docFY2006 Annual Report - New York City Ballet
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FY2006 Annual Report - New York City Ballet
New York City Ballet Annual Report 2006 mission statement 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. n e w y o r k c i t y b a l l e t This mission is accompanied by a commitment to expand the Company’s audience and make ballet accessible to the widest George Balanchine and Lincoln Kirstein Founders George Balanchine and Jerome Robbins Founding Choreographers Peter Martins Ballet Master in Chief possible public through touring, education programs, the creative use of media, and other outreach e=orts. n e w y o r k c i t y b a l l e t Ballet Master in Chief Peter Martins Ballet Mistress Rosemary Dunleavy Ballet Masters Karin von Aroldingen, Jean-Pierre Frohlich, Susan Hendl, Lisa Jackson, Russell Kaiser, Sara Leland, Christine Redpath, Richard Tanner Assistant to the Ballet Master in Chief Sean Lavery Teaching Associate Merrill Ashley new york city ballet orchestra Music Director: Andrea Quinn Principal Conductor: Maurice Kaplow Guest Conductor: David Briskin Conductor Emeritus: Hugo Fiorato Resident Choreographer: Christopher Wheeldon Composer in Residence: Bright Sheng* the company Jared Angle Charles Askegard Yvonne Borree Ashley 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 The ensemble of Jorma Elo’s Slice to Sharp † Janice Levin Dancer Honoree for 2005–2006 *Mr. Sheng’s residency is part of NYCB’s Artists in Residence program. As of June 25, 2006 new york city ballet orchestra First Violins Double Basses Tuba board of directors 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 Ron Wasserman, Principal Marji Danilow, Associate Wan Hau Xu Grey Fulmer Stephen Johns Barry S. Friedberg Chairman 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 4 new york city ballet, inc 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 Harp Sara Cutler Frederick W. Beinecke President Je=rey M. Peek Treasurer Hon. Kimba M. Wood Secretary Randal R. Craft, Jr. Counsel 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 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 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 Flutes Paul Dunkel, Principal Laura Conwesser, Associate Marie Owen, Flute and Piccolo Piano Cameron Grant Timpani Oboes Arnold Goldberg Randall Wolfgang, Principal Jane Cochran, Associate James Byars Percussion 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 James Baker, Principal Robert Bush, Associate Paul Fein Orchestra Manager Arnold Goldberg Assistant to the Orchestra 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 Manager Tom Beck advisory board Orchestra Librarian Amy S. Butte, Co-Chairman Michael Martin New York Stock Exchange Mary Ann Tighe, Co-Chairman CB Richard Ellis Roger Bolton Aetna French Horns H. Robert Carlisle, Principal Michael Martin Richard Hagen, Associate Paul Ingraham Regina Egea AT&T Patrick Bousquet-Chavanne The Estēe Lauder Companies Inc. Mary Cirillo-Goldberg Gail E. Cohen Fiduciary Trust Company International Trumpets Raymond Mase, Principal Neil Balm, Co-Principal Robert Haley Linnea Conrad Goldman, Sachs & Co. Trombones Scott Davis PricewaterhouseCoopers LLP Richard Chamberlain, Principal Hugh Eddy, Associate Robert Biddlecome, Bass Trombone Fiona Druckenmiller David A. Nadler Mercer Delta Consulting LLC Adrienne Fontanella Bruce S. Fowle FXFOWLE Architects, PC MaryAnne Gilmartin Forest City Ratner Companies Ann B. Lane Formerly of JPMorgan Chase James Manfredonia Bear, Stearns & Co. Valerie S. Peltier Tishman Speyer Properties Harold W. Pote Formerly of JPMorgan Chase Ellen T. Reid Northern Trust Joshua Rubenstein Katten Muchin Rosenman, LLP Carol A. Smith Alison Mass Goldman, Sachs & Co. ELLE special events working committee Nina Griscom, Chairman As of June 25, 2006 * 2006 Season ** On leave of absence Kate Betts Robert Couturier Xenia Krinitzky Ro= Alexandra Shiva Candace Bushnell Fe Saracino Fendi Charlotte Moss Barbara Cirkva Schumacher Susan Tabak Alba Clemente As of June 7, 2006 5 letter from the ballet master in chief The ideas that George Balanchine and Lincoln Kirstein had about ballet, and their shared ambition for a company that would be distinguished 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. 6 New York City Ballet has always been a choreographer’s company, and we continue to honor our founders’ bold vision by regularly commissioning 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 experiment 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 Megan Fairchild and Jonathan Sta¤ord in George Balanchine’s Divertimento No. 15 letter from the chairman 8 During the three years that I have chaired New York City Ballet’s board of directors, the Company has continued to strengthen its financial position through sound fiscal management of its operations, an energetic development program, and skilled investment of our endowment. 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 chairman 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 performing 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 Miranda Weese and Albert Evans in Christopher Wheeldon’s Klavier 2005 – 2006 season highlights 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. Wendy Whelan and Philip Neal in Albert Evans’ world premiere In a Landscape 11 2006 Winter Repertory Season by the Numbers Number of ballets: 39 Number of performances: 102 Jenifer Ringer and Sébastien Marcovici rehearsing for their debuts in Peter Martins’ Swan Lake Featured role debuts: 163 World Premieres: 3 Commissioned score: 1 Attendance: 224,252 Swan Lake debuts: above left, Sofiane Sylve as Odette; The winter season continued with 45 performances (November 25 through December 30) of the perennial holiday classic George Balanchine’s The Nutcracker TM, 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. left, Ashley Bouder as Odile opposite Benjamin Millepied as Siegfried; above, Sara Mearns as Odette 13 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 highlights 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. At right, Peter Martins rehearsing Tiler Peck and Daniel Ulbricht in Friandises; above, the dancers in the world premiere 14 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. 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, Sébastien Marcovici, Miranda Weese, Albert Evans; Pauline Golbin, Melissa Barak, Tyler Angle, Craig Hall, Andrew Veyette, Sean Suozzi 16 Friandises Music: Christopher Rouse (co-commissioned by NYCB and The Juilliard School) The ensemble of Jerome Robbins’ Mother Goose Choreography: Peter Martins Lighting: Mark Stanley Premiere: February 10, 2006 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. 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. 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 17 Kennedy Center Repertory 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 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 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, 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 celebration. 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. 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 artistic 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 occasion marked the first time that Mr. Elo and Mr. Ratmansky created ballets for NYCB and the first time that Mr. Bonnefoux and Mr. Feld participated in a Diamond Project festival. With this year’s additions, The Diamond Project is responsible 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 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. 20 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 21 2006 Diamond Project World Premieres Jenifer Ringer with Jonathan Sta¤ord and (obscured) Amar Ramasar and Sean Suozzi in Alexei Ratmansky’s The 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. Étoile Polaire Evenfall Music: Philip Glass Choreography: Eliot Feld Lighting: Mark Stanley Premiere: April 29, 2006 Original cast: Kaitlyn Gilliland Music: Béla Bartók Choreography: Christopher Wheeldon Costumes: Holly Hynes Lighting: Mark Stanley Premiere: May 10, 2006 Original cast: Miranda Weese, Damian Woetzel; Faye Arthurs, Melissa Barak, Alina Dronova, Kaitlyn Gilliland, Amanda Hankes, Glenn Keenan, Ashley Laracey, Savannah Lowery, Rachel Piskin, Ana Sophia Scheller, Kristin Sloan, Stephanie Zungre, Adrian Danchig-Waring, William Lin-Yee, Seth Orza, Vincent Paradiso, Christian Tworzyanski, Giovanni Villalobos Mr. Feld is Artistic Director of Ballet Tech. This is his third work for NYCB. In Vento 22 Music: Bruno Moretti (commissioned by NYCB) Choreography: Mauro Bigonzetti Costumes: Mauro Bigonzetti Lighting: Mark Stanley Premiere: May 4, 2006 Original cast: Maria Kowroski, Benjamin Millepied, Jason Fowler; Saskia Beskow, Maya Collins, Tiler Peck, Teresa Reichlen, Antonio Carmena, Robert Fairchild, Jonathan Sta¤ord, Sean Suozzi Mr. Bigonzetti is Artistic Director of Italy’s Aterballetto. This is his second work for NYCB. In Vento was supported in part by SinekPartners. The Red Violin Music: John Corigliano Choreography: Peter Martins Costumes: Carole Divet Lighting: Mark Stanley Premiere: May 10, 2006 Original cast: Jennie Somogyi, Sara Mearns, Sterling Hyltin, Tiler Peck, Sébastien Marcovici, Amar Ramasar, Andrew Veyette, Sean Suozzi Mr. Martins is Ballet Master in Chief of New York City Ballet. Generous support for The Red Violin was supported 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 endowment gift from the Solomon family, given in loving memory of Carolyn B. Solomon. Russian Seasons Mr. Wheeldon is New York City Ballet’s Resident Choreographer. Evenfall was made possible in part by a major gift from the Geo¤rey C. Hughes Foundation. Two Birds with the Wings of One Music: Bright Sheng Choreography: Jean-Pierre Bonnefoux Costumes: Holly Hynes Lighting: Mark Stanley Premiere: May 25, 2006 Original cast: Sofiane Sylve, Andrew Veyette; Maya Collins, Kaitlyn Gilliland, Dara Johnson, Rebecca Krohn, Ashley Laracey, Savannah Lowery, Tyler Angle, Robert Fairchild, Craig Hall, Jonathan Sta¤ord, Sean Suozzi, Daniel Ulbricht Mr. Bonnefoux, a former NYCB principal dancer, is Artistic Director of North Carolina Dance Theatre. This is his fourth work for NYCB. Two Birds with the Wings of 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 was provided by The Florence Gould Foundation and the New York State Council on the Arts through a dance commissioning grant. 23 Russian Seasons Slice to Sharp Music: Leonid Desyatnikov Choreography: Alexei Ratmansky Costumes: Galina Solovyeva Lighting: Mark Stanley Premiere: June 8, 2006 Original cast: Sofiane Sylve, Wendy Whelan, Jenifer Ringer, Albert Evans; Alina Dronova, Georgina Pazcoguin, Abi Sta¤ord, Antonio Carmena, Adam Hendrickson, Amar Ramasar, Jonathan Sta¤ord, Sean Suozzi Music: Heinrich Ignaz von Biber, Antonio Vivaldi Choreography: Jorma Elo Costumes: Holly Hynes Lighting: Mark Stanley Premiere: June 16, 2006 Original cast: Sofiane Sylve, Wendy Whelan, Maria Kowroski, Ana Sophia Scheller, Amar Ramasar, Craig Hall, Edwaard Liang, Joaquin De Luz Mr. Ratmansky is the Artistic Director of the Bolshoi Ballet. This is his first work for NYCB. Russian Seasons 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 Council on the Arts. Mr. Elo is the Resident Choreographer of Boston Ballet. This is his first work for NYCB. Slice to Sharp was supported in part by a generous grant from The Norman & Rosita Winston Foundation. 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 2006 Spring Repertory Season by the Numbers Number of ballets: 42 Number of performances: 63 Featured role debuts: 113 World Premieres: 7 26 Commissioned score: 1 Attendance: 97,686 Wendy Whelan and Charles Askegard in Jerome Robbins’ In Memory of . . . 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 repertory 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. 27 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 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. Saratoga Performing Arts Center Repertory Balanchine ballets Robbins ballets Agon Allegro Brillante Ballo della Regina Brahms-Schoenberg Quartet Harlequinade A Midsummer Night’s Dream Swan Lake Symphony in Three Movements Union Jack Concertino 2005–2006 Season by the Numbers Glass Pieces Fanfare N.Y. Export: Opus Jazz Wheeldon ballets Number of performances: 198 After the Rain An American in Paris Lavery ballet Romeo and Juliet Number of ballets performed: 63 Martins ballets Barber Violin Concerto Octet Tālā Gaisma Number of ballets premiered: 10 Darci Kistler in George Balanchine’s A Midsummer 28 Beyond New York City 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 anniversary 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’ Tālā 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 reopens with a visit from New York City Ballet,” Number of dancers: 98 Night’s Dream 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. Commissioned scores: 2 Guest Conductors 2005–2006 Winter Season 2006 Spring Season Fayçal Karoui—Music director of the Orchestre de Pau, Pays de Béarn in France (Ballo della Regina, Swan Lake) Emil de Cou—Associate conductor at the National Symphony Orchestra in Washington, D.C. (An American in Paris, Donizetti Variations) 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) Leslie Dunner—Music director of the Jo¤rey Ballet in Chicago (A Midsummer Night’s Dream, Symphony in C) 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™) 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) John Morris Russell—Music director of the Windsor Symphony Orchestra in Ontario (Brahms-Schoenberg Quartet) Music Director Andrea Quinn takes a farewell bow onstage at the New York State Theater 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.” Fayçal Karoui rehearsing the New York City Ballet Orchestra in Saratoga Springs, New York Right, Jerry Opdenaker rehearsing his cast of dancers Left page, Emily Molnar choreographing a solo on Savannah Lowery 2005–2006 New York Choreographic Institute Participants fall session 2005 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 residence and rehearsal director; choreographer Jerry Opdenaker—Step Ahead, director; choreographer spring session 2006 32 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 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 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 companies 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 choreography 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 choreographers in the classical dance field. The panel was made up of artistic directors Reid Anderson 33 The Fellowship Initiative Grants 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 Choreographer/Fellow: Brian Reeder *Participants of past New York Choreographic Institute sessions 34 (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 choreographic 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.” Photo by John Calabrese Artistic Director: Septime Webre Above, participants of the New York Choreographic Institute roundtable discussion (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 With the conclusion of the fall and spring choreographic 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 leadership 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. Above, Director of Volunteer and Program Resources Joan Quatrano moderating “The Universal World of Dance” featuring Joaquin De Luz and Sofiane Sylve Above right, illustrations from The Nutcracker Project Student Art and Poetry Exhibition Lectures and Exhibitions 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. 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. “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) 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 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. Left to right, Karinska’s original costumes for George Balanchine’s Danses Concertantes and Divertimento No. 15 as photographed by Carin Ingalsbe 36 promote literacy and artistic expression using the choreography, music, and themes of George Balanchine’s The Nutcracker TM as vehicles for exploration. The program focuses on developing language arts skills as well as appreciation of dance and other arts, stressing that communication 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-thescenes 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 considering.” 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. 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- Public school students in the Ballet Bridges program at PS 206 in Brooklyn choreographing and rehearsing their own ballet. plines such as music, visual arts, and architecture. As part of the program, Ballet Bridges students attend Ballet Fanfare lecture-demonstrations, 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 choreographic 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 Photo by Michel Alhadeff Education and Outreach Programs for Families and Schools 37 Left, participants at NYCB’s Wellness Weekend work on breathing exercises at a stretching and injury prevention seminar 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 presentation. 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 professionals, is based on NYCB’s Wellness Program for its own Company members and includes workshops, movement classes, lecture-demonstrations, 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 addition 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 Communications, Barbara and David Zalaznick, and other generous contributors to the Mentors Circle and Education Fund. Photo by Nicholas Magallanes Photo by Deanna McBrearty 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! An archival image of Tanaquil Le Clercq before a performance in Brussels in October 1956 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. 39 NYCB Archive Notable Donations 2005–2006 Donor: Edward Bigelow 1 7-inch audio reel of Gordon Boelzner playing Goldberg Variations; 1 box of photos, slides, negatives, 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 booklet on Karinska; correspondence on Karinska by Bigelow; 8 Ballet Society Bulletins (#1–4 and 6–9); et al. Left to right, NYCB volunteers staªng an information table and the Gift Shop Donor: Marianna Beck (Marianne Collins, Ms. Beck’s mother, wrote for NYCB’s newsletter) 40 Donor: Nancy Lassalle, via the School of American 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 of American Ballet storage 1 original Isamu Noguchi Orpheus Lyre Photo by Jerry L. Thompson 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. Volunteers The lyre, designed by Isamu Noguchi, from George Balanchine’s Orpheus 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 replenishment for the Dancers Emergency Fund. 41 Financials Yvonne Borree and Nikolaj Hübbe in George Balanchine’s Duo Concertant statements of financial position at June 30, 2006 and 2005 (in thousands) 2006 2005 Assets 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. The Campaign for New York City Ballet 42 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 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. Cash and cash equivalents Investments Pledges receivable Accounts receivable Inventory Deferred production costs Due from CCMD Leasehold in Rose Building and other property and equipment, less accumulated depreciation of s6,707 in 2006 and s6,110 in 2005 Total assets s 16,164 145,108 10,636 519 204 1,197 s 5,958 147,237 9,607 478 183 1,431 799 589 6,916 7,428 ß ¡•¡≤∞¢£ ß ¡¶™≤ª¡¡ Liabilities and net assets Liabilities: Accounts payable and accrued expenses Advance ticket sales and other deferred revenue Payroll-related liabilities due to CCMD Payroll-related and other liabilities Total liabilities Net assets Unrestricted: Undesignated Investment in Rose Building Board-designated (see note 7) Temporarily restricted: Future productions Time and other restrictions Dancers’ emergency Permanently restricted: Wallace endowment Unrestricted endowments Restricted endowments (see note 7) Total net assets Total liabilities and net assets The accompanying footnotes are an integral part of these financial statements s 4,506 282 689 2,432 ¶≤ªºª s 5,775 15 657 2,314 •≤¶§¡ 43 (123) 4,987 60,137 1,823 5,338 53,423 ^%< ))! ^)< %*$ 351 5,070 510 760 3,809 533 %<(#! %<!)@ 57,750 20,572 24,380 57,750 21,145 19,569 !)@<&)@ (*<$^$ ¡¶£≤§£¢ ¡§¢≤¡∞º ß ¡•¡≤∞¢£ ß ¡¶™≤ª¡¡ statements of activities statements of activities for the year ended June 30 (in thousands) for the year ended June 30 (continued) (in thousands) 2006 2005 Changes in unrestricted net assets Operating revenues: Performance ticket sales and tour fees Investment income not to exceed spending policy Other revenues Total operating revenues Operating expenses: Program services: Ballet production costs Facility expenses Production management expenses Supporting services: Administration Public support expense Facility development costs Total operating expenses Loss from operations before public support 2006 Changes in temporarily restricted net assets s 23,619 7,678 1,071 £™≤£§• s 25,522 6,949 887 ££≤£∞• 35,645 4,275 3,762 36,666 4,201 3,466 $#<^*@ $$<### 5,418 4,940 4,009 4,845 !)<#%* – *<*%$ !< &%$ ∞¢≤º¢º ∞¢≤ª¢¡ (™¡≤§¶™) (™¡≤∞•£) Investment revenue Public support: City support Other government Guild memberships Foundations Corporations Individuals Estates and trusts Utilization of temporarily restricted net assets Change in value of split-interest arrangements Increase (decrease) in temporarily restricted net assets 44 Public support: Foundations Corporations Individuals Change in total net assets 1,184 333 4,196 2,686 2,860 1,907 5,261 917 2,758 358 4,404 2,667 2,766 1,711 4,429 411 Total public support ¡ª≤£¢¢ ¡ª≤∞º¢ Operating deficit ( 2,328) ( 2,079) 830 5,915 (1,274) Pension plan adjustment (see Note 4) Investment income over spending policy Increase in unrestricted net assets ß ¢≤¢¡¶ s 316 3 116 – 3,228 931 901 1 (4,683) 16 •™ª) s 4 – 306 11 3,107 1,143 470 – (5,465) 54 (£¶º) Changes in permanently restricted net assets Increase in permanently restricted net assets Public support including utilization of temporarily restricted net assets: Appropriation from the City of New York Other governmental agencies Special events Guild memberships and activities Foundations Corporations Individuals Estates and trusts 2005 Net assets: Beginning of year End of year 6,669 ß £≤£¡§ (continued) The accompanying footnotes are an integral part of these financial statements 446 3 3,789 233 15 1,299 ¢≤™£• ¡≤∞¢¶ 9,484 4,4931 164,150 159,657 ß ¡¶£≤§£¢ ß ¡§¢≤¡∞º 45 statements of cash flows for the year ended June 30 (in thousands) 2006 2005 Cash flows from operating activities Change in net assets: Unrestricted Temporarily restricted Permanently restricted Adjustments to reconcile change in net assets to net cash used in operating activities: Depreciation Facility development costs Contributions restricted for long-term activities Net gains on investments (Increases) decreases in assets: Pledges receivable Accounts receivable Inventory Deferred production costs Due from CCMD Increases (decreases) in liabilities: Accounts payable and accrued expenses Advance ticket sales and other deferred revenue Payroll-related liabilities due to CCMD Payroll-related and other liabilities 46 Net cash used in operating activities s 4,417 829 4,238 s 3,316 (370) 1,547 9,484 4,493 597 584 1,754 (41) (12,503) – (2,260) (12,443) (1,029) (41) (21) 234 (210) (1,269) 267 32 118 (6,541) (1,564) (82) (5) (480) 270 1,181 (143) (17) (35) (6,588) Cash flows from investing activities Proceeds from sales of investments Purchases of investments Purchases of property and equipment Net cash provided by investing activities 80,423 (65,851) (85) 14,487 52,587 (46,758) (335) 5,494 Cash flows from financing activities Endowment contributions Net cash provided by financing activities Net increase (decrease) in cash and cash equivalents 2,260 2,260 10,206 41 41 (1,053) Cash and cash equivalents Beginning of year End of year The accompanying footnotes are an integral part of these financial statements 5,958 s 16,164 7,011 s 5,958 1. Summary of Financial Statement Presentation and Significant Accounting Policies The New York City Ballet, Inc. (“City Ballet”) is a notfor-profit organization and a constituent of City Center of Music and Drama, Inc. (“CCMD”). City Ballet operates as an entity independent of CCMD that provides certain services as described further below. CCMD is the sole member of City Ballet. City Ballet is a tax-exempt organization and, accordingly, 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 to contributors as provided by law. The following is a summary of significant accounting policies consistently followed by City Ballet in the preparation of its financial statements. Financial statement presentation The accounts of City Ballet are maintained in accordance with the principles of fund accounting. This procedure classifies resources for accounting purposes into funds established to reflect the activities and objectives specified by donors and/or City Ballet’s Board of Directors. The financial statements are presented in accordance with accounting principles generally accepted in the United States of America, which require that a not-for-profit organization’s statement of financial position report the amounts for each of three classes of net assets— permanently restricted, temporarily restricted, and unrestricted—based upon the existence or absence of donor-imposed restrictions. The preparation of financial statements in conformity with generally accepted accounting principles requires management to make assumptions and estimates that affect the amounts reported. Reclassifications Certain prior-year balances have been reclassified for comparative purposes. Cash and cash equivalents Cash and cash equivalents consist of highly liquid investments with an original maturity of three months or less. Property and equipment City Ballet does not own any land or buildings. Purchases of furniture and equipment that are not material are charged to current operations. Significant additions are capitalized and are depreciated using the straight-line method over the estimated useful lives of the assets. In fiscal-year 2005, City Ballet recognized expenses of $1,754,000 for the facility development costs associated with the Lincoln Center redevelopment project. An appropriation received from the City of New York for $1,605,000 in support of this project was utilized in fiscal-year 2005. Investments The investments in the accompanying financial statements consist of marketable debt and equity securities, several money-market accounts, and certain “alternative,” limited-partnership investments. The debt, equity and money-market investments are reported at their fair values, which are based on quoted market prices. The alternative investments 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 respective investment managers. Management reviews the calendar year-end audited values provided by the investment managers and believes the reported amounts of these investments at the Ballet’s fiscal year-end to be reasonable estimates of fair value. Board-designated funds Board-designated funds have been established by City Ballet as part of unrestricted net assets for purposes similar to those with donor-imposed restrictions. In June 1991, the Board adopted a policy permitting management to budget and expend a percentage (5.0% for fiscalyears 2006 and 2005) of a moving average of quarterly market values of its investment portfolio. The difference between this calculated amount and actual investment income is shown as “Investment income over spending policy” in the accompanying statements of activities and added to “Boarddesignated net assets.” Endowments, NEA and working capital reserve Endowments, including certain National Endowment for the Arts (“NEA”) Challenge Grant funds, are subject to the donor-imposed restriction requiring that 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 the condition that all withdrawals are fully repaid in cash prior to that fiscal year-end. Investment income from these funds is available for operations. Public support, grants, and contributions City Ballet reports gifts of cash and other assets as restricted support if they are received with donor stipulations that limit the use of the donation. When a donor restriction expires, that is, when a stipulated time restriction ends or a purpose restriction is accomplished, temporarily restricted net assets are reclassified to unrestricted net assets and reported in the statements of activities as part of public support including utilization of temporarily restricted net assets. 47 Choreographic Institute Endowment The New York Choreographic Institute has a restricted endowment that supports its activities. At the close of fiscal-year 2006, $316,000 remained unutilized at year-end and is included in temporarily restricted net assets for the Choreographic Institute. Production costs City Ballet charges costume, scenery, and other production costs for current productions to expense as incurred. Costs relating to future productions are deferred until the year in which the productions are first presented. Allocation of expenses, income and support CCMD provides services to City Ballet in connection with its operation and management of the New York State Theater 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 are allocated among the constituents based upon the number of scheduled performance weeks in the theater during the year. Administrative revenue and expense are allocated equally among the constituents except for contributions and grants restricted for theater improvements and depreciation of donated equipment and facilities. Allocated expenses result in intercompany receivables and payables that are periodically liquidated through cash transfers. 48 Functional allocation of expenses Expenses are classified according to the programs for which they were incurred and are summarized on a functional basis in the accompanying statements of activities. Accordingly, certain costs have been allocated among the programs and supporting services in reasonable ratios determined by management. 2. Investments At each fiscal year-end, the following is a summary of the quoted market value of investments and cash equivalents (in thousands): Equities Corporate bonds Government bonds Diversified hedge funds Cash equivalents 2006 2005 s 79,632 s 105,272 16,831 13,914 34,731 16,799 ß ¡§¡≤ªº¶ 3,183 12,705 26,077 5,829 ß ¡∞£≤º§§ Total income from investments amounted to $13,909,000 and $13,622,000 in fiscal-years 2006 and 2005, respectively. Year-to-year variation is due to market fluctuations and the performance of the portfolio managers. 3. Pledges Receivable Pledges have been recorded at their present value net of applicable discounts of $564,000 and $413,000 in fiscal-years 2006 and 2005, respectively. No provision for uncollectible pledges has been made. Pledges specifically for City Ballet’s endowment, net of applicable discounts, totaled $5,674,000 and $3,667,000 in fiscal-years 2006 and 2005, respectively. Pledges are expected to be collected as follows (in thousands): Less than one year One to five years 2006 2005 s 7,158 s 6,865 3,478 2,742 4. Pension Plans City Ballet participates in a noncontributory, definedbenefit pension plan (the “Plan”) for nonunion, salaried employees of CCMD and its constituents. Pension benefits are based on years of service and final average compensation, as defined in the Plan. Plan benefit obligations and assets are combined for all participants of the Plan. The policy is to fund annually the required contribution necessary to comply with the Employee Retirement Income Security 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 the recording of a minimum pension liability adjustment required to balance the accrued pension benefit liability to the amount of the unfunded accumulated benefit obligation. These adjustments result primarily from 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 accordance with market standards. City Ballet’s allocated net periodic pension cost for fiscal-years 2006 and 2005 was $758,000 and $474,000, respectively. Partially as a result of these factors, City Ballet’s allocated accrued pension benefit liability at June 30, 2006 and 2005 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 the Plan. Separate information regarding the components of pension cost, the fair value of plan assets, and accumulated and projected benefit obligations is not available for City Ballet. Such information, along with the key actuarial assumptions, is contained in the financial statements of CCMD. City Ballet also contributes to union pension plans directly and through CCMD, based upon a percentage of those employees’ salaries. Pension costs associated with plans paid directly by City Ballet amounted to approximately $2,092,000 and $2,088,000 in fiscalyears 2006 and 2005, respectively. Net postretirement cost for fiscal-years 2006 and 2005, and the accumulated obligation at each fiscal year-end for City Ballet employees (included in payroll-related and other liabilities) and for City Ballet’s share of CCMD ’s employees (included in payroll-related liabilities due to CCMD), are summarized as follows (in thousands): 5. Commitments Samuel B. and David Rose Building (“Rose Building”): During fiscal-year 1985, City Ballet entered into an agreement whereby it contributed, based on space usage, a pro rata share of the costs of the Rose Building. Under the agreement, City Ballet received a 99-year lease for its space. Construction costs were capitalized and are being amortized over the anticipated useful life of the building. Depreciation began in fiscalyear 1992 when the space was put into service, and amounted to $352,000 for fiscal-years 2006 and 2005. Also under the terms of the lease, in addition to its own operating costs, City Ballet is committed to pay its share of common area costs. Warehouse and telemarketing office: During fiscalyears 2006 and 2005, City Ballet leased space for two warehouses and a telemarketing office. Rent expense including these spaces for fiscal-years 2006 and 2005 was $206,000 and $206,000, respectively. Future minimum lease payments under these leases at June 30, 2006 are $107,000 for fiscal-year 2007, $103,000 for fiscal-year 2008 and $166,000 for the fiscal-years 2009 through 2010. 6. Postretirement and Postemployment Benefits Other than Pensions In 1978, CCMD adopted the policy of providing the option to certain employees with 20 years of service and who were 65 years of age upon their retirement from the Ballet or CCMD to continue in the group medical and life insurance plan, at no cost to the employee. The CCMD Board of Governors ended this policy in April 1995 for employees who had not vested in this benefit. In fiscal-year 1997 the CCMD Board of Governors reinstituted this benefit for all active employees who had, at that date, already achieved the requisite 20 years of service. In addition, City Ballet contracts with various unions include provisions for severance payments to members after they reach a predetermined length of service. City Ballet funds both of these obligations using the pay-as-you go method. 2006 Net periodic postretirement benefit cost: Service Interest Amortization of prior years’ service cost Amortization of accumulated loss Actual payments Net change Accumulated obligation: Beginning of year End of year s 6 48 2005 s 6 48 6 6 20 20 *) (55) @% *) (41) #( 616 577 ß §¢¡ ß §¡§ The accumulated postretirement benefit obligation was actuarially determined as of June 30, 2005 using an assumed discount rate of 6.75%. The assumed rate of future increases in health care ranged from 6% to 10% in the first year and is expected to decline to 4% by the year 2018. Had the health-care cost-trend rate assumption been increased by 1%, the accumulated postretirement benefit obligation as of June 30, 2006 would have increased by 11.5%. The effect of this change on the sum of the service and interest cost components of net periodic postretirement benefit cost would have been an increase of 10.8%. 7. Net Asset Designations and Restrictions City Ballet’s Board of Trustees has designated some of its unrestricted net assets for certain purposes as follows (in thousands): Cash/investment reserves Functioning as endowment Touring Repertory 2006 2005 s 11,216 s 10,417 ß §º≤¡£¶ ß ∞£≤¢™£ 44,079 1,606 3,236 38,164 1,606 3,236 49 City Ballet’s donors have restricted the income from some of their endowment contributions for certain purposes as follows (in thousands): Touring Martins repertory fund Levin dancer Education Scenic design maintenance Robbins repertory fund Choreographic institute Nureyev repertory Dance on Balanchine repertory Musical leadership Kirstein apprentice and loan funds 2006 2005 s 2,975 s 2,975 3,000 1,000 905 250 67 10,761 446 451 2,310 2,000 independent auditors’ report Eisner LLP Accountants and Advisors 3,000 1,000 905 250 42 8,897 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. 2,285 – 215 215 ß ™¢≤£•º ß ¡ª≤∞§ª 8. Schedule of Functional Expenses Salaries Benefits 50 Salaries and related benefits Occupancy Depreciation Printing Transportation Scenery, music, and costumes Professional fees Data processing, telephone, and office expenses Miscellaneous expenses Facility development CCMD shared services allocation Ballet Production Costs Facility Expenses Production Mgmt. Expenses Total Program Services Admin. Public Support Expenses 2006 Total 2005 Total s 21,043 s 77 s2,936 s24,056 s1,637 s1,713 s27,406 s27,507 27,771 100 3,678 31,549 2,131 2,218 35,898 35,821 53 142 3,052 1,332 1,886 633 353 – – – – – 686 495 3,052 1,332 1,886 10 66 640 49 6 35 203 103 – – 702 596 3,895 1,484 1,886 631 584 3,366 1,932 1,986 1,026 223 – – 50 – 1,076 223 804 114 2,246 129 4,126 466 3,807 249 160 8 34 202 267 – – – 3,181 – – 3,181 1,337 – – – 469 – – 4,518 427 1,754 4,384 ß £∞≤§¢∞ ß ¢≤™¶∞ ß £≤¶§™ ß ¢£≤§•™ ß ∞≤¢¡• ß ¢≤ª¢º ß ∞¢≤º¢º ß ∞¢≤ª¢¡ 6,728 23 – – – 742 7,493 494 505 8,492 – 8,314 We conducted our audits in accordance with auditing standards generally 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 misstatement. An audit includes examining, on a test basis, evidence supporting 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 51 Staff general manager chief financial officer director of external affairs Kenneth Tabachnick Brooks Parsons Christopher Ramsey Administration 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. Education External A=airs Director: Joan Quatrano Assistant Director: Marissa Dockery Personal Assistant to Mr. Martins: Deborah Koolish Company Manager: Debra Bernard Executive Assistant to Mr. Tabachnick: Mercedes Pina Management Associate: Erica Ezold Administrative Assistant: Carey Gibbons Finance Finance Coordinator: Jessica Hrabosky Adler Director of Patron Information Systems: Stephen Williams Director of Donor Records: Elizabeth V. Ferris Database Editor: Resan Ocot Production 64 Production Stage Manager: Perry Silvey Lighting Director: Mark Stanley Stage Manager: Marquerite Mehler Associate Lighting Director: Penny Jacobus Assistant Stage Managers: Mika Melamed, Loreen Domijan Technical Assistant: Robert S. Leach Lighting Assistant: Keri Thibodeau Music Coordinator: Richard Moredock Rehearsal Pianists: Boris Poliakine, Mack Schlefer Music and Video Archivist: Serapio Walton Régisseur: Thomas A. Lemanski Piano Technician: Fred Hitchcock Costume/Wardrobe Director: Holly Hynes Costume Shop Manager: Dara Faust Supervisor/Wardrobe Mistress: Dorothy B. Cummings Supervisor of Men’s Wardrobe: Ronald Kelley Assistant Wardrobe Mistress: Jacqueline (Norma) Attride Assistant Wardrobe Master: John Radwick Men’s Wardrobe Consultant: Leslie Copeland Make-Up, Hair, and Visual Consultant: Michael Avedon Ballet 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. Executive Assistant to Mr. Ramsey: Rose Ferraro Manager, External A¤airs: Deanna McBrearty Campaign Manager: Maria Grady Marketing and Communications Managing Director: Robert Daniels Director of Marketing: Kelly Anne Johnstone Ticket Services Manager: John T. Schuler Publications Manager: Anita M. King Marketing Manager: Lindsay Walters Marketing/Ticket Services Assistant: Corinne Sheinhorn Ticket Services Assistant: Sue Kisenwether Associate Director, Communications: Siobhan Burns Press Coordinator: Joe Guttridge Administrative Assistant: Amir Yogev Development Managing Director: Katherine C. Foster Associate Director, Foundation and Government Support: Brynn K. Myers Manager, Corporate Relations: Juliane Tomaselli Associate Director, Major Gifts: Anni Luneau Manager, Major Gifts: Julia Rosenfeld Development Associate, Major Gifts: Frances Brooks Deputy Director, Guild: Linda Pedro Associate Director, Guild: Faith Shaw Petrides Guild Coordinator: Andrea Rush Guild Assistant: Alta Withers Manager, Patron Relations: John McPeak Special Events Director: Kara E. Minogue Special Events Associate: Christine van Kipnis Special Events Coordinator: Candace Kee Special Events Assistant: Amanda I. Reed Online Media Director: John-Mario Sevilla Manager of School Programs: Natasha Jones Manager of Outreach Programs: Catherine Romano Education Assistant: Lyndsey Barratt Volunteer and Program Resources Gift and Book Shop Manager: Julio M. Cruz Subscription Administrator: Nadia Stone Assistant Manager, Technical A¤airs: Rosemarie Sciarrone Assistant Manager, Financial A¤airs: Richard Talcott Assistant: Shirley Koehler George Balanchine Trust Director: Ellen Sorrin Managing Trustee: Barbara Horgan Coordinator: Alexandra Felicetti School of American Ballet Official School of New York City Ballet Executive Director: Marjorie Van Dercook Artistic Director and Chairman of the Faculty: Peter Martins Co-Chairman of Faculty: Kay Mazzo Director of Development: Carrie Wenger Hinrichs New York Choreographic Institute An Aªliate of New York City Ballet Founder and Artistic Director: Peter Martins Associate Artistic Director: Richard Tanner Managing 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 Farrar Telecommunications Administrator: Pedro Santiago Director: Carol Landers Assistant Editor: Richard Dryden As of June 30, 2006 Cover: Janie Taylor photographed by Heimo Schmidt All photography © Paul Kolnik unless otherwise indicated. Design: Susan Evans, Design per se, New York The photographs in this book depict choreography copyrighted by the choreographer. Receipt of this book does not convey the right to reproduce the choreography, sets, or costumes depicted herein. Inquiries regarding the choreography of George Balanchine shall be made to: The George Balanchine Trust 20 Lincoln Center New York, NY 10023 © New York City Ballet, Inc. New York City Ballet— 20 Lincoln Center, New York, NY 10023 www.nycballet.com
