World of Dancemagazine an UNCOMMON SIGHT Boca Ballet
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2004 Annual Report
2004 Annual Report Mission Statement Remembering Balanchine Peter Martins - Ballet Master in Chief Meeting the Demands Barry S. Friedberg - Chairman New York City Ballet Artistic NYCB Orchestra Board of Directors Advisory Board Balanchine 100: The Centennial Celebration 2003-2004 The Centennial Celebration Commences & Bringing Balanchine Back-Return to Russia On to Copenhagen & Winter Season-Heritage A Warm Welcome in the Nation's Capital & Spring Season-Vision Exhibitions, Publications, Films, and Lectures New York City Ballet Archive New York Choreographic Institute Education and Outreach Reaching New Audiences through Expanded Internet Technology & Salute to Our Volunteers The Campaign for New York City Ballet Statements of Financial Position Statements of Activities Statements of Cash Flows Footnotes Independent Auditors' Report All photographs by © Paul Kolnik unless otherwise indicated. The photographs in this annual report depict choreography copyrighted by the choreographer. Use of this annual report 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 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 reimagine 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; and 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. -
Michael Langlois
Winter 2 017-2018 B allet Review From the Winter 2017-1 8 issue of Ballet Review A Conversation with Heather Watts by Michael Langlois © 2017 Dance Research Foundation, Inc. 4 New York – Elizabeth McPherson 6 Washington, D.C. – Jay Rogoff 7 Miami – Michael Langlois 8 Toronto – Gary Smith 9 New York – Karen Greenspan 11 Paris – Vincent Le Baron 12 New York – Susanna Sloat 13 San Francisco – Rachel Howard 15 Hong Kong – Kevin Ng 17 New York – Karen Greenspan 19 Havana – Susanna Sloat 46 20 Paris – Vincent Le Baron 22 Jacob’s Pillow – Jay Rogoff 24 Letter to the Editor Ballet Review 45.4 Winter 2017-2018 Lauren Grant 25 Mark Morris: Student Editor and Designer: Marvin Hoshino and Teacher Managing Editor: Joel Lobenthal Roberta Hellman 28 Baranovsky’s Opus Senior Editor: Don Daniels 41 Karen Greenspan Associate Editors: 34 Two English Operas Joel Lobenthal Larry Kaplan Claudia Roth Pierpont Alice Helpern 39 Agon at Sixty Webmaster: Joseph Houseal David S. Weiss 41 Hong Kong Identity Crisis Copy Editor: Naomi Mindlin Michael Langlois Photographers: 46 A Conversation with Tom Brazil 25 Heather Watts Costas Associates: Joseph Houseal Peter Anastos 58 Merce Cunningham: Robert Gres kovic Common Time George Jackson Elizabeth Kendall Daniel Jacobson Paul Parish 70 At New York City Ballet Nancy Reynolds James Sutton Francis Mason David Vaughan Edward Willinger 22 86 Jane Dudley on Graham Sarah C. Woodcock 89 London Reporter – Clement Crisp 94 Music on Disc – George Dorris Cover photograph by Tom Brazil: Merce Cunningham in Grand Central Dances, Dancing in the Streets, Grand Central Terminal, NYC, October 9-10, 1987. -
Gp 3.Qxt 7/14/17 12:16 PM Page 1
07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 1 Lincoln Center Festival lead support is provided by American Express July 22 David H. Koch Theater Bolshoi Ballet Ballet Director Makhar Vaziev New York City Ballet Ballet Master in Chief Peter Martins Paris Opera Ballet Director of Dance Aurélie Dupont Jewels Choreography George Balanchine © The George Balanchine Trust Set Design Peter Harvey Lighting Design Mark Stanley New York City Ballet Orchestra Music Director Andrew Litton Approximate running time: 2 hours and 10 minutes, with two intermissions This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Made possible in part by members of the Producers Circle Major support is provided by LuEsther T. Mertz Charitable Trust. Additional support is provided by Jennie L. and Richard K. DeScherer, the Lepercq Charitable Foundation in Memory of Paul Lepercq, The Harkness Foundation for Dance, and The Joelson Foundation. Endowment support for the Lincoln Center Festival 2017 presentation of Jewels is provided by Blavatnik Family Foundation Fund for Dance. Public support for Festival 2017 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. The Bolshoi Theatre gratefully acknowledges the support of its General Sponsor, Credit Suisse. Travelers is the Global Sponsor of New York City Ballet. 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 2 LINCOLN CENTER FESTIVAL 2017 JEWELS July 22, 2017, at 7:30 p.m. -
Paul Boos on Jewels
Spring 2018 Ballet Review From the Spring 2018 issue of Ballet Review Paul Boos on “Jewels” Cover photograph by Stephanie Berger, Lincoln Center Festival: Dorothée Gilbert and Hugo Marchand in Emeralds. © 2018 Dance Research Foundation, Inc. All rights reserved. 4 Boston – Jeffrey Gantz 8 Tanglewood – Jay Rogoff 10 Chicago – Joseph Houseal 12 New York – Susanna Sloat 15 Chicago – Joseph Houseal 17 Moscow/St. Petersburg – Susanna Sloat 23 Saratoga Springs – Jay Rogoff 26 Jacob’s Pillow – Ian Spencer Bell 28 Toronto – Gary Smith 30 Sun Valley – Susanna Sloat 33 Stuttgart – Gary Smith 79 34 New York – Harris Green 36 New York – Juan Michael Porter II 37 Philadelphia – Eva Shan Chou Ballet Review 46.1 38 Brooklyn – Joseph Houseal Spring 2018 39 Miami – Michael Langlois Editor and Designer: Marvin Hoshino John Morrone 40 A Conversation with Steven McRae Managing Editor: Roberta Hellman George Dorris Senior Editor: 60 46 Picasso in Italy Don Daniels Associate Editors: 48 Adolf de Meyer: Joel Lobenthal Quicksilver Brilliance Larry Kaplan Alice Helpern 52 From the Horse’s Mouth Webmaster: Curated by Rajika Puri David S. Weiss Selected & Edited by Karen Greenspan Copy Editor: Naomi Mindlin Larry Kaplan Photographers: 60 Paul Boos on Jewels Tom Brazil 40 Costas Gary Smith 75 Demis Volpi Associates: Peter Anastos Robert Greskovic John Goodman George Jackson 79 André Levinson on Balanchine, Elizabeth Kendall 1925–1933 Paul Parish Nancy Reynolds 123 London Reporter – Clement Crisp James Sutton 127 Music on Disc – George Dorris David Vaughan† Edward Willinger 8 131 Check It Out Sarah C. Woodcock Cover photograph by Stephanie Berger, Lincoln Center Festival: Dorothée Gilbert and Hugo Marchand in Emeralds. -
Kirstein and Balanchine's New York City Ballet Four Modern Works
23 Kirstein and Balanchine’s New York City Ballet Four Modern Works 1 Mar 16–18, 2019, Presented in conjunction with the exhibition Lincoln The Four Music by Paul Hindemith 12:00 and 3:00 p.m., Kirstein’s Modern (March 17–June 15, 2019), this three- Temperaments (1946) Choreography by George Balanchine* The Donald B. and day event features eighteen dancers from New York [excerpts] Catherine C. Marron City Ballet performing excerpts from four landmark Original costume and scenic designs by Kurt Seligmann Atrium works created by George Balanchine, the legendary (performed in practice clothes and without scenery from choreographer who cofounded the company with 1951) Lincoln Kirstein in 1948. The program, organized by NYCB Artistic Director Jonathan Stafford, will be “First Theme” performed by Meaghan Dutton-O’Hara moderated by NYCB corps de ballet member Silas Farley and Andrew Scordato and accompanied by NYCB solo pianist Elaine Chelton. “Second Theme” performed by Sara Adams and Devin Alberda In 1933, Kirstein—a writer, curator, editor, impresario, “Third Theme” performed by Miriam Miller and Peter tastemaker, and patron—invited the Russian-born Walker Balanchine to New York from Paris, in the hopes of creating a uniquely American ballet. They established First Variation: Melancholic the School of American Ballet (1934), and in the ensuing Performed by Anthony Huxley with Laine Habony and years, founded—together or separately—the precursor Olivia MacKinnon, and Eliza Blutt, Meaghan Dutton- companies American Ballet (1935), Ballet Caravan O’Hara, Mary Thomas MacKinnon, and Miriam Miller (1936), American Ballet Caravan (1941), and Ballet Society (1946). The score for The Four Temperaments is based on the Kirstein, who also played a key role in MoMA’s early ancient medical notion that human personalities are history, believed in the central place of dance in the determined by four humors—Melancholic, Sanguine, museum. -
PRESENTS STARS of AMERICAN BALLET Ted Shawn Theatre August 22–26, 2018
PRESENTS STARS OF AMERICAN BALLET Ted Shawn Theatre August 22–26, 2018 ARTISTIC DIRECTOR Daniel Ulbricht TECHNICAL DIRECTOR Beau Edwardson MUSICIANS Ann Kim Susan Walters DANCERS Sara Adams Teresa Reichlen Devin Alberda Andrew Scordato Daniel Applebaum Kristen Segin Gonzalo Garcia Daniel Ulbricht Anthony Huxley Sebastian Villarini-Velez Lars Nelson Peter Walker Unity Phelan Indiana Woodward PROGRAM Andantino (1981) CHOREOGRAPHY Jerome Robbins MUSIC Peter Ilyich Tchaikovsky ORIGINAL LIGHTING DESIGN Ronald Bates DANCERS Gonzalo Garcia Indiana Woodward Concertino (1982) CHOREOGRAPHY Jerome Robbins MUSIC Igor Stravinsky ORIGINAL LIGHTING DESIGN Ronald Bates COSTUME DESIGN Lawrence Miller DANCERS Daniel Applebaum Teresa Reichlen Andrew Scordato A Suite of Dances (1994) CHOREOGRAPHY Jerome Robbins MUSIC Johann Sebastian Bach ORIGINAL LIGHTING DESIGN Jennifer Tipton COSTUME DESIGN Santo Loquasto MUSICIAN Ann Kim DANCER Daniel Ulbricht – INTERMISSION – Chopin Dances From Dances at a Gathering (1969) & Other Dances (1976) CHOREOGRAPHY Jerome Robbins MUSIC Frédéric Chopin ORIGINAL LIGHTING DESIGN Jennifer Tipton COSTUME DESIGN Santo Loquasto MUSICIAN Susan Walters DANCERS Anthony Huxley Daniel Ulbricht Interplay (1945) CHOREOGRAPHY Jerome Robbins MUSIC Morton Gould ORIGINAL LIGHTING DESIGN Jennifer Tipton COSTUME DESIGN Santo Loquasto ORIGINAL COSTUME DESIGN Irene Sharaff DANCERS Sara Adams Kristen Segin Devin Alberda Sebastian Villarini-Velez Lars Nelson Peter Walker Unity Phelan Indiana Woodward I. Free Play Full Cast led by Devin Alberda II. Horseplay Sebastian Villarini-Velez III. Byplay Unity Phelan & Peter Walker IV. Team Play Full Cast All works performed by permission of The Robbins Rights Trust. Stars of American Ballet gives special thanks to The Jerome Robbins Trust, Jean-Pierre Frohlich, Bart Cook, Jason Hadley, Perry Silvey, Serapio Walton, and Beau Edwardson. -
NEWS from the JEROME ROBBINS FOUNDATION VOL. 7, NO. 1 (2020) 75Th Anniversary Gala of New York Public Library for the Performing Arts’ Jerome Robbins Dance Division
NEWS FROM THE JEROME ROBBINS FOUNDATION VOL. 7, NO. 1 (2020) 75th Anniversary Gala of New York Public Library for the Performing Arts’ Jerome Robbins Dance Division On Wednesday, December 4, 2019, The New York Public Library for the Performing Arts celebrated the Jerome Robbins Dance Division’s 75th anniversary with a unique gala that raised more than $723,000 in critical funds that will help the division document, collect, and preserve the history of dance and provide free services and programs for all. More than 200 dance-loving attendees moved through the Library for the Performing Arts in Lincoln Center viewing site-specific movement pieces cre- ated specifically for the occasion by Ephrat Asherie, The Bang Group, Jean Butler, Adrian Danchig-Waring, Heidi Latsky, Michelle Manzanales, Rajika Puri, and Pam Tanowitz. Staged in unexpected spaces (among the stacks, on reading room tables, through hallways, and on stairways), these brief performances fea- tured dancers including Chelsea Ainsworth, Chris Bloom, Jason Collins, Shelby Colona, Lindsey Jones, Jeffrey Kazin, Victor Lozano, Aishwarya Madhav, Georgina Pazcoguin, Nic Petry, Jaclyn Rea, Tommy Seibold, Amber Sloan, Gretchen Smith, Leslie Taub, Melissa Toogood, and Peter Trojic. The evening’s performances culminated in the Library’s Bruno Walter Auditorium with an excerpt from Jerome Robbins’ Other Dances, featuring American Ballet Theatre Principal Dancer Sarah Lane and New York City Ballet Principal Dancer Gonzalo Garcia. Jerome Robbins originally created the work in 1976 for a fundraiser to support the Library. The Jerome Robbins Dance Division’s 75th Anniversary Gala was chaired by Caroline Cronson & The Jerome Robbins Foundation. -
Ratmansky's Sly History Lessons
1/20/2016 Ratmansky’s Sly History Lessons | WENDY PERRON RATMANSKY’S SLY HISTORY LESSONS Embedded in Alexei Ratmansky’s ballets are history lessons for us. When watching American Ballet Theatre dance his Shostakovich Trilogy (2012), I saw a keen attention to shape, a gravitas in the surging masses, that reminded of Léonide Massine’s symphonic ballets. Massine was the top choreographer of the 1930s but is now all but forgotten. (More about Massine later.) Sprinkling References to the Past If you watch Ratmansky’s ballets closely, you’ll see images of previous ballets tucked into his choreography. In Pictures at an Exhibition, which he made for NYC Ballet last year, the first scene borrows the formation of the nine goons (drinking companions) of Balanchine’s Prodigal Son. And later the dancer in yellow, a role created by Wendy Whelan, quietly touches the floor. It calls to mind the end of Jerome Robbins’ Dances at a Gathering when the man in brown touches the floor, letting us feel that all the dancers are a community standing on one ground. Whelan also stoops to the floor in Ratmansky’s 2006 Russian Seasons, so that gesture was some kind of farewell to her on that stage. (By the way, in this clip Amar Ramasar, who is terrific in Pictures, talks about http://wendyperron.com/ratmanskys-sly-history-lessons/ 1/8 1/20/20R16amasar, who is terrific in PRaitmcatnuskyr’se Ssly, H tisatorlyk Lses soansb | WoEuNtDY PERRON the choreographer’s impetus.) Ratmansky’s Pictures at an Exhibition for NYCB with Gonzalo Garcia, homepage photo of Adrian Danchig-Waring and Wendy Whelan, photos by Paul Kolnik In Ratmansky’s Cinderella (2002), which the Mariinsky brought to BAM last month, there’s a moment in the first act when the stepmother and stepsisters, during their slapstick “dancing lesson,” land on the floor in the final position of Fokine’s Dying Swan. -
CONCERTO DSCH/ Alexei Ratmansky WHITE DARKNESS/ Nacho Duato
MADRID TEATRO REAL 19 - 21 noviembre, 2020 19:30 h. (sábado 17:00h y 21:00h) PROGRAMA APOLLO/George Balanchine CONCERTO DSCH/ Alexei Ratmansky WHITE DARKNESS/ Nacho Duato Orquesta Titular del Teatro Real Director Musical: Manuel Coves Pianista solista: Luis Fernando Pérez Compañía Nacional de Danza La Compañía Nacional de Danza fue fundada en 1979 con el nombre de Ballet Clásico Nacional (Ballet Nacional Clásico) y tuvo como primer Director a Víctor Ullate. En febrero de 1983 se hizo cargo de la Dirección de los Ballets Nacionales Español y Clásico María de Ávila, quien puso especial énfasis en abrir las puertas a coreografías como las de George Balanchine y Antony Tudor. Además, María de Ávila encargó coreografías a Ray Barra, bailarín y coreógrafo norteamericano residente en España, ofreciéndole posteriormente el cargo de Director estable que desempeñó hasta diciembre de 1990. En diciembre de 1987 fue nombrada como Directora Artística del Ballet, Maya Plisétskaya, extraordinaria bailarina rusa. En junio de 1990 Nacho Duato es nombrado Director Artístico de la Compañía Nacional de Danza, cargo que ejerció durante veinte años, hasta julio de 2010. Su incorporación supuso un cambio innovador en la historia de la formación incluyéndose en el repertorio de la compañía nuevas coreografías originales, junto con otras de contrastada calidad. En agosto de 2010 Hervé Palito sucede a Duato como Director Artístico durante un año. En septiembre de 2011, José Carlos Martínez se incorpora como nuevo director de la Compañía Nacional de Danza, al frente de la cual permanece ocho años. El 28 de marzo de 2019 el INAEM, dependiente del Ministerio de Cultura y Deporte, anuncia el nombramiento de Joaquín De Luz como nuevo director artístico de la formación. -
Kathryn Morgan Maria Riccetto Craig Hall Adrian Danchig-Waring Cory Stearns
AtheneumDanceFestCovers10:AtheneumDanceFestivalCovers10 7/15/10 4:36 PM Page 1 NANTUCKET ATHENEUM DANCE FESTI VAL July 26 –31, 2 01 0 Friday, July 30th, 6:30 P.M. Saturday, July 31st, 6:30 P.M. Nantucket High School Mary P. Walker Auditorium 1 AtheneumDanceFestCovers10:AtheneumDanceFestivalCovers10 7/15/10 4:36 PM Page 2 DANCE FESTIVAL COMMITTEE 2010 Marion Martin Jane Tyler Marcia P. Welch Dance Festival Co-Chairs Mary Randolph Ballinger Cosby George A. Steven Perelman Susie Belcher Tim George Samantha Sandler Roxanne Casscells Nan Geschke Denise Saul Barbara G. Cohen Molly Harding Maria Spears Patti Deuster Kathryn Kay Pam Thomas Barbara J. Fife John W. Loose Mary Wolff Alan Forster Mary Ann Peglar NANTUCKET ATHENEUM BOARD OF TRUSTEES Alice F. Emerson Stephen C. Anderson Chair Vice-Chair Judith Tindal Opatrny Alan Forster Secretary Treasurer Margaret Gaffney Benedict Timothy M. George Donald M. Stewart Susan Boardman Elizabeth Grubbs Bernard L. Swain William J. Charlton Kathryn Kay Jane Tyler Tharon Dunn Jeanne Casey Miller Marcia P. Welch Douglass N. Ellis A. Steven Perelman Jay M. Wilson Barbara J. Fife Anne Phaneuf Ronald Winters William G. Spears Chairman Emeritus Trustees Emeriti John W. Loose Nan Geschke Martha Groetzinger Executive Director President Emeritus Nancy A. Newhouse Molly C. Anderson Robert F. Mooney Honorary Trustees Mr. and Mrs. Robert Diamond Jr. Lucile W. Hays Mr. and Mrs. Richard Menschel Richard M. Scaife Margaret B. Scaife 2 AtheneumDanceFestCovers10:AtheneumDanceFestivalCovers10 7/15/10 4:36 PM Page 3 NANTUCKET ATHENEUM DANCE FESTI VAL 201 0 Featuring stars of American Ballet Theatre and The New York City Ballet Benjamin Millepied Artistic Director Gillian Murphy Teresa Reichlen Jennie Somogyi Wendy Whelan Tyler Angle Gonzalo Garcia David Hallberg Benjamin Millepied Jonathan Stafford Kathryn Morgan Maria Riccetto Craig Hall Adrian Danchig-Waring Cory Stearns Amanda Hankes Blaine Hoven Pianist: Cameron Grant Cellist: Ann Kim Nantucket High School Auditorium Friday, July 30, 2010 at 6:30 p.m. -
New York City Ballet George Balanchine's the Nutcracker
GREAT AMERICAN DANCE LEARNING GUIDES Lincoln Center Education NEW YORK CITY BALLET GEORGE BALANCHINE’S THE NUTCRACKER™ GRADES 3-5 Photo Credit: Paul Kolnik NEW YORK CITY BALLET GEORGE BALANCHINE’S THE NUTCRACKER™ GRADES 3-5 INTRODUCTION Great American Dance Learning Guide The goal of the Great American Dance Learning Guide is to help students engage fully with the dance performances featured in the Lincoln Center at the Movies inaugural season. It is suitable for those who are already dance lovers and those who have no previous dance experience. Each guide enables educators to engage students in experiencing the thrill of the artistic process, and in understanding how artists think as they develop their work, how they face artistic challenges and make important choices before they present the world with their creations. The guide has been created by LCE Teaching Artists who work in pre-K–12 and Higher Education classrooms throughout New York City and the tristate area, and are mindful of the learner of any age. In the guide, you will find information about dance and different takes on the performances in film, books, and other media. There are three lessons with activities and discussion questions that prepare students for the performance they will see on film, and a lesson that makes them reflect on the performance with a wholly different point of view after they’ve seen it. These lessons are flexible, so teachers can adapt them to specific grade levels and student populations in-school and out-of-school. Most important, the lessons have been designed for anyone curious about the art of dance. -
Review: Taylor Stanley Rises in City Ballet's 'Hallelujah Junction'
Review: Taylor Stanley Rises in City Ballet’s ‘Hallelujah Junction’ By GIA KOURLAS MAY 18, 2016 Taylor Stanley of New York City Ballet dancing “Hallelujah Junction.” CreditPaul Kolnik Peter Martins, the ballet master in chief of New York City Ballet, loves to give his dancers happy surprises. On Tuesday evening, moments before the curtain rose on “Hallelujah Junction,” Mr. Martins’s brisk, galvanic work set to John Adams, he promoted Taylor Stanley, one of its leads, to principal dancer. Filling in at the last minute for an injured Gonzalo Garcia, Mr. Stanley was making his New York debut in the role, at the David H. Koch Theater. Mr. Martins’s decision was spontaneous, a City Ballet publicist said. But it makes sense: The debonair Mr. Stanley has an affinity for speed and drama and has been frequently featured in the ballets of Justin Peck, the company’s resident choreographer. His sharp attack was apparent in “Hallelujah”; later that night, in “Western Symphony,” George Balanchine’s 1954 homage to the Wild West, he showed some spunk, loosening up to find the cowboy within. In that ballet, which remains a delight, Brittany Pollack made her debut in the second movement opposite Jared Angle, gamely leaping headfirst into his arms with little fear and an ever-gleaming smile. (Her perpetually happy expression can seem one-note.) In the final movement, the willowy Teresa Reichlen, though she faltered uncharacteristically in her fouetté turns, and a devilish Andrew Veyette imbued their frisky pas de deux with a spirit that showed they weren’t just executing moves, but reacting to each other.