2016/17 season - New York City Ballet

20 1 6 / 1 7
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PHOTOGR APHER PE TER LINDBERGH ST YLIST JULIA VON BOEHM HAIR ODILE GILBERT
MAKEUP STEPHANE MAR AIS SET DESIGNER COLIN DONAHUE
PRODUC TION by ro., Pier59 Korea E X ECU TI V E PRODUCER Ros Okusanya at ro. PRODUCER S Steven Hong at Pier59
Korea, Ricardo Martins at North Six SPECI A L TH A NK S Sandrine Bizzaro & Rene Bosne at 2B Management
L A U R E N K I N G / THE ELDER STATESMAN sweater, CALVIN KLEIN top
U N I T Y P H E L A N / MICHAEL KORS bodysuit M I M I S TA K E R / AMERICAN
APPAREL top M E G A N L E C R O N E / A L E X A M A X W E L L / VINCE top
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M I M I S TA K E R / AMERICAN APPAREL top
There Is Only Now
—
G E O R G E
B A L A N C H I N E
The ballet – as our founder George Balanchine liked to say –
only exists “right now.” While this powerful metaphor of art
as a continuously unfolding present reminds us that dance is
staged by living people before a live audience, it is also about
the vibrant immediacy of dance and the joy that it affords.
To be swept up in the emotionally charged combination of
motion giving shape to live music. And to allow ourselves to
be wholly transported from our daily lives and the unrelenting buzz of constant distraction.
Whatever a dance was yesterday or will become tomorrow,
the opportunity to experience what it is right now is fleeting.
This makes it all the more imperative we seize the moment.
Whether we come to see how the Company’s remarkable talent of today interprets our classics. Or when we go to the
premiere of the innovative new works only now being created.
As we contemplate the 112 performances ahead of us this season, we very much hope that you will join us. That you will seize
the moment. Because “there is only now.”
O N S TA G E P E R F O R M A N C E P H O T O G R A P H Y © PA U L KO L N I K
Fall Gala image © Sam Wootton. The artwork and photographs in this brochure
depict choreography copyrighted by the individual choreographers. Choreography
by George Balanchine © The George Balanchine Trust. George Balanchine is a
trademark of The George Balanchine Trust. “New York City Ballet” and the block
letter logo are registered trademarks of New York City Ballet, Inc.
GLOBAL SPONSOR
E XPLORE THE SE A SON
nycballet.com/explore1617
FOUNDERS
PRINCIPALS
SOLOISTS
CORPS DE BALLET
George Balanchine
Lincoln Kirstein
Jared Angle
Tyler Angle
Ashley Bouder
Adrian Danchig-Waring
Joaquin De Luz
Megan Fairchild
Robert Fairchild
Chase Finlay
Gonzalo Garcia
Anthony Huxley
Sterling Hyltin
Maria Kowroski
Rebecca Krohn
Ask la Cour
Lauren Lovette
Sara Mearns
Tiler Peck
Amar Ramasar
Teresa Reichlen
Ana Sophia Scheller
Abi Stafford
Daniel Ulbricht
Andrew Veyette
Antonio Carmena
Zachary Catazaro
Craig Hall
Ashly Isaacs
Russell Janzen
Lauren King
Ashley Laracey
Megan LeCrone
Savannah Lowery
Georgina Pazcoguin
Justin Peck
Erica Pereira
Brittany Pollack
Taylor Stanley
Sean Suozzi
Sara Adams
Devin Alberda
Marika Anderson
Daniel Applebaum
Faye Arthurs
Harrison Ball
Olivia Boisson
Jacqueline Bologna
Likolani Brown
Preston Chamblee
Stephanie Chrosniak
Harrison Coll
Cameron Dieck
Alina Dronova
Meaghan Dutton-O’Hara
Silas Farley
Clara Frances
Emilie Gerrity
Joseph Gordon†
Laine Habony
Ashley Hod
Spartak Hoxha
Ralph Ippolito
Dana Jacobson
Megan Johnson
Bailey Jones
Ghaleb Kayali
Emily Kikta
FOUNDING
CHOREOGRAPHERS
George Balanchine
Jerome Robbins
23
PRIN C IPA L S
55
CO RP S
DE
/
1 5
SO LO IST S
B A L L ET
BALLET MASTER
IN CHIEF
Peter Martins
MUSIC DIRECTOR
Andrew Litton
Claire Kretzschmar
Isabella LaFreniere
Olivia MacKinnon
Meagan Mann
Jenelle Manzi
Alexa Maxwell
Miriam Miller
Gwyneth Muller
Lars Nelson
Unity Phelan
David Prottas
Aaron Sanz
Troy Schumacher
Andrew Scordato
Kristen Segin
Mary Elizabeth Sell
Gretchen Smith
Mimi Staker
Joshua Thew
Lara Tong
Giovanni Villalobos
Sebastian Villarini-Velez
Sarah Villwock
Claire Von Enck
Peter Walker
Lydia Wellington
Indiana Woodward
†Janice Levin Dancer Honoree
As of March 2016
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You do not photograph the person —
you photograph the moment.
—
I N T E R V I E W
B Y
G U Y
L E S S E R
P E T E R
It is now after midnight in Paris. Peter Lindbergh the photographer and I have been talking for much of the day. He is home. I
am in New York. We’ve discussed his early interest in becoming
a conceptual artist (and making “big” paintings before that).
Silent German cinema and Berlin cabaret have been topics of
conversation too. We see one another on Skype. Behind him is a
school clock, a window, and more art books than can be imagined.
For my part, I have been trying to ascertain what influence dance
has exerted on his work. The poise of arms and hands. The way
a back is arched or a leg is extended. Poses where every muscle
seems tensed ready for a leap. I ask about Naomi Campbell’s
complaint that Lindbergh made her wear ballet toe shoes and stand
en pointe for their first fashion shoot at the start of her career.
And I even suggest – after seeing film footage of Lindbergh showing fashion models what he’d like them to do in a series of steps,
waving his arms, shifting his hips and tossing back his head –
that he goes about his work in exactly the way that a ballet choreographer constructs a dance. He laughs. After a long pause,
he explains that’s not it. What’s important is for him to feel for
himself exactly what and how his subject feels.
For the better part of 40 years Lindbergh has been regarded as
one of photography’s masters. An artist of shadow and available
light, his fashion stories and portraits of actors and musicians
have regularly appeared in all the world’s top magazines, been
published as books, shown at art galleries—and increasingly,
become the subject of retrospectives at major art museums.
His approach, he explains (notwithstanding his patrons’ earnest
commercial motives), has never been about the clothes, the
location, or even “the architecture” of a face, but very much
focused on “the relationship” that is created between the photographer and his subject on one particular occasion: “You do
not photograph the person—you photograph the moment.” Often
praised as poetic or “dance like,” his images are black & white
(with rare exceptions), wholly uncropped, and – at least when
he’s gotten his way – unretouched. Moreover, the relationship
depicted by Lindbergh is invariably one of equals enjoying a
wholly unqualified and unconditional sense of mutual trust.
Lindbergh is modest about the occasions he has photographed
the ballet – including his assignment for the NYCB – contending
he “prefers imperfection to perfection,” adding that while he loves
dance, there are so many ballet photographers who can see the
moment when a dancer is technically impeccable. “I don’t care
L I N D B E R G H
if the foot is like this or like this,” Lindbergh tells me, gesturing
with his hand, “I’m okay with more twisted or less twisted.” What
Lindbergh seeks and has always responded to is the “energy” of
dance. Its capacity for the poetic.
There is too, it becomes clear in our conversation, Lindbergh’s
remarkable capacity to empathize with dancers about matters
both practical and philosophical, like their singular dedication
to the ideal that the show must go on. However, it clearly pains
him that so much preparation and diligent work goes into a live
performance that vanishes. “God, it must be so frustrating,” he
recalls saying to one dancer, “you do all this work, no?
And then…it just passes.”
At his October shoot for the Company, as his portfolio radiantly
attests, he was particularly inspired by both the inventive improvisational energy of the company and the remarkably beautiful light
in the stable house in which he took portraits. As for working out
of doors – at the mercy of weather and inexorable fading of the
afternoon autumn light – he explains, “you need to leave a space
for things to happen.” And also to “preserve the possibility you
will discover something very different from what you thought.”
At a deeper level, though, there is Lindbergh’s thirty-year friendship with Pina Bausch—among Lindbergh’s closest friends until
her death in 2009. Describing Bausch’s work as a dancer herself
in Cafe Müller (in one of the only roles she continued to perform,
rather than pass on), I watch Lindbergh’s face light up as he describes how she “hardly did anything.” But that “not one movement
was empty.” That “every gesture” had come from something in
her experience, and how masterful she was at imagining something of consequence she wanted to say, and doing so with her body.
“One hand would come up,” Lindbergh tells me, very slowly
moving his own arm a few inches “and you’d die.”
It is now past one a.m. Lindbergh has been working for Italian
Vogue on location in Egypt, Tunisia, and India during the previous
few days. At the weekend he’ll head to Los Angeles. I think of something he said to an interviewer half a dozen years ago about his
shooting schedules always being so tight you couldn’t move the
dates, and how it made you learn to be “quick and flexible” because there is no tomorrow or day after. How for Lindbergh, like
Balanchine, “there is only now.”
Accordingly, it felt like Peter Lindbergh was just the artist to
capture who the New York City Ballet is right now.
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R E B E C C A K R O H N / ALBERTA FERRETTI dress,
THE ELDER STATESMAN sweater
From the red carpet to center stage, we present four world premieres in our fifth
annual fall fashion event. Each dance-maker will join forces with a designer to
create couture costuming sure to have the fashion world abuzz.
NE W PECK 1
World Premiere
N E W WA L K E R
World Premiere
NEW LOVETTE
MONUMENTUM PRO GESUALDO
MONUMENTUM PRO GESUALDO
MOVEMENTS FOR PIANO
AND ORCHESTR A
D U O C O N C E R TA N T
SYMPHON Y IN THREE MOVEMENTS
T S
T S
Highlighting a signature NYCB style, this collection of boundary breaking ballets celebrates the apex of the Stravinsky/Balanchine collaboration, each work a streamlined
marvel of music and movement that continues to astonish decades after its creation.
S T R AV I N S K Y V I O L I N C O N C E R T O
B A L L E
B A L L E
S E P T 2 1, 2 4 m a t , 2 9, O C T 8 e v e
BAL ANCHINE
X
VIENNA
SEP T 2 2, 2 3, 2 4 eve, 25
A mecca of art and culture, Vienna undoubtedly sparked the creativity of these
five composers, whose different styles spurred three equally diverse ballets from
Balanchine: a regal embodiment of Mozart’s sparkling score, a minimalist black and
white stage built from Webern’s architectural orchestrations, and the moonlit forests
and grandiose ballrooms of three waltz kings: Johann Strauss II, Franz Lehár, and
Richard Strauss.
D I V E R T I M E N T O N O. 1 5
(Mozart)
EPISODES
(Webern)
V I E N N A WA LT Z E S
(J. Strauss II, Lehár, R. Strauss)
V I E N N A WA LT Z E S
5
5
BALANCHINE BLACK &
WHITE: ALL STRAVINSKY
T S
T S
NE W LOPEZ OCHOA
World Premiere
B A L L E
B A L L E
SEPT 20 at 7 PM
NE W LOVE T TE
World Premiere
3
4
FALL GAL A
21ST CENTURY
CHOREOGRAPHERS
S E P T 2 7, O C T 1 e v e , 5 , 15 m a t
NE W LOVE T TE
NE W PECK 1
N E W WA L K E R
NE W LOPEZ OCHOA
The innovative lifeblood propelling the Company’s creative force is readily apparent
in this collection of ballets. Four premieres, three from in-house talents and another
from Annabelle Lopez Ochoa in her NYCB debut, are performed alongside Justin Peck’s
epic 2014 tour de force Everywhere We Go.
E VERY WHERE WE GO
E VERY WHERE WE GO
(Stevens/Peck)
Inspired by a visit to Van Cleef & Arpels, this full-length masterwork manifests the
multifaceted opulence of three coveted stones to awe-inducing effect. Sight and
sound conjoin in a brilliant display of music and mood, eliciting audible gasps from
every audience.
RUBIE S
(Stravinsky/Balanchine)
DIAMONDS
(Tschaikovsky/Balanchine)
B A L L E
SEPT 28, 30, OC T 1 mat, 2
4
CL ASSIC NYCB
O C T 7, 8 m a t , 1 2
A program of passion and high-spirits, the transcendent lift of Serenade and the brash
humor of the Wild West bookend a recent premiere to George Gershwin’s beloved, jazzinflected concerto and a world-famous showpiece known for its balance of romantic
lyricism and virtuosic surprise.
EMER ALDS
Evoking the urban heartbeat of our bustling metropolis, the glamour and chivalry
of café society, and the all-American cheer of patriotic marches, this action-packed
program brings together works from three NYCB patriarchs for a rousing performance
of pulse, brio, and pomp.
THOU SWELL
(Rodgers, arr. by Kelly,
orch. by Sebesky/Martins)
S TA R S A N D S T R I P E S
(Kay/Balanchine)
MASTERS AT WORK
O C T 1 1, 1 3 , 1 4 , 15 e v e
George Balanchine and Jerome Robbins’ contrasting styles created a repertory
unmatched the world over, and this duo of masterworks, a landmark piano ballet
distilling the spectrum of human emotions and a lush fairytale awash in Chagall’s
surreal sets and costumes, is the perfect pairing.
T S
T S
GL A SS PIECES
GL A SS PIECE S
(Glass/Robbins)
B A L L E
B A L L E
O C T 4 , 6 , 9, 1 6
AMERIC AN RHAP SODY
(Gershwin/Wheeldon)
T S C H A I K O V S K Y PA S D E D E U X
(Tschaikovsky/Balanchine)
SERENADE
2
3
AMERICAN MUSIC
SERENADE
(Tschaikovsky/Balanchine)
WESTERN SYMPHONY
(Kay/Balanchine)
T S
1 BALLET / 3 ACTS
JEWELS
EMER ALDS
(Fauré/Balanchine)
FIREBIRD
D A N C E S AT A G AT H E R I N G
(Chopin/Robbins)
FIREBIRD
(Stravinsky/Balanchine, Robbins)
T U E
7:30 PM
W E D
7:30 PM
SEPT
20
T H U
7:30 PM
20 1 6
F R I
8 PM
S AT
2 PM MAT
16
17
MAT
17
EVE
18
MAT
24
EVE
25
21
22
23
24
FALL GAL A
New Lovette
World Premiere
New Peck 1
World Premiere
New Walker
World Premiere
New Lopez Ochoa
World Premiere
BALANCHINE B&W:
B A LA N C HI N E x
VI E N N A
Divertimento No. 15
Episodes
Vienna Waltzes
B A LA N C HI N E x
VI E N N A
Divertimento No. 15
Episodes
Vienna Waltzes
BALANCHINE B&W:
27
28
29
30
21 ST CENTU RY
CH OR EOGRAPHERS
New Lovette
New Peck 1
New Walker
New Lopez Ochoa
Everywhere We Go
J EWEL S
BALANCHINE B&W:
JE W E LS
7
OCT
P M
ALL STRAVINSKY
Stravinsky Violin Concerto
Monumentum pro Gesualdo
Movements for Piano
and Orchestra
Duo Concertant
Symphony in Three
Movements
S AT
8 PM EVE
ALL STRAVINSKY
Stravinsky Violin Concerto
Monumentum pro Gesualdo
Movements for Piano
and Orchestra
Duo Concertant
Symphony in Three
Movements
S U N
3 PM
BALAN C HIN E x
VIEN N A
Divertimento No. 15
Episodes
Vienna Waltzes
BALANC HIN E x
VIENN A
Divertimento No. 15
Episodes
Vienna Waltzes
ALL STRAVINSKY
Stravinsky Violin Concerto
Monumentum pro Gesualdo
Movements for Piano
and Orchestra
Duo Concertant
Symphony in Three
Movements
2 0 1 6
1
MAT
JE W E LS
4
5
6
7
8
AMERICAN MU S IC
Glass Pieces
Thou Swell
Stars and Stripes
2 1 ST CEN TU R Y
CH O R EO GR AP H ER S
New Lovette
New Peck 1
New Walker
New Lopez Ochoa
Everywhere We Go
A M E RI CA N M U S I C
Glass Pieces
Thou Swell
Stars and Stripes
C LA SS I C N YC B
Serenade
American Rhapsody
Tschaikovsky
Pas de Deux
Western Symphony
C LA SS IC NYC B
Serenade
American Rhapsody
Tschaikovsky
Pas de Deux
Western Symphony
11
12
13
14
15
MAST ERS AT WORK
Dances at a Gathering
Firebird
CL ASSI C N YCB
Serenade
American Rhapsody
Tschaikovsky
Pas de Deux
Western Symphony
M A S T E RS AT WO RK
Dances at a Gathering
Firebird
M A S T E RS AT WO RK
Dances at a Gathering
Firebird
2 1S T C ENT UR Y
C HO RE OGR APHER S
New Lovette
New Peck 1
New Walker
New Lopez Ochoa
Everywhere We Go
18
19
20
21
MAT
1
EVE
21S T C ENT UR Y
C HOR EOGR APHER S
New Lovette
New Peck 1
New Walker
New Lopez Ochoa
Everywhere We Go
J EWELS
8
9
EVE
BALANCHINE B&W:
ALL STRAVINSKY
Stravinsky Violin Concerto
Monumentum pro Gesualdo
Movements for Piano
and Orchestra
Duo Concertant
Symphony in Three
Movements
MAT
2
15
EVE
MAS T ER S AT WOR K
Dances at a Gathering
Firebird
AMER ICAN MUS IC
Glass Pieces
Thou Swell
Stars and Stripes
16
AMER ICAN MUS IC
Glass Pieces
Thou Swell
Stars and Stripes
nycb al le t.co m o r 2 1 2 - 4 9 6 - 0 6 0 0
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JA N—F E B
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FIREBIRD
(Stravinsky/Balanchine, Robbins)
Note: the JAN 21 performances are part of Saturday at
the Ballet with George
L A SONNAMBUL A
From classical to contemporary, three spectacular ballets showcase Balanchine’s musical
mastery, including his one-act revision of Swan Lake. With its corps of sleek black swans
and icy landscape, he infuses this timeless story with new passion and heartbreak.
FIVE
J A N 2 2 , 2 4 , 2 7, F E B 3
Igor Stravinsky’s colorful compositions and dynamic rhythms set the senses ablaze,
igniting myriad emotions and inspiring generations of choreographers, including
this quintet of NYCB’s most essential creators whose choreography ranges from
animalistic instincts to cheerful camaraderie.
SCÈNES DE
BALLET
(Wheeldon)
THE C AGE
(Robbins)
NE W PECK 2
NYC Premiere
S T R AV I N S K Y
VIOLIN CONCERTO
(Balanchine)
EIGHT E A SY
PIECE S
(Martins)
S WA N L A K E
(Tschaikovsky)
THE FOUR TEMPER AMENTS
(Hindemith)
NEW COMBINATIONS
NE W LIDBERG
World Premiere
J A N 2 6 , 2 8 e v e , F E B 1, 2 , 4 e v e
NE W PECK 3
World Premiere
As “the world’s most creatively prodigious ballet troupe” (The New York Times),
each winter we honor our mission in a program featuring a new work. This season
we double down with two premieres alongside a vibrant Peter Martins ballet.
T S
T S
S WA N L A K E
ALLEGRO BRILL ANTE
(Tschaikovsky)
B A L L E
B A L L E
J A N 1 8 , 1 9, 2 5 , 3 1, F E B 4 m a t , 5
x
THE CAGE
3
3
ALL BAL ANCHINE
STRAVINSKY
T S
T S
An ethereal sleepwalker leaving tragedy in her wake. A seductive siren interrupting
the path toward redemption. A creature of flickering flame heralding the demise of an
evil sorcerer. Three of Balanchine’s greatest narrative works coincide to demonstrate
his masterful storytelling.
PRODIGAL SON
(Prokofiev)
B A L L E
B A L L E
J A N 1 7, 2 0 , 2 1 m a t & e v e , 2 8 m a t , 2 9
L A SONNAMBUL A
(Rieti, themes by Bellini)
5
3
BAL ANCHINE
SHORT STORIES
FEARFUL SYMMETRIES
FE ARFUL SYMME TRIE S
(Adams/Martins)
*FEB 12 matinee begins at 1 PM; specially added Sunday
evening performance begins at 7 PM
T S
Awaken to true love’s potential in one of NYCB’s grandest productions. This
enchanting full-length unveils the story of a charming prince on his quest to
unbind a cursed princess, with aid from a cast of miraculous fairies and
fanciful storybook characters.
B A L L E
F E B 8 , 9, 1 0 , 1 1 m a t & e v e , 1 2 * m a t & e v e ,
1 4 , 15 , 1 6 , 1 7, 1 8 m a t & e v e , 1 9
3
1 BALLET / 2 ACTS
THE SLEEPING BEAUT Y
THE SLEEPING BE AUT Y
(Tschaikovsky/Martins after Petipa,
Balanchine)
THE SLEEPING BE AUT Y
RODGERS:
BROADWAY TO BALLET
FEB 22, 24, 26
Richard Rodgers transformed the Great White Way and established musical theater
as we know it, and on the eve of his 115th birthday we honor his pioneering genius with
three Broadway-inspired ballets featuring his heart-lifting and poignant melodies.
CAROUSEL (A DANCE)
(Wheeldon)
THOU SWELL
(Rodgers, arr. Kelly,
orch. by Sebesky/Martins)
S L A U G H T E R O N T E N T H AV E N U E
(Balanchine)
S L A U G H T E R O N T E N T H AV E N U E
3
B A L L E
ALL ROBBINS
GL A SS PIECE S
(Glass)
F E B 2 1, 2 3 , 2 5 m a t & e v e
MOVES
He captured the hearts of theatergoers onstage and screen worldwide, but Jerome
Robbins first charmed audiences at the ballet. This medley opens with propulsive
energy and ends with the laugh out loud antics of a true comedic ballet.
THE CONCERT
(Chopin)
T S
THE C ONCERT
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T U E
7:30 PM
JA N
W E D
7:30 PM
T H U
7:30 PM
F R I
8 PM
S AT
2 PM MAT
S AT
8 PM EVE
S U N
3 PM
2 0 1 7
17
18
19
20
21
BA LA NC HINE
SH OR T S TORIES
La Sonnambula
Prodigal Son
Firebird
AL L BAL AN CH I N E
Allegro Brillante
Swan Lake
The Four Temperaments
A LL B A LA N C HI N E
Allegro Brillante
Swan Lake
The Four Temperaments
B A LA N C HI N E
S HO RT S TO RI E S
La Sonnambula
Prodigal Son
Firebird
B A LA N C HIN E
S HO RT S TOR IES
La Sonnambula
Prodigal Son
Firebird
24
25
26
27
28
ST RAV INS K Y x FIVE
Scènes de Ballet
The Cage
Eight Easy Pieces
New Peck 2
Stravinsky Violin
Concerto
AL L BAL AN CH I N E
Allegro Brillante
Swan Lake
The Four Temperaments
N E W CO M B I N AT I O N S
New Lidberg
World Premiere
New Peck 3
World Premiere
Fearful Symmetries
S T RAVI N S K Y x FI VE
Scènes de Ballet
The Cage
Eight Easy Pieces
New Peck 2
Stravinsky Violin
Concerto
B A LA NC HIN E
S HO RT S TOR IES
La Sonnambula
Prodigal Son
Firebird
1
2
3
4
N EW CO M BI N ATI O N S
New Lidberg
New Peck 3
Fearful Symmetries
N E W CO M B I N AT I O N S
New Lidberg
New Peck 3
Fearful Symmetries
S T RAVI N S K Y x FI VE
Scènes de Ballet
The Cage
Eight Easy Pieces
New Peck 2
Stravinsky Violin
Concerto
A LL B A LANC HIN E
Allegro Brillante
Swan Lake
The Four Temperaments
N EW COMBIN AT IONS
New Lidberg
New Peck 3
Fearful Symmetries
ALL BALANC HIN E
Allegro Brillante
Swan Lake
The Four Temperaments
8
9
10
11
11
12
TH E SL EEP I N G
BEAU TY
T HE S LE E P I N G
BEAUTY
T HE S LE E P I N G
BEAUTY
T HE S L EEPIN G
BEAUTY
14
15
16
17
18
T H E SLEEPING
BE A UTY
TH E SL EEP I N G
BEAU TY
T HE S LE E P I N G
BEAUTY
T HE S LE E P I N G
BEAUTY
T HE S L EEPIN G
BEAUTY
21
22
23
24
25
ALL R OBBINS
Glass Pieces
Moves
The Concert
R O D GER S:
BR OADWAY TO
BAL L ET
Carousel (A Dance)
Thou Swell
Slaughter on
Tenth Avenue
A LL RO B B I N S
Glass Pieces
Moves
The Concert
RO D G E RS :
B ROA DWAY TO
B A LLE T
Carousel (A Dance)
Thou Swell
Slaughter on
Tenth Avenue
A LL RO BBINS
Glass Pieces
Moves
The Concert
MAT
21
EVE
BALAN C HIN E
S HOR T S TOR IES
La Sonnambula
Prodigal Son
Firebird
MAT
28
22
S T R AVIN S KY x FIVE
Scènes de Ballet
The Cage
Eight Easy Pieces
New Peck 2
NYC Premiere
Stravinsky Violin
Concerto
EVE
29
N EW COMBIN AT IONS
New Lidberg
New Peck 3
Fearful Symmetries
BALANC HIN E
S HOR T S TOR IES
La Sonnambula
Prodigal Son
Firebird
4
5
31
ALL BAL ANC HINE
Allegro Brillante
Swan Lake
The Four Temperaments
F E B
7
2 0 1 7
MAT
MAT
EVE
EVE
T HE S LEEPIN G
BEAUT Y
MAT
18
25
ALL R OBBINS
Glass Pieces
Moves
The Concert
PM
&
7
PM
T HE S LEEPING
BEAUT Y
EVE
T HE S LEEPIN G
BEAUT Y
MAT
1
19
T HE S LEEPING
BEAUT Y
EVE
26
R ODGER S :
BR OADWAY TO
BALLET
Carousel (A Dance)
Thou Swell
Slaughter on
Tenth Avenue
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Our dancers have an innate creative spirit;
they thrive on being the instruments of the
dance-makers that work here.
—
O N
T H E
H E R E
&
T H E
P E T E R
M A R T I N S
N O W
One of the many wisdoms imparted to me by Mr. Balanchine was
“Don’t be reverent. Be relevant.” This has proven to be a principle
that steadily guides me to this day.
“If people don’t want to see Serenade,” he said, “don’t put it on.”
Now, at that moment, I could never have imagined a time when
Serenade would not be performed. I still can’t. But this comment,
coming from our founder, my mentor, and arguably the greatest
choreographer of all time, about one of his greatest ballets, was
a ‘wow’ moment for me, and one that made a lasting impression.
When I was asked to lead the Company after Balanchine, I quickly
knew what my biggest challenge was going to be. From that point
on, New York City Ballet had a dual purpose, to preserve its extraordinary legacy, while looking toward the future. I would gladly
take care of Serenade and Symphony in C. I would gladly take care
of the Robbins works. But no matter how unfathomable, if the time
ever came that we could no longer rely only on their masterpieces,
what would there be? And I thought, ok, for however long it is that
I am going to be here – and I had no idea if that would be three years
or thirty – my biggest challenge would be to continue to build a body
of work for our dancers to perform, and for our audiences to enjoy.
New York City Ballet was founded on the idea of an American ballet
company where dancers would be trained to perform a new, modern
repertory. It was Balanchine’s vision for this Company to create
work that was of its time. And, as prolific as he was, Balanchine
never sat back and relied on his and Jerry’s ballets alone. He was
always searching for choreographic talent that could help to sustain and propel our repertory into the future.
He was heavily invested in this endeavor, and was not quick to pass
judgment on talent. This was one of the many wonderful things
about him. He knew that talent was not always apparent immediately,
and that for some, finding a choreographic voice was a process. He
nurtured talent. He would give scores to those around him, telling
them, “Go and choreograph to this music.” He certainly did this
with me, and I was agreeable with anything that he requested, but he
would also support the musical choices I made. He encouraged us
to be patient by saying that “One out of ten might last. But you have
to do the other nine.” Of course he acknowledged that for him, the
odds were more like five out of ten.
Every major company creates new work, and when anyone asks
me what it is that makes what we do different, it’s so easy for me
to say volume. Sheer volume in terms of what we produce and
our ability to produce it because of our infrastructure and artistic
resources—the depth of talent, size of the Company, and even the
length of our seasons. But more importantly, it’s that we have
maintained an environment that is ripe for the creation of new work.
It has continued to be integral to our mission, and we devote a great
deal to it. Our dancers have an innate creative spirit; they thrive on
being the instruments of the dance-makers who work here.
Tradition and modernity cannot exist one without the other, you can
only build from the past to shape the now. And as I have both created
and commissioned works, Balanchine’s visionary spirit has continued
to guide me. Our pursuit has yielded 220 ballets by nearly 60 choreographers, all made right here in our home at Lincoln Center. That’s
half of our entire repertory. For the Here/Now Festival we had to set
some parameters and it was a daunting task to cull down those numbers. There were ballets that I wanted to include but just couldn’t
logistically. The result, 43 ballets on 10 programs in 4 weeks, is a
representative quantity, but by no means a comprehensive one. It’s
a snapshot of our post-Balanchine history.
It is thrilling to me that we are able to open the festival with dedicated
programs from Justin Peck, Alexei Ratmansky, and Christopher
Wheeldon. I remember the precise moments when the talent of
each of these choreographers emerged, and I am proud to have
played a role in their ascent. But far beyond that, over the course
of the four festival weeks, audiences will have the opportunity to
come and see ballets by 22 choreographers in total, each with a
different voice, who have contributed to the state of ballet now.
I simply can’t imagine a place other than here, at New York City
Ballet, where this could occur.
Of course we continue to perform Serenade. People continue to come
and see it. And I couldn’t be happier that the reason is relevance rather
than reverence. But I am equally pleased with the work that has entered this Company’s repertoire in the last 30+ years. So while the
Here/Now Festival is all about ballet today and what its future may
hold, above all, it is perhaps the ultimate homage to Balanchine, as
no one believed more in the future of ballet than he did.
I think that we are beating those one in ten odds. And I know that
would make him very proud.
B A L L E
A P R 1 8 , 2 1, 2 2 e v e , 2 3
Three essential Balanchine ballets showcase the range of his seminal neoclassical
style: dynamic virtuosity emanating from Tschaikovsky’s passionate score, definitively
modern movement building on Hindemith’s consuming melodies, and thrilling
precision matching the sparkling grandeur of Bizet’s symphony.
ALLEGRO BRILL ANTE
(Tschaikovsky)
THE FOUR TEMPER AMENTS
(Hindemith)
SYMPHON Y IN C
(Bizet)
T S
SYMPHONY IN C
A MIDSUMMER
NIGHT’S DREAM
A MIDSUMMER NIGHT’S DRE AM
(Mendelssohn/Balanchine)
M AY 2 3 , 2 4 , 2 5 , 2 6 , 2 7 m a t & e v e , 2 8
Behind an ivied curtain lies Shakespeare’s gossamer world of magic and merriment.
A cherished springtime tradition, this bewitching tale entangles and enthralls with its
feuding fairy kingdoms and quixotic lovers for the quintessential romantic comedy.
A MIDSUMMER NIGHT’S DREAM
3
B A L L E
ALL ROBBINS
FA N C Y F R E E
(Bernstein)
A P R 1 9, 2 0 , 2 2 m a t
MOVES
Robbins’ dramatic flair is revealed in a program that includes the playful escapades
of three sailors on shore leave, the spellbinding effect created by choreography
performed without music, and the hilarious happenings of characters gathered at
a piano recital gone awry.
1 BALLET / 2 ACTS
3
ALL BAL ANCHINE
THE CONCERT
(Chopin)
T S
MOVES
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B A L L E
HERE/NOW No. 2:
RATMANSKY
A P R 2 6 , 2 9 m a t , M AY 2
RUSSIAN SE A SONS
(Desyatnikov)
NAMOUNA , A GR AND DIVERTISSEMENT
(Lalo)
T S
A contemporary piece of compelling humanity unites with a monumental work of
stylized dances distilled from a story ballet for a program from “the finest Russian
choreographer since George Balanchine” (The New York Times).
4 WEEKS, 22 CHOREOGRAPHERS, 43 BALLETS,
10 PROGRAMS, 2 WORLD PREMIERES
NAMOUNA, A GR AND DIVERTISSEMENT
P O LY P H O N I A
AMERIC AN RHAP SODY
(Gershwin)
HERE/NOW No. 3: PECK
IN CRE A SE S
(Glass)
A P R 2 7, 3 0 , M AY 3
NE W PECK 1
In a rapid rise since his first NYCB work, Resident Choreographer Justin Peck is on
track to premiere his fourteenth ballet for the Company by the end of the 2016-17
Season. We amass a selection of his repertory for our first all-Peck program, starting
with his original 2012 creation, In Creases.
T S
T S
From a breakthrough contemporary work, Polyphonia, to his most recent creation,
American Rhapsody, we salute Christopher Wheeldon in our second ever program
dedicated exclusively to his NYCB roots.
LITURGY
(Pärt)
B A L L E
B A L L E
APR 25, 28, 29 eve
P O LY P H O N I A
(Ligeti)
4
4
HERE/NOW No. 1:
WHEELDON
MERCURIAL MANOEU VRES
(Shostakovich)
IN CREA SES
NE W BLOOD
(Reich)
E VERY WHERE WE GO
(Stevens)
Seizing the momentum of the Here/Now Festival, the 2017 Spring Gala features
a world premiere from Alexei Ratmansky, joining his four preceding works for the
Company, also onstage during the four-week festival.
A F T E R T H E R A I N PA S D E D E U X
(Pärt/Wheeldon)
N E W R AT M A N S K Y
World Premiere
B A L L E
B A L L E
M AY 4 a t 7 P M
JEU DE C ARTES
(Stravinsky/Martins)
5
3
SPRING GAL A
HERE/NOW No. 5
M AY 6 m a t & e v e , 7
New work abounds in encore performances of season premieres from Principal
Dancer Lauren Lovette, Corps Member Peter Walker, and Alexei Ratmansky,
accompanied by the return of Peter Martins’ fleet-footed game of cards and
Christopher Wheeldon’s touching pas de deux.
T S
T S
A F T E R T H E R A I N PA S D E D E U X
Drama sweeps the stage in this boundary pushing evening, accentuated by avantgarde costumes, an electro-orchestral score, haunting theatricality, and the rare
sighting of a ballet performed in sneakers.
NE W LOVE T TE
N E W WA L K E R
N E W R AT M A N S K Y
MOTHERSHIP
(Bates/Blanc)
SPEC TR AL E V IDENCE
(Cage/Preljocaj)
NE W PECK 3
HERE/NOW No. 6
M AY 1 0 , 1 3 m a t
This diverse array traverses the visual spectrum, from the quiet, wistful longing
invoked by The Blue of Distance to the boldly striking and ever-changing Kandinsky
backdrop that sets the stage for the equally dynamic choreography of Pictures at
an Exhibition.
T S
T S
SPEC TR AL E VIDENCE
NE VERWHERE
(Muhly/Millepied)
B A L L E
B A L L E
M AY 5 , 9
A F T E R T H E R A I N PA S D E D E U X
(Pärt/Wheeldon)
JEU DE CARTES
5
4
HERE/NOW No. 4
JEU DE C ARTES
(Stravinsky/Martins)
THE INFERNAL MACHINE
CAROUSEL
(A DANCE)
(Rodgers/Wheeldon)
THE BLUE
O F D I S TA N C E
(Ravel/Binet)
THE INFERNAL
MACHINE
(Rouse/Martins)
P I C T U R E S AT
AN E XHIBITION
(Mussorgsky/
Ratmansky)
YE AR OF
THE R ABBIT
(Stevens/Peck)
Three decades converge: from Martins’ 1991 non-stop and technically impressive
Ash to the adventurous fraternity of Peck’s 2014 ‘Rode,o: Four Dance Episodes, this
program also sees the return of Bigonzetti’s 2008 Oltremare, evoking the anticipation
of journey toward new life.
O LT R E M A R E
(Moretti/Bigonzetti)
FUNÉR AILLE S
(Liszt/Scarlett)
‘RODE,O: FOUR
DANCE EPISODES
(Copland/Peck)
‘RODE,O: FOUR DANC E EPISODES
S TA B AT M AT E R
CHIAROSCURO
(Geminiani/Taylor-Corbett)
S TA B AT M AT E R
(Pergolesi/Martins)
NE W PECK 4
World Premiere
T S
T S
Jorma Elo’s eight fearless dancers, Lynne Taylor-Corbett’s intersection of light
and shadow, and Peter Martins’ meditative choreography share the stage with
a world premiere reuniting Justin Peck with Sufjan Stevens. The indie singer/
songwriter will contribute a commissioned score for their third NYCB collaboration
in less than five years.
SLICE TO SHARP
(von Biber, Vivaldi/Elo)
B A L L E
B A L L E
M AY 1 2 , 1 4 , 1 8 , 2 0 e v e
M AY 1 6 , 2 0 m a t , 2 1
Nowhere else can you find a program featuring six ballets by six different
choreographers. Spanning the powerful athleticism of Red Angels to the poignantly
searching Polaris, this varied sextet concludes with Concerto DSCH‘s waves of
dramatic emotion.
RED ANGEL S
(Einhorn/Dove)
POL ARIS
(Walton/Thatcher)
VA R I E D T R I O
(I N F O U R )
(Harrison/Frohlich)
HERMAN
SCHMERMAN
PA S D E D E U X
(Willems/Forsythe)
BARBER VIOLIN
CONCERTO
(Barber/Martins)
CONCERTO DSCH
(Shostakovich/
Ratmansky)
RED ANGELS
4
4
HERE/NOW No. 8
HERE/NOW No. 9
T S
T S
COMMON
GROUND
(Ludwig-Leone/
Schumacher)
B A L L E
B A L L E
M AY 1 1, 1 3 e v e
A SH
(Torke/Martins)
6
5
HERE/NOW No. 7
JEUX
HERE/NOW No. 10
M AY 1 7, 1 9
If you missed their fall and winter debuts, this program provides encores of
Annabelle Lopez Ochoa’s and Pontus Lidberg’s world premieres, coupled with
two acclaimed works, Peter Martins’ thrilling Fearful Symmetries and Kim
Brandstrup’s noir-style Jeux.
NE W LIDBERG
NE W LOPEZ OCHOA
JEUX
(Debussy/Brandstrup)
FE ARFUL SYMME TRIE S
(Adams/Martins)
A
P R
2
5
– M
A Y
2
1
1
MAURO BIGONZE T TI
ROBERT BINE T
NICOL A S BL ANC
2
KIM BR ANDSTRUP
6
11
6
Carousel (A Dance)
7
Chiaroscuro
8
Common Ground
9
Concerto DSCH
10
Everywhere We Go
16
Jeu de Cartes
17
Jeux
18
New Lidberg
19
Liturgy
20
New Lopez Ochoa
12
16
7
13
17
8
14
18
9
15
19
U LY S S E S D O V E
JORMA ELO
WILLIAM FORSY THE
JE AN-PIERRE FROHLICH
3
PONTUS LIDBERG
ANNABELLE LOPEZ OCHOA
L AUREN LOVE T TE
PE TER MARTINS
BENJAMIN MILLEPIED
JUSTIN PECK
ANGELIN PREL JOC A J
1
After the Rain Pas de Deux
2
American Rhapsody
3
Ash
4
Barber Violin Concerto
5
The Blue of Distance
A L E X E I R AT M A N S K Y
LIAM SCARLET T
TROY SCHUMACHER
LY N N E TAY L O R - C O R B E T T
M Y L E S T H AT C H E R
4
P E T E R WA L K E R
CHRISTOPHER WHEELDON
5
10
11
Fearful Symmetries
12
Funérailles
13
Herman Schmerman Pas de Deux
14
In Creases
15
The Infernal Machine
20
21
22
23
26
26
New Blood
27
Oltremare
28
New Peck 1
29
New Peck 3
30
New Peck 4
31
Pictures at an Exhibition
32
Polaris
33
Polyphonia
34
New Ratmansky
35
Red Angels
31
27
32
36
41
37
42
36
‘Rode,o: Four Dance Episodes
37
Russian Seasons
38
Slice to Sharp
39
Spectral Evidence
40
Stabat Mater
43
41
Varied Trio (in four)
42
New Walker
43
Year of the Rabbit
24
21
New Lovette
22
Mercurial Manoeuvres
23
Mothership
24
Namouna, A Grand Divertissement
25
Neverwhere
28
33
38
29
34
39
All photos © Paul Kolnik, except 18 (© Nir Arieli), 20 (© Lavie Photography), 21
(© Sam Wootton), 23 and 42 (© Rosalie O’Connor)
25
30
35
40
Plan Your NYCB Season
PA C K A G E S S TA R T AT $ 9 0 / n y c b a l l e t . c o m o r 2 12 - 496 - 0 6 0 0
T U E
7:30 PM
A PR
W E D
7:30 PM
T H U
7:30 PM
2 0 1 7
F R I
8 PM
S AT
2 PM MAT
S AT
8 PM EVE
S U N
3 PM
14
15
MAT
15
EVE
16
MAT
22
EVE
23
18
19
20
21
22
ALL BAL ANC HINE
Allegro Brillante
The Four Temperaments
Symphony in C
AL L R O BBI N S
Fancy Free
Moves
The Concert
A LL RO B B I N S
Fancy Free
Moves
The Concert
A LL B A LA N C HI N E
Allegro Brillante
The Four Temperaments
Symphony in C
A LL ROBBIN S
Fancy Free
Moves
The Concert
25
26
27
28
29
HERE/NOW No . 1:
WHEEL DON
Mercurial Manoeuvres
Polyphonia
Liturgy
American Rhapsody
H ER E/ N OW N o . 2 :
R ATM AN SK Y
Russian Seasons
Namouna, A
Grand Divertissement
HE RE / N OW N o . 3 :
PECK
In Creases
New Peck 1
New Blood
Everywhere We Go
HE RE / N OW N o . 1:
W HE E LD O N
Mercurial Manoeuvres
Polyphonia
Liturgy
American Rhapsody
HE RE / NOW No. 2:
RAT M A NS KY
Russian Seasons
Namouna, A
Grand Divertissement
HER E/N OW N o. 1:
WHEELDON
Mercurial Manoeuvres
Polyphonia
Liturgy
American Rhapsody
HER E/NOW N o. 3 :
PEC K
In Creases
New Peck 1
New Blood
Everywhere We Go
5
6
6
7
MAY
MAT
ALL BALAN C HIN E
Allegro Brillante
The Four Temperaments
Symphony in C
ALL BALANC HIN E
Allegro Brillante
The Four Temperaments
Symphony in C
29
30
EVE
20 1 7
2
3
4
HERE/NOW No . 2:
RAT M ANS KY
Russian Seasons
Namouna, A
Grand Divertissement
H ER E/ N OW N o . 3 :
P ECK
In Creases
New Peck 1
New Blood
Everywhere We Go
S P RI N G GA LA
Jeu de Cartes
After the Rain
Pas de Deux
New Ratmansky
World Premiere
HE RE / N OW N o . 4
Neverwhere
Mothership
Spectral Evidence
New Peck 3
HE RE / NOW No. 5
Jeu de Cartes
After the Rain
Pas de Deux
New Lovette
New Walker
New Ratmansky
9
10
11
12
13
HERE/NOW No . 4
Neverwhere
Mothership
Spectral Evidence
New Peck 3
H ER E/ N OW N o . 6
Carousel (A Dance)
The Blue of Distance
The Infernal Machine
Pictures at an Exhibition
Year of the Rabbit
HE RE / N OW N o . 7
Ash
Funérailles
Common Ground
Oltremare
‘Ródé,ó: Four
Dance Episodes
HE RE / N OW N o . 8
Slice to Sharp
Chiaroscuro
Stabat Mater
New Peck 4
World Premiere
HE RE / NOW N o. 6
Carousel (A Dance)
The Blue of Distance
The Infernal Machine
Pictures at an Exhibition
Year of the Rabbit
HER E/N OW N o. 7
Ash
Funérailles
Common Ground
Oltremare
‘Ródé,ó: Four
Dance Episodes
16
17
18
19
20
20
HERE/NOW No . 9
Red Angels
Varied Trio (in four)
Barber Violin Concerto
Polaris
Herman Schmerman
Pas de Deux
Concerto DSCH
H ER E/ N OW N o . 1 0
New Lidberg
New Lopez Ochoa
Jeux
Fearful Symmetries
HE RE / N OW N o . 8
Slice to Sharp
Chiaroscuro
Stabat Mater
New Peck 4
HE RE / N OW N o . 10
New Lidberg
New Lopez Ochoa
Jeux
Fearful Symmetries
HE RE / NOW No. 9
Red Angels
Varied Trio (in four)
Barber Violin Concerto
Polaris
Herman Schmerman
Pas de Deux
Concerto DSCH
HER E/N OW N o. 8
Slice to Sharp
Chiaroscuro
Stabat Mater
New Peck 4
23
24
25
26
27
27
A M I D SU MMER
NI G H T ’S DREAM
A M I D SU M M ER
N I GH T’ S D R EAM
A MIDSUMMER
N I G HT ’S D RE A M
A MIDSUMMER
N I G HT ’S D RE A M
A M I D SUMMER
N I G HT ’S DR EAM
7
P M
MAT
EVE
HER E/N OW N o. 5
Jeu de Cartes
After the Rain
Pas de Deux
New Lovette
New Walker
New Ratmansky
MAT
MAT
MAT
13
A MIDS UMMER
N IGHT ’ S DR EAM
HER E/NOW N o. 5
Jeu de Cartes
After the Rain
Pas de Deux
New Lovette
New Walker
New Ratmansky
EVE
14
HER E/NOW N o. 8
Slice to Sharp
Chiaroscuro
Stabat Mater
New Peck 4
EVE
21
HER E/NOW N o. 9
Red Angels
Varied Trio (in four)
Barber Violin Concerto
Polaris
Herman Schmerman
Pas de Deux
Concerto DSCH
EVE
28
A MIDS UMMER
NIGHT ’ S DR EAM
nycb al le t.co m o r 2 1 2 - 4 9 6 - 0 6 0 0
M I M I S TA K E R / VINCE top L A U R E N K I N G / CURRICULUM VITAE top
M E G A N L E C R O N E / GIORGIO ARMANI top
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.
M A J O R
F U N D I N G
I S
P R O V I D E D
Harriet Ford Dickenson Foundation/Miss Gillian Attfield
Cynthia and Ronald Beck
Emily Blavatnik
Cordelia Corporation
Randy and Jay Fishman
Ford Foundation
The Howard Gilman Foundation
The Florence Gould Foundation
Geoffrey C. Hughes Foundation
Lincoln Center Corporate Fund
Martha and Bob Lipp
LuEsther T. Mertz Charitable Trust
B Y:
The New York Community Trust–
Mary P. Oenslager Foundation Fund
Paulson Family Foundation
Stephen Kroll Reidy
The Jerome Robbins Foundation
The Fan Fox and Leslie R. Samuels Foundation
The Ted and Mary Jo Shen Charitable Gift Fund
The Shubert Foundation
Joseph and Sylvia Slifka Foundation
Michael and Sue Steinberg
Virginia B. Toulmin Foundation
John L. and Barbara Vogelstein
The Ambrose Monell Foundation
C O R P O R AT E
S P O N S O R S
GLOBAL SPONSOR
Major support for new work is provided by members of the New
Combinations Fund.
PROUD SUPPORTER
2016-17 commissioning support for emerging choreographers is
provided by the Rudolf Nureyev Fund for Emerging Choreographers,
established through a leadership grant from the Rudolf Nureyev
Dance Foundation, with additional grants from the Harriet Ford
Dickenson Foundation and the Joseph and Sylvia Slifka Foundation.
New York City Ballet gratefully acknowledges the Cordelia Corporation for leadership support of its Ballet Masters who ensure the
excellence and vitality of the Company’s repertory performances.
The Stepping Forward Fund to support the salaries of NYCB
dancers during their first year in the Company has been made
possible through the generosity of the Joseph and Sylvia Slifka
Foundation and Martha and Bob Lipp.
OFFICIAL CHAMPAGNE
OFFICIAL TIGHTS
P U B L I C
O F F I C I A L M A K E - U P PA R T N E R
P R O G R A M M I N G
S U P P O R T E R S
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.
A D R I A N D A N C H I G - WA R I N G / L A U R E N K I N G /
MEGAN LECRONE / HARRISON BALL /
David H. Koch Theater, 20 Lincoln Center, New York NY 10023
2 0 1 6 - 1 7
2 7 P R O GR AM S / 7 7 B A L L E T S
2 GA LAS / 1 F E S T I VA L