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NYCB's 2009-10 Winter season


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Let me add to my own post. I understand that NYCB must have new audiences which is probably the rational for adding a sure winner (i.e. full houses) like SB. But two weeks is one week too long, and again they could have added additional shows (just for SB).

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Welcome to Ballet Talk, FirstChairOboe.

Bourree Fantasque -- Why was this dropped? A delightful ballet. And who could resist the Chabrier polonaise?

[ ... ]

Seven Deadly Sins - I've read that Balanchine wanted to revive this with Bette Middler singing the Lenya role. Absurd. What this piece needs is a mezzo (I know it was written for a high soprano, but somehow the voice and music never mesh) such as von Otter or Kirschlager singing and a dancer approximating Kent. To see Kent jump through the aluminum (I think it was) window at the end was theatre at its best.

I'm with you on these two. Miami City Ballet revived Bourree Fantasque in the 2007-08 season. Villella saw a revival by Suzanne Pilarre at SAB a few years previously. Until the SAB performance, he hadn't seen it since 1958. It's a natural for an audience with a little bit (or a lot) of knowledge about ballet. On top of that, it's still very, very funny. And audiences loved it.

Here's the thread on the MCB performances:

http://ballettalk.invisionzone.com/index.php?showtopic=26643

I've never been able to understand the failure to revive Seven Deadly Sins. :( Has NYCB ever done it since that first season? It's one I'd gladly travel back to NYC for.

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UK members may be able to give more details about the connection but London Festival Ballet danced BOURREE FANTASQUE in 1960; i don't know how long it lasted in rep.

American Ballet Theatre under Barsyhnikov's direction revived the ballet in '82 (again, i'm not sure how long it stayed in rep.) Kim Highton, who had a sadly short career on stage w/ ABT, was memorable in the 2nd mov. of ABT's staging early in its run there.

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I just printed out the NYCB 2010 Winter Repertory schedule - that is one weird looking NYCB season. My first thought was far too rude to post on a well-behaved BB like BT. My second thought was "Midsummer Night's Dream" in January - what were they smoking?

Since I know nothing about running a ballet company, could someone help me with my third thought: does this season 1) allow the company to streamline rehearsal logistics and / or rehearsal time (for both dancers and musicians) thus saving money and /or extracting the most bang for the rehearsal buck, 2) streamline the set / staging logistics along the lines of the "stagione" system some opera houses use, also to save money, and 3) provide a lot of solo turn opportunities for soloists, senior corps members, and up-and-comers? With two weeks of Sleeping Beauty, just about every woman in the corps could be the fairy of something or other.

The second two weeks in January are the most complicated looking and even they look like a pretty straightforward rotation of four programs.

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Actually, since I missed Midsummer's Night Dream in the Spring 09, I'm glad they are reviving it, particulary because it does not come around every spring anymore. Also, they probably invested a substantial amount in rehearsals for that ballet in Spring 09, so it makes sense to bring it back from a financial perspective. Hopefully, it will provide warmth to a dreary cold winter.

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Another two things I thought I would add:

I would like to see a staging (if anyone remembers the steps) of the Mozart Violin Cocerto No. 5. Having seen Menuhin and Milstein in performance with my orchestra, I always wonderd what Balanchine did the music. Mozart is very ticky and exposed to play, but what did he do with this concerto?

I would have loved to see Ashotn's Month In the Country with Kyra Nichols dancing the main part. If there was ever a dancer born to dance this role, it was Nichols. And what would have Verdy done with this part? And what about Ashton's Enigma Variations with Nichols in the Beriosova part. Well, we can dream, even if those dreams are not of this world.

And what I said earlier about Seven Deadly Sins. You need a really fine mezzo or contralto in the singing part. A belter doesn't do it.

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My apologies to NYCB fans for being :( ... but ...

And what I said earlier about Seven Deadly Sins. You need a really fine mezzo or contralto in the singing part. A belter doesn't do it.
You also need a magnetic stage performer. There don't seem to be many Lenyas around any more. Do you have any suggestions for Anna I (the singer) or Anna II (the dancer)?
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My apologies to NYCB fans for being :( ... but ...
And what I said earlier about Seven Deadly Sins. You need a really fine mezzo or contralto in the singing part. A belter doesn't do it.
You also need a magnetic stage performer. There don't seem to be many Lenyas around any more. Do you have any suggestions for Anna I (the singer) or Anna II (the dancer)?

for the dancer, Janie Taylor.

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I just printed out the NYCB 2010 Winter Repertory schedule - that is one weird looking NYCB season. My first thought was far too rude to post on a well-behaved BB like BT. My second thought was "Midsummer Night's Dream" in January - what were they smoking?

I wouldn't be surprised if Midsummer is programmed for Spring too.

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Another two things I thought I would add:

I would have loved to see Ashotn's Month In the Country with Kyra Nichols dancing the main part. If there was ever a dancer born to dance this role, it was Nichols.

And what I said earlier about Seven Deadly Sins. You need a really fine mezzo or contralto in the singing part. A belter doesn't do it.

Oh don't do this to me!! I've fantasized about Nichols dancing in "A Month in the Country" like FOREVER with Nikolaj Hubbe as her partner. Never happen of course. Not just because Kyra and Nikolaj are now retired but because I don't think Martins would ever allow an Ashton ballet to be performed at NYCB but also because Anthony Dowell - who I think has ownership of the ballet - only allows The Royal Ballet to perform it.

As for the "Seven Deadly Sins" I would LOVE to see that ballet. But isn't that one of great "lost" Balanchine ballets? I don't think anyone including Allegra Kent herself remembers anything about the staging or the choreography.

But in general I would adore to see some of the older ballets - that many posters have already mention - come back. Many of them I've never seen perform on stage but I've certainly read about them and have seen many wonderful photos. They may not be among the great Balanchine/Robbins ballets but if stage correctly and coached properly and sandwiched in between tried and true popular ballets, I'm sure many new audience members - like myself - would highly enjoy them. Not to mention I'm sure the dancers would love performing ballets they're not use to dancing. It would be like discovering a new ballet by an old reliable master. It seems to me to be a win-win situation.

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Only 11 Balanchine and Robbins ballets combined for the winter season? That seems like an extremely small number.

I agree with you...that is a small amount. But if Martins & Company was smart, with this small amount of dances being offered by Balanchine and Robbins, they could make certain these ballets are strongly well rehearsed, properly casted with dancers who would give the ballets the strength and beauty they richly deserved, it could be a major plus. We may not have as many Balanchine and Robbins we would like to see in a season, but if the ones we do see are perform superbly...it's worth it in the long run.

IMO - one of NYCB's major flaws is that the ballets of Balanchine and Robbins appears at times to be under rehearse. It's not that the dancers can't perform the steps...they just don't seem to have the proper time to understand the steps and the reason for them. Because they perform so many weeks in one season and have so many ballets to dance in that one season, the company doesn't seem to give the dances enough time to truly disgest the choreography and truly make it their own. Maybe by giving a small amount of ballets to perform in one season the company could focus more on proper rehearsal. Could be wrong...what the hell do I know?? :dunno:

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I don't think Martins would ever allow an Ashton ballet to be performed at NYCB but also because Anthony Dowell - who I think has ownership of the ballet - only allows The Royal Ballet to perform it.

:dunno: For what it's worth, A Month in the Country is in the repertoire of the National Ballet of Canada. They acquired it about 15 years ago. The company does have a much stronger Ashton pedigree than NYCB, of course. Not that they perform it very often. :crying:

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Bourree Fantasque -- Why was this dropped? A delightful ballet. And who could resist the Chabrier polonaise?
American Ballet Theatre under Barsyhnikov's direction revived the ballet in '82 (again, i'm not sure how long it stayed in rep.) Kim Highton, who had a sadly short career on stage w/ ABT, was memorable in the 2nd mov. of ABT's staging early in its run there.
NYCB revived this during its first Balanchine Festival. I believe Kyra did the role in which rg remembers as Kim Highton. I can easily imagine Sara Mearns in that role. The Tall Ballerina-Short Cavalier were Darci and Damian, who did not come across as the mismatch the choreography requires. How about Maria Kowroski (a proven comedienne) vs. Joaquin deLuz?
Illuminations -- Strange Ashton erotica. An interesting watch, but I have the feeling people would laugh at it today.
Leaving aside whether or not the Ashton piece is top drawer Ashton, it would be unusual programming -- "Wow! I never thought I would see that at City Ballet!!"
NYCB revived this in the (probably early-ish) 1970s, probably for a single season, and it would have been Balanchine's choice. I remember Sara Leland as the one-shoed Profane Love.
My second thought was "Midsummer Night's Dream" in January - what were they smoking?
Why not? We don't confine "Giselle" to the time of the grape harvest (late summer?). It's a wonderful ballet and I have no problem with the idea of bundling up in a coat and gloves to go out to see it.
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Maybe I'm crazy, but I think PBS televised a production of Seven Deadly Sins in 1961.

As for Lenya, she was a strange presence, but she rasped and the translation in English never came across. Best to leave it in German. Anne Sophie von Otter recorded it several years ago. Get a copy. You'll be very surprised and delighted. And Gisela Litz's rendition is also worth the price of purchase.

And speaking of the revivals that will never happen:

Massin'e Boutique Fantasque with Bouder and Millepied (did I spell it correctly) as the can-can dolls. The applause would never abate. Believe it or ot, the early Jerome Robbins ballets were direct descendants of Massine. They relied, not so much on technique, but on great personalities who could express characterization through dance. Think of Janet Reed, Harold Lang, Sondra Lee, John Kriza, Muriel Bentley and Jerome Robbins himself. As well as other really fantastic dancers such as Tallchief, Le Clercq, Mounsey, etc.

Revivals that should have happened in NYC

Kyra Nichols in Ashton's Ondine and as the Miller's wife in Tricorne. Massine was in a class by himself. Too bad most of you never saw him. He's trashed today, but doesn't deserve it. His ballets are better than you think. The just need PERSONALITY.

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Bourree Fantasque -- Why was this dropped? A delightful ballet. And who could resist the Chabrier polonaise?
American Ballet Theatre under Barsyhnikov's direction revived the ballet in '82 (again, i'm not sure how long it stayed in rep.) Kim Highton, who had a sadly short career on stage w/ ABT, was memorable in the 2nd mov. of ABT's staging early in its run there.
NYCB revived this during its first Balanchine Festival. I believe Kyra did the role in which rg remembers as Kim Highton. I can easily imagine Sara Mearns in that role. The Tall Ballerina-Short Cavalier were Darci and Damian, who did not come across as the mismatch the choreography requires. How about Maria Kowroski (a proven comedienne) vs. Joaquin deLuz?
My second thought was "Midsummer Night's Dream" in January - what were they smoking?
Why not? We don't confine "Giselle" to the time of the grape harvest (late summer?). It's a wonderful ballet and I have no problem with the idea of bundling up in a coat and gloves to go out to see it.

Bouree Fantasque has been brought out of mothballs for the SAB workshop as well.

I wasn't thinking about "Midsummer" in the title so much as I was thinking about it as the ballet NYCB typically sends us off into the summer with. I'd normally be happy to see it anytime -- it just seems like overkill with R&J, SL, and SB already taking up about half of the season.

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I saw A Month in the Country with Lynn Seymour and the rest of the original cast the first season. I'd love to see Jennifer Ringer in this, although it seems a better fit for ABT.

What I remember of Seven Deadly Sins is Allegra Kent being carried in on a platter, it must have been gluttony. She was certainly one of a kind, but I think the ballet would hold up to different performances in the role. I'd like to see what Janie Taylor, and Maria Kowroski would do with it.

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I must say I would just as soon (sooner) not see NYCB attempt A Month in the Country...

FirstChairOboe: I thought Massine was getting a bit of a revival recently with a full Massine program at the Bolshoi and productions at the Joffrey and the Maryinsky. In any case, who trashes him? Usually I just read, much as you wrote, that today's dancers don't have the personality to dance his works...or perhaps others might say they lack the training and aesthetic approach that the ballets need.

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I certainly agree with you. I don't think NYCB should attempt any Ashton repertory. From what I have seen, I don't think any of the current dancers could perform it.

The only dancers from the company (from my generation) who could have danced Ashton were Diana Adams, Yvonne Mounsey, Jilanna, Violette Verdy and Francisco Moncion.

As for Massine, I know he is getting something of a small revival, but not enough in my estimation.

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regarding Ashton works made for NYCB, there were plans (or at least indications) in place for the 50th anniv. year, if mem. serves, to revive ILLUMINATIONS but soon after, they were mentioned no more.

i don't think there's enough data left to revive PICNIC AT TINTAGEL.

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Just got our subscription reorder.

The good news is that our seats are essentially the same as they were before the reconfiguration of the orchestra. The bad news - first and foremost - the programming. I am not generally a fan of story ballets. So having 6 full length ballets (5 of them story ballets) was a huge disappointment. But I gather that someone in the marketing department must think that these will sell better. If that is the case I would have to support the decision... I personally believe that the company faces huge financial issues in the coming year. I feel that the economic conditions have drastically reduced the corporate and foundation support that was normal in past years. That certainly has to hurt. So whatever is necessary to maintain the company financially healthy is worthwhile at this point.

Another issue - but less so for me was the Special new $10 discount for subscribers - what he doesn't mention was that it is after the ticket prices for the center orchestra were raised by $15. A net $5 increase. But these seats are now premium orchestra center seats and I can see charging a bit more for them. I also think the front center section of the First Ring were raised. I think most of the other seats will remain the same price for subscribers after the discount.

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The price of the fourth ring rows A & B went up to $50 per ticket. I can't remember the price last year, but I think it was either $46 or $48. The rest of the fourth ring pricing appears to be the same as last year.

I'm glad to see that they now have variable pricing in the orchestra, based on whether it is center, side or rear. I don't think they had that last year. I'm surprised they haven't started charging more for weekend performances, like ABT and the Met Opera. I'm sure it's a matter of time.

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I haven't seen the official release posted, so I will do so. It fleshes out some items.

New York City Ballet Announces 2009/2010 Season

In Honor of Lincoln Center’s 50th Anniversary NYCB to Present a Year-Long Retrospective of its Unparalleled Repertory

The Winter Season Will Showcase Five of NYCB’s Full-Length Ballets as Well as World Premieres by Peter Martins and Alexey Miroshnichenko and Classic Works by George Balanchine and Jerome Robbins

The Spring Season Will Celebrate the Company’s Extraordinary Commitment to New Work Featuring Seven World Premiere Ballets and Four Commissioned Scores

Choreographers Creating Ballets for the Spring Season Include Melissa Barak, Mauro Bigonzetti, Peter Martins, Wayne McGregor, Benjamin Millepied, Alexei Ratmansky, and Christopher Wheeldon With Commissioned Scores by Bruno Moretti, Thierry Escaich, Jay Greenberg, and Esa-Pekka Salonen

Acclaimed Architect Santiago Calatrava Will Also Collaborate On the 2010 Spring Season

In celebration of the 50th anniversary of Lincoln Center for the Performing Arts, which has been New York City Ballet’s home since 1964, for its 2009/2010 season NYCB will present a yearlong celebration of the Company’s unparalleled repertory.

The season will begin with the Opening Night Benefit on Tuesday, November 24, which will mark NYCB’s first performance in the newly renovated David H. Koch Theater, and will feature a world premiere ballet by Peter Martins to John Adams’ Naive and Sentimental Music. A longtime champion of contemporary American music, this will be Martins’ ninth ballet to a score composed by Adams.

The Opening Night Benefit will be followed by the annual holiday season of George Balanchine’s The Nutcracker™, from Friday, November 27, through Sunday, January 3. The eight-week winter season will open on Tuesday, January 5, and will showcase five of the full-length ballets in the Company’s repertory – A Midsummer Night’s Dream, Romeo + Juliet, The Sleeping Beauty, Swan Lake, and Jewels -- along with 11 classics by George Balanchine and Jerome Robbins, and a world premiere by Russian choreographer Alexey Miroshnichenko.

The spring season, which will feature performances of 40 different ballets, will open on Tuesday, May 4, and be highlighted by an extraordinary celebration of New York City Ballet’s unparalleled commitment to new choreography featuring world premiere ballets by Melissa Barak, Mauro Bigonzetti, Peter Martins, Wayne McGregor, Benjamin Millepied, Alexei Ratmansky, and Christopher Wheeldon. During the course of the eight-week spring season, seven of the weeks will feature a world premiere.

Four original scores have also been commissioned for the new ballets from: Bruno Moretti, who will work with Bigonzetti, his long-time collaborator; French composer Thierry Escaich, who will work with Millepied; young American composer Jay Greenberg, who will create the score for the Barak ballet; and Esa-Pekka Salonen, who composed a violin concerto for Martins’ spring season world premiere which has been co-commissioned by NYCB, the Chicago Symphony Orchestra, and the Los Angeles Philharmonic, where the score premiered in April.

In addition, the acclaimed architect Santiago Calatrava will also collaborate with NYCB during the 2010 spring season festival of new choreography.

Opening Night and George Balanchine’s The Nutcracker™

The season will begin with NYCB’s annual Opening Night Benefit, which will take place on Tuesday, November 24. This evening will mark the first NYCB performance in the newly-renovated David H. Koch Theater.

Created for George Balanchine and New York City Ballet, the theater opened on April 20, 1964, and was originally called the New York State Theater. It was the second theater to open at Lincoln Center, and is currently undergoing an $86 million renovation, the first phase of which will be completed in October 2009, with the official re-opening scheduled for the New York City Opera Opening Night Gala Concert on November 5. The theater was renamed the David H. Koch Theater in 2008 in recognition of Mr. Koch’s $100 million gift to the theater’s capital campaign.

In addition to the Adams/Martins world premiere, the Opening Night Benefit will feature other works from the NYCB repertory to be announced at a later date.

Following the Opening Night Benefit, NYCB will begin its annual holiday season of George Balanchine’s The Nutcracker™ on Friday, November 27, with 47 performances through Sunday, January 3.

One of New York’s most beloved holiday traditions, the production premiered on February 2, 1954, it has been seen in New York every year since, and has been performed by NYCB more than 2000 times. Set to Tschaikovsky’s glorious score, Balanchine’s staging of The Nutcracker, which he knew from his childhood in Russia, established the ballet and its score as perennial favorites in the United States.

Winter Season

NYCB’s winter season will begin on Tuesday, January 5, with a performance consisting of the new Adams/Martins work, as well as George Balanchine’s Who Cares?, and will continue with 56 performances through Sunday, February 28.

The winter season will be highlighted by a world premiere ballet by Russian choreographer Alexey Miroshnichenko, which will premiere at the Company’s annual New Combinations evening on January 20. Each year since 1997, NYCB has presented a world premiere ballet on, or around, January 22 to honor the anniversary of Balanchine’s birth.

Miroshnichenko, who is a ballet master and dancer with the Maryinsky Ballet, was previously scheduled to create a ballet for NYCB’s 2009 winter season. Due to complications with the music rights for the ballet’s score, Sergei Prokofiev’s Chout Suite, the premiere was postponed. For the 2010 season Miroshnichenko has decided to create a new ballet using a score by Russian composer Rodion Shchedrin, husband of the legendary ballerina Maya Plisetskaya.

The winter season will also be highlighted by performances of five of the full-length ballets in the NYCB repertory. They will include George Balanchine’s A Midsummer Night’s Dream and Jewels, and Martins’ stagings of The Sleeping Beauty, Swan Lake, and Romeo + Juliet.

In addition to the full-length works, the winter season will also feature performances of eight Balanchine ballets including Agon, Firebird, Prodigal Son, Tschaikovsky Piano Concerto No. 2, and the return on Cortège Hongrois, last performed in 2005; as well as performances of Jerome Robbins’ Fancy Free, Dances at a Gathering, and West Side Story Suite.

Spring Season

NYCB’s spring season, which will feature performances of 40 different ballets, will be highlighted by an extraordinary celebration of new music and choreography, featuring seven world premiere ballets and four commissioned scores, which are being created in honor of the 50th anniversary of Lincoln Center. Since relocating to Lincoln Center in 1964, NYCB has premiered more than 300 original works, making the Company by far the most prolific creator of new work at the performing arts complex.

For the 2010 spring season, which will open on Tuesday, May 4, new ballets will be created by Melissa Barak, Mauro Bigonzetti, Peter Martins, Wayne McGregor, Benjamin Millepied, Alexei Ratmansky, and Christopher Wheeldon. This will mark the first time that McGregor, the resident choreographer of London’s Royal Ballet, has created an original work for an American company. Commissioned scores will be created by Bruno Moretti, Thierry Escaich, Jay Greenberg, and Esa-Pekka Salonen.

The celebration of new choreography will also feature a special collaboration with the internationally-renowned architect Santiago Calatrava. The Spanish born Calatrava is one of the world’s elite architects, and is internationally acclaimed for structures that are said to suggest flight. He is best-known for his dazzling public projects, such as bridges, stadiums and train stations in various cities around the world, and is currently designing a new transit hub at the World Trade Center site in lower Manhattan.

In addition to the world premiere ballets, the 2010 spring season will include performances of 33 other works, including 21 ballets by George Balanchine and 7 by Jerome Robbins.

Spring Season World Premieres Ballets

Melissa Barak – Commissioned score by Jay Greenberg

Currently a member of the Los Angeles Ballet, Barak is a former NYCB dancer, and has previously created If by Chance (2002) and A Simple Symphony (2009) for the Company. For her spring season world premiere Barak will create a ballet to a commissioned score by Jay Greenberg, the young American composer who has been compared to such musical prodigies as Mozart, Mendelssohn and Saint-Saëns. Still a teenager, Greenberg is the youngest composer ever signed to exclusive contracts with IMG and Sony Classical, and this will mark his first score composed for dance.

Mauro Bigonzetti – Commissioned score by Bruno Moretti

The former Artistic Director of Italy’s Atterballeto where he is now principal choreographer, Bigonzetti has choreographed three works for NYCB -- Vespro (2002), In Vento (2006), and Oltremare (2008). For his new work, Bigonzetti will collaborate with Bruno Moretti who has been commissioned to create a new score for the ballet. Former colleagues at the Rome Opera Ballet, where Bigonzetti was a dancer and Moretti a pianist, they have worked together on numerous ballets, including all three of Bigonzetti’s previous works for NYCB.

Peter Martins – Commissioned score by Esa-Pekka Salonen

NYCB’s Ballet Master in Chief Peter Martins will create a new work to a violin concerto by Esa-Pekka Salonen, which was co-commissioned by NYCB, the Chicago Symphony Orchestra and the Los Angeles Philharmonic, where the score premiered in April 2009. Salonen wrote the score for the acclaimed Canadian violinist Leila Josefowicz, who will perform the concerto for all performances of the ballet. The Finnish-born Salonen is one of the music world’s most acclaimed conductors and composers, and was most recently the Music Director of the Los Angeles Philharmonic. For the ballet’s world premiere, Salonen will conduct the NYCB Orchestra.

Wayne McGregor – Score to be announced

British choreographer McGregor was appointed resident choreographer of London’s Royal Ballet in December 2006, and is also the artistic director of Wayne McGregor/Random Dance, a resident company of London’s Sadler’s Wells Theater. This will be McGregor’s first work for NYCB, and will also mark the first time that he has created an original piece for an American company. He has also created work for the Paris Opera Ballet, Nederlands Dans Theater, and Stuttgart Ballet, among others. Score to be announced.

Benjamin Millepied – Commissioned score by Thierry Escaich

A native of Bordeaux, France, Millepied is a principal dancer with NYCB, as well as a choreographer who has created works for American Ballet Theatre, Paris Opera Ballet, Pacific Northwest Ballet, Mikhail Baryshnikov, and Grand Théâtre de Genéve, among others. This will be his second work for NYCB, and will be created to a commissioned score by the acclaimed French organist and composer Thierry Escaich, who is currently the composer in residence for the Orchestra National de Lyon.

Alexei Ratmansky – Score by Edouard Lalo

Born in St. Petersburg Russia, and trained at the Bolshoi Ballet School, Ratmansky is currently the artist in residence at American Ballet Theatre, and is the former artistic director of the Bolshoi Ballet. In addition to those two companies, as a choreographer he has also worked with the Maryinsky Ballet, Royal Danish Ballet, and San Francisco Ballet, among others, and has previously created two works for NYCB – Russian Seasons (2006) and Concerto DSCH (2008). For NYCB’s 2010 spring season, Ratmansky will create a ballet to French composer Edouard Lalo’s Namouna.

Christopher Wheeldon – Score to be announced

British-born Wheeldon is currently the artistic director of Morphoses/The Wheeldon Company, and was previously NYCB’s first-ever resident choreographer, creating 16 works for the Company. Wheeldon has also created works for the Bolshoi Ballet, The Royal Ballet, and San Francisco Ballet, among others. Prior to becoming NYCB’s resident choreographer, Wheeldon also danced with the Company for seven years. This work will mark Wheeldon’s first new ballet for NYCB since leaving the Company in 2008. The score for the new Wheeldon work will be announced at a later date.

Ticket Purchases

Tickets for George Balanchine’s The Nutcracker™ range from $15 to $130, and beginning September 28, will be available through the NYCB website at www.nycballet.com, at the theater’s box office and through Center Charge at 212-721-6500.

Subscription tickets for the 2009 winter season will be available beginning August 12, through the NYCB website, by mail, and by phone from the NYCB subscription office at 800-580- 8730. For the first-time ever, this year subscribers at NYCB will receive savings of up to $10 per ticket off regular single ticket prices for the winter and spring seasons.

Tickets for the Opening Night Benefit will be available beginning September 28, by mail, through Center Charge, through the NYCB website, and at the theater’s box office.

Single tickets for the winter season range from $20 to $125, and are available by mail and through the NYCB website beginning October 26. Single tickets will also be available beginning November 23, at the theater’s box office and through Center Charge. Subscription tickets for the 2010 spring season will be available in January.

All performances will take place at the David H. Koch Theater, which is located on the Lincoln Center Plaza at Columbus Avenue and 63rd Street. The mailing address for the NYCB Box Office is New York City Ballet, 20 Lincoln Center, New York, NY 10023. For general information on tickets for any New York City Ballet performance, call 212-870-5570, or visit www.nycballet.com.

New York City Ballet’s programming is made possible in part by generous grants from the Joseph and Sylvia Slifka Foundation, the Harriet Ford Dickenson Foundation, Lincoln Center Corporate Fund, the Gene and Stanley Lasdon Charitable Trust, Richard H. Lasdon, John L. and Barbara Vogelstein, Lisa Maria and Philip Falcone, The New York Community Trust—Mary P. Oenslager Foundation Fund, Denise Sobel and Norman Keller, The Fan Fox and Leslie R. Samuels Foundation, Mr. and Mrs. Howard Solomon, The Jerome Robbins Foundation, The Shubert Foundation, The Ambrose Monell Foundation, the Henry and Lucy Moses Fund, Inc., The Florence Gould Foundation, the Geoffrey C. Hughes Foundation, the LuEsther T. Mertz Charitable Trust, Sue and Michael Steinberg, and public funds from the New York City Department of Cultural Affairs, New York State Council on the Arts and the National Endowment for the Arts.

Major support for new work is provided by members of the New Combinations Fund and The Irene Diamond Fund.

The creation of new works through New York City Ballet's Rudolf Nureyev Fund for Emerging Choreographers is made possible in part by a lead endowment gift from the Rudolf Nureyev Dance Foundation, with additional support provided by the Harriet Ford Dickenson Foundation and the Joseph and Sylvia Slifka Foundation.

New York City Ballet gratefully acknowledges the Lila Acheson and DeWitt Wallace Endowment Fund, which provides support for new work and audience development.

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 performance 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.

American Airlines is New York City Ballet’s Preferred Airline.

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