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Swan Lake Season Opener

7 World Premieres

Commissioned Scores by Ellis Ludwig-Leone & Bryce Dessner

Ballo della Regina

West Side Story Suite

15-16

2015–2016 SeasonDavid H. Koch Theater20 Lincoln CenterNew York, NY 10023

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NYC BALLET

Home to some

of the best dancers

in the world.

—The New York Times

NEW YORK CIT Y BALLE T

2015 —16 SE ASON

FoundersGeorge BalanchineLincoln Kirstein

Founding ChoreographersGeorge BalanchineJerome Robbins

Ballet Master in ChiefPeter Martins

Music Director Andrew Litton

PrincipalsJared AngleTyler AngleAshley BouderAdrian Danchig-WaringJoaquin De LuzMegan FairchildRobert FairchildChase FinlayGonzalo GarciaSterling HyltinMaria KowroskiRebecca KrohnAsk la CourSara MearnsTiler PeckAmar RamasarTeresa ReichlenAna Sophia SchellerJennie SomogyiAbi StaffordDaniel UlbrichtAndrew Veyette

SoloistsAntonio CarmenaZachary CatazaroCraig HallAnthony HuxleyRussell JanzenLauren KingAshley LaraceyMegan LeCroneLauren LovetteSavannah LoweryGeorgina PazcoguinJustin PeckErica PereiraBrittany PollackTaylor StanleySean Suozzi

Corps de BalletSara AdamsDevin AlberdaMarika AndersonDaniel ApplebaumFaye ArthursAustin BachmanHarrison BallOlivia BoissonJacqueline BolognaLikolani BrownPreston ChambleeStephanie ChrosniakHarrison CollCameron DieckAlina DronovaMeaghan Dutton-O’HaraSilas FarleyEmilie GerrityJoseph GordonLaine HabonyAshley HodSpartak Hoxha

Ralph IppolitoAshly Isaacs†

Dana JacobsonMegan JohnsonGhaleb KayaliEmily KiktaClaire KretzschmarIsabella LaFreniereAustin LaurentOlivia MacKinnonMeagan MannJenelle ManziAlexa MaxwellGwyneth MullerLars NelsonAllen PeifferUnity PhelanDavid ProttasAaron SanzTroy SchumacherAndrew ScordatoKristen Segin

Mary Elizabeth SellGretchen SmithMimi StakerJoshua ThewLara TongGiovanni VillalobosSebastian Villarini-VelezSarah VillwockClaire Von EnckPeter WalkerLydia WellingtonIndiana Woodward

† Janice Levin Dancer Honoree

The Company

S E P T E M B E R 2 2 — O C TO B E R 1 8

The 2015-16 Season is flush with treasures from the Company’s diverse repertoire — 56 ballets, including an astonishing seven world premieres. Just as impressive is a musical repertory with 45 composers, two newly commissioned scores, and the debut of recently appointed Music Director Andrew Litton.

The fall takes flight with a weeklong run of Peter Martins’ poignantly romantic Swan Lake. Following this dramatic opener is the 2015 Fall Gala, showcasing new work with premieres by Resident Choreographer Justin Peck and Corps de Ballet Member Troy Schumacher, as well as Robert Binet and Myles Thatcher, both making their first-ever pieces for the Company. Only a week

later, a fifth world premiere takes the stage, by Kim Brandstrup, also in his NYCB debut.

Two all-Balanchine programs provide con-trasting looks at this 20th-century master. Balanchine Black & White brings together five of his iconic leotard ballets, and a sec-ond program illuminates his classical and romantic sides.

Also included in the four-week fall period are Peck’s Winter 2015 ‘Rōdē,ō: Four Dance Episodes, highlighting the powerful men of NYCB, Martins’ gripping Ash, Jerome Robbins’ vibrant N.Y. Export: Opus Jazz, and George Balanchine’s bewitching Broadway hit Slaughter on Tenth Avenue.

— 8 —

Fall

— 11 —

Swan Lake ‘Rōdē,ō: Four Dance Episodes

Tschaikovsky Suite No. 3

OCT 1, 3 Eve, 6, 11——

ALL BALANCHINE

Liebeslieder Walzer (Brahms) — Tschaikovsky Suite No. 3 (Tschaikovsky)

Romance both refined and impassioned overtakes the

stage in this all-Balanchine double bill. Set in an elegantly

appointed ballroom to 18 Brahms waltzes with onstage

singers, Liebeslieder Walzer is a lyrical and intimate two-

part ballet that finds its four couples in the midst of their

affection — an intimate joy for waltz lovers and classical

music devotees. In 1947, Balanchine created Theme and

Variations, a regal classical ballet; then more than two

decades later he crafted three preceding sections to

complete his Tschaikovsky Suite No. 3. Beginning on a

somber note, each movement swells with ardor, culminating

in a magnificent chandeliered finale.

OCT 2, 3 Mat, 4, 7 ——

AMERICANA x FIVE

Ash (Torke/Martins) — Sonatas and Interludes (Cage/Tanner) — Tarantella (Gottschalk, orch. by Kay/Balanchine) — ‘Rōdē,ō: Four Dance Episodes (Copland/Peck) — Slaughter on Tenth Avenue (Rodgers, orch. by Kay/Balanchine)

Like the varied choreography presented onstage, the

music for this program of all-American composers ranges

from warmly traditional to bold and contemporary. Matching

the accelerated tempo of its Michael Torke music, Martins’

Ash launches a cast of ten into stylish solos and sensual pas

de deux. Sonatas and Interludes' two dancers unfold through

fluid yet crisp movements to the percussive sound of a

John Cage score for prepared piano. Transitioning to more

traditional melodies, the virtuosic pas de deux Tarantella

showcases two pyrotechnical dancers in an ever grow-

ing profusion of steps. Peck re-envisioned Aaron Copland’s

well known Americana score when he created 'Rōdē,ō: Four

Dance Episodes, a plotless take that pairs a lone woman with

a cast of 15 jocular, energetic, and charming male dancers.

Ending with some showbiz glam, Slaughter on Tenth Avenue

is a vampy ballet about a jealous Russian premier danseur

and his hoofing American rival.

SEPT 22, 23, 24, 25, 26 Mat & Eve, 27, 29 ——

SWAN LAKE

Tschaikovsky/Martins after Petipa, Ivanov, Balanchine

A must-see full-length event, Peter Martins’ staging of Swan

Lake infuses the preeminent story ballet with New York

City Ballet’s signature musicality, speed, and sharpness of

attack. Last performed in 2013 to sold-out houses, this semi-

nal work features Tschaikovsky’s heartbreakingly beautiful

score and turbulent, abstract set and costume designs by

acclaimed Danish artist Per Kirkeby. A stunning and powerfully

romantic tragedy, each performance is shaped by the central

role of Odette/Odile, an interpretation that is both technically and

emotionally demanding.

SEPT 30 at 7 PM——

FALL GALA

New Ludwig-Leone/Schumacher — World Premiere — New Ravel/Binet — World Premiere — New Walton/Thatcher — World Premiere — New Reich/Peck — World Premiere

Both balletomanes and fashionistas will have their eyes on

the 2015 Fall Gala, which will continue NYCB’s tradition of pair-

ing couturiers with contemporary choreographers. Following

his critically-acclaimed first NYCB outting, Clearing Dawn,

Corps de Ballet Member Troy Schumacher will set his

second ballet for the Company to a commissioned score by

Ellis Ludwig-Leone of the baroque pop band San Fermin. Two

rising talents will make their first pieces for the NYCB stage, The

National Ballet of Canada’s Robert Binet, who spent time as

The Royal Ballet’s first and only Choreographic Apprentice, will

create to selections from Maurice Ravel’s piano score Miroirs,

and San Francisco Ballet’s Myles Thatcher, who was mentored

by Alexei Ratmansky, will work with a piano quartet by William

Walton. Recently declared “the most eminent choreographer

of ballet in the United States” by The New York Times, Resident

Choreographer Justin Peck will complete the gala program with

the first of his two new ballets this season, set to Steve Reich’s

Variations for Vibes, Pianos, and Strings.

Episodes

N.Y. Export: Opus JazzHarlequinade

Fall

— 13 —

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Movements for Piano and Orchestra

OCT 13, 14, 15, 17 Mat ——

MASTERS AT WORK

Harlequinade (Drigo/Balanchine) — N.Y. Export: Opus Jazz (Prince/Robbins)

This program of fanciful characters and zippy teens illus-

trates how Balanchine and Robbins’ contrasting styles

harmoniously married to create the foundation of the New

York City Ballet repertory. Harlequinade is a charming two-

act story ballet in the commedia dell’arte style, offering

colorful characters, vivid sets and costumes, and a slew of

supporting roles for the tiniest of dancers from the School of

American Ballet. N.Y. Export: Opus Jazz was choreographed

only a year after the landmark West Side Story opened on

Broadway — the dancers in this ballet in sneakers evoke

a post-war New York City with their cool jazz moves and

angst-ridden beats.

OCT 8, 9, 16, 17 Eve ——

21ST CENTURY CHOREOGRAPHERS

New Ludwig-Leone/Schumacher — New Ravel/Binet — New Walton/Thatcher — New Reich/Peck — New Debussy/Brandstrup – World Premiere

“City Ballet is the world’s foremost home of 21st-century

choreography” (The New York Times), and these five new

works are the latest additions to an already prolific reper-

tory. The four world premieres from our fall gala will be joined

on the stage by a new ballet from Kim Brandstrup. Having

established himself as an award-winning choreographer

working extensively in Europe, Brandstrup’s first-ever work

for an American dance company will be set to Claude

Debussy’s Jeux, the French composer’s last orchestral

work, which was originally commissioned by Serge

Diaghilev for the Ballet Russes.

OCT 10 Mat & Eve, 18 ——

BALANCHINE BLACK & WHITE

Concerto Barocco (Bach) — Monumentum pro Gesualdo (Stravinsky) — Movements for Piano and Orchestra (Stravinsky) — Episodes (Webern) — The Four Temperaments (Hindemith)

Founding Choreographer George Balanchine challenged

the dance world by asserting that ballet need not require

a plotline, then he forever plunged the craft into a realm of

neoclassicism with his unadorned Black & White leotard

ballets that focus solely on music and movement. One of

his greatest masterpieces, Concerto Barocco is music

made visible as two elegant yet dynamic lead ballerinas

each depict one of the instrumental soloists in a virtuosic

double violin concerto. Performed back to back since 1966,

Monumentum pro Gesualdo is known for its formal beauty

while Movements for Piano and Orchestra sweeps audienc-

es away on a wave of exacting precision. Perhaps the most

avant-garde of the Black & Whites, Episodes uses Webern's

edgy tones for a series of four striking interludes. A ballet

with unceasing appeal, The Four Temperaments references

the medieval concept of psychological humors through its

classically grounded but definitively modern movement.

JA N UA RY 1 9 — F E B R UA RY 2 8

— 14 —

New Music Director Andrew Litton raises the baton to begin winter with a tribute to American composers who influenced his career: Barber, Bernstein, and Gershwin. Three programs celebrating Founder George Balanchine follow, offering eternal favorites such as Agon and Symphony in C, along with Ballo della Regina (last performed in 2009) and the edgy Kammermusik No. 2. Two of these will be featured on January 23 when we mark his birthday at the annual Saturday at the Ballet with George, a day of events and performances paying homage to the Company’s raison d’être.

Justin Peck’s second premiere of the sea-son will be the centerpiece of the annual New Combinations evening on February 2. Based on Hans Christian Andersen’s fairytale

The Most Incredible Thing, Peck unites the worlds of contemporary ballet, music, and art with a commissioned score by Bryce Dessner and sets and costumes by Marcel Dzama. Coinciding with the occasion is the return of Christopher Wheeldon’s Estancia, originally created for the 2010 Architecture of Dance festival.

Peter Martins’ staging of the romantic story ballet La Sylphide also returns, paired with Balanchine’s sparkling Tschaikovsky Piano Concerto No. 2. Additional highlights include two thrilling works, Jerome Robbins’ Glass Pieces and Martins’ The Infernal Machine, as well as Peck’s Paz de la Jolla, the creation of which was chronicled in Jody Lee Lipes’ acclaimed cinéma vérité film Ballet 422.

Who Cares? Ballo della Regina

Glass Pieces

WinterJAN 19, 24, 28, 30 Mat, 31 ——

MUSIC DIRECTOR'S CHOICE

Overture from Candide performed by the NYCB Orchestra (Bernstein)* — Barber Violin Concerto (Barber/Martins) — Fancy Free (Bernstein/Robbins) — Who Cares? (Gershwin, adapt. & orch. by Kay/Balanchine)

Newly appointed Music Director Andrew Litton curates a

program honoring three American composers whose works

had major impact on his career, from Barber’s moving, world

famous violin concerto to the bold and brassy tones of

Gershwin's Broadway. Alternately noble and quixotic, Barber

Violin Concerto contrasts a classical couple with a bare-

footed modern couple as they interchange partners in varying

combinations. Evoking the Great White Way, Fancy Free is

the precursor to Broadway’s On the Town, presenting three

sailors and their escapades on shore leave in Manhattan.

Recognized as an authority on Gershwin, Litton closes his

program with Who Cares?, the composer's radiant melo-

dies serving as the basis for syncopated group dances and

balmy, romantic duets. On January 19 only, the evening will

commence with an orchestral presentation of the overture

from Candide.

*Jan 19 performance only

JAN 20, 22, 27, 29 ——

MASTERS AT WORK

Liebeslieder Walzer (Brahms/Balanchine) — Glass Pieces (Glass/Robbins)

The quiet romance of poetic waltzes meets the bustling

pace of city life for a program juxtaposing NYCB’s two

founding choreographers. Four couples take the waltz to

extraordinary heights in Liebeslieder Walzer’s elegant ball-

room for a two-part ballet of which Balanchine said, “In the

first act, it is the real people who are dancing. In the second

act, it is their souls.” Expansive in scope and streamlined

in style, Glass Pieces captures the pulsating heartbeat of

metropolitan life with its charged, urban choreography,

concluding in a finale that propels the corps de ballet across

the stage at a racing pace.

JAN 21, 23 Eve, FEB 3, 6 Mat, 7 ——

ALL BALANCHINE I

Ballo della Regina (Verdi) — Kammermusik No. 2 (Hindemith) — Tschaikovsky Suite No. 3 (Tschaikovsky)

Over the course of six decades, Balanchine created a var-

ied repertory reflecting his diverse inspirations, and these

three ballets highlight that multiplicity, ranging from virtuoso

dancing to graceful romance. The jaw-dropping technical

feats of Ballo della Regina’s exuberant choreography were

originally devised to challenge the lead ballerina, who must

exhibit carefree joyousness while performing steps that push

the limits of physical possibility. Requiring great energy, speed,

and precision, the striking choreography in Kammermusik

No. 2 echoes the intricacies of its modernist score with jagged

lines and stylized gestures. Tschaikovsky Suite No. 3 's lilting

opening blossoms into a regal, classical finale — a stunning

conclusion to an immersive all-Balanchine experience.

Note: the Jan 23 Eve performance is part of Saturday at the Ballet with George.

— 17 —

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Mozartiana

Tschaikovsky Piano Concerto No. 2

Walpurgisnacht Ballet

Estancia

— 19 —

WinterJAN 23 Mat, 26, 30 Eve, FEB 4, 5, 27 Mat ——

ALL BALANCHINE I I

Walpurgisnacht Ballet (Gounod) — Sonatine (Ravel) — Mozartiana (Tschaikovsky) — Symphony in C (Bizet)

The Company draws upon its vast Balanchine repertory to

exhibit some of his most luminous works. Balanchine once

famously said "ballet is woman," and in Walpurgisnacht

Ballet he sends 24 women soaring across the stage with wild

abandon. The polished simplicity and emotional interplay of

the rarely-seen Sonatine evokes the elegance of the French

artists on which it was made. Mozartiana’s prayerful open-

ing will touch your spirit, and the upbeat theme and variations

that follows builds to pure exhilaration. Culminating with a

grand classical showpiece, Symphony in C sparkles with over

50 dancers covered in Swarovski elements, a spectacular

finale to a brilliant program.

Note: the Jan 23 Mat performance is part of Saturday at the Ballet with George.

FEB 2, 6 Eve, 9, 10, 11 ——

NEW COMBINATIONS

New Ludwig-Leone/Schumacher — New Ravel/Binet — New Walton/Thatcher — New Dessner/Peck — World Premiere — Estancia (Ginastera/Wheeldon)

As part of our mission to champion the creation of new works,

each winter we present a world premiere on the New Combi-

nations program. Based on Hans Christian Andersen’s The

Most Incredible Thing, the story of a young man who creates a

magnificent clock in an effort to win a contest and the peculiar

consequences that ensue, Resident Choreo-grapher Justin

Peck’s first narrative work will be set to a commissioned

score by composer Bryce Dessner of The National. Peck’s

collaborative vision will feature 50 dancers, including 11

children from the School of American Ballet, and costumes

and scenic designs by the renowned contemporary artist

Marcel Dzama. Also onstage will be Wheeldon’s Estancia,

in which a city boy learns to wrangle horses and the heart

of a country girl on the Argentine pampas, along with en-

core performances of fall premieres from Troy Schumacher,

Robert Binet, and Myles Thatcher.

FEB 12, 13 Mat & Eve, 14 Mat & Eve*, 16, 17, 18 ——

LA SYLPHIDE

La Sylphide (Løvenskjold/Martins after Bournonville) — Tschaikovsky Piano Concerto No. 2 (Tschaikovsky/Balanchine)

The most recent of the enduring classic story ballets to

enter NYCB’s repertory, Peter Martins’ staging of August

Bournonville’s La Sylphide is filled with passion and un-

requited love. Returning to the stage from its Spring 2015

premiere for eight performances, this celebrated romance

tells the tale of love led astray and features the elusive fairy

all little ballerinas dream of one day becoming and a diaboli-

cal witch who preys upon the conceits of an unsuspecting

man. Paired for the occasion is Balanchine’s Tschaikovsky

Piano Concerto No. 2, an ebullient outpouring of classical

virtuosity with tiaraed tiers of corps de ballet dancers.

*Specially added Sunday evening performance on Feb 14 begins at 7:30 PM

For ballet trailers and more nycballet .com/explore15 -16

The Four Temperaments

Paz de la Jolla

Agon

Winter

— 21 —

FEB 19 One Time Only ——

CLASSIC NYCB

Ash (Torke/Martins) — This Bitter Earth (Richter, Washington/Wheeldon) — The Infernal Machine (Rouse/Martins) — New Dessner/Peck — The Four Temperaments (Hindemith/Balanchine)

Four choreographers converge for an exemplary NYCB

evening of contemporary works. The fourth in a series of

collaborations between Martins and Torke, Ash 's five cou-

ples blaze through this quicksilver ballet. Two contrasting

pas de deux follow: Wheeldon’s This Bitter Earth is a heart-

felt expression of a tenderly remixed Dinah Washington

song and Martins’ The Infernal Machine finds a man and

woman intertwined as they push and pull their way through

a buzzing score. Peck tackles his first narrative ballet,

coupling composer Bryce Dessner and artist Marcel

Dzama for a singular work that is sure to be a focal point of

the season. Concluding the evening is Balanchine’s

neoclassical masterwork The Four Temperaments — an

enthrallingly stark ballet with an intensely moving score.

FEB 20 Mat & Eve, 21, 23, 25 ——


Ash (Torke/Martins) — This Bitter Earth (Richter, Washington/Wheeldon) — The Infernal Machine (Rouse/Martins) — New Debussy/Brandstrup — Paz de la Jolla (Martinů/Peck)

Some of the brightest contemporary dance-makers share

the stage for a program focusing on modern works. Two

Martins ballets, his supercharged Ash and the intricately

winding pas de deux The Infernal Machine, surround

Christopher Wheeldon’s poetic pas de deux, an exploration

of the haunting, tenuous melodies of a remixed rendition

of “This Bitter Earth.” The subject matter of the 2014

feature-length documentary Ballet 422, Justin Peck’s Paz

de la Jolla evokes the bouyant and beachy feeling of his

home state, California. This program also provides four more

opportunities to view Kim Brandstrup's first work for NYCB.

FEB 24, 26, 27 Eve, 28 ——


Episodes (Webern) — Agon (Stravinsky) — The Four Temperaments (Hindemith)

Balanchine’s minimalist vision serves as the unifying principle

for this spectacular collection of neoclassical leotard ballets —

streamlined works that continue to exhilarate audiences

decades after their creation. A four-part avant-garde work,

Episodes grew out of his enthusiasm for Anton von Webern’s

orchestral music, which Balanchine once wrote “fills the air

like molecules.” The apex of his collaborations with Igor

Stravinsky, Agon is an intense masterpiece, ever contem-

porary in its athletic competitiveness. One of his earliest

Black & White ballets, The Four Temperaments is a timeless

favorite to be enjoyed over and over, featuring three intro-

ductory themes that parallel their Paul Hindemith score and

four following movements that expand upon the invigorat-

ing, consuming music.

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A P R I L 1 9 — M AY 2 9

— 22 —

Distinct in music and mood in the embodi-ment of emeralds, rubies, and diamonds, the elegance of George Balanchine's plot-less full-length Jewels ushers in the spring. Shortly thereafter the 2016 Spring Gala will see the homecoming of Christopher Wheeldon, who will contribute the season’s seventh world premiere.

Contemporary ballets abound with two programs dedicated to works created within the past decade, both featuring ballets by Justin Peck, Alexei Ratmansky, and Wheeldon.

Additional spring highlights include Jerome Robbins' beloved Dances at a Gathering and West Side Story Suite, each displaying his prowess for evoking human emotion through movement, as well as Balanchine’s sublime Vienna Waltzes and Peter Martins’ driving Hallelujah Junction.

A longstanding springtime traditon, Balanchine's full-length production of Shakespeare's A Midsummer Night’s Dream closes the season, flooding the stage with its sumptuous sets and costumes.

Pictures at an Exhibition

Rubies from Jewels Diamonds from Jewels

Everywhere We Go

Spring

— 25 —

APR 19, 23 Eve, 27, 28, MAY 1 ——

JEWELS

Fauré, Stravinsky, Tschaikovsky/Balanchine

One of the most brilliant works in the Balanchine repertoire,

Jewels manifests the multifaceted elegance of three cov-

eted stones. Emeralds moves at Fauré's mesmerizing tempo,

embodying the poetic perfume of France, while Rubies

tears like lightning through Stravinsky's piano capriccio in an

evocation of America's galloping pace and vast expanse.

With its symphonic Tschaikovsky score, Diamonds venerates

the regality of Balanchine’s classical Russian heritage in all

its elusive grandeur. This opulent experience attracts audi-

ences with its exquisite visual beauty, eliciting audible gasps

at every performance.

APR 20, 24, 29, 30 Mat ——

21ST CENTURY CHOREOGRAPHERS I

Estancia (Ginastera/Wheeldon) — Pictures at an Exhibition (Mussorgsky/Ratmansky) — Everywhere We Go (Stevens/Peck)

Three of today’s most in-demand choreographers join forces

on a program accented by impressive and atmospheric

scenery. Famed architect Santiago Calatrava painted the

luscious sets for Estancia, depicting the rich landscape

of Argentina, the perfect visuals for a narrative set on

the South American plains. Like the ballet's ever-changing

Wassily Kandinsky watercolors, the ten dancers in Pictures

at an Exhibition move in varying combinations while display-

ing a plethora of emotion, from raw and wild to solemn and

soulful. The epic Everywhere We Go features 25 dancers in

a nine-part exploration of Sufjan Stevens' cinematic score,

the indie-pop icon's first orchestral work, with each section

accented by a multi-layered and shifting, geometric back-

drop by Karl Jensen.

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Barber Violin Concerto

Moves

Symphony in Three Movements

Spring

— 27 —

APR 21, 30 Eve, MAY 7 Mat ——

AMERICAN MUSIC

Barber Violin Concerto (Barber/Martins) — N.Y. Export: Opus Jazz (Prince/Robbins) — New Dessner/Peck

One of Martins’ most popular works is joined by Robbins’

ballet in sneakers and the Winter 2016 Peck premiere for a

program of ballets all set to American music. Choreographed

for the Company’s 1988 American Music Festival, Barber

Violin Concerto juxtaposes and interchanges a classical pair

and a modern couple, the emotional dynamic varying as they

alternate partners. The ballerinas kick off their pointe shoes

for N.Y. Export: Opus Jazz, a reflection of youth in the 1950s

post-war era. Peck’s tenth ballet for the Company since 2012

will be his greatest in scale to date with a commissioned score

and an impressively large cast that unites NYCB's dancers with

students from the School of American Ballet as he interprets

an eccentric fairytale.

APR 22, 23 Mat, 26, MAY 3, 5 ——

CLASSIC NYCB I

Bournonville Divertissements (E. Helsted, Paulli/Bournonville) — Moves (Robbins) — Tschaikovsky Pas de Deux (Tschaikovsky/Balanchine) — Symphony in Three Movements (Stravinsky/Balanchine)

Two popular Balanchine ballets accompany the virtuosic

Bournonville Divertissements and a Robbins work created

without an orchestral score for a quintessential NYCB pro-

gram. One of the few ballets in our repertory by the Danish

master choreographer August Bournonville, Bournonville

Divertissements provides a parade of principal roles and a

cascade of nimble footwork. Forgoing elaborate costumes,

set design, and even musical accompaniment, Moves

enthralls with the unexpected intensity derived from sounds

produced by the dancers themselves. A virtuosic ballet,

Tschaikovsky Pas de Deux is brief, beautiful, and beloved –

an adrenaline rush for both dancers and audiences. One of

Balanchine’s most celebrated leotard ballets, Symphony in

Three Movements is bold and breathtakingly jet-propelled,

a kinetic achievement, striking for its confidence and power.

MAY 4 at 7 PM ——

SPRING GALA

New Wheeldon – World Premiere

Fresh from his Broadway directoral debut (An American in

Paris), former NYCB Resident Choreographer Christopher

Wheeldon returns to create a world premiere for the 2016

Spring Gala. Additional ballets to be performed at this highly

anticipated event will be announced at a later time.

Go inside the season nycballet .com/explore15 -16


Vienna Waltzes

Belles-Lettres

Spring

— 29 —

MAY 6, 8, 10, 12 ——

ALL BALANCHINE

Ballo della Regina (Verdi) — Kammermusik No. 2 (Hindemith) — Vienna Waltzes (J. Strauss, Lehár, R. Strauss)

Bringing Balanchine’s prismatic genius into the spotlight,

these three works are at turns virtuosic, streamlined, and

romantic. Back on the NYCB stage after a six year hiatus,

Ballo della Regina is a non-stop display of variations exhibit-

ing the technical bravura of a contingent of ballerinas and a

dashingly agile cavalier. With an uncommonly seen corps

de ballet comprised exclusively of men, Kammermusik

No. 2 is one of the most unique works in Balanchine’s

neoclassical canon, with a complex structure that echoes

Hindemith’s composition of the same name. A work of

monumental scale with a magnificent finale, the five-part

Vienna Waltzes is set in moonlit Austrian forests and the

regal ballrooms of Vienna.

MAY 7 Eve, 18, 20, 21 Mat ——

21ST CENTURY CHOREOGRAPHERS I I

Belles-Lettres (Franck/Peck) — New Wheeldon — Concerto DSCH (Shostakovich/Ratmansky)

A recent hit and a favorite from 2008 come together with a

brand new creation for the spring’s second program featuring

three of today’s most sought-after choreographers. Layering

Franck's lyrical score with Mary Katrantzou's intricately embroi-

dered lace lettered garments, Belles-Lettres is one of Peck’s

most amorous ballets, replete with swooning pas de deux that

build to an emotional climax. Audiences have four chances to

view Wheeldon's newest creation after it enters the repertory

at the annual spring gala. With its thrilling Shostakovich score

and dramatic texture, Concerto DSCH puts forth classical

ingenuity and contemporary stylishness.

MAY 11, 13, 14 Mat & Eve, 15 ——

ALL ROBBINS

Dances at a Gathering (Chopin) — West Side Story Suite (Bernstein)

Robbins’ many talents as a choreographer are never more

apparent than in this program that pulls uncontested

masterpieces from the two fields where he excelled:

ballet and Broadway. After years of spectacular Broadway

success, Robbins' return to New York City Ballet was marked

by Dances at a Gathering, a landmark for its invention and

constantly shifting emotions. With its crackling energy and

heart-rending poignancy, Robbins’ West Side Story Suite

collects songs and dances from the smash international

stage and screen musical.

SUBSCRIBERS ENJOY EXCLUSIVE BENEFITS nycballet.com or (212) 496–0600

Serenade Hallelujah Junction

Spring

— 31 —

Western Symphony A Midsummer Night’s Dream

CUSTOMIZE YOUR NYCB EXPERIENCE With Three or More PerformancesPackages Start At $90 nycballet.com or (212) 496–0600

MAY 24, 25, 26, 27, 28 Mat & Eve, 29 ——

A MIDSUMMER NIGHT’S DREAM

Mendelssohn/Balanchine

Enter the enchanted land of Shakespeare's A Midsummer

Night’s Dream, a lush forest besieged by quixotic love

triangles and feuding fairy kingdoms, awash with magic at

every turn. Balanchine's staging of this tale of merry

romance, mischievous make-believe, and mistaken identity

features luxurious sets and costumes recreated in 2014

from Karinska's original designs and a cast of over 100 NYCB

dancers and students from the School of American Ballet.

This classic summer story is simply not to be missed.

MAY 17, 19, 21 Eve, 22 ——

CLASSIC NYCB II

Serenade (Tschaikovsky/Balanchine) — Hallelujah Junction (Adams/Martins) — Duo Concertant (Stravinsky/Balanchine) — Western Symphony (Kay/Balanchine)

An audience favorite by Martins is paired with three cherished

Balanchine pieces for an experience ending with a rousing

finale that brings the curtain down. The first ballet Balanchine

choreographed in America, Serenade is a romantic work of

immense sweep, set to a transcendent Tschaikovsky score.

Martins’ Hallelujah Junction is a living locomotive of propulsive

vitality, set to a pulsing John Adams score played by two

onstage pianists. An animated dance for a neoclassical

couple set to onstage piano and violin accompaniment, Duo

Concertant ends with a dramatic scene that takes place in a

pool of light on a dark stage. Western Symphony is a rodeo of

frisky fillies with a spirited ending that captures the entire cast

of over 30 dancers onstage.

For behind-the-scenes content nycballet .com/explore15 -16

— 35 —

Choose Your PackageSTANDARD SERIES Available through August 21, 2015

Ranging from three to eight performances, Standard Series dates are always on the same day of the week at the same curtain time.

Feb 6 Eve, 11, and 19 performances are available on Standard Series only.

CREATE YOUR OWN SERIESAvailable throughout the 2015-16 Season

Personalize a package to suit your tastes and schedule by choosing any three or more dates. Select six or more perfor-mances and you’ll lock in the preferred subscriber rate for any additional ticket purchases throughout the season.

Create Your Own Series do not guarantee the same seats at each performance or from season to season. Sept 30, Feb 6 Eve, 11, 19, and May 4 are not available on Create Your Own Series.

NYCB Subscribers get the best deal in the house, saving over regular Box Office prices and securing prime locations before the general public. Packages start at only $90, and you'll also gain access to exclusive subscriber benefits.

Subscriber Access & Savings

Order TodayPHONE (212) 496-0600ONLINE nycballet.com/subscribe15-16

Visit nycballet.com/subscribe15-16 for complete subscrip-tion and season details. You can also download an order form, PDF calendars, and a full listing of Standard Series.

Flexible Exchanges – Now Available by PhoneSubscribers can always exchange tickets for another perfor-mance if a scheduling conflict arises.

Please note: Standard Series subscribers and Create Your Own Series subscribers with six or more performances make exchanges at no cost. Create Your Own Series subscribers with five or fewer performances exchange with a $5 fee per ticket. Exchanges are subject to availability.†

Insider ExperienceTake a glimpse behind the curtain with New York City Ballet eNews and our online Guide to the Repertory. Subscribers also receive Company updates and invitations, as well as special offers from partner performing arts organizations.

Best Seats in the HouseSubscribers are first in line for seat locations, and Standard Series holders can lock in seats across seasons provided the same series is renewed.

Subscriber Savings*Savvy buyers, subscribers save over regular prices by purchas-ing their dates as a package. Plus, Standard Series buyers and Create Your Own Series buyers with six or more performances lock in the preferred rate for additional purchases throughout the 2015–16 Season.

Nutcracker Ticket PriorityOrder your subscription by June 19, 2015, and you'll qualify for early access to George Balanchine’s The Nutcracker™, so you can secure tickets at the best possible pricing.

Ticket Purchases without Service FeesSubscribers order additional tickets all season long without service fees.**

Easy Payment PlansFor convenience, split your subscription fee over multiple pay-ments by credit card. Please call (212) 496-0600 to speak with a subscription associate for more details.‡

Note: programs and pricing subject to change. Required charges to phone, internet, and box office sales apply. No refunds once tickets have been processed and/or mailed. We regret that we cannot replace or refund tickets for performanc-es you miss. Performances begin at the announced start time, and in deference to the viewing and listening pleasure of the audience in the auditorium, and to the performers onstage, there is no late seating, or reseating for those who leave the auditorium, once the performance begins.

$30 tickets are not discounted. The preferred subscriber rate does not apply for Nutcracker or specially-priced performances on Sept 30, Feb 6 Eve, 11, 19, and May 4.

Following a $22 subscription handling fee, subscribers are exempt from service fees when ordering additional repertory tickets online with a registered login and by phone via the exclusive subscriber hotline. Benefit does not apply to Nutcracker tickets. All orders are subject to a $3 facility fee per ticket.

Exchanges are vaild across Fall 2015, Winter 2016, and Spring 2016 repertory per-formances and must be made no later than one day in advance of the originally scheduled performance. Subscription tickets cannot be exchanged in to Feb 6 Eve, 11, 19, or Nutcracker performances. The difference of ticket cost will be incurred by Standard Series subscribers exchanging out of specially-priced performances.

Orders of four or more installments, or orders with outstanding balances at the time of the August ticket printing, will incur an additional $15 installment fee.

†

‡For information on accessibility, please visit nycballet.com/accessibility.

*

**

New York City Ballet is Pleased to Recognize its Corporate Sponsors:

— 37 —

Public Support for Programming is Provided by:

Special Thanks

Major support for new work is provided by Cynthia and Ronald Beck, Jeffrey and Shiou-Der Kossak, Stephen Kroll Reidy, Joseph and Sylvia Slifka Foundation, The Ted and Mary Jo Shen Charitable Gift Fund, and members of the New Combinations Fund.

2015-16 commissioning support for Justin Peck is provided by the New York Choreo-graphic Institute and the Rudolf Nureyev Fund for Emerging Choreographers, estab-lished through a leadership grant from the Rudolf Nureyev Dance Foundation, with additional grants from the Harriet Ford Dickenson Foundation and the Joseph and Sylvia Slifka Foundation.

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

New York City Ballet gratefully acknowledges the Lila Acheson and DeWitt Wallace Endowment Fund, which provides support for new work and audience development.

New York City Ballet’s musical leadership is endowed in part by the Agnes Gund and Daniel Shapiro Fund for Musical Excellence.

The creation and performance of works by Peter Martins is funded in part by an endowment gift from the Solomon family, given in loving memory of Carolyn B. Solomon.

New York City Ballet’s performances of works by George Balanchine are supported in part by the Balanchine Production Fund, an endowment created through The Campaign for New York City Ballet.

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

Project Ballet is made possible by a leadership gift from Denise R. Sobel.

The Company also wishes to thank the thousands of generous donors making gifts up to $100,000.

New York City Ballet is grateful to the following individuals, foundations, and corporations for their outstanding annual contributions that ensure the Company's artistic excellence and support the performances of our world class artists.

Major Funding is Provided by:

Harriet Ford Dickenson Foundation/ Miss Gillian Attfield

Ursula M. Burns and Lloyd F. Bean

Cindy Chao

Cordelia Corporation

Randy and Jay Fishman

Ford Foundation

The Florence Gould Foundation

Geoffrey C. Hughes Foundation

Carl Jacobs Foundation

Jane B. Jacobs

The Leon Levy Foundation

Lincoln Center Corporate Fund

Martha and Bob Lipp

LuEsther T. Mertz Charitable Trust

The Ambrose Monell Foundation

The New York Community Trust – Mary P. Oenslager Foundation Fund

Point Gammon Foundation

The Jerome Robbins Foundation

The Fan Fox and Leslie R. Samuels Foundation

The Ted and Mary Jo Shen Charitable Gift Fund

The Shubert Foundation

Joseph and Sylvia Slifka Foundation

Michael and Sue Steinberg

John L. and Barbara Vogelstein

CREDITS Illustrations by Jamie Lee Reardin © 2015: Vienna Waltzes, Kammermusik No. 2, Everywhere We Go, Swan Lake, Glass Pieces, Emeralds from Jewels, N.Y. Export: Opus Jazz, Paz de la Jolla, Serenade. Performance photography © Paul Kolnik. The artwork and photographs in this brochure depict choreography copyrighted by the indi-vidual 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.

OFFICIAL TIGHTS

PROUD SUPPORTER

OFFICIAL CHAMPAGNE

OFFICIAL MAKEUP

M A K E - U P P R O V I D E D B Y

†FREE First Position Discussion on the scheduled program for all ticket holders, 20 minutes before curtain and during intermission/s on the Fourth Ring theater right side.

Tickets available at nycballet.com or (212) 496–0600

Sept 30, Feb 6 Eve, 11, 19, May 4, and Nutcracker performances are not available on Create Your Own Series. Subscription tickets cannot be exchanged in to Feb 6 Eve, 11, 19, or Nutcracker performances.

Fall 2015 SEPTEMBER 22 — OCTOBER 18

at 7:30 PM at 7:30 PM at 7:30 PM at 8 PM at 2 PM at 8 PM at 3 PM

Tue Wed Thu Fri Sat Sat Sun

SWAN LAKE SWAN LAKE SWAN LAKE SWAN LAKE SWAN LAKE SWAN LAKE SWAN LAKE

SEPTEMBER 22 † SEPTEMBER 23 SEPTEMBER 24 SEPTEMBER 25 † SEPTEMBER 26 † SEPTEMBER 26 SEPTEMBER 27

SEPTEMBER 29 † SEPTEMBER 30 OCTOBER 1 † OCTOBER 2 OCTOBER 3 OCTOBER 3 OCTOBER 4 †

OCTOBER 6 † OCTOBER 7 † OCTOBER 8 OCTOBER 9 † OCTOBER 10 OCTOBER 10 † OCTOBER 11 †

OCTOBER 13 OCTOBER 14 † OCTOBER 15 OCTOBER 16 † OCTOBER 17 † OCTOBER 17 OCTOBER 18

Winter 2016 JANUARY 19 — FEBRUARY 28




Overture from Candide (NYCB Orchestra)

—— Barber Violin Concerto

—— Fancy Free

—— Who Cares?

MASTERS AT WORK

Liebeslieder Walzer——

Glass Pieces

ALL BALANCHINE I

Ballo della Regina——

Kammermusik No. 2——


MASTERS AT WORK


Glass Pieces

ALL BALANCHINE I I

Walpurgisnacht Ballet——

Sonatine——

Mozartiana ——

Symphony in C

ALL BALANCHINE I





Barber Violin Concerto ——

Fancy Free ——

Who Cares?

ALL BALANCHINE I I


Sonatine——

Mozartiana ——

Symphony in C

MASTERS AT WORK


Glass Pieces



Fancy Free ——

Who Cares?

MASTERS AT WORK


Glass Pieces



Fancy Free ——

Who Cares?

ALL BALANCHINE I I


Sonatine——

Mozartiana ——

Symphony in C



Fancy Free ——

Who Cares?

NEW COMBINATIONS

New Ludwig-Leone/Schumacher

—— New Ravel/Binet

—— New Walton/Thatcher

——New Dessner/Peck

World Premiere——

Estancia Ginastera 100

ALL BALANCHINE I




ALL BALANCHINE I I


Sonatine——

Mozartiana ——

Symphony in C

ALL BALANCHINE I I


Sonatine——

Mozartiana ——

Symphony in C

ALL BALANCHINE I




NEW COMBINATIONS





——Estancia

Ginastera 100

ALL BALANCHINE I




NEW COMBINATIONS





——Estancia

Ginastera 100

NEW COMBINATIONS





——Estancia

Ginastera 100

NEW COMBINATIONS





——Estancia

Ginastera 100

LA SYLPHIDE

La Sylphide——


LA SYLPHIDE

La Sylphide——


LA SYLPHIDE

La Sylphide——


LA SYLPHIDE 3 PM & 7:30 PM

La Sylphide——


JANUARY 19 † JANUARY 20 JANUARY 21 † JANUARY 22 † JANUARY 23 † JANUARY 23 † JANUARY 24 †

JANUARY 26 JANUARY 27 † JANUARY 28 † JANUARY 29 JANUARY 30 † JANUARY 30 † JANUARY 31

FEBRUARY 2 † FEBRUARY 3 † FEBRUARY 4 FEBRUARY 5 FEBRUARY 6 FEBRUARY 6 FEBRUARY 7

LA SYLPHIDE

La Sylphide——


LA SYLPHIDE

La Sylphide——


LA SYLPHIDE

La Sylphide——


CLASSIC NYCB

Ash——

This Bitter Earth——

The Infernal Machine——

New Dessner/Peck——



Ash——



New Debussy/ Brandstrup

——Paz de la Jolla


Ash——






Ash——






Ash——






Episodes——

Agon——



Ash——






Episodes——

Agon——


ALL BALANCHINE I I


Sonatine——

Mozartiana ——

Symphony in C


Episodes——

Agon——



Episodes——

Agon——


FEBRUARY 9 † FEBRUARY 10 † FEBRUARY 11 FEBRUARY 12 † FEBRUARY 13 † FEBRUARY 13 † FEBRUARY 14

FEBRUARY 16 † FEBRUARY 17 † FEBRUARY 18 † FEBRUARY 19 FEBRUARY 20 FEBRUARY 20 FEBRUARY 21

FEBRUARY 23 † FEBRUARY 24 † FEBRUARY 25 † FEBRUARY 26 FEBRUARY 27 FEBRUARY 27 FEBRUARY 28 †

Spring 2016 APRIL 19 — MAY 29



JEWELS 21ST CENTURY CHOREOGRAPHERS I

Estancia——

Pictures at an Exhibition——

Everywhere We Go

Ginastera 100

AMERICAN MUSIC

Barber Violin Concerto——

N.Y. Export: Opus Jazz——

New Dessner/Peck

CLASSIC NYCB I Bournonville

Divertissements ——

Moves——

Tschaikovsky Pas de Deux

—— Symphony in

Three Movements



Moves——


—— Symphony in

Three Movements

JEWELS 21ST CENTURY CHOREOGRAPHERS I

Estancia——


Everywhere We Go

Ginastera 100



Moves——


—— Symphony in

Three Movements

JEWELS JEWELS 21ST CENTURY CHOREOGRAPHERS I

Estancia——


Everywhere We Go

Ginastera 100

21ST CENTURY CHOREOGRAPHERS I

Estancia——


Everywhere We Go

Ginastera 100

AMERICAN MUSIC



New Dessner/Peck

JEWELS



Moves——


—— Symphony in

Three Movements

SPRING GALA at 7 PM

New Wheeldon World Premiere

—— Additional Programming

to be Announced



Moves——


—— Symphony in

Three Movements

ALL BALANCHINEBallo della Regina

—— Kammermusik No. 2

—— Vienna Waltzes

AMERICAN MUSIC



New Dessner/Peck


Belles-Lettres ——

New Wheeldon ——

Concerto DSCH







ALL ROBBINS

Dances at a Gathering——


ALL BALANCHINE at 8 PM

Ballo della Regina ——

Kammermusik No. 2 ——

Vienna Waltzes

ALL ROBBINS



ALL ROBBINS



ALL ROBBINS



ALL ROBBINS



APRIL 19 APRIL 20 † APRIL 21 APRIL 22 † APRIL 23 † APRIL 23 † APRIL 24

APRIL 26 APRIL 27 † APRIL 28 † APRIL 29 APRIL 30 APRIL 30 MAY 1 †

MAY 3 † MAY 4 MAY 5 † MAY 6 MAY 7 MAY 7 † MAY 8 †

CLASSIC NYCB I ISerenade

—— Hallelujah Junction

—— Duo Concertant

——Western Symphony



New Wheeldon ——

Concerto DSCH







New Wheeldon ——

Concerto DSCH



New Wheeldon ——

Concerto DSCH









A MIDSUMMERNIGHT’S DREAM







MAY 10 † MAY 11 † MAY 12 MAY 13 MAY 14 † MAY 14 MAY 15

MAY 17 † MAY 18 † MAY 19 † MAY 20 † MAY 21 MAY 21 MAY 22

MAY 24 † MAY 25 MAY 26 MAY 27 † MAY 28 MAY 28 † MAY 29

SWAN LAKE FALL GALA at 7 PM


World Premiere ——

New Ravel/Binet World Premiere


World Premiere ——

New Reich/Peck World Premiere

—— Thou Swell

ALL BALANCHINE

Liebeslieder Walzer ——


AMERICANA x FIVE

Ash——

Sonatas and Interludes——

Tarantella——

‘R ōdē,ō: Four Dance Episodes

——Slaughter on

Tenth Avenue

AMERICANA x FIVE

Ash——


Tarantella——


——Slaughter on

Tenth Avenue

ALL BALANCHINE



AMERICANA x FIVE

Ash——


Tarantella——


——Slaughter on

Tenth Avenue

ALL BALANCHINE



AMERICANA x FIVE

Ash——


Tarantella——


——Slaughter on

Tenth Avenue





—— New Reich/Peck

—— New Debussy/

Brandstrup World Premiere






—— New Debussy/

Brandstrup


Concerto Barocco ——

Monumentum pro Gesualdo

——Movements for Piano

and Orchestra——

Episodes ——






and Orchestra——

Episodes ——


ALL BALANCHINE



MASTERS AT WORK

Harlequinade——

N.Y. Export: Opus Jazz

MASTERS AT WORK

Harlequinade——


MASTERS AT WORK

Harlequinade——







—— New Debussy/

Brandstrup

MASTERS AT WORK

Harlequinade——







—— New Debussy/

Brandstrup





and Orchestra——

Episodes ——


The IllustratorAfter spying the models and muses of Dior resident illustrator and L.A. based artist Jamie Lee Reardin on Instagram, we knew her signature lithe and long-limbed creations would translate perfectly from the runway to the ballet. This season, Jamie offers her interpretation of more than 20 iconic moments from our 2015-16 repertory, which we’ll be sharing all year long. Find more of her work @JamieLeeReardin.

Special Events

Public Programs

Save the date for these events celebrating and supporting New York City Ballet.

Get closer to the stage with activities and opportunities to interact with Company members and more. Tickets for these public programs must be purchased separately from performance tickets and go on sale August 2, 2015 at 12 PM (see below for Ballet Essentials onsale dates).

For more information about New York City Ballet’s special events, please call (212) 870-5585 or email [email protected].

2015 Fall Gala Wednesday, September 30 at 7 PM

See PAGE 11 for details.

2015 The Nutcracker Family Benefit Saturday, December 12 at 2 PM

2016 Annual LuncheonTuesday, February 23 at 11:15 AM

2016 Spring GalaWednesday, May 4 at 7 PM

See PAGE 27 for details.

— 38 —

Artist Chats45-Minute Pre-Performance Chats with NYCB Artists, free with online or phone (212-870–5666) reservation

Friday, September 25 at 6:45 PM Friday, October 9 at 6:45 PM Friday, January 29 at 6:45 PM Friday, February 19 at 6:45 PM Friday, April 29 at 6:45 PM Friday, May 13 at 6:45 PM

Seminars90-Minute Onstage Panel Discussions $15 per person, free for NYCB donors

Monday, October 5 at 6 PM Monday, January 25 at 6 PM Monday, February 8 at 6 PM Monday, February 22 at 6 PM Monday, May 9 at 6 PM

Family Saturdays (Ages 5+)$22 per person See NYCB dancers on their home stage at this one-hour presentation crafted specially for children and families. Family Saturdays Creative Director and Princi-pal Dancer Daniel Ulbricht will lead you through the program of short works and excerpts from NYCB’s diverse repertory.

Saturday, October 17 at 11 AM Saturday, February 13 at 11 AM Saturday, May 14 at 11 AM

Children’s Workshops(Ages 5-8)45-Minute Movement Workshops $12 per person (children and adults)

Saturday, September 26 at 12:45 PM Sunday, September 27 at 1:45 PM Saturday, October 3 at 12:45 PM Saturday, December 5 at 12:45 PM Saturday, December 19 at 12:45 PM Sunday, December 20 at 11:45 AM Tuesday, December 29 at 12:45 PM Saturday, January 23 at 12:45 PM Sunday, January 31 at 1:45 PM Saturday, February 27 at 12:45 PM Saturday, May 7 at 12:45 PM Saturday, May 28 at 12:45 PM

First Position DiscussionsFree for all ticket holders

Informal pre-performance chats beginning 20 minutes before curtain and during intermission/s on select dates, see calendars for specific dates.

In Motion Workshop (Ages 9-12)45-Minute Movement Workshops$12 per person (children and adults)

Sunday, September 27 at 1:45 PM Saturday, December 19 at 12:45 PM Sunday, January 31 at 1:45 PM Saturday, May 28 at 12:45 PM

Ballet Essentials (Ages 21+)75-Minute Movement Workshops for Adults, led by NYCB Dancers$27 per person

On sale Sept 8, 2015, at 12 PM

Saturday, September 26 at 10:30 AM Saturday, October 3 at 10:30 AM Saturday, December 5 at 10:30 AM Monday, December 14 at 6:30 PM

On sale Dec 6, 2015, at 12 PM

Saturday, January 23 at 10:30 AM Saturday, January 30 at 10:30 AM Monday, February 22 at 6:30 PM

On sale Mar 20, 2016, at 12 PM

Monday, April 25 at 6:30 PM Saturday, May 7 at 10:30 AM Saturday, May 21 at 10:30 AM

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