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07-21 Jewels.qxp_Gp 3.qxt 7/13/17 3:36 PM Page 1 Lincoln Center Festival lead support is provided by American Express July 21 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. 07-21 Jewels.qxp_Gp 3.qxt 7/13/17 3:36 PM Page 2 LINCOLN CENTER FESTIVAL 2017 JEWELS July 21, 2017, at 7:30 p.m. Jewels Conductor Andrew Litton Emeralds , Paris Opera 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 , Bolshoi Ballet Music Igor Stravinsky (Capriccio for Piano and Orchestra, 1927) Costume Design Elena Zaitseva Bolshoi Ballet Staging of Rubies by Sandra Jennings and Patricia Neary Piano Soloist Stephen Gosling EKATERINA KRYSANOVA, ARTEM OVCHARENKO YULIA GREBENSHCHIKOVA Mikhail Kemenov, Batyr Annadurdyev, Anton Savichev, Mikhail Kochan Margarita Shrainer, Daria Bochkova, Anastasia Denisova, Daria Lovtsova, Ilona Matsiy-Kiryushkina, Xenia Kern, Bruna Cantanhede Gaglianone, Victoria Litvinova Intermission 07-21 Jewels.qxp_Gp 3.qxt 7/13/17 3:36 PM Page 3 LINCOLN CENTER FESTIVAL 2017 JEWELS Diamonds , New York City Ballet Music Pyotr Ilyich Tchaikovsky (from Symphony No. 3 in D Major, 1875) Costume Design Karinska SARA MEARNS, TYLER ANGLE Emilie Gerrity, Ashley Hod, Mary Elizabeth Sell, Lydia Wellington Devin Alberda, Daniel Applebaum, Aaron Sanz, Andrew Scordato Marika Anderson, Olivia Boisson, Jacqueline Bologna, Meaghan Dutton-O’Hara, Rachel Hutsell, Sasonah Huttenbach, Megan Johnson, Emily Kikta, Claire Kretzschmar, Olivia MacKinnon, Miriam Miller, Mimi Staker Harrison Ball, Preston Chamblee, Harrison Coll, Ethan Fuller*, Christopher Grant, Kennard Henson*, Spartak Hoxha, Ghaleb Kayali, Alec Knight, Lars Nelson, Sebastian Villarini-Velez, Peter Walker *Apprentice The refurbishment of New York City Ballet's Diamonds costumes in 1998 was generously supported by The Travelers Foundation, in memory of Bari Lipp. Casting is subject to change. World premiere: April 13, 1967, by New York City Ballet at New York State Theater 07-21 Jewels.qxp_Gp 3.qxt 7/13/17 3:36 PM Page 4 LINCOLN CENTER FESTIVAL 2017 JEWELS 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 France, took place in June and July. Fifty years later, Russia, 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 French Ballet, New York City Ballet, and Paris Opera ballet master Marius Petipa 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 Swan Lake 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 Saint Petersburg, 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 Mariinsky Theatre 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 Sergei Diaghilev’s ground - Russian, we are pleased that Paris Opera breaking Ballets 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 07-21 Jewels.qxp_Gp 3.qxt 7/13/17 3:36 PM Page 5 LINCOLN CENTER FESTIVAL 2017 JEWELS 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 Giselle —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 Violette Verdy, Mimi hands of a clock—interrupt its soft lyricism, Paul, Edward Villella, Patricia McBride, suggesting that this gentle, dreamlike Jacques d’Amboise, and Suzanne Farrell. 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, Brooklyn Rail, Dance Magazine, and Pointe .

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