
Brandstrup
Barber Violin Concerto
——
Fancy Free
——
Who Cares?
Tickets available at nycballet.com or (212) 496–0600
Sept 30, Feb 6 Eve, 11, 19, May 4, and Nutcracker performances are not available on Create Your Own Series. Subscription tickets cannot be
exchanged in to Feb 6 Eve, 11, 19, or Nutcracker performances.
†FREE First Position Discussion on the scheduled program for all ticket holders, 20 minutes before curtain and during intermission/s on the Fourth Ring theater right side.
Walpurgisnacht Ballet
——
Sonatine
——
Mozartiana
——
Symphony in C
Barber Violin Concerto
——
Fancy Free
——
Who Cares?
Bournonville
Divertissements
——
Moves
——
Tschaikovsky
Pas de Deux
——
Symphony in
Three Movements
FEBRUARY 2 †
FEBRUARY 3 †
FEBRUARY 4
FEBRUARY 5
FEBRUARY 6
FEBRUARY 6
FEBRUARY 7
MAY 3 †
MAY 4
MAY 5 †
MAY 6
NEW COMBINATIONS
ALL BALANCHINE I
ALL BALANCHINE II
ALL BALANCHINE II
ALL BALANCHINE I
NEW COMBINATIONS
ALL BALANCHINE I
CLASSIC NYCB I
ALL BALANCHINE
AMERICAN MUSIC
Ballo della Regina
——
Kammermusik No. 2
——
Tschaikovsky
Suite No. 3
Walpurgisnacht Ballet
——
Sonatine
——
Mozartiana
——
Symphony in C
Walpurgisnacht Ballet
——
Sonatine
——
Mozartiana
——
Symphony in C
Ballo della Regina
——
Kammermusik No. 2
——
Tschaikovsky
Suite No. 3
New Ludwig-Leone/
Schumacher
——
New Ravel/Binet
——
New Walton/Thatcher
——
New Dessner/Peck
——
Estancia
Ballo della Regina
——
Kammermusik No. 2
——
Tschaikovsky
Suite No. 3
Bournonville
Divertissements
——
Moves
——
Tschaikovsky
Pas de Deux
——
Symphony in
Three Movements
SPRING GALA
at 7 PM
CLASSIC NYCB I
New Ludwig-Leone/
Schumacher
——
New Ravel/Binet
——
New Walton/Thatcher
——
New Dessner/Peck
World Premiere
——
Estancia
Bournonville
Divertissements
——
Moves
——
Tschaikovsky
Pas de Deux
——
Symphony in
Three Movements
Ballo della Regina
——
Kammermusik No. 2
——
Vienna Waltzes
Barber Violin Concerto
——
N.Y. Export: Opus Jazz
——
New Dessner/Peck
MAY 11 †
MAY 12
MAY 13
MAY 14 †
ALL BALANCHINE
at 8 PM
Ginastera 100
OCTOBER 13
Harlequinade
——
N.Y. Export: Opus Jazz
Barber Violin Concerto
——
Fancy Free
——
Who Cares?
Liebeslieder Walzer
——
Glass Pieces
Ginastera 100
New Wheeldon
World Premiere
——
Additional Programming
to be Announced
FEBRUARY 9 †
FEBRUARY 10 †
FEBRUARY 11
FEBRUARY 12 †
FEBRUARY 13 †
FEBRUARY 13 †
FEBRUARY 14
MAY 10 †
NEW COMBINATIONS
NEW COMBINATIONS
NEW COMBINATIONS
LA SYLPHIDE
LA SYLPHIDE
LA SYLPHIDE
ALL ROBBINS
New Ludwig-Leone/
Schumacher
——
New Ravel/Binet
——
New Walton/Thatcher
——
New Dessner/Peck
——
Estancia
New Ludwig-Leone/
Schumacher
——
New Ravel/Binet
——
New Walton/Thatcher
——
New Dessner/Peck
——
Estancia
La Sylphide
——
Tschaikovsky Piano
Concerto No. 2
La Sylphide
——
Tschaikovsky Piano
Concerto No. 2
La Sylphide
——
Tschaikovsky Piano
Concerto No. 2
LA SYLPHIDE
3 PM & 7:30 PM
ALL BALANCHINE
New Ludwig-Leone/
Schumacher
——
New Ravel/Binet
——
New Walton/Thatcher
——
New Dessner/Peck
——
Estancia
La Sylphide
——
Tschaikovsky Piano
Concerto No. 2
Ballo della Regina
——
Kammermusik No. 2
——
Vienna Waltzes
Dances at a Gathering
——
West Side Story Suite
Ginastera 100
Ginastera 100
Ginastera 100
FEBRUARY 16 †
FEBRUARY 17 †
FEBRUARY 18 †
FEBRUARY 19
FEBRUARY 20
FEBRUARY 20
FEBRUARY 21
MAY 17 †
MAY 18 †
LA SYLPHIDE
LA SYLPHIDE
LA SYLPHIDE
CLASSIC NYCB
La Sylphide
——
Tschaikovsky Piano
Concerto No. 2
La Sylphide
——
Tschaikovsky Piano
Concerto No. 2
Ash
——
This Bitter Earth
——
The Infernal Machine
——
New Dessner/Peck
——
The Four Temperaments
21ST CENTURY
CHOREOGRAPHERS
21ST CENTURY
CHOREOGRAPHERS
21ST CENTURY
CHOREOGRAPHERS
CLASSIC NYCB II
La Sylphide
——
Tschaikovsky Piano
Concerto No. 2
21ST CENTURY
CHOREOGRAPHERS II
Ash
——
This Bitter Earth
——
The Infernal Machine
——
New Debussy/
Brandstrup
——
Paz de la Jolla
Ash
——
This Bitter Earth
——
The Infernal Machine
——
New Debussy/
Brandstrup
——
Paz de la Jolla
Ash
——
This Bitter Earth
——
The Infernal Machine
——
New Debussy/
Brandstrup
——
Paz de la Jolla
FEBRUARY 23 †
FEBRUARY 24 †
FEBRUARY 25 †
FEBRUARY 26
FEBRUARY 27
FEBRUARY 27
FEBRUARY 28 †
21ST CENTURY
CHOREOGRAPHERS
BALANCHINE
BLACK & WHITE
21ST CENTURY
CHOREOGRAPHERS
BALANCHINE
BLACK & WHITE
ALL BALANCHINE II
BALANCHINE
BLACK & WHITE
BALANCHINE
BLACK & WHITE
Ash
——
This Bitter Earth
——
The Infernal Machine
——
New Debussy/
Brandstrup
——
Paz de la Jolla
Episodes
——
Agon
——
The Four
Temperaments
Ash
——
This Bitter Earth
——
The Infernal Machine
——
New Debussy/
Brandstrup
——
Paz de la Jolla
Episodes
——
Agon
——
The Four
Temperaments
Episodes
——
Agon
——
The Four
Temperaments
Episodes
——
Agon
——
The Four
Temperaments
Walpurgisnacht Ballet
——
Sonatine
——
Mozartiana
——
Symphony in C
Serenade
——
Hallelujah Junction
——
Duo Concertant
——
Western Symphony
APRIL 30
MAY 1 †
AMERICAN MUSIC
JEWELS
Barber Violin Concerto
——
N.Y. Export: Opus Jazz
——
New Dessner/Peck
Belles-Lettres
——
New Wheeldon
——
Concerto DSCH
MAY 14
Ballo della Regina
——
Kammermusik No. 2
——
Vienna Waltzes
MAY 15
ALL ROBBINS
ALL ROBBINS
ALL ROBBINS
ALL ROBBINS
Dances at a Gathering
——
West Side Story Suite
Dances at a Gathering
——
West Side Story Suite
Dances at a Gathering
——
West Side Story Suite
Dances at a Gathering
——
West Side Story Suite
MAY 19 †
MAY 20 †
MAY 21
MAY 21
MAY 22
CLASSIC NYCB II
21ST CENTURY
CHOREOGRAPHERS II
21ST CENTURY
CHOREOGRAPHERS II
CLASSIC NYCB II
CLASSIC NYCB II
Belles-Lettres
——
New Wheeldon
——
Concerto DSCH
Belles-Lettres
——
New Wheeldon
——
Concerto DSCH
Serenade
——
Hallelujah Junction
——
Duo Concertant
——
Western Symphony
Serenade
——
Hallelujah Junction
——
Duo Concertant
——
Western Symphony
Ballo della Regina
——
Kammermusik No. 2
——
Vienna Waltzes
Belles-Lettres
——
New Wheeldon
——
Concerto DSCH
Serenade
——
Hallelujah Junction
——
Duo Concertant
——
Western Symphony
MAY 24 †
MAY 25
MAY 26
MAY 27 †
MAY 28
MAY 28 †
MAY 29
A MIDSUMMER
NIGHT’S DREAM
A MIDSUMMER
NIGHT’S DREAM
A MIDSUMMER
NIGHT’S DREAM
A MIDSUMMER
NIGHT’S DREAM
A MIDSUMMER
NIGHT’S DREAM
A MIDSUMMER
NIGHT’S DREAM
A MIDSUMMER
NIGHT’S DREAM
Special Events
Save the date for these events celebrating and supporting New York City Ballet.
2015 Fall Gala
Wednesday, September 30 at 7 PM
2015 The Nutcracker
Family Benefit
See PAGE 11 for details.
Saturday, December 12 at 2 PM
2016 Annual Luncheon
2016 Spring Gala
Tuesday, February 23 at 11:15 AM
Wednesday, May 4 at 7 PM
See PAGE 27 for details.
For more information about New York City Ballet’s special events, please call (212) 870-5585 or email specialevents@nycballet.com.
Public Programs
Get closer to the stage with activities and opportunities to interact with Company members and more.
Tickets for these public programs must be purchased separately from performance tickets and go on
sale August 2, 2015 at 12 PM (see below for Ballet Essentials onsale dates).
Artist Chats
45-Minute Pre-Performance Chats
with NYCB Artists, free with online or
phone (212-870–5666) reservation
Friday, September 25 at 6:45 PM
Friday, October 9 at 6:45 PM
Friday, January 29 at 6:45 PM
Friday, February 19 at 6:45 PM
Friday, April 29 at 6:45 PM
Friday, May 13 at 6:45 PM
Ballet Essentials
Family Saturdays
75-Minute Movement Workshops for
Adults, led by NYCB Dancers
$27 per person
$22 per person
See NYCB dancers on their home stage
at this one-hour presentation crafted
specially for children and families. Family
Saturdays Creative Director and Principal Dancer Daniel Ulbricht will lead you
through the program of short works and
excerpts from NYCB’s diverse repertory.
(Ages 21+)
On sale Sept 8, 2015, at 12 PM
Saturday, September 26 at 10:30 AM
Saturday, October 3 at 10:30 AM
Saturday, December 5 at 10:30 AM
Monday, December 14 at 6:30 PM
On sale Dec 6, 2015, at 12 PM
Seminars
90-Minute Onstage Panel Discussions
$15 per person, free for NYCB donors
Monday, October 5 at 6 PM
Monday, January 25 at 6 PM
Monday, February 8 at 6 PM
Monday, February 22 at 6 PM
Monday, May 9 at 6 PM
Saturday, January 23 at 10:30 AM
Saturday, January 30 at 10:30 AM
Monday, February 22 at 6:30 PM
Children’s Workshops
Monday, April 25 at 6:30 PM
Saturday, May 7 at 10:30 AM
Saturday, May 21 at 10:30 AM
45-Minute Movement Workshops
$12 per person (children and adults)
(Ages 9-12)
Free for all ticket holders
Informal pre-performance chats
beginning 20 minutes before curtain
and during intermission/s on select
dates, see calendars for specific dates.
Saturday, October 17 at 11 AM
Saturday, February 13 at 11 AM
Saturday, May 14 at 11 AM
On sale Mar 20, 2016, at 12 PM
In Motion Workshop
First Position Discussions
(Ages 5+)
45-Minute Movement Workshops
$12 per person (children and adults)
Sunday, September 27 at 1:45 PM
Saturday, December 19 at 12:45 PM
Sunday, January 31 at 1:45 PM
Saturday, May 28 at 12:45 PM
The Illustrator
After spying the models and muses of Dior resident illustrator and L.A.
based artist Jamie Lee Reardin on Instagram, we knew her signature
lithe and long-limbed creations would translate perfectly from the
runway to the ballet. This season, Jamie offers her interpretation of
more than 20 iconic moments from our 2015-16 repertory, which we’ll
be sharing all year long. Find more of her work @JamieLeeReardin.
— 38 —
(Ages 5-8)
Saturday, September 26 at 12:45 PM
Sunday, September 27 at 1:45 PM
Saturday, October 3 at 12:45 PM
Saturday, December 5 at 12:45 PM
Saturday, December 19 at 12:45 PM
Sunday, December 20 at 11:45 AM
Tuesday, December 29 at 12:45 PM
Saturday, January 23 at 12:45 PM
Sunday, January 31 at 1:45 PM
Saturday, February 27 at 12:45 PM
Saturday, May 7 at 12:45 PM
Saturday, May 28 at 12:45 PM