3869-FY19-SeasonBrochure-FINAL-Sept18 - nycballet.com · 27 ON BEAUTY BY PATRICIA LOCKWOOD...

2 0 1 8 / 1 9 S E A S O N

FIRST COMES SWEAT THEN

COMES BEAUTY

Ph

otog

raph

er G

AB

RIE

LA

CE

LE

ST

E

Fil

m D

irec

tor

& D

irec

tor

of P

hot

ogra

phy

RY

AN

MA

RIE

HE

LF

AN

T

Sty

list

CH

RIS

TIA

N S

TR

OB

LE

H

air

CH

AR

LIE

TA

YL

OR

Mak

eup

CY

ND

LE

KO

MA

RO

VS

KI

Set

Des

ign

er M

ILA

TA

YL

OR

-YO

UN

G

Pro

duct

ion

RE

D H

OO

K L

AB

S P

BC

E

xecu

tive

Pro

duce

r S

IMO

N M

AL

IVIN

DI

Pro

duce

rs N

AT

AL

IE P

FIS

TE

R,

NA

OM

I F

RA

NC

ES

CA

WE

LL

S

| C

over

MA

RIA

KO

WR

OS

KI

Ann

Dem

eule

mee

ster

dre

ss, W

olfo

rd b

odys

uit

| Th

is p

age

SA

SO

NA

H H

UT

TE

NB

AC

H P

UM

A b

ra

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

13

15

27

35

36

40

42

46

48

54

56

58

60

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

15

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

OL

IVIA

MA

CK

INN

ON

PU

MA

bra

, leg

ging

s, a

nd

snea

kers

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

27

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 R I S T O P H E R G R A N T 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

35

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

CH

RIS

TO

PH

ER

GR

AN

T N

ew Y

ork

Cit

y B

alle

t le

otar

d an

d ti

ghts

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

3736

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

3938

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

41

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



Symphony in C

2 8 21ST CENTURY CHOREOGRAPHERS I

New Neenan

In Vento

New Abraham

New Reisen



This Bitter Earth

Concerto DSCH

Fearful Symmetries

1 2 ROBBINS 100

Afternoon of a Faun

Other Dances

Moves


2 2 JEWELS

2 9

LA SYLPHIDE

Allegro Brillante

Easy

Carousel (A Dance)

La Sylphide



This Bitter Earth

Concerto DSCH

Fearful Symmetries

1 3 ROBBINS 100

Afternoon of a Faun

Other Dances

Moves


2 2 ALL BALANCHINE

Concerto Barocco



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



This Bitter Earth

Concerto DSCH

Fearful Symmetries

1 4 JOAQUIN DE LUZ FAREWELL

Theme and Variations

Concerto Barocco

A Suite of Dances

Todo Buenos Aires

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

40

1 8 JEWELS

4342

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

4544

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


Pictured: Prodigal Son

FEB 2 8 , M A R 1, 2 m a t


EXCHANGE PRIVILEGES

nycballet.com 212-496-0600

J A N – M A R 2 0 1 9

47

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


6 CLASSIC NYCB

In Vento



Duo Concertant




2 7 NEW COMBINATIONS

New Portner

New Fall 2018 Ballet

Herman Schmerman

New Peck 1


Serenade

Mozartiana


2 4 STRAVINSKY & BALANCHINE

Apollo

Orpheus

Agon


Interplay

In the Night




2 8 ALL BALANCHINE

Prodigal Son

Liebeslieder Walzer


New Portner — World Premiere


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


Serenade

Mozartiana


8 ONE-TIME-ONLY PROGRAM

Agon

Orpheus




1 STRAVINSKY & BALANCHINE

Apollo

Orpheus

Agon

1 ALL BALANCHINE

Prodigal Son

Liebeslieder Walzer

2 6 M A T TSCHAIKOVSKY & BALANCHINE

Serenade

Mozartiana


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


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



Duo Concertant


2 E V E NEW COMBINATIONS

New Portner


Herman Schmerman

New Peck 1

9 E V E ROBBINS: A MASTER AT WORK

Interplay

In the Night


1 6 E V E THE SLEEPING BEAUTY

2 3 E V E THE SLEEPING BEAUTY


Serenade

Mozartiana


3 NEW COMBINATIONS

New Portner


Herman Schmerman

New Peck 1


Interplay

In the Night



New Portner


Herman Schmerman

New Peck 1

1 7 1 P M & 7 P M THE SLEEPING BEAUTY


F R I 8 PM S A T 2 PM S A T 8 PM S U N 3 PM

46

4948

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


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

5150

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 IBARBER, 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)


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

5352

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)


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


P R E F E R R E D P R I C I N G

nycballet.com 212-496-0600

A P R – J U N 2 0 1 9

54 55

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


2 4 21ST CENTURY CHOREOGRAPHERS II New Neenan Hallelujah Junction

Herman Schmerman

Concerto DSCH

8 ALL BALANCHINE Scotch Symphony


Sonatine


1 5 BALANCHINE: BIG & BOLD

Brahms-Schoenberg Quartet

Tschaikovsky Suite No. 3


Stars and Stripes


1 21ST CENTURY CHOREOGRAPHERS II New Neenan Hallelujah Junction

Herman Schmerman

Concerto DSCH


Oltremare


9 CLASSIC NYCB I Valse Fantaisie

A Suite of Dances

New Peck 2 Western Symphony


2 3 * BALANCHINE: BIG & BOLD




2 7 P M SPRING GALA New Peck 2 — World Premiere


T H U 7:30 PMW E D 7:30 PMT U E 7:30 PM

* SEE THE MUSIC... Includes an orchestral demonstration


Oltremare




Stars and Stripes

2 4 ALL BALANCHINE Scotch Symphony


Sonatine



3 BARBER, BROADWAY & BALANCHINE Barber Violin Concerto


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


Sonatine


1 M A T A MIDSUMMER NIGHT’S DREAM

1 1 M A T CLASSIC NYCB I Valse Fantaisie

A Suite of Dances


1 8 M A T BALANCHINE: BIG & BOLD



2 5 M A T SYMPHONIC & ELECTRONIC Stars and Stripes


Tarantella


2 7 E V E 21ST CENTURY CHOREOGRAPHERS I Pictures at an Exhibition

Oltremare


4 E V E CLASSIC NYCB I Valse Fantaisie

A Suite of Dances


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


Sonatine


2 8 21ST CENTURY CHOREOGRAPHERS II New Neenan Hallelujah Junction

Herman Schmerman

Concerto DSCH

5 * BARBER, BROADWAY & BALANCHINE Barber Violin Concerto


Diamonds

2 A MIDSUMMER NIGHT’S DREAM

1 2 CLASSIC NYCB I Valse Fantaisie

A Suite of Dances


1 9 BALANCHINE: BIG & BOLD



2 6 SYMPHONIC & ELECTRONIC Stars and Stripes


Tarantella

The Times are Racing

S U N 3 PMS A T 8 PMS A T 2 PMF R I 8 PM

56

nycballet.com/subscr ibe

212-496-0600

nycballet.com/membership

212-870-5677

GET THE BEST DEAL IN THE HOUSE

ELEVATE YOUR NYCB EXPERIENCE

Save up to 15% by purchasing three or

more per formances in a single order. A s

a subscr iber, you’ll also enjoy pr ime seat

locations and unlock added value. S U B S C R I B E R - O N L Y P R I C I N G on package purchases T I C K E T E X C H A N G E P R I V I L E G E S

in case your plans change later

P R I O R I T Y O R D E R I N G

for George Balanchine’s The Nutcracker ®

W A I V E D S E R V I C E F E E S

on additional ticket purchases

Donate $100 or more to interact with the

Company beyond the stage. A s a member, your

suppor t will help to sustain NYCB's excellence,

launch new works, and keep per formances

af fordable and accessible for new audiences.

Benefits correspond to giv ing level and can

include:

M E M B E R S - O N L Y E V E N T S

including rehearsal v isits and receptions

E X C L U S I V E A C C E S S

to the Travelers Patron Lounge

H O U S E S E A T U P G R A D E S

for best locations in the house

S U B S C R I P T I O N S & M E M B E R S H I P

Invest in the art you love today so NYCB endures for the audiences of tomorrow.

Plan the season ahead, and make NYCB a cornerstone of your ca lendar in 2018/19.

A S H L E Y B O U D E R Esteban Cortazar dress, Baserange bodysuit

59

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

Adrian Danchig-Waring

Joaquin De Luz

Megan Fairchild

Gonzalo Garcia

Anthony Huxley

Sterling Hyltin

Russell Janzen

Maria Kowroski

Ask la Cour

Lauren Lovette

Sara Mearns

Tiler Peck

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

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

Gilbert Bolden III

Jacqueline Bologna

India Bradley

Preston Chamblee

Christina Clark

Harrison Coll

Nieve Corrigan

Gabriella Domini

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

Mary Thomas MacKinnon

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

Andres Zuniga

As of September 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.

6160

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

3869-FY19-SeasonBrochure-FINAL-Sept18 - nycballet.com · 27 ON BEAUTY BY PATRICIA LOCKWOOD...

Documents

Transcript of 3869-FY19-SeasonBrochure-FINAL-Sept18 - nycballet.com · 27 ON BEAUTY BY PATRICIA LOCKWOOD...