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2 0 1 7 / 1 8 s e a s o n
G L O B A L S P O N S O R
P H O T O G R A P HER BON DUK E S T Y L I S T CL A RE BY RNE H A IR JOE Y GEORGE M A K EU P MORGA NE M A R T INI SE T DE SI G NER COL IN DON A HUE P RO D U C T IO N by Red Hook L abs P BC E X EC U T I V E P ROD U C ER
S imon Mal i v ind i P ROD U C ER S Helena S ew ar d , Wei-L i Wang
A M A R R A M A S A R / Calvin Klein tank top T IL ER P ECK / Capezio top, Emma Litvack custom wrap chiffon skirt H A R R I S O N CO L L / Helmut Lang t-shirt
C O V E R | JENEL L E M A N Z I + GR E T CHEN SMI T H / Gia Mia tops, Needle & Thread tulle maxi skirts
E S C A P E
E X P L O R E
E M B R A C E
2 0 1 7 / 1 8
S E A S O N
W A T C H O U R S E A S O N V I D E O A T N Y C B A L L E T . C O M / 1 7 1 8
As of March 2017
2 5 P R I N C I P A L S | 1 9 S O L O I S T S | 4 7 C O R P S D E B A L L E T
T H E C O M P A N Y
Devin Alberda
Marika Anderson
Daniel Applebaum
Faye Arthurs
Olivia Boisson
Jacqueline Bologna
Likolani Brown
Preston Chamblee
Harrison Coll
Cameron Dieck
Alina Dronova
Meaghan Dutton-O’Hara
Silas Farley
Clara Frances
Christopher Grant
Laine Habony
Ashley Hod
Spartak Hoxha
Rachel Hutsell
Sasonah Huttenbach
Ralph Ippolito
Megan Johnson
Baily Jones
Ghaleb Kayali
Emily Kikta
Alec Knight
Claire Kretzschmar
Isabella LaFreniere
Alston Macgill
Olivia MacKinnon
Meagan Mann
Jenelle Manzi
Alexa Maxwell
Miriam Miller
Lars Nelson
Aaron Sanz
Andrew Scordato
Kristen Segin
Jared Angle
Tyler Angle
Ashley Bouder
Adrian Danchig-Waring
Joaquin De Luz
Megan Fairchild
Robert Fairchild
Chase Finlay
Gonzalo Garcia
Anthony Huxley
Sterling Hyltin
Russell Janzen
Maria Kowroski
Rebecca Krohn
Ask la Cour
Lauren Lovette
Sara Mearns
Tiler Peck
Mary Elizabeth Sell
Gretchen Smith
Mimi Staker
Giovanni Villalobos
Sebastian Villarini-Velez
Sarah Villwock
Claire Von Enck
Peter Walker
Lydia Wellington
Amar Ramasar
Teresa Reichlen
Ana Sophia Scheller
Abi Stafford
Taylor Stanley
Daniel Ulbricht
Andrew Veyette
Sara Adams
Harrison Ball
Antonio Carmena
Zachary Catazaro
Emilie Gerrity
Joseph Gordon
Ashly Isaacs
Lauren King
Ashley Laracey
Megan LeCrone
FOUNDER S
George Balanchine
Lincoln Kirstein
FOUNDING
CHOREOGR A PHER S
George Balanchine
Jerome Robbins
BA LLE T M A S TER
IN CHIEF
Peter Martins
MUSIC DIRECTOR
Andrew Litton
PRINCIPA L S
SOLOIS T S
CORP S DE BA LLE T
Savannah Lowery
Georgina Pazcoguin
Justin Peck
Erica Pereira
Unity Phelan
Brittany Pollack
Troy Schumacher
Sean Suozzi
Indiana Woodward
A SHL E Y H O D / Capezio bodysuit
ON S TAGE P ERFORM A NCE P HO TO GR A P H Y © PAUL KOL NIK . Backstage photography by Gabriela Celeste. 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.
L AU R EN L O V E T T E / New York City Ballet wardrobe
B Y L A U R A J A C O B S
T H I R T E E N W A Y S O F L O O K I N G A T T H E B A L L E T
I. It’s snowing outside. Snow is silent and so is dance. Silent beauty is exciting. It’s The Nutcracker tonight and we will soon be enveloped in another snowstorm, this one with kaleidoscope patterns and snowflakes that wear tutus. Here is the snow globe of imagination. Our thoughts will drift this way and that, caught in the forces onstage and transported by them — an escape from the real into the surreal.
II. The boughs and branches of ballet are filled with threes. The three muses of Apollo, the three leads in Serenade, the three fates of La Valse. When you leave the theater these threes will leave with you, ghost girls dancing through your days, asking you, “Are we primal or historical or metaphysical?” You will not always give them the same answer.
III. “Put a man and a girl onstage,” said George Balanchine, “and there is already a story.” The one who tells that story, however, is YOU. Your whole life you’ve been watching human bodies move. You already know how to read gesture, posture, and the spaces between two people. Follow your instincts and embrace your version of the story.
IV. When a third person arrives onstage, or the corps de ballet shows up, how does this change the ballet’s dynamics, pattern, plot? The music is making its own suggestions. So are the costumes and the set (or lack of a set). It’s all information. Let it tell you what it knows.
V. Inflections and innuendos. A ballet performance happens to us twice. First, the dancing pours out in front of us. Then the afterimages appear, stay-ing with us for days — or forever — moments embraced in a mental glow, like rooms in the paintings of La Tour. Explore these rooms and why they’re now a part of you.
VI. Dance doesn’t have words. It has moods, shapes, shadows, people going to and fro. Sometimes it’s like looking through a distant window into anoth- er world. Sometimes it’s like looking out your own window into darkness and desire.
W I T H A B O W T O W A L L A C E S T E V E N S ’
“ T H I R T E E N W A Y S O F L O O K I N G A T A B L A C K B I R D ”
Laura Jacobs, a staff writer at Vanity Fair, is the author of the forthcoming How to Look at Ballet from Basic Books.
VII. Emeralds, Rubies, Diamonds. The Gold and Silver Waltz. A swan in a tiara. The windup dolls of Dr. Coppelius and Drosselmeier. The ballet is rich with glittering artifice in human form. This is wealth that lasts forever, in the memory bank.
VIII. “Look everywhere,” Balanchine said when asked how to be a choreographer, “Look at the grass in the concrete when it’s broken, children and little dogs, and the ceiling and the roof.” Do not be blinded by noble accents. The everyday is everywhere in ballet.
IX. Ballet is full of circles, from pirouettes and ronds de jambe to the cyclical quality of the rep-ertory. Winter, spring, and fall, favorite ballets return. If you escape to the ballet often enough,
its season begins to embrace you in its arc.
X. The corps de ballet: a garden, a maze, a flock, a hive, a living landscape, an alien omniscience, the breath and body of a company. Lose yourself in the corps. Then find your way out by fixing on an exquisite pair of pointes, or an arabesque that intrigues you, or a lifted face that holds starlight.
XI. Fairies, sylphs, birds, insects, angels, Mercury’s winged feet and Time’s winged chariot. Dance moves as the crow flies, straight to the heart of things.
XII. Leonardo da Vinci wrote, “Movement is the cause of all life.” George Balanchine said, “Do it now.” Explore the correspondence.
XIII. Onstage there is dancing. In the audience, too, there is dancing — cognitive leaps, fresh interpretative spins on ballets we thought we knew. Let your looking, like dancing, go deeper,
higher, wider. Embrace. Explore. Escape.
S E P T – O C T 2 0 1 7
5 P R O G R A M S | 1 6 B A L L E T S | 1 G A L A
F A L L
T IL ER P ECK / Capezio top, Chloé layered chiffon skirt A M A R R A M A S A R / Calvin Klein tank top
GR E T CHEN SMI T H / Bloch bodysuit, Chloé maxi skirt IND I A N A W O O D WA R D / New York City Ballet wardrobe
O P P O S I T E P A G E | L AU R EN L O V E T T E / New York City Ballet wardrobe
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S W A N L A K E SEP T 19, 2 0 , 21, 2 2 , 2 3 mat & eve, 2 4 , 26 , 2 7, 2 9, 3 0 mat & eve, O C T 1
Tschaikovsky’s stirring melodies usher in the season with a two-week run of Swan Lake.
Whether it’s innocent heartbreak or devious manipulation, there’s a reason why audiences
flock to see the Swan Queen: the dual role of Odette/Odile is a testament to a ballerina’s
mettle, requiring formidable strength and feathery delicacy.
S WA N L A K E (Tschaikovsky/Martins after Petipa, Ivanov, Balanchine)
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H E R E / N O W O C T 3 , 7 mat , 8 , 12
Reprising last season’s Here/Now Festival, this 21st-century program combines breakthrough
works and recent premieres. Peck’s sneaker ballet, one of the most buzzed about ballets of
2017, and the latest from Ratmansky join two Wheeldon works: a contemplative pas de deux
evoking an introspective mysticism and an ensemble work for four couples who wind their
way through eerily melodious piano selections, including music made famous by Stanley
Kubrick’s Eyes Wide Shut.
L I T URGY (Pärt/Wheeldon)
P OLY P HONI A (Ligeti/Wheeldon)
ODE S S A (Desyatnikov/Ratmansky)
T HE T IME S A RE R ACING (Deacon/Peck)
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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 SEP T 2 8 (FA L L GA L A at 7 P M), O C T 4 , 13 , 14 eve
In a merging of art forms, the fall gala continues what is now an annual NYC event, pairing
choreographers with fashion designers for uniquely collaborative creations. Preceding the
premieres, Martins transforms an unused passage from Adams’ opera Nixon in China into a
colorful display with suggestions of traditional Chinese lyric gestures and pageantry.
A L L B A L A N C H I N E O C T 5 , 6 , 14 mat , 15
Three works, each stylized and rousing, exhibit Balanchine’s masterful yet subtle penchant
for channeling cultural sensibilities, including a distillation of square dancing into fasci-
nating patterns and effervescent spirit, a cavernous ballroom where a young woman both
horrified and intrigued by her own vanity is seduced by the figure of Death, and a grand
procession of classical dance.
T HE CH A IRM A N DA NCE S (Adams/Martins)
NE W B A L L E T 1 World Premiere
NE W B A L L E T 2 World Premiere
NE W B A L L E T 3 World Premiere
NE W B A L L E T 4 World Premiere
S QUA RE DA NCE (Vivaldi, Corelli)
L A VA L SE (Ravel)
C OR T ÈGE HONGROIS (Glazounov)
S W A N L A K E
T H E C H A I R M A N D A N C E S
T H E T I M E S A R E R A C I N G
L A V A L S E
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A ND R E W V E Y E T T E / Rick Owens sweater GR E T CHEN SMI T H / Bloch bodysuit, Chloé skirt
2 0 T H C E N T U R Y V I O L I N C O N C E R T O S O C T 7 eve, 10 , 11
An instrument of marvelous versatility, the violin has stimulated choreographers for
centuries, including NYCB’s three artistic leaders who contribute their interpretations
of three world-famous violin concertos to this program. Inspired by the instrument’s
immense range, these works convey moments of reflection, poignancy, and brilliance.
T HE RED V IOL IN (Corigliano/Martins)
IN MEMOR Y OF… (Berg/Robbins)
S T R AV IN SK Y V IOL IN C ONCER TO (Stravinsky/Balanchine)
I N M E M O R Y O F . . .
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SUBSCRIBE NOW FOR BEST SEATS | nycballet.com or 212-496-0600
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H A R R I S O N CO L L / Helmut Lang t-shirt A M A R R A M A S A R / Calvin Klein tank top T IL ER P ECK / Capezio bodysuit, Emma Litvack custom wrap chiffon skirt A SHL E Y H O D / Capezio bodysuit SEB A S T I A N V IL L A R INI -V EL E Z / Calvin Klein t-shirt
J A N – M A R 2 0 1 8
8 P R O G R A M S | 2 4 B A L L E T S
W I N T E R
J ENEL L E M A N Z I / Capezio bodysuit, Needle & Thread tulle maxi skirt
ME A G A N M A NN / Gia Mia top, Needle & Thread tulle maxi skirt
O P P O S I T E P A G E | BR I T TA N Y P O L L A CK / Capezio bodysuit Z A CH A R Y C ATA Z A R O / Helmut Lang t-shirt J ENEL L E M A N Z I / Capezio bodysuit O L I V I A M A CK INN O N / Gia Mia top, Needle & Thread tulle maxi skirt
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A L L B A L A N C H I N E N o . 1 JA N 2 3 , 2 7 mat , 2 8 , F EB 10 eve
Drawing from a canon of over 400 works, this remarkable assemblage spans the breadth
of Balanchine’s career. One of his earliest international successes, Apollo presents the
young god as he is ushered into adulthood by the muses of poetry, mime, and dance, and
Mozartiana, one of his last masterpieces, begins quietly before building to pure exhilaration.
A magnificent pageant, Cortège Hongrois blossoms from a folk-stylized processional to a
classical grand pas de deux.
A P OL LO (Stravinsky)
MOZ A R T I A N A (Tschaikovsky)
C OR T ÈGE HONGROIS (Glazounov)
NE W FA L L 2 017 B A L L E T
SP EC T R A L E V IDENCE (Cage/Preljocaj)
Y E A R OF T HE R A BBI T (Stevens/Peck)
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A L L B A L A N C H I N E N o . 2 JA N 2 4 , 2 7 eve, 3 0 , F EB 3 eve
Out of Balanchine’s deep archive, these three pure dance treasures emerge to illustrate his
ability to create whole worlds without using scenery or story. From regal courts to hushed
expanses, sparkling classicism to commanding modernity, these works conjure narratives
and settings in the imagination through their costuming, music, and movement.
N E W C O M B I N A T I O N S F EB 1, 3 mat , 8 , 9, 11
NYCB Founder George Balanchine famously said, “There are no new steps, only new
combinations,” and each year the Company pays homage to that affirmation with a world
premiere. Sharing the stage with this new work are Martins’ The Red Violin, set to a violin
concerto at turns faint or frenzied, and Ratmansky’s critically-acclaimed first NYCB
ballet, Russian Seasons, an ensemble piece embracing life in myriad emotions.
DI V ER T IMEN TO NO. 15 (Mozart)
T HE FOUR T EMP ER A MEN T S (Hindemith)
CH AC ONNE (Gluck)
T HE RED V IOL IN (Corigliano/Martins)
NE W B A L L E T 5 World Premiere
RUS SI A N SE A S ON S (Desyatnikov/Ratmansky)
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S P E C T R A L E V I D E N C E
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 JA N 25 , 26 , 31, F EB 4
With their fingers on the pulse of today, three of ballet’s freshest creators provide evidence
of the art form’s continued evolution. A fall premiere precedes Preljocaj’s take on the Salem
witch trials, complete with sounds of thunder and fire, then Peck presents the corps de
ballet as an ever-changing kaleidoscope of visually arresting shapes.
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C L A S S I C N Y C B F EB 2 , 6 , 7, 10 mat
Exemplifying three choreographers’ distinct styles, this diverse program is the perfect
primer on the breadth of NYCB’s unparalleled repertory. Accented by clean lines and
dynamic speed, Balanchine expertly reconceives square dancing in balletic form, and
Bigonzetti’s brooding and intensely physical manner depicts the journey towards a new
life with all its struggles and anticipation. With his Broadway experience, Robbins
dramatically envisions the four seasons of the year as enchanting allegories.
S T R A V I N S K Y & B A L A N C H I N E F EB 2 4 mat , 2 7, M A R 1, 3 eve, 4
Throughout his prolific career, Balanchine’s affinity for Stravinsky’s compositions
remained constant, making him one of the choreographer’s favorite collaborators. This
program opens with an abstraction of a Russian fairytale set to sprightly harmonies,
followed by three stunning Black & White ballets known for their striking power.
S QUA RE DA NCE (Vivaldi, Corelli)
OLT REM A RE (Moretti/Bigonzetti)
T HE FOUR SE A S ON S (Verdi/Robbins)
DI V ER T IMEN TO F ROM ‘L E B A ISER DE L A F ÉE ’
AGON
DUO C ONCER TA N T
S Y MP HON Y IN T HREE MO V EMEN T S
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R O M E O + J U L I E T F EB 13 , 14 , 15 , 16 , 17 mat & eve, 18 * mat & eve, 2 0 , 21, 2 2 , 2 3
In defiance of its tragic ending, Shakespeare’s Romeo and Juliet remains the greatest romance
of all time, demonstrating the power of love in its many forms. Peter Martins’ staging of this
eternal classic, set to Prokofiev’s glorious accompaniment, embraces naïve excitement,
betrayal, despair, and steadfast resolution, emphasizing the innocence and youthful optimism
of its two heroes while proving that even in death true love cannot be overcome.
H E R E / N O W F EB 2 4 eve, 25 , 2 8 , M A R 2 , 3 mat
This assortment from the 2017 Here/Now Festival celebrates ballet today and what its
future may hold. Dark sophistication and otherwordly movements join the latest from Peck
and indie stalwart Sufjan Stevens, their third collaboration in five years. Concluding the
program is Ratmansky’s epic abstraction of a comical 19th-century story ballet, a stylized
series of witty and animated dances for seven featured performers and a large ensemble.
ROMEO + JUL IE T(Prokofiev/Martins)
*FEB 18 matinee begins at 1 PM; specially added Sunday evening performance begins at 7 PM.
NE V ER W HERE (Muhly/Millepied)
MOT HER SHIP (Bates/Blanc)
SP RING 2 017 P ECK (Stevens)
N A MOUN A , A GR A ND DI V ER T IS SEMEN T (Lalo/Ratmansky)
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O L T R E M A R E
R O M E O + J U L I E T
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L AU R EN L O V E T T E / Capezio bodysuit, Emma Litvack custom wrap chiffon skirt JA R ED A N GL E / Maison Margiela long sleeve turtleneck
A P R – J U N 2 0 1 8
1 1 P R O G R A M S | 3 4 B A L L E T S | 1 G A L A | 1 F E S T I V A L
S P R I N G
A SHL E Y L A R A CE Y/ Capezio bodysuit A M A R R A M A S A R / Dries Van Noten shirt
O P P O S I T E P A G E | T IL ER P ECK / Capezio bodysuit, New York City Ballet wardrobe JA R ED A N GL E / Rick Owens sweater
32 33
B A L A N C H I N E B L A C K & W H I T E A P R 2 4 , 26 , 2 8 mat , M AY 2 , JUN 3
Three unequivocal masterpieces honor Balanchine’s groundbreaking Black & White ballets.
This modernly styled but classically grounded program displays a visual accompaniment
to Bach’s double violin concerto, an athletic contest to complement Stravinsky’s dissonant
sounds, and an angular exploration of Hindemith’s consuming moods.
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 A P R 2 8 eve, M AY 1, 2 2 , 2 3
Highlighting NYCB’s dedication to new work, two recent hits accompany a winter premiere.
Pictures at an Exhibition pushes its dancers to new extremes in a world both tender and tena-
cious. Youthful and prismatic, Year of the Rabbit answers Sufjan Stevens’ orchestration with
layered architectures that weave six featured dancers into the corps de ballet.
C ONCER TO B A ROC C O (Bach)
AGON (Stravinsky)
T HE FOUR T EMP ER A MEN T S (Hindemith)
NE W B A L L E T 5
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)
3
BA
LL
ET
S
3
BA
LL
ET
S
A L L B A L A N C H I N E A P R 25 , 2 7, 2 9
This collection of classics features music by some of Balanchine’s most revered composers.
Apollo and Symphony in Three Movements boldly move through Stravinsky scores, one portraying
Greek mythology and the other a kinetic achievement that leaves its viewers breathless.
Danced by eight couples, Le Tombeau de Couperin uses Ravel’s breezy music as the basis for
mesmerizing symmetries, and Tschaikovsky Pas de Deux, set to lost musical selections from
Swan Lake, impresses with its lyrical virtuosity.
C L A S S I C N Y C B M AY 2 4 , 2 9, 3 0 , 31
This quintessential NYCB program couples audience favorites with something new for a
satisfyingly varied experience. A fall premiere returns, situated between masterpieces by
our founding choreographers: Mozartiana’s prayerful opening will touch your spirit and its
theme and variations will delight, and the expansive yet streamlined Glass Pieces quickens
the tempo, propelling its dancers across the stage at an electrifying pace.
A P OL LO (Stravinsky)
L E TOMBE AU DE C OUP ERIN (Ravel)
T S CH A IKO V SK Y PA S DE DEU X (Tschaikovsky)
S Y MP HON Y IN T HREE MO V EMEN T S (Stravinsky)
MOZ A R T I A N A (Tschaikovsky/Balanchine)
NE W FA L L 2 017 B A L L E T
GL A S S P IECE S (Glass/Robbins)
3
BA
LL
ET
S
4
BA
LL
ET
S
C O N C E R T O B A R O C C O
T S C H A I K O V S K Y P A S D E D E U X G L A S S P I E C E S
P I C T U R E S A T A N E X H I B I T I O N
34
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C O P P É L I A M AY 25 , 26 mat & eve, 2 7, JUN 1, 2 mat & eve
Coppélia is one of the greatest comedic ballets in existence, presenting a delightful tale of
budding romance alongside the curious contraptions of an eccentric inventor. Infatuated at
the sight of Dr. Coppélius’s new doll, Frantz evades his darling Swanilda and sneaks into the
inventor’s workshop where mayhem ensues. With a bright and luscious score by Delibes and
dazzling sets and costumes, Coppélia will captivate both newcomers and balletomanes alike.
C OP P ÉL I A (Delibes/Balanchine, Danilova after Petipa)
1 B
AL
LE
T /
3 A
CT
S
A N T H O N Y H U X L E Y/ Maison Margiela long sleeve turtleneck L AU R EN L O V E T T E / Capezio bodysuit, Emma Litvack custom wrap chiffon skirt
C O P P É L I A
L AU R EN L O V E T T E + A SHL E Y L A R A CE Y + A SHL E Y H O D / Capezio bodysuits, Emma Litvack custom wrap chiffon skirts D A NIEL A P P L EB AU M / Rick Owens sweater H A R R I S O N B A L L / Nehera sweater A N T H O N Y H U X L E Y/
Maison Margiela long sleeve turtleneck
D A NIEL A P P L EB AU M / Rick Owens sweater H A R R I S O N B A L L / Nehera sweater
40 41
T R I B U T E T O R O B B I N S M AY 3 (SP RING GA L A at 7 P M), 5 eve, 6 , 10 , 12 mat , 13
A fitting gift to Jerome Robbins, the Company will debut two world premieres animated by
the master choreographer’s legacy, including a Peck piece with Leonard Bernstein music.
Accompanying the festivities are two lighthearted ballets: Circus Polka features a sprightly
carousel of young students as they prance at the beck and call of a dapper ringmaster, and
The Four Seasons translates Verdi’s vibrant melodies into frosty flirtation, springtime awak-
ening, sultry revelry, and autumnal bacchanal.
CIRCUS P OL K A (Stravinsky/Robbins)
NE W B A L L E T 6 (Bernstein/Peck) – World Premiere
NE W B A L L E T 7 World Premiere
T HE FOUR SE A S ON S (Verdi/Robbins)
4
BA
LL
ET
S
ALL ROBBINS No. 1: BERNSTEIN C OLL ABOR ATIONS M A Y 4 , 5 m a t , 8 , 2 0
Two American masters converge in these high-energy story ballets. Fancy Free follows three
soldiers on shore leave in the Big City, while Dybbuk delves into a mystical world with dread-
ful consequences. Renewing their international hit, West Side Story Suite brings audiences to
the feuding streets of 1950s New York City with heart-rending poignancy.
FA NCY F REE
DY BBUK
W E S T S IDE S TOR Y SUI T E
3
BA
LL
ET
S
M A Y 3 – 2 0 , 2 0 1 8
W E S T S I D E S T O R Y S U I T E
T H E F O U R S E A S O N S
3 W E E K S | 2 1 B A L L E T S | 6 P R O G R A M S | 2 W O R L D P R E M I E R E S
To mark the centennial of Jerome Robbins’ birth, New York City Ballet has assembled a collection of some of his most celebrated works. The Robbins 100 is a tribute to our Co-Founding Choreographer’s remarkable contributions to classical dance at large and his indelible impact on the NYCB repertory.
42 43
A L L R O B B I N S N o . 4 M AY 15 , 19 mat
This eclectic program showcases Robbins’ versatility, allowing a range of emotions to
pervade. Playful jazz accents suggest a chic Riviera setting, a chance encounter in a ballet
studio captures two young dancers in a subtle and sensual pas de deux, and the sculptural
forms of Greek antiquity inspire earthy fervor. A one-of-a-kind comedic ballet concludes
the program, portraying a cast of quirky characters at a piano recital and their laugh-out-
loud antics.
IN G M A JOR (Ravel)
A F T ERNOON OF A FAUN (Debussy)
A N T IQUE EP IGR A P H S (Debussy)
T HE C ONCER T (Chopin)
A L L R O B B I N S N o . 2 M AY 9, 12 eve, 16
Robbins pays homage to two epic compositions with his grand vision and unceasing invention.
The Goldberg Variations unifies the traditions of classical and modern movement in one mon-
umental ballet to Bach’s epic score, and Les Noces finds its roots in primitive, Russian folk
themes, depicting a highly ritualized wedding with a full choir and four pianos onstage.
T HE GOL DBERG VA RI AT ION S (Bach)
L E S NOCE S (Stravinsky)
2
BA
LL
ET
S
4
BA
LL
ET
S
A L L R O B B I N S N o . 3 M AY 11, 17
A look into Robbins’ astonishing imagination, this collection traverses unique microcosms,
unveiling vivid personalities along the way. Beginning with the lighthearted competition of
a jazz-infused work, this colorful experience includes two of Robbins’ touchingly dramatic
piano ballets and a plunge into the feral world of natural selection before concluding with
a tour of the orchestra where dancers personify various instruments to illuminate a
musical composition.
A L L R O B B I N S N o . 5 M A Y 1 8 , 1 9 e v e
Three of Robbins’ most celebrated ballets unite to demonstrate his keen musical insight.
Prokofiev’s feverish concerto sends a male protagonist on a dreamlike search for an
ethereal counterpart, and Chopin’s piano works allow the spectrum of human interaction
to be distilled into the most natural of movements. Seizing upon more modern styles,
Glass’s minimalism mimics the pulsating heartbeat of metropolitan life in charged,
urban choreography.
IN T ERP L AY (Gould)
IN T HE NIGH T (Chopin)
T HE C AGE (Stravinsky)
OT HER DA NCE S (Chopin)
FA NFA RE (Britten)
OP US 19/ T HE DRE A MER (Prokofiev)
DA NCE S AT A GAT HERING (Chopin)
GL A S S P IECE S (Glass)
3
BA
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S
5
BA
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L E S N O C E S
T H E C A G E O P U S 1 9 / T H E D R E A M E R
A N T I Q U E E P I G R A P H S
Excerpted from Jerome Robbins’ preface to Serge Lido’s Ballet Panorama (1961)
B Y J E R O M E R O B B I N S
S O M E N O T E S O N B A L L E T S . . .
It is not very difficult to string together a certain amount of movement to an equal amount of music. Like filling a ditch, it isn’t hard just to fill time and space with action. And some ballets are like that. The classic dance (frequently taught without recognition of its inherent power, beauty, and dynamics) is often moun- ted on the stage in a series of classroom steps and overdecorated with clever arms, hands, costumes, sets, and makeup.
But what is worth striving for is difficult and challenging: to communicate a truly felt experience in as inventive and revealing [a] way possible. For it isn’t only what one says, but how one says it that lifts a work from the ordinary.
Each ballet must create a strange and totally new world. Each must be unique and different. Some are like places in dreams, bizarre, absurd, frightening and heavenly; but each offers a vision of some aspect of life. Each ballet is governed by its laws of behavior, relationships and morality, and it is the privilege of each ballet that these laws possibly stand well outside our own conscious recognitions. But each world must be true to its own laws, and it is up to the choreographer to convince and continuously assure us of their validity. One must feel safe and secure in the strange logics of behavior. An audience, liking or disliking the world presented, always knows when the subject is felt with conviction. A choreographer fails when he lacks this conviction, or doesn’t strive for any, or is unable to reach into his own deep felt beliefs.
I believe that ballets are rituals. Each ballet is [a] powerful rite which evokes response about life that cannot be said in words or plots or any specifics, but which is thoroughly understood solely through sequences of movement. Try to describe Fokine’s ballet “Les Sylphides” or Balanchine’s “Serenade” and “Apollo,” or the dance portions of Petipa’s “Swan Lake”. . . all of which are true rituals. You will succeed in telling how you felt and what emotions were aroused, but these intangible essences were created through the continuity of formalized abstract movements.
Finally a ballet is a ritual of exorcism: it is achieved through the magic of move-ment. Something about our existence is perceived and felt and translated by the choreographer with the help of the dancers. The rite is formed and conditioned within a strict technique and disciplined craft. It is heightened and made larger than life by music, light, color; it finally is submitted to the collective ceremony of theatre and comes to its fulfillment under the darkness of the house, infused with the attention of assembled individuals enrapt in watching a part of their existence revealed and identified and relived.
O L I V I A M A CK INN O N + ME A G A N M A NN + GR E T CHEN SMI T H / Gia Mia tops, Needle & Thread tulle maxi skirts
S T ER L IN G H Y LT IN / Stella McCartney pleated dress
1. Afternoon of a Faun
2. Antique Epigraphs
3. The Cage
4. Circus Polka
5. The Concert
6. Dances at a Gathering
7. Dybbuk
15. In the Night
16. New Ballet 6
17. New Ballet 7
18. Les Noces
19. Opus 19/The Dreamer
20. Other Dances
21. West Side Story Suite
8. Fancy Free
9. Fanfare
10. The Four Seasons
11. Glass Pieces
12. The Goldberg Variations
13. In G Major
14. Interplay
1 7
1 3
8 1
2 1
4 1
6 1
1 2 7 1 1 1
3 1
5 1
1 9
9 1
1 5
1 8
1 4
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M A Y 3 – 2 0 , 2 0 1 8
3 W E E K S | 2 1 B A L L E T S |
6 P R O G R A M S | 2 W O R L D P R E M I E R E S
25
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H A R R I S O N CO L L / Helmut Lang t-shirt D A NIEL A P P L EB AU M + G O N Z A L O G A R CI A + A M A R R A M A S A R / Calvin Klein tank tops
P U B L I C S U P P O R T
OFFICIAL CHAMPAGNEOFFICIAL MAKE-UP
PARTNEROFFICIAL MAKE-UP
PARTNEROFFICIAL TIGHTS
Major support for new work is provided by members of the New Combinations Fund.
2017/18 commissioning support for emerging choreogra-phers 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 acknowledges the Cordelia Corporation and The Jerome Robbins Foundation for leader-ship support of its Ballet Masters who ensure the excellence 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.
The creation and maintenance of New York City Ballet’s costumes are endowed in par t by the LuEsther T. Mer tz 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 under-written 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.
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.
Anonymous (2)
Maria-Cristina Anzola
Harriet Ford Dickenson Foundation/ Miss Gillian Attfield
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
Cordelia Corporation
Doris Duke Charitable Foundation
Mr. and Mrs. David E.R. Dangoor
Barbara and Brad Evans
Jay+ and Randy Fishman
Ford Foundation
Barry S. Friedberg and Charlotte Moss
Howard Gilman Foundation
The Florence Gould Foundation
Geoffrey C. Hughes Foundation
In Memory of Ralph W. Kern
Ricki Lander/Robert Kraft
Lincoln Center Corporate Fund
Martha and Bob Lipp
The Honorable and Mrs. Earle I. Mack
Ms. Noriko Daisy Lin Maeda
Joyce F. Menschel
LuEsther T. Mertz Charitable Trust
The Ambrose Monell Foundation
Whitney and Clarke Murphy/Russell Reynolds Associates
Karen and Tommy Murphy
The New York Community Trust – Mary P. Oenslager Foundation Fund
Paulson Family Foundation
Stephen Kroll Reidy
Ron and Michele Riggi
Vincent and Patty Riggi
The Jerome Robbins Foundation
The Fan Fox and Leslie R. Samuels Foundation
Saratoga Performing Arts Center
The Ted and Mary Jo Shen Charitable Gift Fund
The SHS Foundation
The Shubert Foundation
Mr. and Mrs. Howard Solomon
Joseph and Sylvia Slifka Foundation
Denise R. Sobel
Michael and Sue Steinberg
Virginia B. Toulmin Foundation
John L. and Barbara Vogelstein
The John L. and Sue Ann Weinberg Foundation
M A J O R F U N D I N G I S P R O V I D E D B Y :
S P E C I A L T H A N K S
G L O B A L S P O N S O R
+ In M e m o r ia m
S P O N S O R S
PROUD SUPPORTER
IND I A N A W O O D WA R D / New York City Ballet wardrobe
Dav
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