2016/17 season - New York City Ballet · 2016/17 season. PRODUCTION by ro., ... The artwork and photographs in this brochure depict choreography copyrighted by the individual choreographers

2 0 1 6 / 1 7 s e a s o n

PRODUCTION by ro., Pier59 Korea E XECUTIVE PRODUCER Ros Okusanya at ro. PRODUCERS Steven Hong at Pier59 Korea, Ricardo Martins at North Six SPECIAL THANK S Sandrine Bizzaro & Rene Bosne at 2B Management

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P H O T O GR A P HER P E T ER L INDBERGH S T Y L I S T JUL I A V ON BOEHM H A IR ODIL E GIL BER T M A K EU P S T EP H A NE M A R A IS SE T DE SIGNER COL IN DON A HUE

ONS TAGE PERFORM A NCE PHOTOGR A PH Y © PAU L KO L NIK

Fall Gala image © Sam Wootton. 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.

G L O B A L S P O N S O R

The ballet – as our founder George Balanchine liked to say – only exists “right now.” While this powerful metaphor of art as a continuously unfolding present reminds us that dance is staged by living people before a live audience, it is also about the vibrant immediacy of dance and the joy that it affords.

To be swept up in the emotionally charged combination of motion giving shape to live music. And to allow ourselves to be wholly transported from our daily lives and the unrelent-ing buzz of constant distraction.

Whatever a dance was yesterday or will become tomorrow, the opportunity to experience what it is right now is fleeting. This makes it all the more imperative we seize the moment. Whether we come to see how the Company’s remarkable talent of today interprets our classics. Or when we go to the premiere of the innovative new works only now being created.

As we contemplate the 112 performances ahead of us this season, we very much hope that you will join us. That you will seize the moment. Because “there is only now.”

— G E O R G E B A L A N C H I N E

There Is Only Now

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FOUNDERS

George BalanchineLincoln Kirstein

FOUNDING CHOREOGRAPHERS

George BalanchineJerome Robbins

BALLET MASTER IN CHIEF

Peter Martins

MUSIC DIRECTOR

Andrew Litton

PRINCIPALS

Jared AngleTyler AngleAshley BouderAdrian Danchig-WaringJoaquin De LuzMegan FairchildRobert FairchildChase FinlayGonzalo GarciaAnthony HuxleySterling HyltinMaria KowroskiRebecca KrohnAsk la CourLauren LovetteSara MearnsTiler PeckAmar RamasarTeresa ReichlenAna Sophia SchellerAbi StaffordDaniel UlbrichtAndrew Veyette

SOLOISTS

Antonio CarmenaZachary CatazaroCraig HallAshly IsaacsRussell JanzenLauren KingAshley LaraceyMegan LeCroneSavannah LoweryGeorgina PazcoguinJustin PeckErica PereiraBrittany PollackTaylor StanleySean Suozzi

Sara AdamsDevin AlberdaMarika AndersonDaniel ApplebaumFaye ArthursHarrison BallOlivia BoissonJacqueline BolognaLikolani BrownPreston ChambleeStephanie ChrosniakHarrison CollCameron DieckAlina DronovaMeaghan Dutton-O’HaraSilas FarleyClara FrancesEmilie GerrityJoseph Gordon†

Laine HabonyAshley HodSpartak HoxhaRalph IppolitoDana JacobsonMegan JohnsonBailey JonesGhaleb KayaliEmily Kikta

Claire KretzschmarIsabella LaFreniereOlivia MacKinnonMeagan MannJenelle ManziAlexa MaxwellMiriam MillerGwyneth MullerLars NelsonUnity PhelanDavid ProttasAaron SanzTroy SchumacherAndrew ScordatoKristen SeginMary Elizabeth SellGretchen SmithMimi StakerJoshua ThewLara TongGiovanni VillalobosSebastian Villarini-VelezSarah VillwockClaire Von EnckPeter WalkerLydia WellingtonIndiana Woodward

CORPS DE BALLET

†Janice Levin Dancer Honoree

As of March 2016

I N T E R V I E W B Y G U Y L E S S E RIt is now after midnight in Paris. Peter Lindbergh the photogra-pher and I have been talking for much of the day. He is home. I am in New York. We’ve discussed his early interest in becoming a conceptual artist (and making “big” paintings before that). Silent German cinema and Berlin cabaret have been topics of conversation too. We see one another on Skype. Behind him is a school clock, a window, and more art books than can be imagined.

For my part, I have been trying to ascertain what influence dance has exerted on his work. The poise of arms and hands. The way a back is arched or a leg is extended. Poses where every muscle seems tensed ready for a leap. I ask about Naomi Campbell’s complaint that Lindbergh made her wear ballet toe shoes and standen pointe for their first fashion shoot at the start of her career. And I even suggest – after seeing film footage of Lindbergh show-ing fashion models what he’d like them to do in a series of steps,waving his arms, shifting his hips and tossing back his head –that he goes about his work in exactly the way that a ballet cho-reographer constructs a dance. He laughs. After a long pause, he explains that’s not it. What’s important is for him to feel for himself exactly what and how his subject feels.

For the better part of 40 years Lindbergh has been regarded as one of photography’s masters. An artist of shadow and available light, his fashion stories and portraits of actors and musicians have regularly appeared in all the world’s top magazines, been published as books, shown at art galleries—and increasingly, become the subject of retrospectives at major art museums.

His approach, he explains (notwithstanding his patrons’ earnest commercial motives), has never been about the clothes, the location, or even “the architecture” of a face, but very much focused on “the relationship” that is created between the pho-tographer and his subject on one particular occasion: “You do not photograph the person—you photograph the moment.” Often praised as poetic or “dance like,” his images are black & white (with rare exceptions), wholly uncropped, and – at least when he’s gotten his way – unretouched. Moreover, the relationship depicted by Lindbergh is invariably one of equals enjoying a wholly unqualified and unconditional sense of mutual trust.

Lindbergh is modest about the occasions he has photographed the ballet – including his assignment for the NYCB – contending he “prefers imperfection to perfection,” adding that while he lovesdance, there are so many ballet photographers who can see the moment when a dancer is technically impeccable. “I don’t care

— P E T E R L I N D B E R G H

You do not photograph the person — you photograph the moment.

if the foot is like this or like this,” Lindbergh tells me, gesturing with his hand, “I’m okay with more twisted or less twisted.” What Lindbergh seeks and has always responded to is the “energy” of dance. Its capacity for the poetic.

There is too, it becomes clear in our conversation, Lindbergh’s remarkable capacity to empathize with dancers about matters both practical and philosophical, like their singular dedication to the ideal that the show must go on. However, it clearly pains him that so much preparation and diligent work goes into a live performance that vanishes. “God, it must be so frustrating,” he recalls saying to one dancer, “you do all this work, no? And then…it just passes.”

At his October shoot for the Company, as his portfolio radiantly attests, he was particularly inspired by both the inventive improvi-sational energy of the company and the remarkably beautiful light in the stable house in which he took portraits. As for working outof doors – at the mercy of weather and inexorable fading of the afternoon autumn light – he explains, “you need to leave a space for things to happen.” And also to “preserve the possibility you will discover something very different from what you thought.”

At a deeper level, though, there is Lindbergh’s thirty-year friend-ship with Pina Bausch—among Lindbergh’s closest friends until her death in 2009. Describing Bausch’s work as a dancer herself in Cafe Müller (in one of the only roles she continued to perform, rather than pass on), I watch Lindbergh’s face light up as he des-cribes how she “hardly did anything.” But that “not one movement was empty.” That “every gesture” had come from something in her experience, and how masterful she was at imagining some-thing of consequence she wanted to say, and doing so with her body.“One hand would come up,” Lindbergh tells me, very slowly moving his own arm a few inches “and you’d die.”

It is now past one a.m. Lindbergh has been working for Italian Vogue on location in Egypt, Tunisia, and India during the previous few days. At the weekend he’ll head to Los Angeles. I think of some-thing he said to an interviewer half a dozen years ago about his shooting schedules always being so tight you couldn’t move the dates, and how it made you learn to be “quick and flexible” be-cause there is no tomorrow or day after. How for Lindbergh, like Balanchine, “there is only now.”

Accordingly, it felt like Peter Lindbergh was just the artist to capture who the New York City Ballet is right now.

R E B ECC A K R O H N / AMERICAN APPAREL top TAY L O R S TA N L E Y/

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BALANCHINE BLACK & WHITE: ALL STRAVINSKYSEP T 21, 2 4 mat , 29, OC T 8 eve

Highlighting a signature NYCB style, this collection of boundary breaking ballets cele-brates the apex of the Stravinsky/Balanchine collaboration, each work a streamlined marvel of music and movement that continues to astonish decades after its creation.

NE W LO V E T T E World Premiere

NE W P ECK 1 World Premiere

NE W WA L K ER World Premiere

NE W LOP E Z OCHOA World Premiere

S T R AV IN SK Y V IOL IN CONCER TO

MONUMEN T UM P RO GE SUA L DO

MO V EMEN T S FOR P I A NO A ND ORCHE S T R A

DUO CONCER TA N T

S Y MP HON Y IN T HREE MO V EMEN T S

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FALL GALASEP T 20 at 7 PM

From the red carpet to center stage, we present four world premieres in our fifth annual fall fashion event. Each dance-maker will join forces with a designer to create couture costuming sure to have the fashion world abuzz.

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BALANCHINE X VIENNASEP T 2 2 , 2 3 , 2 4 eve, 2 5

A mecca of art and culture, Vienna undoubtedly sparked the creativity of these five composers, whose different styles spurred three equally diverse ballets from Balanchine: a regal embodiment of Mozart’s sparkling score, a minimalist black and white stage built from Webern’s architectural orchestrations, and the moonlit forests and grandiose ballrooms of three waltz kings: Johann Strauss II, Franz Lehár, and Richard Strauss.

21ST CENTURY CHOREOGRAPHERSSEP T 2 7, OC T 1 eve, 5 , 15 mat

The innovative lifeblood propelling the Company’s creative force is readily apparent in this collection of ballets. Four premieres, three from in-house talents and another from Annabelle Lopez Ochoa in her NYCB debut, are performed alongside Justin Peck’sepic 2014 tour de force Everywhere We Go.

D I V ER T IMEN TO NO. 15 (Mozart)

EP IS ODE S (Webern)

V IENN A WA LT ZE S (J. Strauss II, Lehár, R. Strauss)

NE W LO V E T T E

NE W P ECK 1

NE W WA L K ER

NE W LOP E Z OCHOA

E V ER Y W HERE W E GO (Stevens/Peck)

V I E N N A WA LT Z E S

M O N U M E N T U M P R O G E S U A L D O

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EMER A L D S (Fauré/Balanchine)

RUBIE S (Stravinsky/Balanchine)

DI A MOND S (Tschaikovsky/Balanchine)

JEWELSSEP T 28, 30, OC T 1 mat , 2

Inspired by a visit to Van Cleef & Arpels, this full-length masterwork manifests the multifaceted opulence of three coveted stones to awe-inducing effect. Sight and sound conjoin in a brilliant display of music and mood, eliciting audible gasps from every audience.

CLASSIC NYCBOC T 7, 8 mat , 12

A program of passion and high-spirits, the transcendent lift of Serenade and the brash humor of the Wild West bookend a recent premiere to George Gershwin’s beloved, jazz-inflected concerto and a world-famous showpiece known for its balance of romantic lyricism and virtuosic surprise.

SEREN A DE (Tschaikovsky/Balanchine)

A MERIC A N RH A P S ODY (Gershwin/Wheeldon)

T S CH A IKO V SK Y PA S DE DEU X (Tschaikovsky/Balanchine)

W E S T ERN S Y MP HON Y (Kay/Balanchine)

MASTERS AT WORKOC T 11, 13 , 14 , 15 eve

George Balanchine and Jerome Robbins’ contrasting styles created a repertory unmatched the world over, and this duo of masterworks, a landmark piano ballet distilling the spectrum of human emotions and a lush fairytale awash in Chagall’s surreal sets and costumes, is the perfect pairing.

DA NCE S AT A GAT HERING (Chopin/Robbins)

F IREBIRD (Stravinsky/Balanchine, Robbins)

AMERICAN MUSICOC T 4 , 6 , 9, 16

Evoking the urban heartbeat of our bustling metropolis, the glamour and chivalry of café society, and the all-American cheer of patriotic marches, this action-packed program brings together works from three NYCB patriarchs for a rousing performance of pulse, brio, and pomp.

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T HOU S W EL L (Rodgers, arr. by Kelly, orch. by Sebesky/Martins)

S TA R S A ND S T RIP E S (Kay/Balanchine)

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21BALANCHINE B&W:

ALL STRAVINSKYStravinsky Violin ConcertoMonumentum pro GesualdoMovements for Piano and OrchestraDuo ConcertantSymphony in Three Movements

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FALL GALANew Lovette World PremiereNew Peck 1 World PremiereNew Walker World PremiereNew Lopez Ochoa World Premiere

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28JEWELS

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BALANCHINE x VIENNADivertimento No. 15EpisodesVienna Waltzes

2721ST CENTURY CHOREOGRAPHERSNew Lovette New Peck 1 New Walker New Lopez Ochoa Everywhere We Go

25BALANCHINE x VIENNADivertimento No. 15EpisodesVienna Waltzes

23BALANCHINE x VIENNA Divertimento No. 15EpisodesVienna Waltzes

30JEWELS

22BALANCHINE x VIENNADivertimento No. 15EpisodesVienna Waltzes

29BALANCHINE B&W:


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6AMERICAN MUSICGlass PiecesThou SwellStars and Stripes

13MASTERS AT WORKDances at a GatheringFirebird



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521ST CENTURY CHOREOGRAPHERSNew Lovette New Peck 1New Walker New Lopez Ochoa Everywhere We Go

12CLASSIC NYCBSerenadeAmerican RhapsodyTschaikovsky Pas de DeuxWestern Symphony

7CLASSIC NYCBSerenadeAmerican RhapsodyTschaikovsky Pas de DeuxWestern Symphony


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CLASSIC NYCBSerenadeAmerican RhapsodyTschaikovsky Pas de DeuxWestern Symphony

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MASTERS AT WORKDances at a GatheringFirebird

O C T 2 0 1 6

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F R I8 PM

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nycballet.com or 212-496-0600

Opposite PageA M A R R A M A S A R / HUGO BOSS coat E M I L I E G E R R I T Y/ ALBERTA FERRETTI dress

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BALANCHINE SHORT STORIESJA N 17, 20, 2 1 mat & eve, 28 mat , 29

An ethereal sleepwalker leaving tragedy in her wake. A seductive siren interrupting the path toward redemption. A creature of flickering flame heralding the demise of an evil sorcerer. Three of Balanchine’s greatest narrative works coincide to demonstrate his masterful storytelling.

ALL BALANCHINEJA N 18, 19, 2 5 , 3 1, FEB 4 mat , 5

From classical to contemporary, three spectacular ballets showcase Balanchine’s musical mastery, including his one-act revision of Swan Lake. With its corps of sleek black swans and icy landscape, he infuses this timeless story with new passion and heartbreak.

L A S ONN A MBUL A (Rieti, themes by Bellini)

P RODIGA L S ON (Prokofiev)

F IREBIRD (Stravinsky/Balanchine, Robbins)

Note: the JAN 21 performances are part of Saturday at the Ballet with George

A L L EGRO BRIL L A N T E (Tschaikovsky)

S WA N L A K E (Tschaikovsky)

T HE FOUR T EMP ER A MEN T S (Hindemith)

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STRAVINSKY x FIVEJA N 2 2 , 2 4 , 2 7, FEB 3

Igor Stravinsky’s colorful compositions and dynamic rhythms set the senses ablaze, igniting myriad emotions and inspiring generations of choreographers, including this quintet of NYCB’s most essential creators whose choreography ranges from animalistic instincts to cheerful camaraderie.

NEW COMBINATIONSJA N 26, 28 eve, FEB 1, 2 , 4 eve

As “the world’s most creatively prodigious ballet troupe” (The New York Times), each winter we honor our mission in a program featuring a new work. This season we double down with two premieres alongside a vibrant Peter Martins ballet.

S CÈNE S DE B A L L E T (Wheeldon)

T HE C AGE (Robbins)

E IGH T E A S Y P IECE S (Martins)

NE W P ECK 2 NYC Premiere

S T R AV IN SK Y V IOL IN CONCER TO (Balanchine)

NE W L IDBERG World Premiere


F E A RF UL S Y MME T RIE S (Adams/Martins)

L A S O N N A M B U L A

S WA N L A K E F E A R F U L S Y M M E T R I E S

T H E C A G E

THE SLEEPING BEAUTY FEB 8, 9, 10 , 11 mat & eve, 12* mat & eve, 14 , 15 , 16 , 17, 18 mat & eve, 19

Awaken to true love’s potential in one of NYCB’s grandest productions. This enchanting full-length unveils the story of a charming prince on his quest to unbind a cursed princess, with aid from a cast of miraculous fairies and fanciful storybook characters.

ALL ROBBINSFEB 21, 2 3 , 2 5 mat & eve

He captured the hearts of theatergoers onstage and screen worldwide, but JeromeRobbins first charmed audiences at the ballet. This medley opens with propulsive energy and ends with the laugh out loud antics of a true comedic ballet.

T HE SL EEP ING BE AU T Y(Tschaikovsky/Martins after Petipa, Balanchine)

*FEB 12 matinee begins at 1 PM; specially added Sunday evening performance begins at 7 PM

GL A S S P IECE S (Glass)

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RODGERS: BROADWAY TO BALLETFEB 2 2 , 2 4 , 26

Richard Rodgers transformed the Great White Way and established musical theater as we know it, and on the eve of his 115th birthday we honor his pioneering genius with three Broadway-inspired ballets featuring his heart-lifting and poignant melodies.

C A ROUSEL ( A DA NCE) (Wheeldon)

T HOU S W EL L (Rodgers, arr. Kelly, orch. by Sebesky/Martins)

SL AUGH T ER ON T EN T H AV ENUE (Balanchine)

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Customize Your NYCB ExperiencePACK AGE S S TA R T AT $9 0 / nycb al let .com or 212- 496 - 0 6 0 0

T H E S L E E P I N G B E A U T Y S L A U G H T E R O N T E N T H AV E N U E

T H E C O N C E R T

18ALL BALANCHINEAllegro BrillanteSwan LakeThe Four Temperaments


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BALANCHINE SHORT STORIES La SonnambulaProdigal SonFirebird

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NEW COMBINATIONSNew Lidberg New Peck 3Fearful Symmetries

29BALANCHINE SHORT STORIES La SonnambulaProdigal SonFirebird



24STRAVINSKY x FIVE Scènes de BalletThe CageEight Easy PiecesNew Peck 2Stravinsky Violin Concerto

22STRAVINSKY x FIVEScènes de BalletThe CageEight Easy PiecesNew Peck 2 NYC PremiereStravinsky Violin Concerto


27STRAVINSKY x FIVEScènes de BalletThe CageEight Easy PiecesNew Peck 2Stravinsky Violin Concerto


26NEW COMBINATIONSNew Lidberg World PremiereNew Peck 3 World PremiereFearful Symmetries

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2NEW COMBINATIONSNew Lidberg New Peck 3Fearful Symmetries

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21ALL ROBBINSGlass Pieces MovesThe Concert

22RODGERS: BROADWAY TO BALLETCarousel (A Dance)Thou SwellSlaughter on Tenth Avenue

23ALL ROBBINSGlass Pieces MovesThe Concert


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ALL ROBBINSGlass Pieces MovesThe Concert

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ALL ROBBINSGlass Pieces MovesThe Concert



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THE SLEEPING BEAUTY


1NEW COMBINATIONSNew Lidberg New Peck 3Fearful Symmetries



3STRAVINSKY x FIVE Scènes de BalletThe CageEight Easy PiecesNew Peck 2Stravinsky Violin Concerto



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ALL BALANCHINEAllegro BrillanteSwan LakeThe Four Temperaments

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NEW COMBINATIONSNew Lidberg New Peck 3Fearful Symmetries

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THE SLEEPING BEAUTY

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THE SLEEPING BEAUTY

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THE SLEEPING BEAUTY

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THE SLEEPING BEAUTY

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W E D7:30 PM

T H U7:30 PM

F R I8 PM

S A T2 PM MAT

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Opposite PageM EG A N L EC R O N E / GUCCI dress

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— P E T E R M A R T I N S

Our dancers have an innate creative spirit; they thrive on being the instruments of the

dance-makers that work here.

One of the many wisdoms imparted to me by Mr. Balanchine was “Don’t be reverent. Be relevant.” This has proven to be a principle that steadily guides me to this day.

“If people don’t want to see Serenade,” he said, “don’t put it on.” Now, at that moment, I could never have imagined a time when Serenade would not be performed. I still can’t. But this comment, coming from our founder, my mentor, and arguably the greatest choreographer of all time, about one of his greatest ballets, was a ‘wow’ moment for me, and one that made a lasting impression.

When I was asked to lead the Company after Balanchine, I quickly knew what my biggest challenge was going to be. From that point on, New York City Ballet had a dual purpose, to preserve its ex-traordinary legacy, while looking toward the future. I would gladly take care of Serenade and Symphony in C. I would gladly take care of the Robbins works. But no matter how unfathomable, if the time ever came that we could no longer rely only on their masterpieces, what would there be? And I thought, ok, for however long it is that I am going to be here – and I had no idea if that would be three years or thirty – my biggest challenge would be to continue to build a body of work for our dancers to perform, and for our audiences to enjoy.

New York City Ballet was founded on the idea of an American ballet company where dancers would be trained to perform a new, modern repertory. It was Balanchine’s vision for this Company to create work that was of its time. And, as prolific as he was, Balanchine never sat back and relied on his and Jerry’s ballets alone. He was always searching for choreographic talent that could help to sus-tain and propel our repertory into the future.

He was heavily invested in this endeavor, and was not quick to pass judgment on talent. This was one of the many wonderful things about him. He knew that talent was not always apparent immediately, and that for some, finding a choreographic voice was a process. He nurtured talent. He would give scores to those around him, telling them, “Go and choreograph to this music.” He certainly did this with me, and I was agreeable with anything that he requested, but he would also support the musical choices I made. He encouraged us to be patient by saying that “One out of ten might last. But you have to do the other nine.” Of course he acknowledged that for him, the odds were more like five out of ten.

Every major company creates new work, and when anyone asks me what it is that makes what we do different, it’s so easy for me

to say volume. Sheer volume in terms of what we produce and our ability to produce it because of our infrastructure and artistic resources—the depth of talent, size of the Company, and even the length of our seasons. But more importantly, it’s that we have maintained an environment that is ripe for the creation of new work. It has continued to be integral to our mission, and we devote a great deal to it. Our dancers have an innate creative spirit; they thrive on being the instruments of the dance-makers who work here.

Tradition and modernity cannot exist one without the other, you can only build from the past to shape the now. And as I have both created and commissioned works, Balanchine’s visionary spirit has continued to guide me. Our pursuit has yielded 220 ballets by nearly 60 choreographers, all made right here in our home at Lincoln Center. That’s half of our entire repertory. For the Here/Now Festival we had to set some parameters and it was a daunting task to cull down those num- bers. There were ballets that I wanted to include but just couldn’t logistically. The result, 43 ballets on 10 programs in 4 weeks, is a representative quantity, but by no means a comprehensive one. It’s a snapshot of our post-Balanchine history.

It is thrilling to me that we are able to open the festival with dedicated programs from Justin Peck, Alexei Ratmansky, and Christopher Wheeldon. I remember the precise moments when the talent of each of these choreographers emerged, and I am proud to have played a role in their ascent. But far beyond that, over the course of the four festival weeks, audiences will have the opportunity to come and see ballets by 22 choreographers in total, each with a different voice, who have contributed to the state of ballet now. I simply can’t imagine a place other than here, at New York City Ballet, where this could occur.

Of course we continue to perform Serenade. People continue to come and see it. And I couldn’t be happier that the reason is relevance rather than reverence. But I am equally pleased with the work that has en-tered this Company’s repertoire in the last 30+ years. So while the Here/Now Festival is all about ballet today and what its future may hold, above all, it is perhaps the ultimate homage to Balanchine, as no one believed more in the future of ballet than he did.

I think that we are beating those one in ten odds. And I know that would make him very proud.

O N T H E H E R E & T H E N O W

ALL BALANCHINEA PR 18, 2 1, 2 2 eve, 2 3

Three essential Balanchine ballets showcase the range of his seminal neoclassical style: dynamic virtuosity emanating from Tschaikovsky’s passionate score, definitively modern movement building on Hindemith’s consuming melodies, and thrilling precision matching the sparkling grandeur of Bizet’s symphony.

ALL ROBBINSA PR 19, 20, 2 2 mat

Robbins’ dramatic flair is revealed in a program that includes the playful escapades of three sailors on shore leave, the spellbinding effect created by choreography performed without music, and the hilarious happenings of characters gathered at a piano recital gone awry.

A L L EGRO BRIL L A N T E (Tschaikovsky)

T HE FOUR T EMP ER A MEN T S (Hindemith)

S Y MP HON Y IN C (Bizet)

FA NC Y F REE (Bernstein)

MO V E S

T HE CONCER T (Chopin)

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A MIDSUMMER NIGHT’S DREAMM AY 2 3 , 2 4 , 2 5 , 26, 2 7 mat & eve, 28

Behind an ivied curtain lies Shakespeare’s gossamer world of magic and merriment. A cherished springtime tradition, this bewitching tale entangles and enthralls with its feuding fairy kingdoms and quixotic lovers for the quintessential romantic comedy.

A MID SUMMER NIGH T ’S DRE A M(Mendelssohn/Balanchine)

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S Y M P H O N Y I N C A M I D S U M M E R N I G H T ’ S D R E A M

M O V E S

HERE/NOW No. 3: PECKA PR 2 7, 30, M AY 3

In a rapid rise since his first NYCB work, Resident Choreographer Justin Peck is on track to premiere his fourteenth ballet for the Company by the end of the 2016-17 Season. We amass a selection of his repertory for our first all-Peck program, starting with his original 2012 creation, In Creases.

IN CRE A SE S (Glass)

NE W P ECK 1

NE W BLOOD (Reich)

E V ER Y W HERE W E GO (Stevens)

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HERE/NOW No. 2:RATMANSKYA PR 26, 29 mat , M AY 2

A contemporary piece of compelling humanity unites with a monumental work of stylized dances distilled from a story ballet for a program from “the finest Russian choreographer since George Balanchine” (The New York Times).

HERE/NOW No. 1: WHEELDONA PR 2 5 , 28, 29 eve

From a breakthrough contemporary work, Polyphonia, to his most recent creation, American Rhapsody, we salute Christopher Wheeldon in our second ever program dedicated exclusively to his NYCB roots.

RUS SI A N SE A S ON S (Desyatnikov)

N A MOUN A , A GR A ND DI V ER T IS SEMEN T (Lalo)

MERCURI A L M A NOEU V RE S (Shostakovich)

P OLY P HONI A (Ligeti)

L I T URGY (Pärt)

A MERIC A N RH A P S ODY (Gershwin)

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4 WEEKS, 22 CHOREOGRAPHERS, 43 BALLETS,

10 PROGRAMS, 2 WORLD PREMIERES

P O LY P H O N I A I N C R E A S E S

N A M O U N A , A G R A N D D I V E R T I S S E M E N T

HERE/NOW No. 6M AY 10, 13 mat

This diverse array traverses the visual spectrum, from the quiet, wistful longing invoked by The Blue of Distance to the boldly striking and ever-changing Kandinsky backdrop that sets the stage for the equally dynamic choreography of Pictures at an Exhibition.

C A ROUSEL ( A DA NCE) (Rodgers/Wheeldon)

T HE BLUE OF DIS TA NCE (Ravel/Binet)

T HE INF ERN A L M ACHINE (Rouse/Martins)

P IC T URE S AT A N E X HIBI T ION (Mussorgsky/Ratmansky)

Y E A R OF T HE R A BBI T (Stevens/Peck)

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HERE/NOW No. 4M AY 5 , 9

Drama sweeps the stage in this boundary pushing evening, accentuated by avant-garde costumes, an electro-orchestral score, haunting theatricality, and the rare sighting of a ballet performed in sneakers.

HERE/NOW No. 5M AY 6 mat & eve, 7

New work abounds in encore performances of season premieres from Principal Dancer Lauren Lovette, Corps Member Peter Walker, and Alexei Ratmansky, accompanied by the return of Peter Martins’ fleet-footed game of cards and Christopher Wheeldon’s touching pas de deux.

NE V ER W HERE (Muhly/Millepied)

MOT HER SHIP (Bates/Blanc)

SP EC T R A L E V IDENCE (Cage/Preljocaj)

NE W P ECK 3

JEU DE C A R T E S (Stravinsky/Martins)

A F T ER T HE R A IN PA S DE DEU X (Pärt/Wheeldon)

NE W LO V E T T E

NE W WA L K ER

NE W R AT M A N SK Y

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SPRING GALAM AY 4 at 7 PM

Seizing the momentum of the Here/Now Festival, the 2017 Spring Gala features a world premiere from Alexei Ratmansky, joining his four preceding works for the Company, also onstage during the four-week festival.

JEU DE C A R T E S (Stravinsky/Martins)

A F T ER T HE R A IN PA S DE DEU X (Pärt/Wheeldon)

NE W R AT M A N SK Y World Premiere

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A F T E R T H E R A I N PA S D E D E U X

S P E C T R A L E V I D E N C E T H E I N F E R N A L M A C H I N E

J E U D E C A R T E S

HERE/NOW No. 10M AY 17, 19

If you missed their fall and winter debuts, this program provides encores of Annabelle Lopez Ochoa’s and Pontus Lidberg’s world premieres, coupled with two acclaimed works, Peter Martins’ thrilling Fearful Symmetries and Kim Brandstrup’s noir-style Jeux.

NE W L IDBERG

NE W LOP E Z OCHOA

JEU X (Debussy/Brandstrup)

F E A RF UL S Y MME T RIE S (Adams/Martins)

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HERE/NOW No. 8M AY 12 , 14 , 18 , 20 eve

Jorma Elo’s eight fearless dancers, Lynne Taylor-Corbett’s intersection of light and shadow, and Peter Martins’ meditative choreography share the stage with a world premiere reuniting Justin Peck with Sufjan Stevens. The indie singer/songwriter will contribute a commissioned score for their third NYCB collaboration in less than five years.

HERE/NOW No. 9M AY 16, 20 mat , 2 1

Nowhere else can you find a program featuring six ballets by six different choreographers. Spanning the powerful athleticism of Red Angels to the poignantly searching Polaris, this varied sextet concludes with Concerto DSCH ‘s waves of dramatic emotion.

SL ICE TO SH A RP (von Biber, Vivaldi/Elo)

CHI A RO S CURO (Geminiani/Taylor-Corbett)

S TA B AT M AT ER (Pergolesi/Martins)


RED A NGEL S (Einhorn/Dove)

VA RIED T RIO ( IN FOUR) (Harrison/Frohlich)

B A RBER V IOL IN CONCER TO (Barber/Martins)

P OL A RIS (Walton/Thatcher)

HERM A N S CHMERM A N PA S DE DEU X (Willems/Forsythe)

CONCER TO D S CH (Shostakovich/Ratmansky)

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HERE/NOW No. 7M AY 11, 13 eve

Three decades converge: from Martins’ 1991 non-stop and technically impressive Ash to the adventurous fraternity of Peck’s 2014 ‘Rode,o: Four Dance Episodes, this program also sees the return of Bigonzetti’s 2008 Oltremare, evoking the anticipation of journey toward new life.

A SH (Torke/Martins)

F UNÉR A IL L E S (Liszt/Scarlett)

COMMON GROUND (Ludwig-Leone/Schumacher)

OLT REM A RE (Moretti/Bigonzetti)

‘RODE,O : FOUR DA NCE EP IS ODE S (Copland/Peck)

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R E D A N G E L S‘RODE ,O: F O U R D A N C E E P I S O D E S

1 After the Rain Pas de Deux2 American Rhapsody3 Ash 4 Barber Violin Concerto5 The Blue of Distance

6 Carousel (A Dance)7 Chiaroscuro8 Common Ground9 Concerto DSCH10 Everywhere We Go

11 Fearful Symmetries12 Funérailles13 Herman Schmerman Pas de Deux14 In Creases15 The Infernal Machine

16 Jeu de Cartes17 Jeux18 New Lidberg19Liturgy20New Lopez Ochoa

A P R 2 5 – M A Y 2 1

M AURO BIGONZE T T I

ROBER T BINE T

NICOL A S BL A NC

K IM BR A ND S T RUP

ULY S SE S DO V E

JORM A ELO

W IL L I A M FOR S Y T HE

JE A N-P IERRE F ROHL ICH

P ON T US L IDBERG

A NN A BEL L E LOP E Z OCHOA

L AUREN LO V E T T E

P E T ER M A R T IN S

BEN JA MIN MIL L EP IED

JUS T IN P ECK

A NGEL IN P REL JOC A J

A L E X EI R AT M A N SK Y

L I A M S C A RL E T T

T ROY S CHUM ACHER

LY NNE TAY LOR- CORBE T T

M Y L E S T H ATCHER

P E T ER WA L K ER

CHRIS TOP HER W HEEL DON

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31Pictures at an Exhibition32 Polaris33Polyphonia34New Ratmansky35 Red Angels

21 New Lovette22Mercurial Manoeuvres23Mothership24 Namouna, A Grand Divertissement25 Neverwhere

26 New Blood27Oltremare28 New Peck 1 29 New Peck 330New Peck 4

36 ‘Rode,o: Four Dance Episodes37 Russian Seasons38 Slice to Sharp39Spectral Evidence40 Stabat Mater

41 Varied Trio (in four)42New Walker43 Year of the Rabbit

All photos © Paul Kolnik, except 18 (© Nir Arieli), 20 (© Lavie Photography), 21

(© Sam Wootton), 23 and 42 (© Rosalie O’Connor)

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19ALL ROBBINSFancy FreeMovesThe Concert

26HERE/NOW No. 2: RATMANSKYRussian SeasonsNamouna, A Grand Divertissement

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ALL ROBBINSFancy FreeMovesThe Concert

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ALL BALANCHINEAllegro BrillanteThe Four TemperamentsSymphony in C

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HERE/NOW No. 2: RATMANSKYRussian SeasonsNamouna, A Grand Divertissement

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HERE/NOW No. 1: WHEELDONMercurial ManoeuvresPolyphoniaLiturgyAmerican Rhapsody

30HERE/NOW No. 3: PECKIn CreasesNew Peck 1New BloodEverywhere We Go

18ALL BALANCHINEAllegro BrillanteThe Four TemperamentsSymphony in C

25HERE/NOW No. 1: WHEELDONMercurial ManoeuvresPolyphoniaLiturgyAmerican Rhapsody


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28HERE/NOW No. 1: WHEELDONMercurial ManoeuvresPolyphoniaLiturgyAmerican Rhapsody

20ALL ROBBINSFancy FreeMovesThe Concert


A P R 2 0 1 714

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W E D7:30 PM

T H U7:30 PM

F R I8 PM

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2HERE/NOW No. 2: RATMANSKYRussian SeasonsNamouna, A Grand Divertissement

9HERE/NOW No. 4NeverwhereMothershipSpectral EvidenceNew Peck 3

18HERE/NOW No. 8Slice to SharpChiaroscuroStabat MaterNew Peck 4

6 E V E

HERE/NOW No. 5Jeu de CartesAfter the Rain Pas de DeuxNew LovetteNew WalkerNew Ratmansky

16HERE/NOW No. 9Red AngelsVaried Trio (in four)Barber Violin ConcertoPolarisHerman Schmerman Pas de DeuxConcerto DSCH

23A MIDSUMMER NIGHT’S DREAM




27 M A T

A MIDSUMMER NIGHT’S DREAM

27 E V E

A MIDSUMMER NIGHT’S DREAM

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HERE/NOW No. 5Jeu de CartesAfter the Rain Pas de DeuxNew LovetteNew WalkerNew Ratmansky

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HERE/NOW No. 6Carousel (A Dance)The Blue of DistanceThe Infernal MachinePictures at an ExhibitionYear of the Rabbit

13 E V E

HERE/NOW No. 7AshFunéraillesCommon GroundOltremare‘Ródé,ó: Four Dance Episodes

14 HERE/NOW No. 8Slice to SharpChiaroscuroStabat MaterNew Peck 4

21HERE/NOW No. 9Red AngelsVaried Trio (in four)Barber Violin ConcertoPolarisHerman Schmerman Pas de DeuxConcerto DSCH

7HERE/NOW No. 5Jeu de CartesAfter the Rain Pas de DeuxNew LovetteNew WalkerNew Ratmansky

17HERE/NOW No. 10New LidbergNew Lopez OchoaJeuxFearful Symmetries


10HERE/NOW No. 6Carousel (A Dance)The Blue of DistanceThe Infernal MachinePictures at an ExhibitionYear of the Rabbit

19HERE/NOW No. 10New LidbergNew Lopez OchoaJeuxFearful Symmetries

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SPRING GALAJeu de CartesAfter the Rain Pas de DeuxNew Ratmansky World Premiere

5HERE/NOW No. 4NeverwhereMothershipSpectral EvidenceNew Peck 3

11 HERE/NOW No. 7AshFunéraillesCommon GroundOltremare‘Ródé,ó: Four Dance Episodes

12 HERE/NOW No. 8Slice to SharpChiaroscuroStabat MaterNew Peck 4 World Premiere

20 M A T

HERE/NOW No. 9Red AngelsVaried Trio (in four)Barber Violin ConcertoPolarisHerman Schmerman Pas de DeuxConcerto DSCH

20 E V E

HERE/NOW No. 8Slice to SharpChiaroscuroStabat MaterNew Peck 4

M A Y 2 0 1 7


M I M I S TA K E R / VINCE top L AU R E N K I N G / CURRICULUM VITAE top M EG A N L EC R O N E / GIORGIO ARMANI top

P U B L I C P R O G R A M M I N G S U P P O R T E R S

C O R P O R A T E S P O N S O R S

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.

P R O U D S U P P O R T E RG L O B A L S P O N S O R

OFFICIAL CHAMPAGNE

O F F I C I A L M A K E - U P PA R T N E ROFFICIAL TIGHTS

Major support for new work is provided by members of the New Combinations Fund.

2016-17 commissioning support for emerging choreographers isprovided 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 FordDickenson Foundation and the Joseph and Sylvia Slifka Foundation.

New York City Ballet gratefully acknowledges the Cordelia Corp-oration for leadership support of its Ballet Masters who ensure theexcellence and vitality of the Company’s repertory performances.

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.

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 endow-ment created through The Campaign for New York City Ballet.

New York City Ballet’s student matinees are generously under-written in memory of Ralph W. Kern.

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.

Harriet Ford Dickenson Foundation/Miss Gillian Attfield

Cynthia and Ronald Beck

Emily Blavatnik

Cordelia Corporation

Randy and Jay Fishman

Ford Foundation

The Howard Gilman Foundation

The Florence Gould Foundation

Geoffrey C. Hughes 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

Paulson Family Foundation

Stephen Kroll Reidy

The Jerome Robbins Foundation

The Fan Fox and Leslie R. Samuels Foundation

The Ted and Mary Jo Shen Charitable Gift Fund

The Shubert Foundation

Joseph and Sylvia Slifka Foundation

Michael and Sue Steinberg

Virginia B. Toulmin Foundation

John L. and Barbara Vogelstein

M A J O R F U N D I N G I S P R O V I D E D B Y :

A D R I A N D A N C H I G -WA R I N G / L AU R E N K I N G /M EG A N L EC R O N E / H A R R I S O N B A L L /

David H. Koch Theater, 20 Lincoln Center, New York NY 10023

27 PROGRAMS / 77 BALLETS 2 GALAS / 1 FESTIVAL

2 0 1 6 - 1 7

Documents

2016/17 season - New York City Ballet · 2016/17 season. PRODUCTION by ro., ... The artwork and photographs in this brochure depict choreography copyrighted by the individual choreographers