New York City Ballet Annual Report 2006

George Balanchine and Lincoln Kirstein formed New York City

Ballet with the goal of producing and performing a new ballet

repertory that would re-imagine the principles of classical dance.

Under the leadership of Ballet Master in Chief Peter Martins,

the Company remains dedicated to their vision as it pursues

two primary objectives:

1) to preserve the ballets, dance aesthetic, and standards

of excellence created and established by its founders;

2) to develop new work that draws on the creative talents

of contemporary choreographers and composers, and speaks

to the time in which it is made.

This mission is accompanied by a commitment to expand the

Company’s audience and make ballet accessible to the widest

possible public through touring, education programs, the creative

use of media, and other outreach e=orts.

m i s s i o n s t a t e m e n t

n e w y o r k c i t y b a l l e t

George Balanchine and Lincoln Kirstein Founders

George Balanchine and Jerome Robbins Founding Choreographers

Peter Martins Ballet Master in Chief

Ballet Master in ChiefPeter Martins

Ballet MistressRosemary Dunleavy

n e w y o r k c i t y b a l l e t

Ballet Masters

Karin von Aroldingen, Jean-Pierre Frohlich,Susan Hendl, Lisa Jackson, Russell Kaiser,

Sara Leland, Christine Redpath, Richard Tanner

n e w y o r k c i t y b a l l e t o r c h e s t r a

Music Director: Andrea QuinnPrincipal Conductor: Maurice Kaplow

Guest Conductor: David BriskinConductor Emeritus: Hugo Fiorato

Resident Choreographer: Christopher WheeldonComposer in Residence: Bright Sheng*

t h e c o m p a n y

Jared Angle Charles Askegard Yvonne BorreeAshley Bouder Joaquin De Luz Albert Evans Megan Fairchild

Stephen Hanna Nikolaj Hübbe Darci Kistler Maria Kowroski Sébastien Marcovici Nilas Martins Benjamin Millepied Philip Neal Kyra Nichols Jenifer Ringer Jennie Somogyi

Sofiane Sylve Janie Taylor Miranda Weese Wendy Whelan Damian Woetzel

Ellen Bar Antonio Carmena Jason Fowler Tom Gold Adam Hendrickson Arch Higgins

Sterling Hyltin† Rebecca Krohn Ask la Cour Edwaard Liang Sara Mearns Amar Ramasar

Teresa Reichlen Rachel Rutherford Abi Sta=ord Jonathan Stafford Jennifer Tinsley

Daniel Ulbricht Pascale van Kipnis Andrew Veyette

Dena Abergel Marika Anderson Tyler Angle Daniel Applebaum Faye Arthurs Melissa Barak

Katie Bergstrom Saskia Beskow Christopher Boehmer Likolani Brown Maya Collins

Adrian Danchig-Waring Alina Dronova Robert Fairchild Sophie Flack Kyle Froman Kaitlyn Gilliland

Pauline Golbin Craig Hall Amanda Hankes Dana Hanson Dara Johnson Jerome Johnson

Glenn Keenan Lauren King Ashlee Knapp Geneviève Labean Ashley Laracey Austin Laurent

Megan LeCrone William Lin-Yee Savannah Lowery Jenelle Manzi Gwyneth Muller Seth Orza

Ellen Ostrom Vincent Paradiso Georgina Pazcoguin Tiler Peck Allen Pei=er Rachel Piskin

Carrie Lee Riggins Ana Sophia Scheller Troy Schumacher Henry Seth Aaron Severini Kristin Sloan

Gretchen Smith Sean Suozzi Christian Tworzyanski Max van der Sterre Giovanni Villalobos

Elizabeth Walker Taryn Wolfe Stephanie Zungre

Solo Pianists

Elaine Chelton, Cameron Grant, Nancy McDill, Richard Moredock, Alan Moverman, Susan Walters

Children’s Ballet Mistress: Garielle Whittle

Guest Ballet Master: Kathleen Tracey

Assistant to the Ballet Master in ChiefSean Lavery

Teaching AssociateMerrill Ashley

As of June 25, 2006†Janice Levin Dancer Honoree for 2005–2006

*Mr. Sheng’s residency is part of NYCB’s Artists in Residence program.

The ensemble of Jorma

Elo’s Slice to Sharp

n e w y o r k c i t y b a l l e t , i n c

Frederick W. Beinecke President

Je=rey M. Peek Treasurer

Hon. Kimba M. WoodSecretary

Randal R. Craft, Jr. Counsel

b o a r d o f d i r e c t o r s

Barry S. FriedbergChairman

Roger BoltonAetna

Patrick Bousquet-ChavanneThe Estee Lauder Companies Inc.

Mary Cirillo-Goldberg

Gail E. CohenFiduciary Trust Company

International

Linnea Conrad Goldman, Sachs & Co.

Scott DavisPricewaterhouseCoopers LLP

Fiona Druckenmiller

Regina EgeaAT&T

Adrienne Fontanella

Bruce S. FowleFXFOWLE Architects, PC

MaryAnne GilmartinForest City Ratner Companies

Ann B. LaneFormerly of JPMorgan Chase

James ManfredoniaBear, Stearns & Co.

Alison MassGoldman, Sachs & Co.

David A. NadlerMercer Delta Consulting LLC

Valerie S. PeltierTishman Speyer Properties

Harold W. PoteFormerly of JPMorgan Chase

Ellen T. ReidNorthern Trust

Joshua RubensteinKatten Muchin Rosenman, LLP

Carol A. SmithELLE

Chairmen Emeriti: Eugene P. Grisanti, Theodore C. Rogers, Howard Solomon

Directors Emeriti: Gillian Attfield, Mary Sharp Cronson, Nancy Norman Lassalle, David H. Mortimer, Edward J. Toohey

Members Ex-officio: Hon. Michael R. Bloomberg, Hon. Kate D. Levin, Martin J. Oppenheimer

Amy S. Butte, Co-ChairmanNew York Stock Exchange

Mary Ann Tighe, Co-Chairman CB Richard Ellis

a d v i s o r y b o a r d

As of June 7, 2006

5

First Violins

Arturo Delmoni, Concertmaster

Kurt Nikkanen, Concertmaster

Nicolas Danielson, Assistant

Concertmaster

Jean Ingraham, Associate

Michael Roth, Associate

Bira Rabushka**

Sabina Skalar

Paul Peabody

Robert Chausow

Yevgenia Strenger

Alexander Simionescu**

Qing Guo

Second Violins

Jack Katz, Principal

Conway Kuo, Associate

Yeojin Cho

Bin Lu

Min Young Song

Andrew Schaw

Nelly Kim

Helen Strilec

Sue Ellen Colgan

Martin Stoner

Violas

Maureen Gallagher, Principal

Laurance Fader, Associate

Susan Pray

Liane Marston

Barbara Baird

Warren Laffredo

Jeffrey Jacobi

Cellos

Fred Zlotkin, Principal

Eugene Moye, Associate

Robert Gardner

Ruth Alsop

Peter Sanders

Ann Kim Rozenblatt

Alessandro Benetello

Double Basses

Ron Wasserman, Principal

Marji Danilow, Associate

Wan Hau Xu

Grey Fulmer

Flutes

Paul Dunkel, Principal

Laura Conwesser, Associate

Marie Owen, Flute and Piccolo

Oboes

Randall Wolfgang, Principal

Jane Cochran, Associate

James Byars

Clarinets

Gerhardt Koch, Principal

Steven Hartman, Associate

Brian Hysong, Clarinet and

Bass Clarinet

Bassoons

Ethan Silverman, Principal

Edward Parsons, Associate

Donald MacCourt, Bassoon and

Contra-bassoon

French Horns

H. Robert Carlisle, Principal

Michael Martin

Richard Hagen, Associate

Paul Ingraham

Trumpets

Raymond Mase, Principal

Neil Balm, Co-Principal

Robert Haley

Trombones

Richard Chamberlain, Principal

Hugh Eddy, Associate

Robert Biddlecome, Bass

Trombone

Tuba

Stephen Johns

Harp

Sara Cutler

Piano

Cameron Grant

Timpani

Arnold Goldberg

Percussion

James Baker, Principal

Robert Bush, Associate

Paul Fein

Orchestra Manager

Arnold Goldberg

Assistant to the Orchestra

Manager

Tom Beck

Orchestra Librarian

Michael Martin

n e w y o r k c i t y b a l l e t o r c h e s t r a

As of June 25, 2006

*2006 Season

** On leave of absence

4

Paul A. Allaire

Gerhard R. Andlinger

Maria Bartiromo

Jonathan R. Bell

Franci Blassberg

Margo Krody Blutt

Daniel Brodsky

Katherine Byram Bryan

Judy Bernstein Bunzl

Jane Chace Carroll

Hon. William T. Coleman, Jr.

Michael A. Cooper

David E.R. Dangoor

Samuel A. DiPiazza, Jr.

Perry B. Grano=

David W. Heleniak

Lawrence Herbert

Marlene Hess

Marilyn Laurie

Howard Solomon

Lesley Stahl

Ruth S. Stanton

Bonnie Strauss

Mary Ann Tighe

John L. Vogelstein

David Webb

Dr. Sue Ann Weinberg

Irwin Winkler

William H. Wright II

Kate Betts

Candace Bushnell

Alba Clemente

Robert Couturier

Fe Saracino Fendi

Charlotte Moss

Xenia Krinitzky Ro=

Barbara Cirkva Schumacher

Alexandra Shiva

Susan Tabak

s p e c i a l e v e n t s w o r k i n g c o m m i t t e e

Nina Griscom, Chairman

Robert I. Lipp

Clarke Murphy

Gordon B. Pattee

Michael E. Patterson

Robert W. Pittman

Theodore C. Rogers

Denise Saul

Stephen A. Schwarzman

Daniel Shapiro

Thomas Shiah

Megan Fairchild and

Jonathan Sta¤ord

in George Balanchine’s

Divertimento No. 15

The ideas that George Balanchine and Lincoln

Kirstein had about ballet, and their shared

ambition for a company that would be distin-

guished by producing new work, rather than

performing ballets made in other places and in

other times, has guided New York City Ballet

since its first performances 58 years ago. In

pursuing this ideal, and training a new breed of

dancers capable of meeting the physical demands

of this new repertory, Balanchine and Kirstein

played a unique role in establishing classical

dance as a recognized art form in this country.

And they gave all of us who followed an example,

an audience, and a future.

New York City Ballet has always been a choreog-

rapher’s company, and we continue to honor

our founders’ bold vision by regularly commis-

sioning new ballets and nurturing new talent.

This year, we presented our sixth edition of

The Diamond Project, which we began in 1992

with a specific aim: to focus public attention

on choreographers, and provide these artists

with opportunities to make new works and see

them performed before a discerning audience.

We were pleased to welcome five choreographers

from around the globe—Mauro Bigonzetti,

Jean-Pierre Bonnefoux, Jorma Elo, Eliot Feld,

and Alexei Ratmansky—who joined Christopher

Wheeldon, our resident choreographer, and

me in making ballets for the festival in the spring.

Their presence, married with the exceptional

talents of our dancers, brought a palpable energy

to our rehearsal halls and produced exhilarating

results onstage.

We also marked the fifth anniversary of the

New York Choreographic Institute, which we

had established in 2000 with the help of another

visionary, the philanthropist Irene Diamond,

as another means of fostering the development

of new work and elevating choreographers as

important artists in our society. In just this short

time, the Institute has given 42 choreographers

from all over the world the near-unprecedented

opportunity, within the field of dance, to experi-

ment with new material, approaches, or styles

so that they might advance their craft—

as composers, musicians, writers, and visual

artists are able to do—in a private setting free

from public judgment.

I am keenly aware of how fortunate we are to

enjoy not only the loyalty and support of

our patrons, but also the exceptional sense of

community that exists between our artists and

audience. You are a partner in all that we do.

I am also tremendously grateful to our board

and advisory board for their leadership, and

to our hardworking staff, who set such high

standards and embrace every challenge with

enthusiasm. It is all of you who allow New

York City Ballet and the ideals for which it has

always stood to flourish.

Peter Martins, Ballet Master in Chief

6

l e t t e r f r o m t h e

b a l l e t m a s t e r i n c h i e f

Miranda Weese and

Albert Evans in Christopher

Wheeldon’s Klavier

During the three years that I have chaired

New York City Ballet’s board of directors, the

Company has continued to strengthen its finan-

cial position through sound fiscal management

of its operations, an energetic development

program, and skilled investment of our endow-

ment. Our annual budget has grown by more

than 16%, and our endowment and net assets

by 20%. Impressive as these results are, they

are significant only insofar as they support

the Company’s artistic ambitions. In this time,

among other accomplishments, we have

mounted major celebrations, from Balanchine’s

centennial in 2004 to this year’s vibrant and

very successful Diamond Project. We have

also further expanded such initiatives as the

New York City Ballet Archive and New York

Choreographic Institute, which are important

resources not only for our Company but for

the entire field of classical dance.

One of the great privileges of my role as chair-

man is seeing, with a behind-the-scenes eye,

how the support of our patrons impacts all that

we do. When I attend a performance or watch a

rehearsal of a ballet we have commissioned—

such as one of the ten we presented this

year— or a showing of work in process at the

Choreographic Institute, when I visit a public

school where students’ imaginations have been

opened by our presence or simply talk with

some of you, I am reminded of what is made

possible with your participation and support.

You are integral to our efforts to sustain a level

of excellence and an experience at New York City

Ballet that few institutions can rival.

Our artistic successes and financial results speak

not only to the support that we enjoy from our

board, advisory board, and patrons, but also to

careful stewardship by Peter Martins and the

Company’s management. Like many perform-

ing arts organizations in today’s time, however,

we face challenges in cultivating new audiences

and developing ways to keep pace with the

expense of operating a major company like ours.

Despite these challenges, we look forward to

future seasons with enthusiasm and confidence,

and will continue to work hard to ensure that

our operations are solid so that we can earn your

support in the years ahead.

I would like to recognize five members of our

board who have contributed a great deal to

New York City Ballet in recent years and whose

board terms concluded in June 2006: Katherine

Byram Bryan, William T. Coleman, Jr., Gordon

B. Pattee, Lesley Stahl, and John L. Vogelstein.

In addition, one of our longtime directors,

Daniel Shapiro, stepped down from the board

to turn his attention to other commitments. We

thank them for their tremendous service and

trust they will remain close to the Company.

Barry S. Friedberg, Chairman

8

l e t t e r f r o m t h e c h a i r m a n

2005 – 2006

s e a s o n h i g h l i g h t s

The Season Opening

In keeping with George Balanchine’s eternal

support of music and new choreography, New

York City Ballet’s 2005–2006 Season displayed

the diversity, breadth, and fortitude of a company

that is unparalleled in the extent of its repertory

and dedication of its artists. NYCB continues to

prove itself in a league of its own with close to

200 performances of over 60 ballets each year.

The Company began its winter season at the

New York State Theater with an Opening Night

Benefit on November 22, 2005. “An American

Music Celebration” featured works by Peter

Martins and Jerome Robbins as well as a world

premiere by NYCB Principal Dancer Albert

Evans, each to music by an American composer.

Mr. Martins’ Fearful Symmetries, set to a score

by John Adams, opened the program, followed by

the season’s only performance of Mr. Evans’

pas de deux In a Landscape, to music by John

Cage, for Principals Wendy Whelan and Philip

Neal. Robbins’ N.Y. Export: Opus Jazz, to music

by Robert Prince, concluded the program. The

event was chaired by Charlotte Moss and Allison

Sarofim with Christy Turlington Burns serving

as Honorary Chairman.

11

Wendy Whelan and Philip

Neal in Albert Evans’ world

premiere In a Landscape

Winter Repertory

The winter repertory season began on January 3,

2006, with a program consisting of Mr. Martins’

Fearful Symmetries framed by Balanchine’s

Concerto Barocco and Symphony in C, and ran

through February 26. Among the season high-

lights were revivals of Robbins’ Mother Goose

(last performed in winter 1992), Mr. Martins’

Songs of the Auvergne (last performed in winter

1995), and Resident Choreographer Christopher

Wheeldon’s Scènes de Ballet (last performed in

winter 2000), along with 12 performances of Mr.

Martins’ full-length Swan Lake. During the run

of Swan Lake, Principal Dancers Ashley Bouder,

Jenifer Ringer, and Sofiane Sylve and corps

de ballet member Sara Mearns all debuted in the

dual role of Odette/Odile. The 2006 Winter

Season revival, refurbishment, and presentation

of Mother Goose was made possible in part by a

lead gift from The Jerome Robbins Foundation.

The winter season continued with 45 perform-

ances (November 25 through December 30) of

the perennial holiday classic George Balanchine’s

The NutcrackerTM, presented with support from

Wachovia for the second year running. Performed

every year since its creation in 1954, it was this

production that introduced countless Americans

to the world of ballet when it was aired live by

CBS Playhouse 90 on Christmas Day in 1958,

solidifying this enchanting Christmas tale, and

NYCB’s production specifically, as the holiday

tradition that it is today. The Nutcracker Family

Benefit, jointly presented by New York City Ballet

and the School of American Ballet, is a critical

source of support for NYCB’s education programs

and SAB’s Scholarship Fund. This year the event

took place on December 10 and featured the

debuts of Teresa Reichlen and Ask la Cour in the

roles of the Sugarplum Fairy and Her Cavalier

and Tiler Peck as Dewdrop. Benefit Chairmen

for the event were Kelly Killoren Bensimon,

Celeste Boele, Maureen Chiquet, and Julia Koch,

who helped raise $500,000 for the Company

and School.

Swan Lake debuts: above

left, Sofiane Sylve as Odette;

left, Ashley Bouder as Odile

opposite Benjamin Millepied

as Siegfried; above, Sara

Mearns as Odette

Jenifer Ringer and Sébastien

Marcovici rehearsing

for their debuts in Peter

Martins’ Swan Lake

13

2006 WinterRepertorySeason by theNumbers

Number of ballets: 39

Number of performances: 102

Featured role debuts: 163

World Premieres: 3

Commissioned score: 1

Attendance:224,252

The repertory season also featured two world

premiere ballets. The first, Mr. Wheeldon’s

Klavier, took place on January 24 as part of the

10th annual New Combinations Evening.

This yearly event is scheduled to coincide with

Balanchine’s birthday and celebrates NYCB’s

longstanding commitment to the creation and

presentation of new choreography. Klavier, to the

Adagio Sostenuto from Ludwig van Beethoven’s

Piano Sonata in B-flat Minor, was led by two

principal couples, Wendy Whelan with Sébastien

Marcovici and Miranda Weese with Albert Evans.

The second new work of the season, Mr. Martins’

Friandises, was set to a score by Christopher

Rouse that was co-commissioned by NYCB and

The Juilliard School on the occasion of Juilliard’s

100th anniversary. Mr. Martins’ choreography

highlights the agility and technical skills of

NYCB’s youngest dancers, ending in a virtuosic

display of pyrotechnics. Mr. Wheeldon’s work

was made possible in part by a major grant from

the Geoffrey C. Hughes Foundation.

14

At right, Peter Martins

rehearsing Tiler Peck and

Daniel Ulbricht in Friandises;

above, the dancers in the

world premiere

17

2006 Winter Season World Premieres

In a Landscape

Music: John Cage

Choreography: Albert Evans

Costumes: Carole Divet

Lighting: Mark Stanley

Premiere: November 22, 2005

Original cast: Wendy Whelan, Philip Neal

Klavier

Music: Ludwig van Beethoven

Choreography: Christopher Wheeldon

Design: Jean-Marc Puissant

Costume supervision: Holly Hynes

Lighting: Penny Jacobus

Premiere: January 24, 2006

Original cast: Wendy Whelan, SébastienMarcovici, Miranda Weese, Albert Evans; PaulineGolbin, Melissa Barak, Tyler Angle, Craig Hall,Andrew Veyette, Sean Suozzi

Friandises

Music: Christopher Rouse (co-commissionedby NYCB and The Juilliard School)

Choreography: Peter Martins

Lighting: Mark Stanley

Premiere: February 10, 2006

Original cast: Tiler Peck, Daniel Ulbricht;Faye Arthurs, Sarah Ricard, Ashley Laracey, Megan LeCrone, Savannah Lowery, Sara Mearns, Alina Dronova, Kristin Sloan, Sterling Hyltin, Craig Hall, Seth Orza, Tyler Angle, Adrian Danchig-Waring, Jonathan Sta¤ord, Amar Ramasar, Austin Laurent, Sean Suozzi, Allen Pei¤er

As has become customary, the Annual Luncheon

was also the occasion to announce the recipient

of the Janice Levin Dancer Award, which was

established in 2000 with a generous endowment

gift from longtime NYCB Board Member Janice

Levin. The award recognizes a promising young

member of the Company who studied at the

School of American Ballet. This year the recipient

was Sterling Hyltin, who began her studies at

SAB in 2000, became an apprentice with NYCB

in 2002, and joined the Company in June 2003.

Generous support for both productions was

also provided by The Irene Diamond Fund and

Movado, as well as contributors to NYCB’s New

Combinations and Repertory Funds and the

Lila Acheson and DeWitt Wallace Endowment

Fund. An endowment funded by a gift from

the Solomon family in support of the creation

and performance of works by Mr. Martins also

helped to make Friandises possible.

“The World of Jerome Robbins” was the theme of

the 2006 Annual Luncheon held on February 1.

The event began with a one-time-only program

celebrating Robbins’ remarkable and unique

choreography and included excerpts from Mother

Goose, In the Night, and Fancy Free. Deborah

Jowitt, author of the biography Jerome Robbins:

His Life, His Theater, His Dance, moderated the

accompanying panel discussion with Principal

Dancers Kyra Nichols and Benjamin Millepied

and NYCB Ballet Master Jean-Pierre Frohlich.

The luncheon, chaired by Jane Carroll, MaryAnne

Gilmartin, Meera Gandhi, and Elyse Newhouse,

continued on the Promenade with guests

enjoying an elegant meal in a chic setting, and

raised $393,000 for the Company.

16

The ensemble of Jerome

Robbins’ Mother Goose

18

Mr. Wheeldon, and Assistant to the Ballet Master

in Chief Sean Lavery. Jean Battey Lewis of The

Washington Times praised NYCB’s now annual

return to the Kennedy Center: “For so many

years—17 to be exact—this city had to do without

what had once been annual visits from the New

York City Ballet. Its reappearance on the local

scene the last three years still is cause for cele-

bration. The company’s priceless repertory of

works by George Balanchine and the deeply

musical way it performs them have filled the

week with moments of dance at its noblest.” At

the conclusion of the Company’s Kennedy Center

engagement, Mr. Martins surprised corps de

ballet members Ellen Bar, Antonio Carmena,

Jason Fowler, Sterling Hyltin, Rebecca Krohn,

Sara Mearns, Amar Ramasar, Jonathan Stafford,

and Andrew Veyette with the news that they

had been promoted to soloists.

Balanchine ballets

Allegro Brillante

Ballo della Regina

Duo Concertant

Firebird

Monumentum pro Gesualdo

Movements for Piano and Orchestra

Tarantella

Union Jack

Lavery ballet

Romeo and Juliet

Martins ballet

Fearful Symmetries

Robbins ballet

N.Y. Export: Opus Jazz

Wheeldon ballets

An American in Paris

Klavier

Kennedy Center Repertory

Kennedy Center

Only three days after the end of the winter

season, NYCB was back onstage for a week of

performances at the John F. Kennedy Center for

Performing Arts (seven performances from

March 1 through March 5). This year marked

NYCB’s third appearance in the nation’s capital

since 2004, and repertory for the engagement

included several classic Balanchine ballets

as well as works by Robbins, Mr. Martins,

Right, Damian Woetzel

and ensemble in

George Balanchine’s

Union Jack

Left, Megan Fairchild

and Joaquin De Luz

in George Balanchine’s

Ballo della Regina

18

2120 21

Spring Repertory

During NYCB’s spring season, which ran from

April 25 through June 25, the Company presented

its sixth installment of The Diamond Project, a

festival of new ballets born out of NYCB’s

founding tradition of creating new work and

established by Mr. Martins in 1992.

Choreographers participating in The Diamond

Project are given four to six weeks and total artis-

tic freedom to create and rehearse a new ballet.

For this Diamond Project festival, new ballets

were created by Mauro Bigonzetti, Jean-Pierre

Bonnefoux, Jorma Elo, Eliot Feld, Mr. Martins,

Alexei Ratmansky, and Mr. Wheeldon. This occa-

sion marked the first time that Mr. Elo and Mr.

Ratmansky created ballets for NYCB and the first

time that Mr. Bonnefoux and Mr. Feld partici-

pated in a Diamond Project festival. With this

year’s additions, The Diamond Project is respon-

sible for bringing 54 ballets to the stage since

1992 and has commissioned six scores. The

2006 Diamond Project productions were made

possible in part by lead gifts from The Irene

Diamond Fund, Fan Fox and Leslie R. Samuels

Foundation, and Movado. Additional gener-

ous support was also provided by the National

Endowment for the Arts, the Lila Acheson and

DeWitt Wallace Endowment Fund, and contri-

butors to the New Combinations and

Repertory Funds.

The Company’s Spring Gala on May 10 featured

Diamond Project world premieres by Mr. Martins

and Mr. Wheeldon, The Red Violin and Evenfall

respectively, as well as a one-time performance

of the pas de deux from William Forsythe’s

Herman Schmerman, created for the inaugural

Diamond Project in 1992. Chairmen Estrellita

and Daniel Brodsky and Margo and Irwin

Winkler along with Corporate Chairs Elizabeth

and Jeffrey Peek of CIT and Richard D. Beckman

of Condé Nast Media Group helped raise $1.7

million for the Company.Jennie Somogyi and

Sébastien Marcovici in Peter

Martins’ The Red Violin

2322 23

Russian Seasons

Music: Leonid DesyatnikovChoreography: Alexei RatmanskyCostumes: Galina SolovyevaLighting: Mark StanleyPremiere: June 8, 2006Original cast: Sofiane Sylve, Wendy Whelan, JeniferRinger, Albert Evans; Alina Dronova, GeorginaPazcoguin, Abi Sta¤ord, Antonio Carmena, AdamHendrickson, Amar Ramasar, Jonathan Sta¤ord,Sean Suozzi

Mr. Ratmansky is the Artistic Director of the BolshoiBallet. This is his first work for NYCB. RussianSeasons was sponsored in part by the AT&T Foundation.This work was also made possible by a dance commissioning grant from the New York State Councilon the Arts.

Slice to Sharp

Music: Heinrich Ignaz von Biber, Antonio VivaldiChoreography: Jorma EloCostumes: Holly HynesLighting: Mark StanleyPremiere: June 16, 2006Original cast: Sofiane Sylve, Wendy Whelan, MariaKowroski, Ana Sophia Scheller, Amar Ramasar, Craig Hall, Edwaard Liang, Joaquin De Luz

Mr. Elo is the Resident Choreographer of Boston Ballet.This is his first work for NYCB. Slice to Sharp wassupported in part by a generous grant from TheNorman & Rosita Winston Foundation.

22

Étoile PolaireMusic: Philip GlassChoreography: Eliot FeldLighting: Mark StanleyPremiere: April 29, 2006Original cast: Kaitlyn Gilliland

Mr. Feld is Artistic Director of Ballet Tech.This is his third work for NYCB.

In Vento

Music: Bruno Moretti (commissioned by NYCB)Choreography: Mauro BigonzettiCostumes: Mauro BigonzettiLighting: Mark StanleyPremiere: May 4, 2006Original cast: Maria Kowroski, Benjamin Millepied,Jason Fowler; Saskia Beskow, Maya Collins, TilerPeck, Teresa Reichlen, Antonio Carmena, RobertFairchild, Jonathan Sta¤ord, Sean Suozzi

Mr. Bigonzetti is Artistic Director of Italy’s Aterballetto.This is his second work for NYCB. In Vento wassupported in part by SinekPartners.

The Red Violin

Music: John CoriglianoChoreography: Peter MartinsCostumes: Carole DivetLighting: Mark StanleyPremiere: May 10, 2006Original cast: Jennie Somogyi, Sara Mearns, SterlingHyltin, Tiler Peck, Sébastien Marcovici, AmarRamasar, Andrew Veyette, Sean Suozzi

Mr. Martins is Ballet Master in Chief of New York CityBallet. Generous support for The Red Violin wassupported in part by generous gifts from Dr. and Mrs.Raymond Sackler and a friend of the Company.This work was also funded in part by an endowmentgift from the Solomon family, given in loving memory of Carolyn B. Solomon.

Evenfall

Music: Béla BartókChoreography: Christopher WheeldonCostumes: Holly HynesLighting: Mark StanleyPremiere: May 10, 2006Original cast: Miranda Weese, Damian Woetzel; Faye Arthurs, Melissa Barak, Alina Dronova, KaitlynGilliland, Amanda Hankes, Glenn Keenan, AshleyLaracey, Savannah Lowery, Rachel Piskin, Ana SophiaScheller, Kristin Sloan, Stephanie Zungre, AdrianDanchig-Waring, William Lin-Yee, Seth Orza, VincentParadiso, Christian Tworzyanski, Giovanni Villalobos

Mr. Wheeldon is New York City Ballet’s ResidentChoreographer. Evenfall was made possible in part bya major gift from the Geo¤rey C. Hughes Foundation.

Two Birds with the Wings of One

Music: Bright ShengChoreography: Jean-Pierre BonnefouxCostumes: Holly HynesLighting: Mark StanleyPremiere: May 25, 2006Original cast: Sofiane Sylve, Andrew Veyette; MayaCollins, Kaitlyn Gilliland, Dara Johnson, RebeccaKrohn, Ashley Laracey, Savannah Lowery, Tyler Angle,Robert Fairchild, Craig Hall, Jonathan Sta¤ord, SeanSuozzi, Daniel Ulbricht

Mr. Bonnefoux, a former NYCB principal dancer, isArtistic Director of North Carolina Dance Theatre. Thisis his fourth work for NYCB. Two Birds with the Wingsof One was made possible in part by a major gift from the Mary P. Oenslager Foundation Fund of The New York Community Trust. Additional support wasprovided by The Florence Gould Foundation and the New York State Council on the Arts through adance commissioning grant.

2006 Diamond Project World Premieres Jenifer Ringer with Jonathan

Sta¤ord and (obscured)

Amar Ramasar and Sean

Suozzi in Alexei Ratmansky’s

Russian SeasonsThe 2006 Diamond Project productions were made possible in part by lead gifts from The Irene

Diamond Fund, The Fan Fox and Leslie R. Samuels Foundation, and Movado. Additional generous

support was also provided by the National Endowment for the Arts, the Lila Acheson and DeWitt

Wallace Endowment Fund, and contributors to the New Combinations and Repertory Funds.

24 25

Above, Mauro Bigonzetti

rehearses Maria Kowroski

and Jason Fowler for his

Diamond Project ballet

Left, Maria Kowroski

and Jason Fowler in the

world premiere of Mauro

Bigonzetti’s In Vento

Right, Kaitlyn Gilliland

performing the world

premiere of Eliot Feld’s

Étoile Polaire

26

In addition to the seven Diamond Project

premieres, the 2006 Spring Season included

more than 30 ballets from the NYCB repertory.

The season opened with nine performances

of Balanchine’s A Midsummer Night’s Dream,

during which Sara Mearns debuted in the role of

Titania (opposite Joaquin De Luz as her Oberon)

and Andrew Veyette debuted in the role of

Oberon (opposite Sofiane Sylve as his Titania).

The Company celebrated these performances

with A Midsummer Night’s Dream Tea Party on

April 29. This intimate event specially arranged

for families was chaired by former NYCB dancers

Margo Krody Blutt (also a NYCB board member)

and Carole Divet Harting along with Susan

Krysiewicz and Alix Noel Toub, and raised over

$50,000. Other highlights of the spring reper-

tory season included the return of Robbins’

In Memory of . . . (last performed in spring 2001)

and an all-Feld evening on April 29 featuring the

NYCB premieres of Intermezzo No. 1, Backchat,

Ugha-Bugha, and A Stair Dance and the return of

The Unanswered Question (last performed in

winter 2000), together with the world premiere

of Mr. Feld’s Diamond Project ballet Étoile Polaire.

More than 600 guests attended Hot Hawaiian

Nights: Hula-la!, NYCB’s 22nd annual Dance

with the Dancers, on June 12. Hosted by Dancer

Chairmen Ashley Bouder, Ask la Cour, and

Stephanie Zungre and Event Chairmen Amy

Butte, Alexandra Kimball, and Lindsey and Eric

Nederlander, the gala event raised $382,000

for the Company and featured a one-time-only

performance of a skit choreographed by Tom Gold

for the Company’s dancers, complete with hula

dancing, surfer dudes, and a human volcano.

The 2005–2006 Season would not have been

possible without the participation of the many

individuals, corporations, foundations, and

government agencies that provided support to

the Company. In addition to those donors who

made significant commitments for the creation

and performance of new works or sponsorship

of specific programs or events, New York City

Ballet wishes to acknowledge the Booth Ferris

2006 SpringRepertorySeason by theNumbers

Number of ballets: 42

Number of performances: 63

Featured role debuts: 113

World Premieres: 7

Commissioned score: 1

Attendance:97,686

27

Foundation, Harriet Ford Dickenson Foundation,

Holland and Knight LLP, Lincoln Center

Consolidated Corporate Fund, Mr. and Mrs.

Earle I. Mack, The Ambrose Monell Foundation,

New York City Department of Cultural Affairs,

New York State Council on the Arts, New York

Sports Clubs, The Shubert Foundation, Kent

Simons, The Starr Foundation, Ronna Sussman,

and John L. and Barbara Vogelstein for generous

support of the season, and American Airlines,

NYCB’s preferred airline, for assistance with

guest artist and other Company travel. Lastly,

NYCB extends special appreciation to those

donors whose endowment gifts enable the

conservation of existing productions, and to

members of the Serenade Society, whose estate

and other deferred gift commitments will

help to sustain the Company in the future.

Wendy Whelan and Charles

Askegard in Jerome Robbins’

In Memory of . . .

said Lars Liebst, CEO of Tivoli. “This company

has close relations with Tivoli, and we are

extremely pleased to be able to present it again.”

Three of the six works on the programs presented

in Copenhagen had never been seen there:

Ulysses Dove’s Red Angels, Mr. Martins’ Thou

Swell, and Mr. Wheeldon’s Liturgy. The Company

also performed Balanchine’s Allegro Brillante

and Tarantella and Mr. Martins’ Zakouski. On

November 11, 2005, after performing in Mr.

Martins’ Thou Swell for an audience that included

Queen Margrethe II of Denmark, Jared Angle

was promoted onstage to the rank of principal

dancer. Mr. Angle joined the corps de ballet

in July 1998 and was promoted to the rank of

soloist in February 2001.

28

Balanchine ballets

Agon

Allegro Brillante

Ballo della Regina

Brahms-Schoenberg Quartet

Harlequinade

A Midsummer Night’s Dream

Swan Lake

Symphony in Three Movements

Union Jack

Lavery ballet

Romeo and Juliet

Martins ballets

Barber Violin Concerto

Octet

Tala Gaisma

Robbins ballets

Concertino

Glass Pieces

Fanfare

N.Y. Export: Opus Jazz

Wheeldon ballets

After the Rain

An American in Paris

Saratoga Performing Arts CenterRepertory

Beyond New York City

In July 2005 the Company celebrated the 40th

anniversary of its residency at the Saratoga

Performing Arts Center. The Company was

thrilled to be greeted by the Saratoga Springs

community, along with the first new SPAC

management in 27 years under the direction of

Marcia White, as the festivities began on July 4

with an Independence Day parade featuring the

dancers riding on horse-drawn carriages.

Principal Dancer Miranda Weese was quoted on

Capital News 9 saying, “This is incredible. I

never in a million years would think this many

people would be excited to have us back. It is

absolutely amazing.” To celebrate the anniver-

sary occasion, NYCB opened the season with

performances of A Midsummer Night’s Dream,

the ballet that christened SPAC’s inaugural

season on July 8, 1966. A gala performance on

July 16 featured performances of Mr. Martins’

Beyond New York City

Tala Gaisma, Mr. Wheeldon’s An American in

Paris, and the season’s only performance of

Robbins’ N.Y. Export: Opus Jazz.

From November 9 through 12, 2005, NYCB

performed at Copenhagen’s Tivoli Concert Hall

as a part of the festivities surrounding the Hall’s

reopening after a year’s renovation. NYCB has

always had a special connection with Denmark.

During the 1930s, NYCB’s Co-Founder George

Balanchine worked in Copenhagen as a ballet

master for the Royal Danish Ballet, and over the

years several Danish-trained dancers have

performed with the Company, including Ballet

Master in Chief Peter Martins. This tour marked

NYCB’s ties to the Tivoli Concert Hall, where it

has performed on seven different occasions. “It

is not a coincidence that Tivoli Concert Hall re-

opens with a visit from New York City Ballet,”

Darci Kistler in George

Balanchine’s A Midsummer

Night’s Dream

2005–2006Season by theNumbers

Number of performances: 198

Number of balletsperformed: 63

Number of balletspremiered: 10

Number of dancers: 98

Commissioned scores: 2

2005–2006 Winter Season

Fayçal Karoui—Music director of the Orchestre

de Pau, Pays de Béarn in France

(Ballo della Regina, Swan Lake)

Colin Metters—Head of conducting program

at the Royal Academy of Music in Britain

(Divertimento from “Le Baiser de la Fée,” Fancy

Free, George Balanchine’s The Nutcracker™,

Swan Lake)

Clotilde Otranto—Resident conductor at the

Naples Philharmonic Orchestra in Florida

(Divertimento No. 15, Firebird, Symphony in C)

Benjamin Pope—Regular conductor at The Royal

Ballet in London and of Matthew Bourne’s

productions (George Balanchine’s The

Nutcracker™)

John Morris Russell—Music director of the

Windsor Symphony Orchestra in Ontario

(Brahms-Schoenberg Quartet)

2006 Spring Season

Emil de Cou—Associate conductor at the

National Symphony Orchestra in Washington,

D.C. (An American in Paris, Donizetti Variations)

Leslie Dunner—Music director of the Jo¤rey

Ballet in Chicago (A Midsummer Night’s Dream,

Symphony in C)

Paul Hoskins—Music director of the Rambert

Dance Company in Britain (Brahms-Schoenberg

Quartet, In Vento)

Fayçal Karoui—(Fearful Symmetries, Firebird,

Symphony in C)

Benjamin Pope—(Divertimento No. 15,

Episodes)

Guest Conductors

Fayçal Karoui rehearsing

the New York City Ballet

Orchestra in Saratoga

Springs, New York

31

Search for a New Music Director

In spring of 2005, NYCB Music Director Andrea

Quinn announced her plans to return to her

home of England at the conclusion of the 2005–

2006 Season. Thus NYCB began its search for

a new music director, inviting guest conductors

to lead the NYCB Orchestra throughout the

2005–2006 Winter and Spring Seasons. A

position with demanding responsibilities, the

NYCB music director must possess mastership

of a wide range of repertory in addition to being

flexible to the dancers’ needs and serving as

a source of inspiration for the NYCB Orchestra.

During the year, eight conductors made guest

appearances with NYCB at the New York State

Theater. These appearances were funded by

The Frank and Lydia Bergen Foundation.

For her farewell, the Company paid tribute to Ms.

Quinn on June 21, filling the stage with flowers

and balloons once she had finished conducting

the evening’s performance of Balanchine’s

Western Symphony. Jennifer Dunning of The

New York Times cited Ms. Quinn’s “bounding

liveliness” as having been “reflected in the playing

of the City Ballet orchestra over the last five

years. Bright and forthright it managed for the

most part to bridge the conflicting requirements

of music and dance for just the right tempos.”

Music Director Andrea Quinn takes a farewell bow onstage at the New York State Theater

additional matching pledges, the Institute’s

endowment will grow to more than $16 million

by 2010.

The press conference continued as Peter Martins

went on to acknowledge the first recipients of

the Institute’s Fellowship Initiative grants, which

are designed to give other classical dance compa-

nies the means to replicate, on a smaller scale,

the opportunities that the Institute provides to

choreographers.“We are also very excited about

some new initiatives that will expand the scope

of the Institute both nationally and internationally,

and we wanted to use this opportunity to

announce these programs,” said Mr. Martins.

The Fellowship Initiative grants will provide up

to $15,000 to each recipient company to create

programs that encourage the development of

classical choreographers. The fellowships, which

are to be awarded annually, will be granted to

classical dance companies, both national and

international, that are willing to give choreogra-

phers the dancers, musicians, and studio time

necessary to explore their craft without any

public performance attached to the process. As

the Institute’s interest is in the process of chore-

ography itself, the fellowships do not involve

costumes, scenery, or lighting designs, but do

culminate in an informal showing of the work

created. After reviewing the 17 applications

submitted this year, five choreographers from

four ballet companies were selected as grant

recipients. The press conference concluded with

a screening of a short documentary film about

the Institute, produced by Tatge/Lasseur

Productions and directed by Catherine Tatge.

Immediately following the press conference,

NYCI Associate Artistic Director Richard Tanner

led a roundtable discussion on the opportunities

and challenges facing the development of new

works and encouragement of promising chore-

ographers in the classical dance field. The panel

was made up of artistic directors Reid Anderson

3332 New York Choreographic Institute

On October 11, 2005, the New York Choreographic

Institute held a series of events in celebration

of its fifth anniversary. At the morning’s press

conference, Robert I. Lipp, chairman of the

Institute’s Advisory Council, announced a

$5 million challenge grant from The Irene

Diamond Fund to help the NYCI sustain and

expand its activity. An affiliate of NYCB, the

New York Choreographic Institute was founded

in the spring of 2000 with a gift of $5.5 million

from The Irene Diamond Fund to encourage

aspiring and established choreographers alike in

their artistic development. Its primary activity

is to provide choreographers with opportunities

to develop their talents without the pressures

associated with preparing choreography for

public performances, which it does through two

working sessions held in New York at NYCB’s

rehearsal studios each year. With this new grant,

which will mature over five years, and through

2005–2006 New York ChoreographicInstitute Participants

f a l l s e s s i o n 2 0 0 5

Paul Julius—Mecklenburg State Theater,

soloist; choreographer

Larry Keigwin—Keigwin + Company, artistic

director; choreographer

Alexey Miroshnichenko—Kirov Ballet, dancer

and ballet master; Vaganova Ballet Academy,

teacher; choreographer

Emily Molnar—Arts Umbrella, artist in resi-

dence and rehearsal director; choreographer

Jerry Opdenaker—Step Ahead, director;

choreographer

s p r i n g s e s s i o n 2 0 0 6

Melissa Barak—New York City Ballet,

corps de ballet member; choreographer

Charlotte Griªn—Marymount Manhattan

College, teacher; choreographer

Raymond Lustig—The Juilliard School, C.V.

Starr Doctoral Fellow*

Peter Quanz—choreographer

Huang Ruo—The Juilliard School, doctoral

candidate in music composition; composer

and conductor**

James Sewell—James Sewell Ballet, artistic

director and choreographer

*Raymond Lustig collaborated with Melissa Barak and Peter Quanz

**Huang Ruo collaborated with Charlotte Griªn and James Sewell

Right, Jerry Opdenaker

rehearsing his cast of

dancers

Left page, Emily Molnar

choreographing a solo on

Savannah Lowery

Lectures and Exhibitions

Throughout the year, NYCB presented a number

of programs to bring audiences closer to the

artists and performances that enchant them.

Among those prominently featured were NYCB

Seminars, in-depth panel discussions held on

Monday evenings at the New York State Theater.

The seminar on February 6, billed as “The

Universal World of Dance,” shined the spotlight

on dancers who were born, grew up, and

trained outside of the U.S. before coming to

NYCB. During the presentation Joaquin De

Luz (born in Madrid, Spain), Ask la Cour (born

in Copenhagen, Denmark), and Sofiane Sylve

(born in Nice, France) discussed the effects of

their cultural backgrounds and various schools

of training as they adapted stylistically to dancing

at NYCB.

“The Dance Has Many Facets,” on March 20,

presented choreographer Mauro Bigonzetti,

composer Bruno Moretti, and dancers Maria

Kowroski and Jason Fowler sharing their

experiences collaborating on Mr. Bigonzetti’s

two Diamond Project ballets, Vespro (2002)

Lectures and Exhibitions

and In Vento (2006). For the last seminar of the

season, Anna Kisselgoff, former chief dance

critic for The New York Times, interviewed Alexei

Ratmansky, a choreographer for the 2006

Diamond Project, on April 10.

It is now customary that NYCB exhibits a photo

gallery in the New York State Theater during

its performance seasons. Recently this has

included a collection of historical and current

photographs originally compiled for the

Company’s 50th anniversary celebration during

the 1998–1999 Season and a special exhibition

mounted for Balanchine’s centennial anniversary

in 2003–2004. This year the 50th anniversary

collection, to which recent photographs have been

periodically added, was again on display during

the repertory seasons, and two new exhibits were

also presented. The first, The Nutcracker Project

Student Art and Poetry Exhibit, showcased public

school students’ creative works during the

Company’s Nutcracker season. The Nutcracker

Project annually serves some 1,500 students in

all five boroughs of the city and is designed to

35(Stuttgart Ballet), Mr. Martins, Monica Mason

(The Royal Ballet), Kevin McKenzie (American

Ballet Theatre), Mikko Nissinen (Boston Ballet),

and Helgi Tomasson (San Francisco Ballet),

all of whom are also members of the Institute’s

Artistic Committee. Alexey Miroshnichenko,

a two-time participant at NYCI sessions and

a dancer and ballet master at the Kirov Ballet,

also joined the panel.

The evening’s celebration featured a second

screening of the documentary and a performance

of works created during the fall 2005 choreo-

graphic session, which had concluded the prior

week, followed by cocktails and dinner. “By

design, the Institute has functioned largely out

of the public eye,” said Mr. Martins, the Institute’s

founder and artistic director. “However, as we

mark our fifth anniversary, we thought it was

important for us to take stock of what we have

accomplished, and look to the future by throwing

a bit of a coming out party.”

With the conclusion of the fall and spring chore-

ographic sessions, a total of 42 choreographers

from more than ten different countries have

participated in the Institute’s 11 sessions during

its five years of existence. In addition to leader-

ship gifts from The Irene Diamond Fund, major

funding for the Institute’s endowment has been

contributed by Bob and Martha Lipp, Harriet

Ford Dickenson Foundation, Agnes Gund and

Daniel Shapiro, and Barry S. Friedberg and

Charlotte Moss, with additional generous support

from Marie Nugent-Head and James C. Marlas,

Annie and Art Sandler, David and Susan Viniar,

and The Horace W. Goldsmith Foundation.

During the 2005–2006 Season, support for the

NYCI’s operating budget was provided by Alex

and Rhea Harvey, National Endowment for

the Arts, and the Rockefeller Brothers Fund.

Transportation for visiting artists was provided

in part by American Airlines.

34

Carolina Ballet

Artistic Director: Robert Weiss

Choreographers/Fellows: Timour

Bourtasenkov*, Tyler Walters

Pennsylvania Ballet

Artistic Director: Roy Kaiser

Choreographer/Fellow: Matthew Neenan*

Texas Ballet Theater

Artistic Director: Ben Stevenson

Choreographer/Fellow: Peter Zweifel

Washington Ballet

Artistic Director: Septime Webre

Choreographer/Fellow: Brian Reeder

*Participants of past New York Choreographic

Institute sessions

The Fellowship Initiative Grants

Above, participants of the

New York Choreographic

Institute roundtable discus-

sion (from left to right) Peter

Martins, Reid Anderson,

Monica Mason, Kevin

McKenzie, Mikko Nissinen,

and Helgi Tomasson

Left, NYCB corps de ballet

members Melissa Barak

and Aaron Severini with

Bob Lipp (center) at the

New York Choreographic

Institute Fifth Anniversary

Celebration

Above right, illustrations

from The Nutcracker

Project Student Art and

Poetry Exhibition

Above, Director of Volunteer

and Program Resources

Joan Quatrano moderating

“The Universal World of

Dance” featuring Joaquin

De Luz and Sofiane Sylve

Phot

o by

Joh

n C

alab

rese

Education and Outreach Programsfor Families and Schools

NYCB reached thousands of people outside of

the theater this year, informing them of the

cultural and physical importance of ballet

through outreach programs for schools and the

general public. The Company strives to give

back to the greater metropolitan community

through its school programs and this year

reached over 4,500 students in all five of New

York City’s boroughs in addition to four New

York counties outside of New York City and a

county each in New Jersey and Connecticut.

Ballet Bridges, one of NYCB’s most impactful

school programs, is designed to help elementary

and middle school students (1,192 participants

this year) from selected public schools develop

an appreciation for ballet and understand its

value as another form of communication. The

curriculum has been specifically created to meet

New York State and City learning standards for

dance and is integrated with academic subjects

being studied at each grade level. All students

participate in movement workshops where they

discover, analyze, and create dances using

elements of music and movement exemplified

by NYCB. Older students also focus on the

connection between ballet and other art disci-

plines such as music, visual arts, and architec-

ture. As part of the program, Ballet Bridges

students attend Ballet Fanfare lecture-demon-

strations, where students from the School of

American Ballet demonstrate the fundamentals

of ballet technique and perform excerpts from

Balanchine ballets ranging from Agon to Who

Cares?, and also attend a student matinee

performance at NYCB. The program culminates

with the students’ own ballet performances,

allowing them to experience not only the choreo-

graphic process but aspects such as music

selection, costuming, and set production. This

program is made possible in part through a

generous grant from the Citigroup Foundation.

In addition to other signature school programs—

The Nutcracker Project and New York City

Ballet Workout High School Program—NYCB

also offered several opportunities for families

to learn about ballet. The Family Fun series,

child-accessible performances, included three

performances during each the winter and spring

seasons. Among the ballets featured were

Balanchine’s A Midsummer Night’s Dream, Mr.

Martins’ Swan Lake, and repertory highlights such

as Balanchine’s Firebird and Western Symphony,

Robbins’ The Cage and Mother Goose, and Mr.

Wheeldon’s An American in Paris. NYCB is

36 37promote literacy and artistic expression using

the choreography, music, and themes of George

Balanchine’s The NutcrackerTM as vehicles for

exploration. The program focuses on developing

language arts skills as well as appreciation of

dance and other arts, stressing that communica-

tion can take many forms.

The other new exhibit featured the work of

legendary costumer Karinska, who worked with

Balanchine throughout much of her career. As

guardian of her wonderful costumes, NYCB is

committed to their preservation and conceived

this project in collaboration with photographer

Carin Ingalsbe as a way to record their rich life

and provide audience members with an intimate

look at the costumes—a privilege normally

reserved for the dancers and others behind-the-

scenes at NYCB. Ms. Ingalsbe, whose intent was

to show the ephemeral aspects of a garment’s

life, explains, “Pieces of clothing are meant to be

used until they are no longer usable. My desire

to capture a moment in the life of a garment

before it deteriorates is a way to understand each

article of clothing and where it has been. The

evidence of use that each costume has sustained

is the very thing that makes it worth consider-

ing.” The Vintage Masterpiece Costumes by

Barbara Karinska was on view at the New York

State Theater during the Company’s spring

season. Prints of Ms. Ingalsbe’s limited-edition

photographs are available for purchase on the

internet, and 30% of the proceeds help provide

for the restoration and conservation of

NYCB’s costumes.

Public school students in

the Ballet Bridges program

at PS206 in Brooklyn chore-

ographing and rehearsing

their own ballet.

Left to right, Karinska’s

original costumes for

George Balanchine’s

Danses Concertantes and

Divertimento No. 15 as

photographed by Carin

Ingalsbe

Phot

o by

Mic

hel A

lhad

eff

39

New York City Ballet Archive

During the 2006 fiscal year, the New York City

Ballet Archive continued serving requests from

researchers and members of the press in addition

to processing new materials and supporting

the Company’s own needs. All of the Archive’s

artifacts undergo three stages: first they are

sorted, rehoused, and labeled; then each receives

an ID# that is entered into a master database;

and finally items are filed into the appropriate

collection. The Archive’s 734 cubic feet of

resources includes materials from the Nancy

Norman Lassalle Ballet Society Collection, New

York City Ballet Collection, School of American

Ballet Collection, Tanaquil Le Clercq Collection,

and John Taras Collection.

The Archive accommodated numerous requests

during the year, including many relating to

preparations for the 2007 Lincoln Kirstein

centennial celebration. Inquiries also came

from filmmaker Christian Cudnik, who is

producing a documentary on former NYCB

Principal Gen Horiuchi, Tatge/Lasseur

Productions (for the NYCI documentary),

and the Today Show. Research assistance was

provided to Amanda Vaill, whose biography

Somewhere: The Life of Jerome Robbins was

encouraged by the Robbins Rights Trust and

is already considered an authoritative source.

The Archive also provided the Archivists

Roundtable of Metropolitan New York, Inc.

with a photograph of Tanaquil Le Clercq

preparing for a performance in Brussels in

October 1956, taken by Le Clercq’s longtime

dancing partner Nicholas Magallanes, for

their 2006 calendar.

Leadership support for the NYCB Archive was

provided by Judith McDonough Kaminski

and Joseph Kaminski, Save America’s Treasures,

a partnership of the National Endowment for

the Arts and the National Park Service, and The

Gladys Krieble Delmas Foundation.

38

grateful to the American Express Company

for providing major support for the Family Fun

Series and related activities. Paired with the

Family Fun matinees were pre-performance

Children’s Workshops that focused on aspects

of costuming, music, and choreography in

relation to the ballets performed after each pres-

entation. The topics this year included “Swan

Lake: A Love Story” with NYCB dancer Marika

Anderson and Teaching Artist Malachy Williams,

“Dancing Through Life” with former NYCB

Principal Dancer and SAB Faculty Member Suki

Schorer, and “Pas de Deux: Inspiration and

Creation” with dancers Adam Hendrickson and

Elizabeth Walker (also on the faculty at SAB)

and Teaching Artist Carol Blanco.

A new initiative offered by NYCB is the fall

Wellness Weekend. This program, designed for

professional dancers, dance students, dance

instructors, administrators, and fitness profes-

sionals, is based on NYCB’s Wellness Program

for its own Company members and includes

workshops, movement classes, lecture-demon-

strations, and panel discussions. The two-day

session reflected comprehensive goals of dance

wellness, focusing especially on nutrition for

dancers and resources for self-care, and featured

the latest information from sports medicine and

physical therapy specialists. Presenters included

NYCB dancers and physical therapists in addi-

tion to other wellness practitioners ranging from

psychiatrists to nutritionists and orthopedic

surgeons.

Support for NYCB’s school and family education

programming in 2005–2006 was provided

by the American Express Company, Rose M.

Badgeley Residuary Charitable Trust, The

Mitchell and Margo Blutt Family Foundation,

Michelle and Robert Boffa, Donya and Scott

Bommer, Judy Bernstein Bunzl and Nick Bunzl,

the Citigroup Foundation, The Dreitzer

Foundation, The Samuel and Rae Eckman

Charitable Foundation, Edith Everett, Murray L.

Nathan, Oceanic Heritage Foundation, Pfizer,

The Picower Foundation, The Billy Rose

Foundation, Naomi O. Seligman, Jean L. and

Robert A. Stern Foundation, Verizon Communi-

cations, Barbara and David Zalaznick, and other

generous contributors to the Mentors Circle

and Education Fund.

Above, NYCB dancer Dena

Abergel and a Children’s

Workshop participant pose

with their colorful hats at

Hold on to Your Hat, We’re

O¤ to the Ballet!

Left, participants at NYCB’s

Wellness Weekend work

on breathing exercises

at a stretching and injury

prevention seminar

An archival image of

Tanaquil Le Clercq before

a performance in Brussels

in October 1956

Phot

o by

Dea

nna

McB

rear

ty

Phot

o by

Nic

hola

s M

agal

lane

s

41

Volunteers

For more than 20 years, NYCB’s loyal volunteers,

now 300 in number, have provided services to

all areas of the Company as well as actively

supporting and promoting the Company among

friends and family.

Ranging in age from 16 to 90, volunteers assist

with administrative tasks at both the theater and

the Rose Building, and maintain an enthusiastic

and helpful presence while selling mementos

at the Gift Shop, staffing Green Room patron

receptions, and providing information and patron

assistance at information tables. Volunteer

docents also lead informal pre-performance and

intermission talks at the theater, answering

audience questions about ballets on the program

and encouraging lively discussion. Members

of the Rehearsal Committee provide insights

about how ballets are rehearsed and performed

to Guild members attending working rehearsals,

and Ticket Donation Committee members

process hundreds of tax and donor receipts when

accepting donated tickets, which they in turn

help resell. Volunteers also conduct research and

write questions for the moderators leading

NYCB Seminars and usher patrons (over 1,500

guests in 2005–2006) into the theater for these

presentations. Additionally, they help facilitate

student matinees and school visits such as

Backstage at the Ballet, one-hour theater tours

for children (preschool to second grade); more

than 600 children were accommodated on

these backstage visits in 2005–2006.

To support Company efforts in the area of

audience development, Business & Professional

Committee members plan, promote, and produce

two annual events that include pre-performance

introductions and receptions. During the

Committee’s 18 years of existence it has been a

continual source of new patrons, and this year

the Committee sold 450 tickets to first-time

attendees. Proceeds from these events are also

the most constant source of financial replenish-

ment for the Dancers Emergency Fund.

Left to right, NYCB volun-

teers staªng an information

table and the Gift Shop

40

Donor: Edward Bigelow

1 7-inch audio reel of Gordon Boelzner playing

Goldberg Variations; 1 box of photos, slides, nega-

tives, and color transparencies from the 1996

Karinska Firebird exhibit in Saratoga; 20 NYCB

tour banners; 1 Tbilisi city brochure; 1 Balanchine

memorial cross booklet; 1 recording of Love is a

Simple Thing (1968), music and lyrics by

Balanchine; 1 sheet of Stravinsky stamps; 1 book-

let on Karinska; correspondence on Karinska by

Bigelow; 8 Ballet Society Bulletins (#1–4 and

6–9); et al.

Donor: Marianna Beck (Marianne Collins, Ms. Beck’s mother, wrote for NYCB’s newsletter)

4 May 1974 NYCB newsletters; 6 January 1975

newsletters; 3 Autumn 1975 newsletters,

3 Summer 1976 newsletters; 1 folder of notes

for newsletter articles (typed and handwritten

with corrections); 1 May 24, 1976 SAB Workshop

program; 1 letter to Marianne Collins, signed

by Balanchine thanking her for a donation;

15 8 × 10 inch photos for newsletters; 1 photo

of Marianne Collins by Stephanie Rancou;

36 5 × 7 inch photos of Balanchine and NYCB

sta¤ by Marianne Collins; et al.

Donor: Nancy Lassalle, via the School ofAmerican Ballet

1 SAB 50th Anniversary Campaign brochure;

1 book, Ballet: The Emergence of an American Art

by George Amberg; 1 book, A First Bibliography

by Lincoln Kirstein; 3 Ballet Society programs;

1 December 1991 SAB overview; 1 folder of SAB

summer course promotional pieces; et al.

Donor: John Taras Estate, via the School ofAmerican Ballet storage

1 original Isamu Noguchi Orpheus Lyre

NYCB ArchiveNotable Donations 2005–2006

The lyre, designed by

Isamu Noguchi, from

George Balanchine’s

OrpheusPh

oto

by J

erry

L. T

hom

pson

43

The Campaign for New York City Ballet

The 2005–2006 Season saw the successful

completion of New York City Ballet’s first-ever

capital and endowment campaign. The original

goal of $51.5 million was exceeded with a total

of $58,208,111 raised mainly for endowment.

The campaign has been a critical element in

keeping the Company financially sound and in

launching and developing important initiatives

such as the New York City Ballet Archive and

New York Choreographic Institute.

The Campaign for New York City Ballet was

begun in 1999 to help secure the Company’s

future by raising funds for core endowment.

Specific areas of need to be supported by this

effort were identified including the establishment

of endowed funds to preserve the Balanchine and

Robbins repertories, enable the creation of new

work, and support efforts to build new audiences

through new media, touring, and educational

outreach. In addition to enabling NYCB to

establish its Archive and the Choreographic

Institute, capital and endowment funding raised

through the campaign also made it possible for

NYCB to create an Artist in Residence program

and to present facets of important celebrations

such as the 50th Anniversary in 1998–1999,

among other projects.

Several important gifts were received during the

final year of the campaign. The Rudolf Nureyev

Dance Foundation made a generous grant,

which NYCB must match one to one, to establish

the Rudolf Nureyev Fund for Emerging

Choreographers. When fully funded, this

endowment will enable NYCB to commission

works from and provide support to promising

choreographers who might not otherwise

have an opportunity to make works for the stage.

NYCB board members Gerhard Andlinger,

Franci Blassberg, David Dangoor, Larry Herbert,

Marlene Hess, and Clarke Murphy all made

substantial gifts for unrestricted endowment.

NYCB Director Jane Chace Carroll made an

additional gift for the Balanchine and Robbins

endowment funds and Arlene Cooper added to

her previous gift for the Robbins endowment.

Additional support for unrestricted endowment

included a gift from NYCB Board Member

Mrs. John L. Weinberg.

A healthy, stable endowment is crucial to

maintaining New York City Ballet’s well-being.

It sustains the Company during economically

challenging times and enables it to underwrite

a greater percentage of its annual budget from

investment income. New York City Ballet

extends heartfelt gratitude to the more than

2,000 patrons who so generously supported

The Campaign for New York City Ballet.

Yvonne Borree and

Nikolaj Hübbe in

George Balanchine’s

Duo Concertant

42

2006 2005

Assets

Cash and cash equivalents s 16,164 s 5,958

Investments 145,108 147,237

Pledges receivable 10,636 9,607

Accounts receivable 519 478

Inventory 204 183

Deferred production costs 1,197 1,431

Due from CCMD 799 589

Leasehold in Rose Building and other property and equipment, less accumulated depreciation of s6,707

in 2006 and s6,110 in 2005 6,916 7,428

Total assets ß ¡•¡≤∞¢£ ß ¡¶™≤ª¡¡

Liabilities and net assets

Liabilities:Accounts payable and accrued expenses s 4,506 s 5,775

Advance ticket sales and other deferred revenue 282 15

Payroll-related liabilities due to CCMD 689 657

Payroll-related and other liabilities 2,432 2,314

Total liabilities ¶≤ªºª •≤¶§¡

Net assetsUnrestricted:

Undesignated (123) 1,823

Investment in Rose Building 4,987 5,338

Board-designated (see note 7) 60,137 53,423

^%<))! ^)<%*$

Temporarily restricted:Future productions 351 760

Time and other restrictions 5,070 3,809

Dancers’ emergency 510 533

%<(#! %<!)@

Permanently restricted:Wallace endowment 57,750 57,750

Unrestricted endowments 20,572 21,145

Restricted endowments (see note 7) 24,380 19,569

!)@<&)@ (*<$^$

Total net assets ¡¶£≤§£¢ ¡§¢≤¡∞º

Total liabilities and net assets ß ¡•¡≤∞¢£ ß ¡¶™≤ª¡¡

s t a t e m e n t s o f f i n a n c i a l p o s i t i o n

at June 30, 2006 and 2005

(in thousands)

The accompanying footnotes are an integral

part of these financial statements

Financials

44 45

s t a t e m e n t s o f a c t i v i t i e s

for the year ended June 30

(in thousands)

s t a t e m e n t s o f a c t i v i t i e s

for the year ended June 30 (continued)

(in thousands)

2006 2005

Changes in unrestricted net assets

Operating revenues:Performance ticket sales and tour fees s 23,619 s 25,522

Investment income not to exceed spending policy 7,678 6,949

Other revenues 1,071 887

Total operating revenues £™≤£§• ££≤£∞•

Operating expenses:Program services:

Ballet production costs 35,645 36,666

Facility expenses 4,275 4,201

Production management expenses 3,762 3,466

$#<^*@ $$<###

Supporting services:Administration 5,418 4,009

Public support expense 4,940 4,845

!)<#%* *<*%$

Facility development costs – !<&%$

Total operating expenses ∞¢≤º¢º ∞¢≤ª¢¡

Loss from operations before public support (™¡≤§¶™) (™¡≤∞•£)

Public support including utilization of temporarily restricted net assets:

Appropriation from the City of New York 1,184 2,758

Other governmental agencies 333 358

Special events 4,196 4,404

Guild memberships and activities 2,686 2,667

Foundations 2,860 2,766

Corporations 1,907 1,711

Individuals 5,261 4,429

Estates and trusts 917 411

Total public support ¡ª≤£¢¢ ¡ª≤∞º¢

Operating deficit (2,328) (2,079)

Pension plan adjustment (see Note 4) 830 (1,274)

Investment income over spending policy 5,915 6,669

Increase in unrestricted net assets ß ¢≤¢¡¶ ß £≤£¡§

(continued)

2006 2005

Changes in temporarily restricted net assets

Investment revenue s 316 s 4

Public support: City support 3 –Other government 116 306

Guild memberships – 11

Foundations 3,228 3,107

Corporations 931 1,143

Individuals 901 470

Estates and trusts 1 –Utilization of temporarily restricted net assets (4,683) (5,465)

Change in value of split-interest arrangements 16 54

Increase (decrease) in temporarily restricted net assets •™ª) (£¶º)

Changes in permanently restricted net assets

Public support: Foundations 446 233

Corporations 3 15

Individuals 3,789 1,299

Increase in permanently restricted net assets ¢≤™£• ¡≤∞¢¶

Change in total net assets 9,484 4,4931

Net assets: Beginning of year 164,150 159,657

End of year ß ¡¶£≤§£¢ ß ¡§¢≤¡∞º

The accompanying footnotes are an integral part

of these financial statements

46 47

1. Summary of Financial Statement Presentation and Significant Accounting Policies

The New York City Ballet, Inc. (“City Ballet”) is a not-for-profit organization and a constituent of City Centerof Music and Drama, Inc. (“CCMD”). City Ballet operates as an entity independent of CCMD thatprovides certain services as described further below.CCMD is the sole member of City Ballet.

City Ballet is a tax-exempt organization and, accord-ingly, is not subject to income tax in accordance with§501(c)(3) of the Internal Revenue Code (the “Code”)

and has been classified as a publicly supported organization as defined in §509(a)(2) of the Code.Contributions to City Ballet are tax deductible tocontributors as provided by law.

The following is a summary of significant accountingpolicies consistently followed by City Ballet in thepreparation of its financial statements.

Financial statement presentation The accounts of City Ballet are maintained in accordance with theprinciples of fund accounting. This procedure classifiesresources for accounting purposes into funds estab-lished to reflect the activities and objectives specified bydonors and/or City Ballet’s Board of Directors. Thefinancial statements are presented in accordance withaccounting principles generally accepted in the UnitedStates of America, which require that a not-for-profitorganization’s statement of financial position reportthe amounts for each of three classes of net assets—permanently restricted, temporarily restricted, andunrestricted—based upon the existence or absence ofdonor-imposed restrictions. The preparation of financial statements in conformity with generallyaccepted accounting principles requires managementto make assumptions and estimates that affect theamounts reported.

Reclassifications Certain prior-year balances havebeen reclassified for comparative purposes.

Cash and cash equivalents Cash and cash equivalentsconsist of highly liquid investments with an originalmaturity of three months or less.

Property and equipment City Ballet does not ownany land or buildings. Purchases of furniture andequipment that are not material are charged to currentoperations. Significant additions are capitalized and are depreciated using the straight-line methodover the estimated useful lives of the assets.

In fiscal-year 2005, City Ballet recognized expenses of $1,754,000 for the facility development costs associ-ated with the Lincoln Center redevelopment project.An appropriation received from the City of New Yorkfor $1,605,000 in support of this project was utilized in fiscal-year 2005.

Investments The investments in the accompanyingfinancial statements consist of marketable debt andequity securities, several money-market accounts, and certain “alternative,” limited-partnership invest-ments. The debt, equity and money-market invest-ments are reported at their fair values, whichare based on quoted market prices. The alternativeinvestments are adjusted to fair values annually, at the Ballet’s fiscal year-end, based on the valuations of the underlying assets as provided by the respectiveinvestment managers. Management reviews thecalendar year-end audited values provided by the invest-ment managers and believes the reported amounts of these investments at the Ballet’s fiscal year-end to bereasonable estimates of fair value.

Board-designated funds Board-designated fundshave been established by City Ballet as part of unrestricted net assets for purposes similar to thosewith donor-imposed restrictions. In June 1991, the Board adopted a policy permitting management to budget and expend a percentage (5.0% for fiscal-years 2006 and 2005) of a moving average of quarterlymarket values of its investment portfolio. The difference between this calculated amount and actualinvestment income is shown as “Investment income over spending policy” in the accompanyingstatements of activities and added to “Board-designated net assets.”

Endowments, NEA and working capital reserveEndowments, including certain National Endowmentfor the Arts (“NEA”) Challenge Grant funds, aresubject to the donor-imposed restriction requiringthat the gift be maintained in perpetuity with only the income being utilized. All such funds are included as part of permanently restricted net assets.Amounts may be withdrawn from these funds during the year to finance current operations, with thecondition that all withdrawals are fully repaid in cash prior to that fiscal year-end. Investment incomefrom these funds is available for operations.

Public support, grants, and contributions City Ballet reports gifts of cash and other assets asrestricted support if they are received with donor stip-ulations that limit the use of the donation. When adonor restriction expires, that is, when a stipulatedtime restriction ends or a purpose restriction isaccomplished, temporarily restricted net assets arereclassified to unrestricted net assets and reported inthe statements of activities as part of public supportincluding utilization of temporarily restricted netassets.

2006 2005

Cash flows from operating activities

Change in net assets:Unrestricted s 4,417 s 3,316

Temporarily restricted 829 (370)

Permanently restricted 4,238 1,547

9,484 4,493

Adjustments to reconcile change in net assets to net cash used in operating activities:

Depreciation 597 584

Facility development costs – 1,754

Contributions restricted for long-term activities (2,260) (41)

Net gains on investments (12,443) (12,503)(Increases) decreases in assets:

Pledges receivable (1,029) (1,564)

Accounts receivable (41) (82)

Inventory (21) (5)

Deferred production costs 234 (480)

Due from CCMD (210) 270

Increases (decreases) in liabilities:Accounts payable and accrued expenses (1,269) 1,181

Advance ticket sales and other deferred revenue 267 (143)

Payroll-related liabilities due to CCMD 32 (17)

Payroll-related and other liabilities 118 (35)

Net cash used in operating activities (6,541) (6,588)

Cash flows from investing activities

Proceeds from sales of investments 80,423 52,587

Purchases of investments (65,851) (46,758)

Purchases of property and equipment (85) (335)

Net cash provided by investing activities 14,487 5,494

Cash flows from financing activities

Endowment contributions 2,260 41

Net cash provided by financing activities 2,260 41

Net increase (decrease) in cash and cash equivalents 10,206 (1,053)

Cash and cash equivalents

Beginning of year 5,958 7,011

End of year s 16,164 s 5,958

s t a t e m e n t s o f c a s h f l o w s

for the year ended June 30

(in thousands)

The accompanying footnotes are an integral part

of these financial statements

48

Choreographic Institute Endowment The New YorkChoreographic Institute has a restricted endowmentthat supports its activities. At the close of fiscal-year2006, $316,000 remained unutilized at year-end and is included in temporarily restricted net assets for theChoreographic Institute.

Production costs City Ballet charges costume, scenery,and other production costs for current productions to expense as incurred. Costs relating to futureproductions are deferred until the year in which theproductions are first presented.

Allocation of expenses, income and support CCMD

provides services to City Ballet in connection with itsoperation and management of the New York StateTheater and other administrative and accounting services under a management and services agreement.CCMD’s New York State Theater facility expenses,facility income, and New York City facility support areallocated among the constituents based upon thenumber of scheduled performance weeks in the theaterduring the year. Administrative revenue and expenseare allocated equally among the constituents exceptfor contributions and grants restricted for theaterimprovements and depreciation of donated equipmentand facilities. Allocated expenses result in intercom-pany receivables and payables that are periodicallyliquidated through cash transfers.

Functional allocation of expenses Expenses are classi-fied according to the programs for which they wereincurred and are summarized on a functional basis inthe accompanying statements of activities. Accordingly,certain costs have been allocated among the programsand supporting services in reasonable ratios deter-mined by management.

2. Investments

At each fiscal year-end, the following is a summary of the quoted market value of investments and cashequivalents (in thousands):

2006 2005

Equities s 79,632 s 105,272

Corporate bonds 16,831 3,183

Government bonds 13,914 12,705

Diversified hedge funds 34,731 26,077

Cash equivalents 16,799 5,829

ß ¡§¡≤ªº¶ ß ¡∞£≤º§§

Total income from investments amounted to$13,909,000 and $13,622,000 in fiscal-years 2006 and2005, respectively. Year-to-year variation is due tomarket fluctuations and the performance of the port-folio managers.

3. Pledges Receivable

Pledges have been recorded at their present value netof applicable discounts of $564,000 and $413,000 infiscal-years 2006 and 2005, respectively. No provisionfor uncollectible pledges has been made. Pledgesspecifically for City Ballet’s endowment, net of appli-cable discounts, totaled $5,674,000 and $3,667,000 infiscal-years 2006 and 2005, respectively. Pledges areexpected to be collected as follows (in thousands):

2006 2005

Less than one year s 7,158 s 6,865

One to five years 3,478 2,742

4. Pension Plans

City Ballet participates in a noncontributory, defined-benefit pension plan (the “Plan”) for nonunion,salaried employees of CCMD and its constituents.Pension benefits are based on years of service andfinal average compensation, as defined in the Plan.Plan benefit obligations and assets are combined for all participants of the Plan. The policy is to fundannually the required contribution necessary tocomply with the Employee Retirement IncomeSecurity Act of 1974.

Unrestricted net assets have been increased by$830,000 in fiscal-year 2006 and decreased by$1,274,000 in fiscal-year 2005, resulting from therecording of a minimum pension liability adjustmentrequired to balance the accrued pension benefit liability to the amount of the unfunded accumulatedbenefit obligation. These adjustments result primarilyfrom decreases in the obligation at March 31, 2006

due to increased fiscal-year 2006 plan contributions,contrasted to increases in the obligation at March 31,2005 due to a decrease in the discount rate in accor-dance with market standards. City Ballet’s allocatednet periodic pension cost for fiscal-years 2006 and2005 was $758,000 and $474,000, respectively. Partiallyas a result of these factors, City Ballet’s allocatedaccrued pension benefit liability at June 30, 2006 and2005 was $1,538,000 and $2,349,000, respectively.

Amounts are allocated to City Ballet based on an actuarial valuation of City Ballet’s participation in thePlan. Separate information regarding the componentsof pension cost, the fair value of plan assets, and accumulated and projected benefit obligations is notavailable for City Ballet. Such information, along with the key actuarial assumptions, is contained in the financial statements of CCMD.

49

City Ballet also contributes to union pension plansdirectly and through CCMD, based upon a percentageof those employees’ salaries. Pension costs associatedwith plans paid directly by City Ballet amounted toapproximately $2,092,000 and $2,088,000 in fiscal-years 2006 and 2005, respectively.

5. Commitments

Samuel B. and David Rose Building (“Rose Building”):During fiscal-year 1985, City Ballet entered into anagreement whereby it contributed, based on spaceusage, a pro rata share of the costs of the Rose Building.Under the agreement, City Ballet received a 99-yearlease for its space. Construction costs were capitalizedand are being amortized over the anticipated usefullife of the building. Depreciation began in fiscal-year 1992 when the space was put into service, andamounted to $352,000 for fiscal-years 2006 and 2005.Also under the terms of the lease, in addition to itsown operating costs, City Ballet is committed to payits share of common area costs.

Warehouse and telemarketing office: During fiscal-years 2006 and 2005, City Ballet leased space for twowarehouses and a telemarketing office. Rent expenseincluding these spaces for fiscal-years 2006 and 2005

was $206,000 and $206,000, respectively. Future mini-mum lease payments under these leases at June 30,2006 are $107,000 for fiscal-year 2007, $103,000 forfiscal-year 2008 and $166,000 for the fiscal-years 2009

through 2010.

6. Postretirement and Postemployment BenefitsOther than Pensions

In 1978, CCMD adopted the policy of providing theoption to certain employees with 20 years of serviceand who were 65 years of age upon their retirementfrom the Ballet or CCMD to continue in the groupmedical and life insurance plan, at no cost to theemployee. The CCMD Board of Governors ended this policy in April 1995 for employees who had notvested in this benefit. In fiscal-year 1997 the CCMD

Board of Governors reinstituted this benefit for allactive employees who had, at that date, alreadyachieved the requisite 20 years of service. In addition,City Ballet contracts with various unions includeprovisions for severance payments to members afterthey reach a predetermined length of service. CityBallet funds both of these obligations using the pay-as-you go method.

Net postretirement cost for fiscal-years 2006 and 2005,and the accumulated obligation at each fiscal year-endfor City Ballet employees (included in payroll-relatedand other liabilities) and for City Ballet’s share ofCCMD’s employees (included in payroll-related liabilities due to CCMD), are summarized as follows(in thousands):

2006 2005

Net periodic postretirement benefit cost:

Service s 6 s 6

Interest 48 48

Amortization of prior years’ service cost 6 6

Amortization of accumulated loss 20 20

*) *)

Actual payments (55) (41)Net change @% #(

Accumulated obligation:Beginning of year 616 577

End of year ß §¢¡ ß §¡§

The accumulated postretirement benefit obligationwas actuarially determined as of June 30, 2005 usingan assumed discount rate of 6.75%. The assumed rateof future increases in health care ranged from 6% to10% in the first year and is expected to decline to 4%by the year 2018. Had the health-care cost-trend rateassumption been increased by 1%, the accumulatedpostretirement benefit obligation as of June 30, 2006

would have increased by 11.5%. The effect of thischange on the sum of the service and interest costcomponents of net periodic postretirement benefitcost would have been an increase of 10.8%.

7. Net Asset Designations and Restrictions

City Ballet’s Board of Trustees has designated some ofits unrestricted net assets for certain purposes asfollows (in thousands):

2006 2005

Cash/investment reserves s 11,216 s 10,417

Functioning as endowment 44,079 38,164

Touring 1,606 1,606

Repertory 3,236 3,236

ß §º≤¡£¶ ß ∞£≤¢™£

51

Eisner LLP

Accountants and Advisors

To the Board of Directors

of New York City Ballet, Inc.

We have audited the accompanying statements of financial position of

The New York City Ballet, Inc. (“City Ballet”) as of June 30, 2006 and

2005, and the related statements of activities and cash flows for the

years then ended. These financial statements are the responsibility of

City Ballet’s management. Our responsibility is to express an opinion

on these financial statements based on our audits.

We conducted our audits in accordance with auditing standards gener-

ally accepted in the United States of America. Those standards require

that we plan and perform the audit to obtain reasonable assurance

about whether the financial statements are free of material misstate-

ment. An audit includes examining, on a test basis, evidence support-

ing the amounts and disclosures in the financial statements. An audit

also includes assessing the accounting principles used and significant

estimates made by management, as well as evaluating the overall

financial statement presentation. We believe that our audits provide a

reasonable basis for our opinion.

In our opinion, the financial statements enumerated above present

fairly, in all material respects, the financial position of The New York

City Ballet, Inc. as of June 30, 2006 and 2005, and the changes in its net

assets and its cash flows for the years then ended, in conformity with

accounting principles generally accepted in the United States of

America.

New York, New York

October 11, 2006

i n d e p e n d e n t a u d i t o r s ’ r e p o r tCity Ballet’s donors have restricted the income fromsome of their endowment contributions for certainpurposes as follows (in thousands):

2006 2005

Touring s 2,975 s 2,975

Martins repertory fund 3,000 3,000

Levin dancer 1,000 1,000

Education 905 905

Scenic design maintenance 250 250

Robbins repertory fund 67 42

Choreographic institute 10,761 8,897

Nureyev repertory 446 –Dance on 451 –Balanchine repertory 2,310 2,285

Musical leadership 2,000 –Kirstein apprentice and

loan funds 215 215

ß ™¢≤£•º ß ¡ª≤∞§ª

50

8. Schedule of Functional Expenses

Ballet Production Total Public Production Facility Mgmt. Program Support 2006 2005

Costs Expenses Expenses Services Admin. Expenses Total Total

Salaries s 21,043 s 77 s2,936 s24,056 s1,637 s1,713 s27,406 s27,507

Benefits 6,728 23 742 7,493 494 505 8,492 8,314

Salaries and related 27,771 100 3,678 31,549 2,131 2,218 35,898 35,821

benefitsOccupancy 53 633 – 686 10 6 702 631

Depreciation 142 353 – 495 66 35 596 584

Printing 3,052 – – 3,052 640 203 3,895 3,366

Transportation 1,332 – – 1,332 49 103 1,484 1,932

Scenery, music, and 1,886 – – 1,886 – – 1,886 1,986

costumesProfessional fees 1,026 – 50 1,076 804 2,246 4,126 3,807

Data processing, telephone, 223 – – 223 114 129 466 249

and office expensesMiscellaneous expenses 160 8 34 202 267 – 469 427

Facility development – – – – – – – 1,754

CCMD shared services – 3,181 – 3,181 1,337 – 4,518 4,384

allocation

ß £∞≤§¢∞ ß ¢≤™¶∞ ß £≤¶§™ ß ¢£≤§•™ ß ∞≤¢¡• ß ¢≤ª¢º ß ∞¢≤º¢º ß ∞¢≤ª¢¡

64

Staff

As of June 30, 2006

Administration

Personal Assistant to Mr. Martins:Deborah Koolish

Company Manager: Debra BernardExecutive Assistant to Mr. Tabachnick:

Mercedes PinaManagement Associate: Erica EzoldAdministrative Assistant: Carey Gibbons

Finance

Finance Coordinator:Jessica Hrabosky Adler

Director of Patron InformationSystems: Stephen Williams

Director of Donor Records:Elizabeth V. Ferris

Database Editor: Resan Ocot

Production

Production Stage Manager: Perry SilveyLighting Director: Mark StanleyStage Manager: Marquerite MehlerAssociate Lighting Director:

Penny JacobusAssistant Stage Managers:

Mika Melamed, Loreen DomijanTechnical Assistant: Robert S. LeachLighting Assistant: Keri ThibodeauMusic Coordinator: Richard MoredockRehearsal Pianists: Boris Poliakine,

Mack SchleferMusic and Video Archivist:

Serapio WaltonRégisseur: Thomas A. LemanskiPiano Technician: Fred Hitchcock

Costume/Wardrobe

Director: Holly HynesCostume Shop Manager: Dara FaustSupervisor/Wardrobe Mistress:

Dorothy B. CummingsSupervisor of Men’s Wardrobe:

Ronald KelleyAssistant Wardrobe Mistress:

Jacqueline (Norma) AttrideAssistant Wardrobe Master:

John RadwickMen’s Wardrobe Consultant:

Leslie CopelandMake-Up, Hair, and Visual Consultant:

Michael AvedonBallet Shoe Supervisor:

Angel Betancourt

Wellness

Orthopedic Consultants: William G. Hamilton, M.D., Phillip A. Bauman, M.D.

Chiropractic Consultant:Lawrence E. DeMann Jr., D.C.

Director of Physical Therapy: Marika Molnar

Physical Therapists: Rocky Bornstein, Marika Hartog, Katy Keller, Michelle Rodriguez, Jo Smith, Julie Sopko, Andrea Zujko

Nutritionist: Joy Bauer, M.S., R.D., CDN.Wellness Consultant:

Linda H. Hamilton, Ph.D.

External A=airs

Executive Assistant to Mr. Ramsey:Rose Ferraro

Manager, External A¤airs:Deanna McBrearty

Campaign Manager: Maria Grady

Marketing and Communications

Managing Director: Robert DanielsDirector of Marketing:

Kelly Anne JohnstoneTicket Services Manager: John T. SchulerPublications Manager: Anita M. KingMarketing Manager: Lindsay WaltersMarketing/Ticket Services Assistant:

Corinne SheinhornTicket Services Assistant:

Sue KisenwetherAssociate Director, Communications:

Siobhan BurnsPress Coordinator: Joe GuttridgeAdministrative Assistant: Amir Yogev

Development

Managing Director: Katherine C. FosterAssociate Director, Foundation and

Government Support: Brynn K. MyersManager, Corporate Relations:

Juliane TomaselliAssociate Director, Major Gifts:

Anni LuneauManager, Major Gifts: Julia RosenfeldDevelopment Associate, Major Gifts:

Frances BrooksDeputy Director, Guild: Linda PedroAssociate Director, Guild:

Faith Shaw PetridesGuild Coordinator: Andrea RushGuild Assistant: Alta WithersManager, Patron Relations: John McPeak

Special Events

Director: Kara E. MinogueSpecial Events Associate:

Christine van KipnisSpecial Events Coordinator: Candace KeeSpecial Events Assistant: Amanda I. Reed

Online Media

Director: Carol LandersAssistant Editor: Richard Dryden

Education

Director: John-Mario Sevilla Manager of School Programs:

Natasha JonesManager of Outreach Programs:

Catherine RomanoEducation Assistant: Lyndsey Barratt

Volunteer and Program Resources

Director: Joan QuatranoAssistant Director: Marissa Dockery

Gift and Book Shop

Manager: Julio M. Cruz

Subscription

Administrator: Nadia StoneAssistant Manager, Technical A¤airs:

Rosemarie SciarroneAssistant Manager, Financial A¤airs:

Richard TalcottAssistant: Shirley Koehler

George Balanchine Trust

Director: Ellen SorrinManaging Trustee: Barbara HorganCoordinator: Alexandra Felicetti

School of American Ballet

Official School of New York City BalletExecutive Director:

Marjorie Van DercookArtistic Director and Chairman

of the Faculty: Peter MartinsCo-Chairman of Faculty: Kay MazzoDirector of Development:

Carrie Wenger Hinrichs

New York Choreographic Institute

An Aªliate of New York City BalletFounder and Artistic Director:

Peter MartinsAssociate Artistic Director:

Richard TannerManaging Director: Ellen Sorrin

Information Systems

Director of Information Systems: Stephan Czarnomski

Asst. Manager of Information Systems: Yolanda Colon

Asst. Manager of Network Services: Steve Conrad

Programmers/Analysts: Phen Wong, John Abramowsky

PC Analyst: Eric FarrarTelecommunications Administrator:

Pedro Santiago

general manager Kenneth Tabachnick

chief financial officer Brooks Parsons

director of external affairs Christopher Ramsey

Cover: Janie Taylor photographed byHeimo Schmidt

All photography ©Paul Kolnik unlessotherwise indicated.

Design: Susan Evans, Design per se,New York

The photographs in this bookdepict choreography copyrightedby the choreographer. Receipt ofthis book does not convey the rightto reproduce the choreography,sets, or costumes depicted herein.Inquiries regarding the choreogra-phy of George Balanchine shall bemade to:

The George Balanchine Trust 20 Lincoln CenterNew York, NY 10023

©New York City Ballet, Inc.

NewYork City Ballet— 20 Lincoln Center, NewYork, NY 10023

www.nycballet.com