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Home , Agrippina Vaganova, Antony Tudor, Arch Higgins, Artem Ovcharenko, Barbara Karinska, Bolshoi Ballet

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Lincoln Center Festival lead support is provided by American Express

July 22 David H. Koch Theater

Bolshoi Ballet Director Makhar Vaziev Ballet in Chief Opera Ballet Director of Dance Aurélie Dupont Jewels

Choreography © The George Balanchine Trust

Set Design Peter Harvey Lighting Design Mark Stanley 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 . 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 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.

Jewels

Conductor Andrew Litton

Emeralds , Ballet Music Gabriel Fauré (from Pelléas et Mélisande , 1898, and Shylock , 1889) Costume Design Christian Lacroix

DOROTHÉE GILBERT, HUGO MARCHAND

LÉONORE BAULAC, GERMAIN LOUVET

Valentine Colasante, Sae Eun Park, Marc Moreau

Marion Barbeau, Fanny Gorse, Silvia Saint-Martin, Lydie Vareilhes, Ida Viikinkoski, Séverine Westermann, Camille Bon, Laure-Adélaïde Boucaud, Sophie Mayoux, Roxane Stojanov

Intermission

Rubies , New York City Ballet Music (Capriccio for Piano and Orchestra, 1927) Costume Design Karinska

Piano Soloist Stephen Gosling

MEGAN FAIRCHILD, JOAQUIN DE LUZ

TERESA REICHLEN

Harrison Coll, Spartak Hoxha, Ralph Ippolito, Giovanni Villalobos

Sara Adams, Likolani Brown, Baily Jones, Meagan Mann, Jenelle Manzi, Kristen Segin, Sarah Villwock, Claire Von Enck

Intermission 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 3

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Diamonds , Music (from Symphony No. 3 in D Major, 1875) Costume Design Elena Zaitseva Bolshoi Ballet Staging of Diamonds by and

OLGA SMIRNOVA, SEMYON CHUDIN

Olga Marchenkova, Yulia Grebenshchikova, Ana Turazashvili, Alena Kovaleva Vladislav Kozlov, Artemy Belyakov, Dmitry Efremov, Ivan Alexeyev

Elvina Ibraimova, Margarita Shrainer, Ekaterina Zavadina, Anastasia Denisova, Oxana Sharova, Bruna Cantanhede Gaglianone, Ekaterina Smurova, Anna Grigorieva, Elena Panina, Daria Bochkova, Xenia Averina, Victoria Litvinova

Batyr Annadurdyev, Anton Gainutdinov, Mikhail Kochan, Artur Mkrtchyan, Erick Swolkin, Maxim Oppengeym, Maxim Surov, Yuri Ostrovsky, Ilya Beresnev, Apollinary Proskurnin, Dmitry Dorokhov, Sergei Zelenko

Casting is subject to change.

World premiere: April 13, 1967, by New York City Ballet at New York State Theater 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 4

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Jewels and Lincoln Balanchine’s Center Festival Three-Act Travelogue

1967 was a very special year at Lincoln Ballet is an international language, and over Center: George Balanchine created his clas - its long history, many countries have devel - sic ballet Jewels for New York City Ballet in oped their own accents. Three of the most April, and the first Lincoln Center Festival distinct styles have come from , took place in June and July. Fifty years later, , and the United States. In 17th- the Festival celebrates both anniversaries in century France, ballet metamorphosed an unprecedented way, as three of the from court spectacle to Romantic concert world’s greatest ballet companies—Bolshoi art. After resettling in Russia, the , New York City Ballet, and master gave it a sense Ballet—join forces to dance this monumen - of refinement with such 19th-century clas - tal work on the stage for which it was cre - sics as and The Sleeping ated: then the New York State Theater, now Beauty . In New York, in the 20th-century, the David H. Koch Theater. ballet was stripped to its essence, sped up, even inverted, by George Balanchine. Jewels is a ballet that captures so much of Companies from all three of these coun - Balanchine’s background, revealing, per - tries have joined in this presentation of haps, some of the roots of his choreo - Jewels, one of his most beloved creations. graphic ideas: his dance training in , his artistic breakthrough in Balanchine, too, came into close contact Paris, and his enthusiasm for America, with, and absorbed, all three cultures where he founded the School of American before envisioning this three-act travel - Ballet and the New York City Ballet. Lincoln ogue. After training as a dancer at the Center Festival has wanted to present in his birthplace of Saint Jewels in a way that would demonstrate Petersburg, he departed in 1924 for Paris, these roots for a long time, and since this where he was promptly appointed chore - ballet goes from French to American to ographer for ’s ground - Russian, we are pleased that Paris Opera breaking Russes. After Diaghilev’s Ballet’s Aurélie Dupont, New York City death forced the company to close, Ballet’s Peter Martins, and Bolshoi Ballet’s Balanchine served briefly as guest ballet Makhar Vaziev are collaborating on this master at the Paris Opera. Finally, in 1933, once-in-a-lifetime event. he relocated permanently to America, help - ing to build a ballet tradition by founding Thank you for joining us as we celebrate the School of American Ballet and, later, George Balanchine, whose singularly cre - the ensemble that would become the New ative artistry has put its indelible stamp on York City Ballet. Lincoln Center. Beneath its sparkling steps and gem- —Nigel Redden encrusted costumes and sets, many imme - Director, Lincoln Center Festival diately saw in Jewels —heralded as the first plotless full-length ballet—a marriage of national styles with Balanchine’s singular, modern vision. After the work’s premiere on April 13, 1967, in this very theater at 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 5

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Lincoln Center, New York Times dance critic New York, and it borrows from musical the - Clive Barnes wrote: “It is probably fanciful, ater and jazz. The women, with their yet I found myself struck with the idea that turned-in legs and high kicks, resemble the Balanchine was offering some kind of chorus girls Balanchine would have encoun - choreographic homage to the three coun - tered while choreographing for Broadway tries nearest to his heart and life—France, and Hollywood. the United States, and Russia.” About Diamonds and its relationship to Balanchine even encouraged the notion— Russia, Balanchine wrote nothing at all, yet at least in the case of Emeralds , the ballet’s its score (the last four movements of first part, which he set to lush, rarely per - Tchaikovsky’s Symphony No. 3), full white formed music by the French Romantic tutus, and pristine classicism signal a cele - composer Gabriel Fauré. “I suppose if this bration of the age of Petipa, who left an part of the ballet can be said to represent indelible mark on the young Balanchine. anything at all, it is perhaps an evocation of The ballerina’s undulating arms and flight France, the France of elegance, comfort, from her partner recall the Swan Queen. In dress, perfume,” Balanchine later revealed the finale—a grand polonaise—the corps in 101 Stories of the Great Ballets , an de ballet enters with a proud march, not anthology of synopses he coauthored with unlike the revelers at Princess Aurora’s Francis Mason. wedding in The Sleeping Beauty.

The quiet intimacy of Emeralds and its lush To consider the three sections of Jewels green decor remind one less of Paris than mere distillations of national style, how - the forest or countryside. Frothy tulle ever, would be limiting. There are other tutus—a trademark of early French ballets ways to see them—as evocations of their like —envelope the women. A scores, for example, or as portraits in mournful tone permeates Emeralds , partic - dance of the original New York City Ballet ularly when staccato movements—like the cast, which included , Mimi hands of a clock—interrupt its soft lyricism, Paul, , Patricia McBride, suggesting that this gentle, dreamlike Jacques d’Amboise, and . world is about to expire. For while they may draw from ballet’s rich and varied history, Emeralds , Rubies , and At the same time, Balanchine denied that Diamonds are—like a great many other America had inspired Rubies , the middle works in the Balanchine repertoire—worlds section of Jewels . “I did not have that in unto themselves, mysterious and open to mind at all. It is simply Stravinsky’s music, endless interpretation. which I have always liked and which he and —Ryan Wenzel I agreed to use,” he wrote. Nevertheless, Rubies, which is accompanied by Ryan Wenzel is a New York–based writer Stravinsky’s rollicking Capriccio for Piano and editor. His writing has appeared in The and Orchestra, epitomizes the high-speed, Rail, Dance Magazine, and Pointe . risky dancing that Balanchine pioneered in 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 6

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About George Balanchine About the Companies

Widely regarded as the most influential Bolshoi Ballet last appeared at Lincoln choreographer of the 20th century, George Center Festival in 2014, dancing Swan Balanchine cofounded two of ballet’s most Lake, , and . One of important institutions: New York City Ballet the world’s oldest and largest ballet compa - and the School of American Ballet. He was nies and celebrating its 241st season, the born in Saint Petersburg, Russia, in 1904, Bolshoi is renowned for a style character - studied at the Imperial Ballet School, and ized by virtuosity, stage presence, and danced with the Mariinsky Theatre Ballet combining classical tradition with a fresh Company, where he began choreographing approach. Known throughout its history for short works. In 1924 he left the newly championing new work, the Bolshoi was formed for Europe, where he the first company to stage Tchaikovsky’s was invited by impresario Sergei Diaghilev to Swan Lake and Minkus’s Don Quixote and join the , for which he chore - continues to expand its repertory with new ographed his first important ballets: works that include The Taming of the (1928) and (1929). Following Shrew, Hamlet, and A Hero of Our Time . Diaghilev’s death in 1929, he spent his next The hallmark of the company is its dancers, few years on a variety of projects before whose range and artistic virtuosity hark forming his own company, , back to legends , Vladimir in Paris. Following a performance at the Vasiliev, , and Ekaterina Savoy Theatre in , he met American Maximova. Much of the Bolshoi’s legacy arts connoisseur Lincoln Kirstein, who per - can be attributed to Yuri Grigorovich, artistic suaded him to come to the United States. In director for more than 30 years, who cele - 1934 they founded the School of American brated his 90th birthday this season. Ballet, which still trains students for compa - Today’s artists, including Svetlana nies around the world. His first ballet in the Zakharova, Olga Smirnova, Ekaterina U.S., (set to Tchaikovsky’s music), Krysanova, Vladislav Lantratov, Artem was created for the School’s students and Ovcharenko, Semyon Chudin, and Denis premiered on June 9, 1934, in White Plains. Rodkin—coached by Lyudmila Semenyaka, Balanchine and Kirstein founded several Marina Kondratieva, Svetlana Adyrkhayeva, short-lived companies before forming Ballet Nikolai Fadeyechev, Boris Akimov, Society in 1946, renamed New York City Alexander Vetrov, and others—ensure that Ballet two years later. He served as the com - the Bolshoi’s standards remain high. This is pany’s ballet master until his death in 1983, the company’s first U.S. appearance since building it into one of the world’s most impor - Makhar Vaziev, former director of the tant performing arts institutions and a cor - and La Scala Ballet, was nerstone of the cultural life of New York City. appointed ballet director in 2016. He choreographed 425 works over the course of 60-plus years, and his musical Makhar Vaziev (Bolshoi Ballet Director) choices ranged from Tchaikovsky (one of his graduated from the Agrippina Vaganova favorite composers) and Stravinsky (his Academy in Saint Petersburg (class of Yury compatriot and friend) to Gershwin (who Umrikin) in 1981. In 1979 he started to embodied his love of America). Many of his dance for the Kirov Ballet, where he was works are considered masterpieces and are officially hired after graduation. He was pro - performed worldwide. moted to soloist in 1986 and to principal 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 7

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dancer in 1989. From 1995 to 2008, he was death in 1983, during which time he chore - director of the Kirov Ballet of the Mariinsky ographed countless works and created a Theatre in Saint Petersburg. During that company of dancers known for their speed time, the repertory of the company—“the and musicality. In 1964 New York City Ballet home of Marius Petipa”—grew to include moved to its current home at Lincoln works by major 20th-century choreogra - Center’s New York State Theater (now David phers: George Balanchine, Hans van H. Koch Theater), where it grew into one of Manen, , William Forsythe, the world’s great dance companies. Now Kenneth MacMillan, , and under the direction of Ballet Master in Chief David Dawson. During Vaziev’s director - Peter Martins and Executive Director ship, bal lets by Petipa were reconstructed Katherine Brown, the company has more after the originals in Stepanov notation, pre - than 90 dancers, a 62-member orchestra, served in the Sergeiev Collection of Harvard an official school (School of American University: The Sleeping Beauty (1999), La Ballet), and an institute for choreography Bayadère (2002) in Petipa’s 1900 version, (New York Choreographic Institute). The com - and Le Réveil de Flore (2007). Vaziev also pany performs for 21 weeks annually in New supported the rising generation of Russian York, the longest home season of any dance choreographers: , Alexei company in the world, and has had a resi - Miroshnichenko, and Kirill Simonov. From dency at the Saratoga Performing Arts 2008 to 2016, he was director of La Scala Center every summer since it opened in Ballet in Milan. In 2016 he was appointed 1966. Acknowledged for its enduring contribu - Bolshoi Ballet director, embracing a set of tions to dance, the company is committed to artistic standards that aim to reinvigorate promoting creative excellence and nurturing a the 20th century’s most influential reper - new generation of dancers and choreogra - toire as a “tradition of the new,” reviving the phers. New York City Ballet last appeared at classics, and providing young choreogra - Lincoln Center Festival in 1999, performing phers with creative opportunities. ’s Summerspace.

New York City Ballet is one of the fore - Peter Martins (New York City Ballet Ballet most dance companies in the world, with Master in Chief) was born in Denmark and an unparalleled active repertory of ballets— has spent nearly 50 years with the New most of them created for the company— York City Ballet as a dancer, choreographer, many of which are considered modern mas - and ballet master in chief. After appearing terpieces. The company was established in for three years as a guest artist, he joined 1948 by George Balanchine and arts afi - the company as a in 1970. cionado Lincoln Kirstein at the City Center During his career as a dancer, from which of Music and Drama, which was founded by he retired in 1983, he performed in a vari - Fiorello H. LaGuardia, Newbold Morris, and ety of ballets in the repertory and origi - Morton Baum, and quickly became known nated roles in works by George Balanchine for pure neo-classicism, which resonated and , among others. From with modern audiences. In 1949 Jerome 1983 to 1989, he and Robbins served as Robbins joined the company as associate co-ballet masters in chief and, in 1990, he artistic director and, with Balanchine and assumed sole artistic directorship of the many guest choreographers, created a var - company. Under his leadership, the com - ied repertory that grew each season. pany has added significantly to its repertory Balanchine served as Ballet Master of New while maintaining the integrity of its core York City Ballet from its inception until his works, the masterpieces by Balanchine and 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 8

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Robbins. He has also choreographed Aurélie Dupont (Paris Opera Ballet numerous ballets, mainly for the company. Director of Dance), who became director of He began his career as a choreographer in dance at the Paris Opera Ballet in August 1977 with Calcium Light Night and has since 2016, also appeared at this year’s Lincoln created more than 80 ballets, many set to Center Festival in Saburo Teshigawara’s scores by contemporary American com - Sleeping Water . In 1983 she entered the posers. He is also artistic director and chair - Ballet School, and joined the Corps de man of the faculty at the School of American Ballet at age 16 in 1989. Two years later, Ballet and founder and artistic director of the she became a coryphée , was soon made a New York Choreographic Institute. sujet , and won the Gold Medal (Junior cat - egory) at the Varna International Ballet Paris Opera Ballet last appeared at Lincoln Competition. In 1996 she was promoted to Center Festival in 2012, performing Giselle, première danseuse and danced in Les and Eurydice (choreographed by Sylphides (), Grand Pas ), and French Masters of the XX Classique (), the Pas de Century . The company’s origins date to 1661 Deux des Écossais in (Pierre when Louis XIV established the Royal Lacotte), the title role in Manon (Kenneth Academy of Dance and merged it with the MacMillan), the title role in , Royal Academy of Music in 1669. Theatrical Gamzatti in La Bayadère (), dance evolved during the 18th and early 19th Soir de Fête (Léo Staats), Ancient Airs and centuries, and the forms and techniques of Dances (Richard Tanner), and Dark Elegies emerged, to be shaped and (). On December 31, 1998, honed by generations of dancers and chore - she was made an étoile following a perfor - ographers. While maintaining its historic tra - mance of Don Quixote (Rudolf Nureyev). In ditions and classical ballets by such dancers 2001 she was awarded the Prix Benois de and choreographers as and Jules la Danse, and in 2005 she received the Perrot, along with 20th-century works by Chevalier des Arts et des Lettres. innovators Maurice Béjart, , and Rudolf Nureyev, the company has over the About the Creative Team last 20 years built a large repertory of works created for it by celebrated contemporary Andrew Litton (Conductor) is New York choreographers, including Anne Teresa De City Ballet music director, artistic director Keersmaeker, Mats Ek, William Forsythe, Ji ří of Minnesota Orchestra’s Sommerfest, Kylián, Susanne Linke, Édouard Lock, Wayne principal guest conductor of the Colorado McGregor, , Angelin Symphony, conductor laureate of Britain’s Preljocaj, Alexei Ratmansky, Saburo Bournemouth Symphony, and music direc - Teshigawara, and . The company tor laureate of Norway’s Bergen comprises 154 dancers, drawn for the most Philharmonic, where he recently concluded part from the Paris Opera Ballet School a 12-year tenure as music director. directed by Elisabeth Platel. The average age Recently named principal guest conductor is around 25, making this one of the most of the Singapore Symphony Orchestra, he youthful of today’s companies. Aurélie begins his new duties this fall. He led the Dupont, a former étoile who retired in 2015, Dallas Symphony as music director from officially became Paris Opera’s director of 1994 to 2006. Each season, he conducts dance in August 2016. These performances leading orchestras and opera companies mark the company’s first U.S. appearance around the globe and adds to his discogra - since she assumed the directorship. phy of almost 130 recordings, which have 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 9

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garnered the Grammy Award, France’s Band, and the musical Dames at Sea . Since Diapason d’Or, and other honors. He con - 1987 he has devoted his time almost exclu - cluded his tenure in Bergen last year, lead - sively to the art of painting, and has pre - ing a gala celebration of the orchestra’s sented three solo exhibitions in New York 250th anniversary. Under his leadership, City: The Unknown Remembered at the Bergen Philharmonic gained interna - Nicholas Davies & Co. (1996), Other tional recognition through touring, includ - Rooms at the Hudson Guild (2005), and ing debuts at London’s BBC Proms and Finding Venice at the Emily Harvey Amsterdam’s Concertgebouw, and appear - Foundation (2012). ances at Vienna’s Musikverein, the Philharmonie in , and Carnegie Hall. Mark Stanley (Lighting Design) is the res - His work in Bergen brought many tributes, ident lighting designer for New York City including a knighthood in the Norwegian Ballet, where he has designed over 190 Royal Order of Merit. He began his New premieres for the repertory, including Paul York City Ballet appointment in 2015 con - McCartney’s Ocean’s Kingdom . He has ducting George Balanchine’s worked with numerous choreographers, and opened its 2016 winter season with a including Peter Martins, Susan Stroman, special performance of ballets he selected. , Alexei Ratmansky, His work in ballet began while a Juilliard stu - William Forsythe, Lynne Taylor-Corbett, and dent, performing as onstage pianist for Ulysses Dove. His designs are also in the Rudolf Nureyev, Natalia Makarova, and repertories of the , Cynthia Gregory. An accomplished pianist, , , he is an acknowledged Gershwin expert , , Pilobolus and has performed and recorded Gershwin Dance Theatre, Dance Theater, widely as both pianist and conductor. In National Ballet of Canada, and other com - 2014 he released his first solo piano album, panies. He previously served as resident A Tribute to Oscar Peterson. lighting designer for New York City Opera, lighting over 20 new productions for the Peter Harvey (Set Design), born in resident and touring companies. Additional Guatemala to English parents, first began opera credits include Wolf Trap Opera, drawing and painting when he attended Virginia Opera, Tulsa Opera, and others. His high school in the U.S, continuing his artis - work for theater includes lighting design for tic education at the University of Miami in The Kennedy Center, Paper Mill Playhouse, Coral Gables and later at The Art Student’s Blue Light Theater Company, and Off- League in New York, painting under Will Broadway, including Curse of the Starving Barnet and Harry Sternberg. In 2004 he Class . His designs have been seen nation - was commissioned by the New York City ally on PBS for Live from Lincoln Center Ballet to redesign Jewels , which he had and Great Performances . originally designed for George Balanchine in 1967. He also recreated Jewels’ original Christian Lacroix (Paris Opera Ballet decor for the Mariinsky in Saint Petersburg, Costume Design) designed the costumes Semperoper in Dresden and La Scala Ballet for the C.I.C.T./Théâtre des Bouffes du in Milan. Other highlights of his 30 years in Nord production of Molière’s Le Bourgeois theater are Balanchine’s full-length ballet A Gentilhomme, presented at Lincoln Center Midsummer Night’s Dream for Zurich Festival in 2016. He founded his world- Opera Ballet, the original New York and famous couture house in 1987 and has London productions of The Boys in the worked in ballet, opera, film, and theater 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 10

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since 1985. In ballet, he designed cos - and . Her last and perhaps most tumes for ’s Gaiete lavish work, , was produced Parisienne and the Paris Opera’s . in 1977. She was the 1962 recipient of the His operas include The Capulets and the Award, given for outstanding con - Montagues (San Francisco Opera), La travi - tributions to the world of dance, the only ata (Opera National du Rhin, Strasbourg), costume designer ever to win this award. and Otello (Salzburg Festival). His films include The Children of the Century and Elena Zaitseva (Bolshoi Ballet Costume Face . In theater he twice won the Molière Design) was born in Saint Petersburg and Award for Best Costumes: for Phèdre completed her studies in theater production (1996) and Cyrano de Bergerac (2007) , at the Saint Petersburg Academy of Theatre staged by director Denis Podalydès at the Art in 1991. She worked at Lenfilm Studios Comédie-Française. as assistant costume designer on the films The House on Sand, Dreams of Russia, The Karinska (New York City Ballet Costume Mission , and Khrustalyov, My Car!, and as Design) was , principal costume designer on the films The Time for costume designer and former director of Grief Has Not Yet Come and The Principled the costume shop for New York City Ballet. and Compassionate View of Al K . In 1997 Born Vavara Zhmoudsky in Kharkov, she she became costume designer for the emigrated to in 1928 and settled Mariinsky Theatre, working on many pro - in Paris. In 1933 she made her first ballet ductions including Parsifal, The Queen of costumes, from designs by Christian Spades, The Marriage of Figaro, The Flying Berard, for George Balanchine’s Cotillion for Dutchman, and ’s historical the Ballets de Monte Carlo. She also made version of The Sleeping Beauty . In 2003 costumes from designs by Matisse, Dalí, she joined the Bolshoi as chief specialist in Beaton, and Derain. In 1938 she came to design and production of theater costumes, America, living and working in New York and has worked on the operas Lady until her death in 1983 at age 97. She also Macbeth of Mtsensk, Wozzeck, Don worked in Hollywood, winning an Academy Giovanni, Ruslan and Lyudmila, and The Award in 1948 for costuming Ingrid Tsar’s Bride , and the ballets , Bergman in Joan of Arc . She joined New Grand Pas from , , York City Ballet in 1949 to make costumes , and Jewels . She has also for Balanchine’s Bourrée Fantasque . She worked with many other companies, includ - was responsible for the execution of nearly ing Bayerische Staatsoper , all of the company’s costumes, first making Staatsoper Berlin, Teatro alla Scala, Opera them, then later designing them. Her Bastille, Festival d’Aix-en-Provence, works included designs for Scotch Staatsballet Berlin, , Symphony, , , Ekaterinburg Opera and Ballet Theatre, Tchaikovsky Suite No. 3, Liebeslieder Astrakhan Opera and Ballet Theatre, Waltzer, The Nutcracker, Raymonda Netherlands Opera, Zurich Opera, and the , , Jewels, Who Cares?, . 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 11

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Bolshoi Ballet

PRINCIPALS Vladislav Kozlov Semyon Chudin Ivan Alexeyev Victoria Litvinova Ekaterina Krysanova Batyr Annadurdyev Daria Lovtsova Vyacheslav Lopatin Xenia Averina Olga Marchenkova Ekaterina Besedina Ilona Matsiy-Kiryushkina Olga Smirnova Ilya Beresnev Artur Mkrtchyan Daria Bochkova Maxim Oppengeym LEADING SOLOISTS Bruna Cantanhede Gaglianone Yuri Ostrovsky Artemy Belyakov Anastasia Denisova Elena Panina Dmitry Dorokhov Appolinary Proskurnin SOLOISTS Dmitry Efremov Oxana Sharova Yulia Grebenshchikova Anton Gainutdinov Margarita Shrainer Angelina Karpova Elvina Ibraimova Ekaterina Smurova Anton Savichev Nikita Kapustin Maxim Surov Ana Turazashvili Mikhail Kemenov Erick Swolkin Xenia Kern Jacopo Tissi Mikhail Kochan Ekaterina Zavadina Alena Kovaleva Sergei Zelenko

Members of Bolshoi Ballet listed above are participating in the 2017 Lincoln Center Festival performances of Jewels.

General Director of the Bolshoi Theatre Vladimir Urin Music Director and Chief Conductor Tugan Sokhiev Ballet Director Makhar Vaziev First Deputy Director and Tour Leader Dmitry Kiyanenko Managing Director of the Bolshoi Ballet Galina Stepanenko Public Relations Katerina Novikova Tour Manager Ekaterina Valieva Ballet Administration Anna Baranova Coaches Merrill Ashley, Paul Boos, Olga Chenchikova, Yan Godovsky, Tatiana Krasina, , Alexander Vetrov Pianists Aleksandr Ivanov, Oleg Kirsanov Doctor Vladimir Morozov Masseur Nadia Dukhankina Stage Manager Irina Zibrova Wardrobe Daniil Aldoshin Female Wardrobe Vera Maslikova, Ekaterina Shulaya Male Wardrobe Ekaterina Firsova, Ekaterina Moskovskaya Makeup Natalia Piyanova, Elena Strebkova, Irina Tarfeeva, Rimma Voropaeva

The Bolshoi Theatre is represented by IMG Artists: imgartists.com.

General Sponsor of the Bolshoi Theatre Credit Suisse

Official Sponsor of the Bolshoi Ballet Nestlé 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 12

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New York City Ballet

PRINCIPALS CORPS DE BALLET Emily Kikta Tyler Angle Devin Alberda Alec Knight Joaquin De Luz Marika Anderson Claire Kretzschmar* Daniel Applebaum Olivia MacKinnon Russell Janzen Olivia Boisson Meagan Mann Lauren Lovette Jacqueline Bologna Jenelle Manzi Likolani Brown Miriam Miller Preston Chamblee Lars Nelson Andrew Veyette Harrison Coll Aaron Sanz Meaghan Dutton-O’Hara Andrew Scordato SOLOISTS Christopher Grant Kristen Segin Sara Adams Ashley Hod Mary Elizabeth Sell Harrison Ball Spartak Hoxha Mimi Staker Emilie Gerrity Rachel Hutsell Giovanni Villalobos Sasonah Huttenbach Sebastian Villarini-Velez Ralph Ippolito Sarah Villwock Megan Johnson Claire Von Enck Baily Jones Peter Walker Ghaleb Kayali Lydia Wellington

Members of New York City Ballet listed above are participating in the 2017 Lincoln Center Festival performances of Jewels.

Founders George Balanchine and Lincoln Kirstein Founding Choreographers George Balanchine and Jerome Robbins Ballet Master in Chief Peter Martins Ballet Mistress Rosemary Dunleavy Ballet Masters Jean-Pierre Frohlich, , Susan Hendl, Lisa Jackson, Glenn Keenan, Christine Redpath, , Kathleen Tracey Resident Choreographer Guest Teachers Espen Giljane, , , Andrei Kramarevsky Children’s Ballet Master Dena Abergel Assistant Children’s Ballet Master Arch Higgins Solo Pianists Elaine Chelton, Stephen Gosling, Nancy McDill, Alan Moverman, Susan Walters

Executive Director Katherine E. Brown Senior Director of Finance and Administration/Chief Financial Officer Farang Azari Managing Director, Communications and Special Projects Robert Daniels Senior Director, Marketing and Media Karen Girty Senior Director, Education and Public Programs Laura Johnson Personal Assistant to Mr. Martins Deborah Koolish Director of Production Marquerite Mehler Senior Director, Operations Brooks Parsons Senior Director, Development and Special Events Riccardo Salmona Director, The George Balanchine Trust Ellen Sorrin

*Janice Levin Dancer Honoree

New York City Ballet performs Jewels in tribute to the memory of Jay. S. Fishman, NYCB Chairman from 2012 –2016.

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 13

LINCOLN CENTER FESTIVAL 2017 JEWELS

Paris Opera Ballet

ÉTOILES SUJETS CORYPHÉES Léonore Baulac Marion Barbeau Camille Bon Fanny Gorse Laure-Adélaïde Boucaud Dorothée Gilbert Marc Moreau Sophie Mayoux Mathias Heymann Fabien Revillion Roxane Stojanov Germain Louvet Silvia Saint-Martin Hugo Marchand Lydie Vareilhes QUADRILLES Myriam Ould-Braham Ida Viikinkoski Marion Gautier de Charnacé Laëtitia Pujol Séverine Westermann Clémence Gross Amélie Joannidès PREMIERS DANSEURS Héloïse Jocqueviel François Alu Hannah O’Neill Sae Eun Park

Members of Paris Opera Ballet listed above are participating in the 2017 Lincoln Center Festival performances of Jewels .

Director of Paris Opera Stéphane Lissner Director of Dance Aurélie Dupont Dance Administrator Flavien Moglia Ballet Master Associated with Director of Dance Clotilde Vayer Assistant–Ballet Master Viviane Descoutures Rehearsal Pianist Michel Dietlin General Dance Manager Virginia Gris Dance Manager Jessica Bel Ballet Teacher Jean-Guillaume Bart Dance Class Accompanist Touve R. Ratovondrahety Producer Michèle Delgutte Production and Tour Manager Ioannis Krommidas Physiotherapist Anne Ziegler Wardrobe Françoise Joubert, Olivia Sansonne Hairdresser Lorenzo Belliot Make-up Artist Elodie Gré

The Paris Opera Ballet is represented in the U.S. by Opus 3 Artists: opus3artists.com.

The Paris Opera Ballet gratefully acknowledges the support of its main sponsors: EY , Principal Sponsor of the Paris Opera Rolex , Exclusive Timepiece of the Paris Opera Paprec Group , Principal Sponsor of the Paris Opera Ballet 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 14

LINCOLN CENTER FESTIVAL 2017 JEWELS

New York City Ballet Orchestra Music Director Andrew Litton

Associate Music Director Andrews Sill Resident Conductors Daniel Capps, Clotilde Otranto

FIRST VIOLINS DOUBLE BASSES TRUMPETS Kurt Nikkanen Ron Wasserman Raymond Mase Concertmaster Principal Principal Nicola Danielson Marji Danilow Lowell Hershey Paul Peabody Wan Hao Xu Thomas Hoyt Yevgenia Strenger Grey Fulmer Andy Simionescu TROMBONES Bin Lu FLUTES Brian Santero Andrew Schaw Paul Dunkel Principal Nelly Kim Principal Keith Green Wei Yi Wang Laura Conwesser Ilan Morgenstern Jiye Lee Rie Schmidt Bass Trombone

SECOND VIOLINS OBOES TUBA Lydia Hong Randall Wolfgang Dan Peck Principal Principal Conway Kuo Alexandra Knoll HARP Yoejin Cho Julia DeRosa Sara Cutler Helen Strilec Nancy McAlhany CLARINETS TIMPANI Laura Oatts Steven Hartman Pablo Rieppi Karen Karlsrud Principal Gerhardt Koch PERCUSSION VIOLAS Brian Hysong Erik Charlston Joana Miranda Bass Clarinet Principal Principal Mark Holloway BASSOONS Alexis Sykes Harrison Hollingsworth ORCHESTRA MANAGER Kathleen Ciechomski Principal David Titcomb Juliet Haffner Harry Searing Laurance Fader Ethan Silverman MUSIC LIBRARIAN Contrabassoon Russel Allyn CELLOS Frederick Zlotkin FRENCH HORNS PERFORMANCE LIBRARIAN Principal Stewart Rose Michael Martin Eugene Moye Principal Peter Sanders Michael Martin Hannah Holman Richard Hagen Joseph Lee H. Robert Carlisle Alessandro Benetello 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 15

LINCOLN CENTER FESTIVAL 2017 JEWELS

Lincoln Center Festival, now in its 22nd complex and the 11 resident organizations: season, has received worldwide attention The Chamber Music Society of Lincoln for presenting some of the broadest and Center, Film Society of Lincoln Center, Jazz most original performing arts programs in at Lincoln Center, The , Lincoln Center’s history. The festival has Lincoln Center Theater, The Metropolitan presented 1,465 performances of opera, Opera, New York City Ballet, New York music, dance, theater, and interdisciplinary Philharmonic, New York Public Library for forms by internationally acclaimed artists the Performing Arts, School of American from more than 50 countries. To date, the Ballet, and Lincoln Center for the Performing festival has commissioned 44 new works Arts. Lincoln Center has become a leading and offered 145 world, U.S., and New York force in using new media and technology to premieres. It places particular emphasis on reach and inspire a wider and global audi - showcasing contemporary artistic view - ence. Reaching audiences where they are— points and multidisciplinary works that physically and digitally—has become a cor - challenge the boundaries of traditional per - nerstone of making the performing arts formance. For more information, visit more accessible to New Yorkers and LincolnCenterFestival.org. beyond. The re-imagination of David Geffen Hall will play an important part in these Lincoln Center for the Performing Arts efforts. For more information, visit (LCPA) serves three primary roles: presen - LincolnCenter.org. ter of artistic programming, national leader in arts and education and community Acknowledgments engagement, and manager of the Lincoln The performance of Jewels, a Balanchine® Center campus. A presenter of more than Ballet, is presented by arrangement with 3,000 free and ticketed events, perfor - The George Balanchine Trust and has been mances, tours, and educational activities produced in accordance with the annually, LCPA offers 16 series, festivals, Balanchine Style® and Balanchine® and programs, including American Technique Service standards established Songbook, Avery Fisher Career Grants and and provided by the Trust. Artist program, David Rubenstein Atrium programming, Great Performers, Lincoln Stravinsky’s Capriccio for Piano and Center at the Movies, Lincoln Center Orchestra performed by arrangement with Emerging Artist Awards, Lincoln Center Boosey & Hawkes, Inc., publisher and Festival, Lincoln Center Out of Doors, copyright owner Lincoln Center Vera List Art Project, Midsummer Night Swing, Mostly Mozart Scenery provided by New York City Ballet Festival, White Light Festival, the Emmy Award–winning Live From Lincoln Center, French Translators Gregory Bruhn, which airs nationally on PBS, and Lincoln Bassem Shahin Center Education, which is celebrating 40 Russian Translators Fay Greenbaum, years enriching the lives of students, educa - Kat Khellblau tors, and lifelong learners. As manager of the Lincoln Center campus, LCPA provides Dance Flooring courtesy of support and services for the Lincoln Center American Ballet Theatre 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 16

ABOUT THE DAVID H. KOCH THEATER DAVID H. KOCH THEATER Theater Management Designed by the renowned architect Philip Johnson Katherine E. Brown, Executive Director especially for George Balanchine and the New York City David P. Thiele, Managing Director Ballet, the David H. Koch Theater is widely regarded as one of the world’s greatest venues for dance. Originally named Director of Operations ...... Joseph Padua the New York State Theater, the venue opened in 1964, and Technical Director ...... Meghan VonVett was the second major theater to open at Lincoln Center. Event Operations Manager ...... Peter Damien Loza Front of House Coordinator ...... Caroline Conoly Operated by New York City Ballet, in recent years the Front of House Assistants ...... Erik Allen, Emma Stephens David H. Koch Theater has become one of this country’s Treasurer ...... Todd premier destinations for dance performances, featuring Assistant Treasurer ...... William Holze engagements by an international roster of some of the Master Carpenter ...... Frank Lavaia world’s most acclaimed dance companies. Master of Properties ...... Ben Dancyger Head Porter ...... Jose Nunez In 2008 a transformative $100 million commitment from Performance Porter ...... Darwin Gonzalez philanthropist David H. Koch enabled major renovations to Chief Engineer ...... Michael Basso the theater, and the venue was renamed the David H. Koch Security Supervisor...... Clement Mitcham Theater in his honor. The David H. Koch Theater is owned Mail Room Supervisor ...... Aracely Diaz by the City of New York, which has also given funds for its refurbishment and which provides an operating subsidy Telephone Sales & Customer Service through the Department of Cultural Affairs. Director ...... Nadia Stone Assistant Manager ...... Kayvon Pourazar Assistant to the Director ...... Shirley Koehler

LINCOLN CENTER FOR THE PERFORMING Directors Emeriti Council ARTS, INC. Hon. William H. Donaldson, Co-Chair Board of Directors Peter L. Malkin, Co-Chair Katherine Farley, Chairman John B. Hess, Vice Chair Mrs. James A. Block Paul B. Guenther Mrs. Frederick P. Adrienne Arsht, Vice Chair Bruce Kovner, Vice Chair Diane M. Coffey Ruth W. Houghton Rose Richard K. DeScherer, Philip L. Milstein, Vice Chair David A. Coulter Peter S. Kraus Susan Rudin Vice Chair Laurie M. Tisch, Vice Chair Bruce Crawford June Noble Larkin Walter V. Shipley Joel S. Ehrenkranz, Vice Chair Ann Ziff, Vice Chair Peter Frelinghuysen Martin J. Howard Solomon Roy Furman, Vice Chair Blair Effron, Treasurer Harvey Golub Oppenheimer Daisy M. Soros Ann Unterberg, Chair, Education Audrey Butvay Thomas A. Renyi Hon. Carl Spielvogel Gruss Stephen Stamas Ronnie Ackman Gerald L. Hassell Julian Robertson Robert Appel Rita E. Hauser Jim Rosenthal Presidents Emeriti Joseph Y. Bae Jim Herbert Stephen M. Ross (1910–1992) Christina Baker David A. Hunt David M. Rubenstein Nathan Leventhal Keith T. Banks Elliot S. Jaffe Oscar S. Schafer Reynold Levy Renée Belfer Steven A. Kandarian Ralph Schlosstein Frank A. Sheryl Drangel Thomas Bennack, Jr. Kaye Schumacher Administration Richard S. Braddock Somesh Khanna Robert K. Steel Debora L. Spar, President Jeffrey C. Campbell David H. Koch Gayfryd Steinberg Liza Parker, Chief Operating Officer Judith-Ann Corrente Shelly Lazarus Steven R. Swartz Robert Cundall, Executive Vice President, Chief Financial Officer Daniel Crown Thomas H. Lee Yasushi Takahashi Russell Granet, Executive Vice President, Lincoln Center Education, James G. Dinan Betty Levin Tony Tamer Community Engagement, and International Beth Dozoretz Robert I. Lipp Chandrika K. Tamar C. Podell, Executive Vice President, Planning & Development Harold Ford, Jr. Bryan Lourd Tandon Lesley Friedman Rosenthal, Executive Vice President, William E. Ford Peter W. May Ann Tenenbaum General Counsel & Secretary Bart Friedman William R. Miller John A. Thain David Geffen Eric Mindich Alair A. Townsend Peter Duffin, Senior Vice President, Brand & Marketing Bennett J. William C. Morris Barbara Vogelstein Jane Moss, Ehrenkranz Artistic Director Goodman Anna Nikolayevsky John E. Waldron Nigel Redden, Director, Lincoln Center Festival Efraim Grinberg Indra Nooyi Christopher J. Peter Flamm, Vice President, Concert Halls & Operations Mimi Haas Daniel S. Och Williams Elaine Ruiz, Vice President, Controller Ronald G. James P. John Wren Vin Cipolla, Executive Director, David Geffen Hall Campaign Harrington O’Shaughnessy Clara Wu Tsai William B. Joseph R. Perella Randi Zuckerberg Lincoln Center Development Project Harrison, Jr. Ingeborg Rennert Ron Austin, Executive Director John D. Rockefeller 3rd (1906–1978) Honorary Chairman Amyas Ames (1906–2000) Lincoln Center Council Frank A. Bennack, Jr. Chairman Emeritus Katherine E. Brown, New York City Ballet Bruce Crawford Chairman Emeritus Jacqueline Z. Davis, The New York Public Library for the Martin E. Segal (1916–2012) Performing Arts (1929–2007) Peter Gelb, Metropolitan Opera George Weissman (1919–2009) André Bishop, Lincoln Center Theater Ex Officio Suzanne Davidson, The Chamber Music Society of Lincoln Center Honorable Bill de Blasio, Mayor of the City of New York Lesli Klainberg, The Film Society of Lincoln Center Barry H. Berke, Esq., Mayor’s Designee Debora L. Spar, Lincoln Center Hon. Melissa Mark-Viverito, Speaker of the New York City Council Bill Thomas, New York Philharmonic Frank Carucci, Speaker’s Designee, New York City Council Joseph W. Polisi, The Juilliard School Honorable Thomas Finkelpearl, Commissioner, Department Greg Scholl, Jazz at Lincoln Center of Cultural Affairs Alair Townsend, City Center of Music and Drama Honorable Mitchell J. Silver, Commissioner, Department of Marjorie VanDercook, School of American Ballet Parks and Recreation