Dale

Casting released: CASTING ANNOUNCED FOR THE JOYCE THEATER’S PRESENTATION OF THE JOFFREY BALLET THE COMPANY’S FIRST NEW YORK CITY PERFORMANCE IN OVER 20 YEARS FEATURING THE NEW YORK PREMIERE OF KRZYSZTOF PASTOR’S ACCLAIMED PRODUCTION OF ROMEO & JULIET AT DAVID H. KOCH THEATER LINCOLN CENTER MARCH 29 – APRIL 2 (NEW YORK, NY) The Joyce Theater Foundation, Linda Shelton, Executive Director, announced today casting for the highly-anticipated NYC return of one of the world’s most renowned ballet companies, The Joffrey Ballet, including the New York premiere of its critically acclaimed production of Krzysztof Pastor’s Romeo & Juliet at Lincoln Center’s David H. Koch Theater from March 29 – April 2, with a special gala performance benefiting The Joyce Theater on March 30 featuring a mix-billed program including the New York premieres of Yuri Possokhov’s Bells and Myles Thatcher’s Body of Your Dreams. Casting for The Joyce Theater’s presentation of The Joffrey Ballet ROMEO & JULIET March 29, 7:30pm Romeo, a Montague.........................Rory Hohrnstein Juliet, daughter of a Capulet............Christine Rocas Mercutio, friend of Romeo...............Yoshihisa Arai Benvolio, a Montague......................Alberto Velazquez Capulet.............................................Fabrice Calmels Capulet’s wife...................................April Daly Tybalt, Capulet’s nephew..................Temur Suluashvili March 31, 8:00pm Romeo, a Montague..........................Alberto Velazquez Juliet, daughter of a Capulet............Amanda Assucena Mercutio, friend of Romeo................Derrick Agnoletti Benvolio, a Montague.......................Graham Maverick Capulet..............................................Miguel Angel Blanco Capulet’s wife....................................Christine Rocas Tybalt, Capulet’s nephew...................Edson Barbosa April 1, 2:00pm Romeo, a Montague.........................Paulo Rodrigues Juliet, daughter of a Capulet...........Victoria Jaiani Mercutio, friend of Romeo...............Elivelton Tomazi Benvolio, a Montague......................Graham Maverick Capulet.............................................Miguel Angel Blanco Capulet’s wife...................................April Daly Tybalt, Capulet’s nephew..................Matthew Adamczyk April 1, 8:00pm Romeo, a Montague.........................Rory Hohrnstein Juliet, daughter of a Capulet...........Christine Rocas Mercutio, friend of Romeo...............Yoshihisa Arai Benvolio, a Montague......................Alberto Velazquez Capulet.............................................Fabrice Calmels Capulet’s wife...................................April Daly Tybalt, Capulet’s nephew..................Temur Suluashvili April 2, 1:00pm Romeo, a Montague..........................Alberto Velazquez Juliet, daughter of a Capulet............Amanda Assucena Mercutio, friend of Romeo................Derrick Agnoletti Benvolio, a Montague.......................Graham Maverick Capulet..............................................Matthew Adamczyk Capulet’s wife....................................Joanna Wozniak Tybalt, Capulet’s nephew...................Edson Barbosa April 2, 6:00pm Romeo, a Montague..........................Dylan Gutierrez Juliet, daughter of a Capulet............Jeraldine Mendoza Mercutio, friend of Romeo................Yoshihisa Arai Benvolio, a Montague.......................Alberto Velazquez Capulet..............................................Fabrice Calmels Capulet’s wife....................................Christine Rocas Tybalt, Capulet’s nephew...................Temur Suluashvili Casting for special gala performance on March 30 to be announced at a later date. The Joffrey Ballet reserves the right to change the cast and program due to events beyond its control. * * * From March 29 through April 2, The Joyce Theater Foundation will proudly present The Joffrey Ballet in its long-awaited return to New York City. Under the artistic direction of Ashley Wheater, The Joffrey Ballet recently celebrated its 61st Anniversary since its 1956 founding by Robert Joffrey and Gerald Arpino in NYC. Twenty-one years ago, the company made a surprise exit from NYC, moving to Chicago, where it has been based ever since. This Joyce Theater Foundation presentation marks the Joffrey’s triumphant homecoming offering audiences the opportunity to see the entire spectacular company perform its glorious retelling of William Shakespeare’s most heart-wrenching love story, Romeo & Juliet, choreographed by celebrated Krzysztof Pastor, of the Polish National Ballet. Romeo & Julietwill be accompanied by The Joffrey Ballet Orchestra: Members of the Chicago Philharmonic and presented at the David H. Koch Theater at Lincoln Center March 29 & 31, and April 1 & 2. A special Gala performance of mixed repertory will take place on Thursday, March 30. This benefit for The Joyce Theater Foundation will include the New York premieres of Bells by Yuri Possokhov and Body of Your Dreamsby Myles Thatcher. Christopher Wheeldon’s Fool’s Paradise completes the evening’s program. The Joyce Theater Foundation’s presentation of The Joffrey Ballet continues its ongoing presence at Lincoln Center. Since April 2012, The Joyce has successfully presented seven engagements at the David H. Koch Theater. The previous presentations consisted of Sylvie Guillem’s 6000 miles away in 2012, followed by Nederlands Dans Theater in 2013. The Royal Ballet’s return to NYC and the 50th Anniversary Tour of Twyla Tharp in 2015, and last spring’s extraordinary run of Miami City Ballet. With these ongoing presentations, The Joyce proudly ensures that New York City continues to offer a diverse roster of outstanding large-scale dance productions while increasing the organization’s capacity to engage new audiences. Krzysztof Pastor (Choreographer of Romeo & Juliet ) began his ballet training with the Polish National Ballet School in his hometown of Gdansk. After his training he joined the Polish Dance Theatre in Poznan and four years later he moved to the Grand Theatre of Lodz. In 1983 Pastor became a soloist with Le Ballet de l’Opéra of Lyon in France, dancing ballets by Gray Veredon, Hans van Manen, Kurt Joss and others. From 1985 to 1995, he danced with the Dutch National Ballet. He completed his first choreographic work in 1986 for an international gala performance in Lodz. After creating several ballets for the Dutch National Ballet’s workshop programs, in 1992 he was asked to make a ballet for the company’s main program: the successful Shostakovich Chamber Symphony. Pastor has since gained considerable recognition as an international choreographer, creating nearly fifty ballets to date. In 2003, Pastor was appointed resident choreographer of the Dutch National Ballet. In this capacity, he created Si después de morir, the festive Voice which premiered at the Holland Festival 2004, Don Giovanni as well as Crossing Paths, Suite for Two and Visions at Dusk. Alongside his work for the Dutch National Ballet, Pastor created ballets for many companies abroad such as the National Ballet of Lithuania, The Washington Ballet, West Australian Ballet, Royal New Zealand Ballet, The National Ballet of Latvia, the Polish National Ballet, Ballet Opera Dresden, The Israel Ballet, the Royal Flemish Ballet, Royal Swedish Ballet, Ankara State Ballet The Scottish Ballet, and the Australian Ballet. In 2009 Pastor was appointed as director of the Polish National Ballet. Meanwhile he continues as a resident choreographer of the Dutch National Ballet. Yuri Possokhov (Choreographer of Bells). After receiving his dance training at the Moscow Ballet School, Yuri Possokhov danced with the Bolshoi Ballet for ten years, during which time he was promoted through the ranks to principal dancer. In 1992, he joined the Royal Danish Ballet as a principal dancer. In 1999, Possokhov organized and performed in a Russian tour entitled Ballet Beyond Borders. Following his retirement as a principal dancer from the Company, Possokhov was named Choreographer in Residence in May 2006. His final engagement with the Company as a principal dancer was on tour to New York’s Lincoln Center Festival in summer 2006. As a choreographer, Possokhov’s credits include Songs of Spain, choreographed in 1997 for dancer Muriel Maffre; A Duet for Two, created the same year for Joanna Berman; and Impromptu Scriabin, for Felipe Diaz. In 2000, he completed a new work for a dancer at the Mariinsky Ballet, as well as 5 Mazurkas for the Marin Dance Theatre. In 2004, Possokhov’s Firebird premiered at Oregon Ballet Theatre, and the following year, he created another work for the Company. In February 2006, the Bolshoi Ballet premiered his Cinderella and in February 2008, The Georgia State Ballet gave the American premiere of Possokhov’s one-act work, Sagalobeli. Possokhov returned to work with the Bolshoi Ballet in 2015, creating Hero of Our Time, a full-length ballet based on the famous novel written by Mikhail Lermontov. In addition to Bells,Possokhov has choreographedAdagio, and Don Quixote for The Joffrey Ballet. Myles Thatcher (Choreographer of Body of Your Dreams). Myles Thatcher trained at The Harid Conservatory, Ellison Ballet, and San Francisco Ballet School prior to being named an apprentice with San Francisco Ballet (SFB) in 2009. He was then accepted into the corps de ballet in 2010, where he still dances. Mr. Thatcher was commissioned by SFB Artistic Director & Principal Choreographer Helgi Tomasson to create a new ballet, Manifesto, for SFB’s 2015 Repertory Season. He choreographed In the Passerine’s Clutch for the SFB 2013 Repertory Season Gala and, for the SFB School Showcase, Timepiece, Spinae, Stone and Steel, and Spectrum in 2011, 2012, 2013, and 2014, respectively. In 2014, he was chosen by Alexei Ratmansky to participate in the Rolex Mentor and Protege Arts Initiative, where he was able to study closely with Mr. Ratmansky for the year-long program. Christopher Wheeldon (Choreographer of Fool’s Paradise)is Artistic Associate of The Royal Ballet. He trained at The Royal Ballet School and danced with the Company 1991–93. For The Royal Ballet, he has choreographed Tryst, DGV: Danse à grande vitesse, Electric Counterpoint, ‘Trespass’ (Metamorphosis: Titian 2012, in collaboration with Alastair Marriott), Aeternum (Olivier Award for Best New Dance Production), Strapless, and the three-act ballets Alice’s Adventures in Wonderland and The Winter’s Tale. Works of his performed by The Royal Ballet and originally created for other companies include After the Rain and Within the Golden Hour. Wheeldon was born in Yeovil, England and trained at The Royal Ballet School. In 1991, he won gold medal at the Prix de Lausanne with a solo of his own creation and that year entered The Royal Ballet, where Kenneth MacMillan encouraged him in his choreographic work. In 1993, Wheeldon joined New York City Ballet (NYCB), promoted to soloist in 1998. He created his first work for NYCB, Slavonic Dances, in 1997 and became the company’s first Resident Choreographer in 2001. Works for NYCB include Polyphonia (London Critics’ Circle Award and Olivier Award for Best New Dance Production) and The Nightingale and the Rose. Wheeldon regularly choreographs for leading international companies, including Boston Ballet, San Francisco Ballet, Dutch National Ballet, and The Joffrey Ballet. In 2007, he founded Morphoses/The Wheeldon Company and became the first British choreographer to create a new work for the Bolshoi Ballet. In 2012, he collaborated with Marriott on the closing ceremony of the London Olympic Games. His awards include the Tony Award® for Best Choreography (An American in Paris). He was made an OBE in 2016, and that year was artistic director for Les Arts Décoratifs’ Fashion Forward exhibition. The Joyce Theater Foundation (Executive Director, Linda Shelton), a nonprofit organization, has proudly served the dance community for over three decades. Under the direction of founders Cora Cahan and Eliot Feld, Ballet Tech Foundation acquired and The Joyce renovated the Elgin Theater in Chelsea. Opening as The Joyce Theater in 1982, it was named in honor of Joyce Mertz, beloved daughter of LuEsther T. Mertz. It was LuEsther’s clear, undaunted vision and abundant generosity that made it imaginable and ultimately possible to build the theater. Ownership was secured by The Joyce in 2015. The theater is one of the only theaters built by dancers for dance and has provided an intimate and elegant home for over 400 U.S.-based and international companies. The Joyce has also presented dance at Lincoln Center since 2012, and launched Joyce Unleashed in 2014 to feature emerging and experimental artists. To further support the creation of new work, The Joyce maintains longstanding commissioning and residency programs. Local students and teachers (K–12th grade) benefit from its school program, and family and adult audiences get closer to dance with access to artists. The Joyce’s annual season of about 48 weeks of dance now includes over 340 performances for audiences in excess of 150,000. Classically trained to the highest standards, The Joffrey Ballet expresses a unique, inclusive perspective on dance, proudly reflecting the diversity of America with its company, audiences, and repertoire that includes major story ballets, reconstructions of masterpieces, and contemporary works. The Company’s commitment to accessibility is met through an extensive touring schedule, an innovative and highly effective education program including the much lauded Academy of Dance, Official School of The Joffrey Ballet, Community Engagement programs and collaborations with myriad other visual and performing arts organizations. Founded by visionary teacher Robert Joffrey in 1956, guided by celebrated choreographer Gerald Arpino from 1988 until 2007, The Joffrey Ballet continues to thrive under internationally renowned Artistic Director Ashley Wheater and Executive Director Greg Cameron. The Joyce Theater presents the highly anticipated, long-overdue NYC return of The Joffrey Ballet, after a 21-year absence, performing its acclaimed production of Krzysztof Pastor’s Romeo & Juliet at Lincoln Center’s David H. Koch Theater from March 29 – April 2. The production runs approximately 2 hours and 10 minutes, including one intermission. Please note: the engagement will include a special mixed repertory Gala performance on Thursday, March 30 at 7:00pm. Tickets, ranging in price from $55-$155, can be purchased through www.DavidHKochTheater.com or by calling (212) 496-0600. Please note: ticket prices are subject to change. For more information, please visit www.Joyce.org. * * * Major support for The Joyce’s presentations at Lincoln Center’s David H. Koch Theater provided by Ford Foundation, Howard Gilman Foundation, and The Pasculano Foundation. Lead support for The Joyce Theater Foundation has been received from Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, and the LuEsther T. Mertz Charitable Trust. Major support has been provided by The Harkness Foundation for Dance, Rockefeller Brothers Fund, The Fan Fox and Leslie R. Samuels Foundation, The SHS Foundation, and The Shubert Foundation. The Joyce’s presenting initiative at Lincoln Center is supported by a grant award from the National Endowment for the Arts; made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; and supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council with special thanks to Council Member Corey Johnson.

More promotions, from the company's Instagram account: "Big news for a big night! ✨17-18 Season PROMOTION ANNOUNCEMENTS✨Patrick Yocum, Paul Craig, and Junxiong Zhao will be promoted to principal dancers, Roddy Doble promoted to soloist, and Lawrence Rines promoted to second soloist. Congrats, everyone! ? Visit our Facebook page to hear what they have to say and see them in #BBArtifact, 2/23-3/5. #openingnight #bostonballet ?: Misa Kuranaga & Patrick Yocum in William Forsythe's Artifact 2017 by Rosalie O'Connor"

https://www.nytimes.com/2017/02/19/arts/dance/city-ballet-has-a-new-principal-dancer.html?_r=0 Russell Janzen was promoted to principal. Sara Adams, Harrison Ball, Emilie Gerrity, Joseph Gordon, Unity Phelan, Troy Schumacher and Indiana Woodward moved to soloists.

A release: BOSTON BALLET ANNOUNCES 2017–2018 SEASON INCLUDES NORTH AMERICAN PREMIERE OF OBSIDIAN TEAR, A CO-PRODUCTION WITH THE ROYAL BALLET THE COMPANY’S DEBUT IN A WORK BY ACCLAIMED NYCB RESIDENT CHOREOGRAPHER JUSTIN PECK AND CONTINUATION OF WILLIAM FORSYTHE PARTNERSHIP WITH PAS/PARTS 2016 February 6, 2017 (BOSTON, MA)—Boston Ballet Artistic Director Mikko Nissinen announces the programming for the 2017–2018 season at the Boston Opera House, to begin in November. The 54th season will open with the North American premiere of Wayne McGregor’s “forcefully resonant” Obsidian Tear (Roslyn Sulcas, The New York Times), a co-production with The Royal Ballet. Mikko Nissinen’s The Nutcracker returns to enchant audiences with dazzling dancing and a cast of beloved characters. The 2018 spring season will offer a range of rotating classical and contemporary programming from March through June. Parts In Suite, a mixed-repertory program, will feature works by three 21st-century choreographers: Justin Peck, William Forsythe, and Jorma Elo. John Cranko’s “gorgeous production” of Romeo & Juliet (Karen Campbell, The Boston Globe) returns with a tragic tale of young love set to music by Sergei Prokofiev. The season will also highlight two historic and influential choreographers, George Balanchine and August Bournonville, with two programs dedicated to showcasing their work: Classic Balanchine and La Sylphide. Due to high demand during the 2016–2017 season, The Sleeping Beauty will return for a limited, one-week run in May 2018. “Boston Ballet’s 2017–2018 season is a collection of some of the world’s finest choreographers, from ballet’s past to present,” said Artistic Director Mikko Nissinen. “We have Petipa, Bournonville, Balanchine, Cranko, Forsythe, McGregor, Peck, and Elo. I am incredibly proud to have such strong, versatile dancers that we can not only honor the history of this art form with classics, but also show audiences where it’s going next, and I think they will be amazed and inspired by the creativity, ingenuity, and originality of these choreographers.” The 2017–2018 season opens November 3–12 with Obsidian Tear, featuring premieres by The Royal Ballet Resident Choreographer Wayne McGregor and Boston Ballet Resident Choreographer Jorma Elo, and an orchestral performance of Jean Sibelius’ tone poem Finlandia. McGregor’s Obsidian Tear, a North American premiere presented in co-production with The Royal Ballet, is considered a “choreographic breakthrough” for McGregor as he “introduces a physical language that is pared down and clear yet permeated by a fullness and grace” (Roslyn Sulcas, The New York Times). The all-male ensemble work is set to Finnish composer and conductor Esa-Pekka Salonen’s Lachen verlernt for solo violin and his symphonic poem Nyx, a reference to the Greek goddess of night. Elo’s World Premiere is set to Sibelius’ majestic 5th Symphony. The program recognizes Nissinen and Elo’s Finnish heritage with musical accompaniment by two powerhouse Finnish composers, Salonen and Sibelius, and aligns with the 100th anniversary celebration of the country’s independence on December 6, 2017. After another record-breaking run in 2016, Mikko Nissinen’s The Nutcracker returns to the Opera House November 24–December 31. This annual production has become a tradition for Boston audiences, delighting them with “theatrical splendor” and “balletic fireworks” (Karen Campbell, The Boston Globe). More than 200 Boston Ballet School students will join the cast of Company dancers amongst three casts. The 2018 spring season begins March 9–April 7 with Parts In Suite, featuring three celebrated 21st- century choreographers: William Forsythe, Justin Peck, and Jorma Elo. Forsythe’s Pas/Parts 2016 adds another Forsythe ballet to the Company’s repertoire and marks the second year of Boston Ballet’s partnership with the world-renowned choreographer. With an ensemble of 15 dancers performing to the electronic score by frequent Forsythe collaborator Thom Willems, Pas/Parts is a “superb [work] of craft and imagination, evidence of a choreographer at the height of his powers” (Roslyn Sulcas, The New York Times). A soloist with New York City Ballet as well as the company’s resident choreographer, Peck has already worked with companies across the U.S. and abroad during his meteoric career. Joan Acocella of The New Yorker says, “the quality that the audience seems to love most in his work is its sheer oomph: speed, vigor, exuberance.” In Creases is a Company premiere and the first of Peck’s work performed by Boston Ballet. Elo’s Bach Cello Suites returns to conclude the program, with a cello soloist performing Johann Sebastian Bach’s Cello Suites Nos. 1 & 2 on stage. This work is a true Boston Ballet collaboration with set design by Nissinen, costume design by Manager of Costumes and Wardrobe Charles Heightchew, and lighting design by Lighting Director John Cuff. John Cranko’s Romeo & Juliet takes the stage March 15–April 8, this time with sets and costumes by internationally-acclaimed German stage designer Jürgen Rose. Set to Sergei Prokofiev’s bold, poignant score, Cranko’s 1962 adaptation of Shakespeare’s tragedy “is considered by many the cream of the crop” (Karen Campbell, The Boston Globe). Breathtaking, intimate pas de deux between the two star-crossed lovers, and lavish ballroom scenes, showcase the artistry of the Company. The story’s well-known narrative, advanced through compelling drama and virtuosic dancing, make this a perfect ballet for both new and experienced audiences. Due to popular demand during the 2016–2017 season, The Sleeping Beauty returns for one week, May 11–19, with music by Peter Ilych Tchaikovsky and choreography by Marius Petipa and Sir Frederick Ashton. The spring season continues May 17–June 9 with Classic Balanchine, a triple bill of works by the prolific choreographer George Balanchine. Chaconne is a stately and dreamlike celebration of pure dance set to music from Christoph Willibald Gluck’s opera Orfeo ed Euridice. Prodigal Son, Balanchine’s last work for Sergei Diaghilev’s Ballets Russes—and one of his first to achieve international success—explores themes of sin and redemption from the biblical “Parable of the Prodigal Son.” The iconic lead role has been performed by numerous ballet legends since its 1929 premiere, including Serge Lifar, Jerome Robbins, Mikhail Baryshnikov, and Damian Woetzel. The program concludes with Stravinsky Violin Concerto, an intricately designed work for 20 dancers that Balanchine choreographed for the 1972 Stravinsky Festival honoring the life and work of his long-time friend and collaborator Igor Stravinsky. One of 16 ballets Balanchine choreographed to the composer’s scores, Stravinsky Violin Concerto demonstrates the relationship between the two artists that “gave ballet a new pulse” (Gia Kourlas, The New York Times). The season concludes May 24–June 10 with La Sylphide, featuring works by Danish ballet master August Bournonville. Director of the Royal Danish Ballet for nearly 50 years, Bournonville established the Danish style of buoyant, bravura dancing and expressive pantomime. Of the great ballet master, Balanchine once remarked, “you know what made Bournonville great? He entertained with steps.” La Sylphide, a production by Bournonville expert and former Royal Danish Ballet principal dancer Sorella Englund (after Bournonville’s original choreography), is the “deliciously sweet” (Karen Campbell, The Boston Globe) but heartbreaking tale of a young Scotsman who abandons his friends, family, and betrothed for the unattainable love of a woodland sprite. The final program of the season closes with Bournonville Divertissements, a sampling of the choreographer’s most enduring works, including Napoli, Flower Festival in Genzano, and Abdallah, set to music by Holger Simon Paulli and Edvard Helsted. Tickets for The Nutcracker will go on sale to the public July 10. Tickets for the remainder 2017–2018 season will go on sale to the public September 5. Current subscribers may renew starting mid-February, and new subscribers can order early to guarantee the best seats at the best price starting March 9. For more information, visit bostonballet.org or call 617.695.6955. All performances take place at the Boston Opera House (539 Washington Street, Boston, MA 02111): Obsidian Tear | November 3–12, 2017 Obsidian Tear Choreography by Wayne McGregor Music by Esa-Pekka Salonen Co-production with The Royal Ballet North American Premiere Obsidian Tear is made possible by the Boston Ballet Commissioners Circle: the Stephanie L. Brown Foundation, Andrea and Frederick Hoff, and Ruth and John Littlechild. Orchestral performance of Jean Sibelius’ Finlandia World Premiere Choreography by Jorma Elo Music by Jean Sibelius The Nutcracker | November 24–December 31, 2017 Choreography by Mikko Nissinen Music by Peter Ilych Tchaikovsky Parts In Suite | March 9–April 7, 2018 Pas/Parts 2016 Choreography by William Forsythe Music by Thom Willems Boston Ballet Premiere In Creases Choreography by Justin Peck Music by Philip Glass Boston Ballet Premiere Two pianists Bach Cello Suites Choreography by Jorma Elo Music by J.S. Bach Solo cellist Romeo & Juliet | March 15–April 8, 2018 Choreography by John Cranko Music by Sergei Prokofiev The Sleeping Beauty | May 11–19, 2018 Choreography by Marius Petipa, with additional choreography by Sir Frederick Ashton Music by Peter Ilych Tchaikovsky Classic Balanchine | May 17–June 9, 2018 Chaconne Choreography by George Balanchine Music by Christoph Willibald Gluck (from the opera Orfeo ed Euridice) Prodigal Son Choreography by George Balanchine Music by Sergei Prokofiev Stravinsky Violin Concerto Choreography by George Balanchine Music by Igor Stravinsky La Sylphide | May 24–June 10 La Sylphide Choreography by Sorella Englund, after August Bournonville Music by Herman Løvenskjold Bournonville Divertissements Excerpts from Napoli, Flower Festival in Genzano, Abdallah Choreography by August Bournonville Music by Holger Simon Paulli, Edvard Helsted About Boston Ballet Since 1963, Boston Ballet’s internationally acclaimed performances of classical, neo-classical, and contemporary ballets, combined with a dedication to world class dance education and community initiative programs, have made the institution a leader in its field, with a 53-year history of promoting excellence and access to dance. Under the leadership of Artistic Director Mikko Nissinen and Executive Director Meredith Max Hodges, the Company maintains a diverse repertoire, ranging from full-length ballets to new works by some of today's finest choreographers. Boston Ballet's second company, Boston Ballet II, is comprised of dancers who gain experience by performing with the Company and independently, presenting special programs to audiences throughout the Northeast. Boston Ballet School, the official school of Boston Ballet, has a long-standing dedication to providing exceptional dance education and ballet training to students across three studios in Boston, Newton, and the North Shore. Led by Director Margaret Tracey, the School reaches more than 5,000 students (toddler to adult) each year through its four core programs: Children’s Program, Classical Ballet Program, Adult Dance Program, and Pre-Professional Program. Boston Ballet’s Department of Education and Community Initiatives (ECI) provides programming, events, and activities that connect the community to dance. ECI reaches more than 4,000 individuals in Boston, North Shore, and the surrounding communities each year through Citydance, ECI on Location, Adaptive Dance, and other community programs. For more information, please visit bostonballet.org. Boston Ballet gratefully acknowledges the following institutional partners: Boston Cultural Council The Boston Foundation Klarman Family Foundation Massachusetts Cultural Council National Endowment for the Arts

From the company: BOSTON BALLET ARTISTIC DIRECTOR ANNOUNCES MID-SEASON PROMOTIONS IN THE COMPANY LAUREN HERFINDAHL AND ADDIE TAPP PROMOTED TO SECOND SOLOISTS January 11, 2017—(Boston, MA) Boston Ballet Artistic Director Mikko Nissinen has announced two promotions from within the Company: Lauren Herfindahl (Kingston, MA) and Addie Tapp (Glenwood Springs, CO) have been promoted from Company artists to second soloists. The Company is comprised of 68 dancers—including 12 dancers in Boston Ballet II (BBII)—representing 18 nationalities. Nissinen continues Boston Ballet’s dedication to developing technically proficient, versatile dancers within the Company and Boston Ballet School, as well as recruiting top talent from across the United States and abroad. "One of the best parts of being an artistic director is to reward talent,” said Nissinen. “I am very proud of Lauren and Addie’s progress." Second Soloist Lauren Herfindahl of Kingston, Massachusetts, studied at Boston Ballet School for seven years prior to joining Boston Ballet II in 2011 and Boston Ballet as a Company artist in 2013. She was the recipient of the Tatiana Gardner Scholarship and was named the Mikko Nissinen Artistic Scholar while at Boston Ballet School, and she was awarded the silver medal at the Boston International Ballet Competition Junior Division in 2012. Herfindahl attended summer programs at the School of American Ballet, Canada’s National Ballet School, Boston Ballet School, the Chautauqua Dance Program, and Suzanne Farrell’s Cedar Island Program. Additionally, she has attended and performed at the Professional Dance program at the Banff Centre for the Arts, and the 2015 Ballet Program at The School at Jacob’s Pillow. Herfindahl has performed featured roles in Mikko Nissinen’s The Nutcracker and Swan Lake, George Balanchine’s Theme and Variations and Diamonds, Viktor Plotnikov’s Contour Equipoise, and Hans van Manen’s Black Cake. Her most recent featured roles were Dew Drop and Arabian in The Nutcracker. Second Soloist Addie Tapp of Glenwood Springs, Colorado, began dancing at the Glenwood Springs Center for the Arts and later at the Glenwood Dance Academy. At age 14, Tapp attended the School of American Ballet’s Summer Course and was accepted into its year-round program where she trained from 2010 to 2014. Tapp joined Boston Ballet as a Company artist in 2014. Tapp most recently performed the featured role of Dew Drop in Mikko Nissinen’s The Nutcracker. Her additional Boston Ballet repertoire includes Nissinen’s Swan Lake, Val Caniparoli’s Lady of the Camellias, Helen Pickett’s Eventide, John Neumeier’s Third Symphony of Gustav Mahler, John Cranko’s Onegin, and Balanchine’s Episodes, Theme and Variations, and Kammermusik No. 2. Tapp was the recipient of the Mae L. Wien Award for outstanding promise and a 2015 Princess Grace Award nominee. For full biographies and a roster of Company dancers, visit bostonballet.org. About Boston Ballet Since 1963, Boston Ballet’s internationally acclaimed performances of classical, neo-classical, and contemporary ballets, combined with a dedication to world class dance education and community initiative programs, have made the institution a leader in its field, with a 53-year history of promoting excellence and access to dance. Under the leadership of Artistic Director Mikko Nissinen and Executive Director Meredith Max Hodges, the Company maintains a diverse repertoire, ranging from full-length ballets to new works by some of today's finest choreographers. Boston Ballet's second company, Boston Ballet II, is comprised of dancers who gain experience by performing with the Company and independently, presenting special programs to audiences throughout the Northeast. Boston Ballet School, the official school of Boston Ballet, has a long-standing dedication to providing exceptional dance education and ballet training to students across three studios in Boston, Newton, and the North Shore. Led by Director Margaret Tracey, the School reaches more than 5,000 students (toddler to adult) each year through its four core programs: Children’s Program, Classical Ballet Program, Adult Dance Program, and Pre-Professional Program. Boston Ballet’s Department of Education and Community Initiatives (ECI) provides programming, events, and activities that connect the community to dance. ECI reaches more than 4,000 individuals in Boston, North Shore, and the surrounding communities each year through Citydance, ECI on Location, Adaptive Dance, and other community programs. For more information, please visit bostonballet.org. Boston Ballet gratefully acknowledges the following institutional partners: Barr Foundation Boston Cultural Council The Boston Foundation Klarman Family Foundation Massachusetts Cultural Council National Endowment for the Arts

ABT Studio Company and the graduate students of The Royal Ballet School will perform a shared bill at NYU Skirball Center for the Performing Arts on February 10 and 11, 2017 at 7:00 P.M., with a special “family friendly” performance, narrated and designed for younger audiences, at 2:00 P.M. on February 11. This year’s exchange will be highlighted by a World Premiere choreographed by Liam Scarlett featuring members of both ABT Studio Company and The Royal Ballet School. Performances by ABT Studio Company will include the New York City Premieres of Dana Genshaft’s Chromatic Fantasy, a new work by Marcelo Gomes and Ethan Stiefel’s See the Youth Advance. The Royal Ballet School repertory will feature the pas de deux from Kenneth MacMillan’s Concerto, Helgi Tomasson’s Concerto Grosso and excerpts from Frederick Ashton’s Birthday Offering. The joint performances are part of a unique exchange, which began in 2003, between ABT Studio Company and The Royal Ballet School. During past exchanges the companies have traveled to each other’s respective homes for performances, master classes and training sessions with senior coaching staff. Tickets are $25 - $55 and may be purchased online at www.nyuskirball.org or in person at the NYU Skirball Center Box Office: Tuesday-Saturday, 12:00–6:00 P.M. NYU Skirball Center for the Performing Arts is located at 566 LaGuardia Pl in New York City. The ABT Studio Company and The Royal Ballet School exchange is generously supported by Ricki Gail Conway. For more information on ABT Studio Company and performances with The Royal Ballet School, please visit ABT’s website, www.abt.org.

A release: NEW YORK CITY BALLET PRESENTS FIFTH ANNUAL ART SERIES DURING 2017 WINTER SEASON Brooklyn-Based Finnish Artist Santtu Mustonen To Create Large-Scale Installation For the Promenade of the David H. Koch Theater On Display Throughout NYCB’s 2017 Winter Season January 17 through February 26 Single Tickets for Three Special Art Series Performances To Go on Sale at Noon on Tuesday, January 3 All Tickets $30 and Audience Members Attending the Art Series Performances Will Each Receive a Limited-Edition Commemorative Takeaway Created by Mustonen New York City Ballet will present the fifth installment of its acclaimed Art Series initiative during the Company’s 2017 Winter Season. Launched in 2013, New York City Ballet’s Art Series features annual collaborations between NYCB and contemporary visual artists who create original works for exhibition at the Company’s home, the David H. Koch Theater at Lincoln Center. For the fifth anniversary of Art Series, NYCB has commissioned an installation from the Finnish-born, Brooklyn-based artist Santtu Mustonen. The centerpiece of Mustonen’s commission will feature a large-scale video installation created from a series of original, digitally altered paintings that the artist has produced especially for New York City Ballet. Mustonen’s paintings will also be displayed on the orchestra level of the theater throughout the winter season. By combining abstract, handcrafted visual imagery with new technology, Mustonen makes visual art that literally moves. “I see a lot of connections to dance in my work,” says Mustonen. “By using digital tools to animate paintings, I can make a work move almost like a dancer.” Mustonen, who figure skated while growing up in Finland, also briefly studied ballet to improve his skating technique. At university in Helsinki, and later in Amsterdam, Mustonen focused his studies on design and after receiving a grant from the Finnish Cultural Institute in 2011, he moved to New York and immersed himself in the art world. He first saw the David H. Koch Theater three years earlier on a visit to New York when he attended a performance of George Balanchine’s The Nutcracker at New York City Ballet. Struck at that time by the theater’s iconic Promenade, Mustonen explains that his Art Series commission will take advantage of the space’s towering height and multiple vantage points, with an animated video installation that plays with scale and alters viewers’ perceptions in an Alice in Wonderland fashion. “There’s no ending, no start.” he says, “It’s a piece where you can choose to get just a little glimpse or jump into the rabbit hole and experience it all.” In recent years Mustonen has created work for The Academy Awards, the Brooklyn Academy of Music, The MTV Video Music Awards, Flow Music Festival, and The New York Times. He is represented by New York based creative agency Hugo & Marie. Mustonen’s NYCB Art Series installation will be on display at the David H. Koch Theater from Tuesday, January 17 through Sunday, February 26 during all of NYCB’s 2017 Winter Season performances. NYCB will also host free, open hours for the general public to view the exhibition on the following dates: Saturday, February 18 through Sunday, February 26 – Saturdays from 10 a.m. to noon; Sundays from 10 a.m. to 1 p.m.; and Monday through Friday from 10 a.m. to 5 p.m. In addition, NYCB will hold three special Art Series performances, which will take place on Saturday, January 28 at 8 p.m.; Friday, February 3 at 8 p.m.; and Thursday, February 23 at 7:30 p.m. All single tickets for these three Art Series performances are priced at just $30 and will go on sale at noon on Tuesday, January 3 at nycballet.com, or by calling 212-496-0600. Each Art Series performance will be followed by a post-performance party on the theater’s Promenade open to all audience members, each of whom will receive a special limited-edition takeaway created by Mustonen to commemorate the NYCB Art Series collaboration. ABOUT NYCB ART SERIES Launched in 2013, NYCB Art Series was designed to produce annual collaborations between contemporary visual artists and New York City Ballet in an effort to showcase and celebrate the visual arts during NYCB performances at the David H. Koch Theater at Lincoln Center. The first four installments of Art Series have featured acclaimed installations by FAILE (2013), JR (2014), Dustin Yellin (2015), and Marcel Dzama (2016). Through the use of non-traditional marketing, social media engagement, and specially priced tickets, the NYCB Art Series was also conceived to engage audiences new to NYCB, as well as to cross pollinate NYCB’s existing fans with those of the commissioned artists. During its first four years, Art Series has introduced tens of thousands of new patrons to New York City Ballet, helping to change the Company’s demographic make-up with a 10% increase in audience members under the age of 40. In addition to NYCB’s unparalleled history of commissioning new work from numerous composers and choreographers, the Company also has a long tradition of working with visual artists such as Isamu Noguchi, Andy Warhol, Julian Schnabel, Francesco Clemente, Helen Frankenthaler, Roy Lichtenstein, Keith Haring, Santiago Calatrava, Per Kirkeby, and others, all of whom have created artworks and other visual elements for NYCB performances. The lobby of the David H. Koch Theater, which was built for NYCB and opened at Lincoln Center in 1964, also features a permanent collection that includes several landmark works of art, including Jasper Johns’ Numbers, Lee Bontecou’s Untitled Relief, and Elie Nadelman’s Two Female Nudes and Two Circus Women. To learn more about New York City Ballet, or to purchase tickets for any performance, visit nycballet.com, or call 212-496-0600. The David H. Koch Theater is located at Lincoln Center, Columbus Avenue and West 63rd Street. NEW YORK CITY BALLET is one of the foremost dance companies in the world, with a roster of more than 90 dancers and an unparalleled repertory of modern masterpieces. The Company was founded in 1948 by the legendary choreographer George Balanchine and arts patron Lincoln Kirstein, and quickly became world-renowned for its contemporary style and a repertory of original ballets that has forever changed the face of classical dance. Now under the direction of Ballet Master in Chief Peter Martins and Executive Director Katherine Brown, NYCB is committed to promoting creative excellence and nurturing a new generation of dancers and choreographers. For more information visit nycballet.com. The 2017 Art Series and Access Evenings are supported by generous grants from the Howard Gilman Foundation and Gladys Krieble Delmas Foundation. The Travelers Companies, Inc. is the Global Sponsor of New York City Ballet.

Right now! NEW YORK CITY BALLET PRINCIPAL CASTING FOR JANUARY 17-22, 2017 TUESDAY EVENING, JANUARY 17, 7:30 PM (Conductor: Litton) LA SONNAMBULA: Hyltin, *Finlay, Mearns, Ramasar, Adams, Villwock, *Kayali, *Hoxha, King, Carmena, Ulbricht PRODIGAL SON: Kowroski, De Luz, la Cour, Anderson, *Brown, *Coll, Alberda FIREBIRD: Reichlen, J. Peck, Lowery, Scordato WEDNESDAY EVENING, JANUARY 18, 7:30 PM (Conductor: Litton) ALLEGRO BRILLANTE: T. Peck, Veyette [Solo Piano: Walters] SWAN LAKE: Mearns, J. Angle, Laracey, Lowery, Dieck THE FOUR TEMPERAMENTS: Wellington, Scordato, Pollack, Applebaum, LeCrone, *Sanz, Huxley, A. Stafford, T. Angle, la Cour, Bouder [Solo Piano: Gosling] THURSDAY EVENING, JANUARY 19, 7:30 PM (Conductor: Litton) ALLEGRO BRILLANTE: M. Fairchild, Ramasar [Solo Piano: Walters] SWAN LAKE: Mearns, J. Angle, Laracey, Lowery, Dieck THE FOUR TEMPERAMENTS: Wellington, Scordato, Pollack, Applebaum, LeCrone, Sanz, Huxley, A. Stafford, T. Angle, la Cour, Bouder [Solo Piano: Gosling] FRIDAY EVENING, JANUARY 20, 8:00 PM (Conductor: Litton) LA SONNAMBULA: *T. Peck, R. Fairchild, *Krohn, J. Peck, *Segin, *Maxwell, Alberda, *Coll, *C. Von Enck, *Villarini-Velez, Schumacher PRODIGAL SON: Ulbricht, Reichlen, *Sanz, *Smith, *Manzi, *Hoxha, *Kayali FIREBIRD: Bouder, Catazaro, Laracey, Farley SATURDAY MATINEE, JANUARY 21, 2:00 PM (Conductor: Litton) LA SONNAMBULA: Hyltin, Finlay, Mearns, Ramasar, Adams, Villwock, Kayali, Hoxha, King, Carmena, Ulbricht PRODIGAL SON: Kowroski, De Luz, la Cour, Anderson, Brown, Coll, Alberda FIREBIRD: Reichlen, J. Peck, Lowery, Scordato SATURDAY EVENING, JANUARY 21, 8:00 PM (Conductor: Litton) LA SONNAMBULA: T. Peck, R. Fairchild, Krohn, J. Peck, Segin, Maxwell, Alberda, Coll, C. Von Enck, Villarini-Velez, Schumacher PRODIGAL SON: Ulbricht, Reichlen, Sanz, Smith, Manzi, Hoxha, Kayali FIREBIRD: Bouder, Catazaro, Laracey, Farley SUNDAY MATINEE, JANUARY 22, 3:00 PM (Conductor: Sill) SCÉNES DE BALLET: Students from the School of American Ballet THE CAGE: Lovette, Lowery, J. Angle, Suozzi pause EIGHT EASY PIECES: *MacKinnon, *Hutsell, *Maxwell [Solo Piano: McDill & Moverman] pause SCHERZO FANTASTIQUE (STRAVINSKY/PECK NYC PREMIERE): **Pollack, **Stanley, **Huxley STRAVINSKY VIOLIN CONCERTO: Hyltin, R. Fairchild, Kowroski, Ramasar * First Time in Role **NYC Debut PROGRAM AND CASTING SUBJECT TO CHANGE (01/04/17)

A release: DAVID HALLBERG TO RETURN FOR PERFORMANCES AT THE METROPOLITAN OPERA HOUSE, SPRING 2017 American Ballet Theatre Principal Dancer David Hallberg will return to perform with the Company for the 2017 Metropolitan Opera House season. It was announced today by Artistic Director Kevin McKenzie. Hallberg, who last performed with American Ballet Theatre in June 2014, withdrew from performances with the Company in the Fall of 2014 due to a recurring foot injury. His scheduled performances for the 2017 Spring season will be announced at a later date “I am thrilled to be returning to ABT for their season at the Met and am eager to begin rehearsals once again with the company I love dearly,” said Hallberg. “I have learned a great deal from my time away and look forward to sharing the stage again with dancers I so greatly respect.” “I am so pleased to welcome David back home to ABT, “ said McKenzie. “We are all excited to see him once again on our stage." Subscriptions for American Ballet Theatre’s 2017 Spring Season at the Metropolitan Opera House are on sale now and available by phone at 212-362-6000, or online at ABT’s website www.abt.org.

Congratulations!

Company release: KATE LYDON APPOINTED SUMMER INTENSIVE ARTISTIC DIRECTOR Kate Lydon has been named artistic director of American Ballet Theatre’s Summer Intensive programs, it was announced today by ABT Artistic Director Kevin McKenzie. Lydon, who is also artistic director of the ABT Studio Company as well as Apprentice Program Coordinator, succeeds Julie Kent who served as the Summer Intensive artistic director for 2016. “Twenty-nine years ago, I traveled from California to New York City to attend my first American Ballet Theatre Summer Intensive,” said Lydon. “This year, I am so proud to be appointed artistic director of all nine of our specialized programs taking place across the United States.” “I'm so happy to hand the reigns of such an important program in the training ladder of ABT to Kate,” said McKenzie. “Her commitment to the students to have a professional experience of excellence is extraordinary.” Lydon is an alumna of both American Ballet Theatre and San Francisco Ballet. She was a founding faculty member of the ABT Jacqueline Kennedy Onassis School in 2005 and, in 2012, was named Artistic Coordinator of the Apprentice Program, alongside Clinton Luckett. Lydon was appointed director of the ABT Studio Company in 2013 and was named artistic director in 2015. She has assisted with teaching ABT’s National Training Curriculum, both at ABT and for the Masters degree in pedagogy offered through the New York University's Steinhardt School of Culture, Education and Human Development. She has performed character roles in ABT productions and serves as the host of ABT’s Young People’s Ballet Workshops and ABT Kids performances. Lydon previously served as editor and writer for Dance Media publications including Dance Magazine, Pointe, Dance Spirit and Dance Teacher, and served as Editor in Chief of Dance Spirit for five years. She also served on the advisory board of the Dizzy Feet Foundation. Established in 1996, American Ballet Theatre’s Summer Intensives serve nearly 1,400 students each year in six locations throughout the United States. Over 50 former and current dancers from ABT have trained in the Company’s Summer Intensive programs. For more information on ABT’s Summer Intensive Programs and the ABT Jacqueline Kennedy Onassis School, please visit www.abt.org/education. Northern Trust is the Leading Corporate Sponsor of the ABT Jacqueline Kennedy Onassis School

NEW YORK PREMIERE OF WHIPPED CREAM AND COMPANY PREMIERE OF SOUVENIR D’UN LIEU CHER BY ALEXEI RATMANSKY TO HIGHLIGHT AMERICAN BALLET THEATRE’S 2017 SPRING SEASON, MAY 15-JULY 8, AT METROPOLITAN OPERA HOUSE GUEST ARTIST ALESSANDRA FERRI TO DANCE TWO PERFORMANCES AS TATIANA IN JOHN CRANKO’S ONEGIN, JUNE 21 AND 24 PRINCIPAL DANCER MARCELO GOMES TO CELEBRATE 20TH ANNIVERSARY WITH AMERICAN BALLET THEATRE American Ballet Theatre’s 2017 Spring season at the Metropolitan Opera House, May 15-July 8, will feature the New York Premiere of Alexei Ratmansky’s Whipped Cream and the Company Premiere of Ratmansky’s Souvenir d’un lieu cher, it was announced today by Artistic Director Kevin McKenzie. Guest Artist Alessandra Ferri will perform the role of Tatiana in Onegin on Wednesday evening, June 21 and Saturday evening, June 24. Principal Dancer Diana Vishneva will give her American Ballet Theatre farewell performance in the same role on Friday evening, June 23. Principal Dancers for the 2017 Metropolitan Opera House season include Stella Abrera, Roberto Bolle, Isabella Boylston, Jeffrey Cirio, Misty Copeland, Herman Cornejo, Marcelo Gomes, Maria Kochetkova, Alban Lendorf, Gillian Murphy, Veronika Part, Hee Seo, Daniil Simkin, Cory Stearns, Diana Vishneva and James Whiteside. 2017 Spring Gala Performance and New York Premiere American Ballet Theatre’s 2017 Spring Gala on Monday, May 22 at 6:30 P.M. will feature the New York Premiere of Whipped Cream, choreographed by ABT Artist in Residence Alexei Ratmansky, with scenery and costumes by artist Mark Ryden and lighting by Brad Fields. Whipped Cream, with a libretto and score by Richard Strauss, is based on the two-act ballet originally created as Schlagobers, which premiered at the Vienna State Opera in 1924. Ratmansky’s production will receive its World Premiere by ABT on March 15, 2017 at Segerstrom Center for the Arts in Costa Mesa, California. Whipped Cream will be given twelve performances at the Metropolitan Opera House May 22-24 and June 26-July 1. For more information on ABT’s 2017 Spring Gala, please call the Special Events Office at 212-477-3030, ext. 3310. Company Premiere and Tchaikovsky Spectacular The Company Premiere of Alexei Ratmansky’s Souvenir d’un leiu cher will be part of a Tchaikovsky Spectacular program beginning Monday evening, July 3. Souvenir d’un leiu cher is set to music of the same name by Peter Ilyitch Tchaikovsky, orchestrated by Alexander Glazunov. Featuring sets and costumes by Keso Dekker with lighting by James F. Ingalls, the ballet for four dancers received its World Premiere by Het National Ballet on February 16, 2012 in Amsterdam. Souvenir d’un lieu cher will be presented on alternating programs with George Balanchine’s Mozartiana and Tchaikovsky Pas de Deux, Marcelo Gomes’AfterEffect and Ratmansky's Nutcracker Pas de Deux and Aurora’s Wedding. Aurora's Wedding, Act III of Ratmansky’s staging of The Sleeping Beauty with choreography by Marius Petipa, will the omit the Hop 'o my Thumb and Cinderella dances and add The Porcelain Trio and Three Ivans, divertissements originally choreographed by Bronislava Nijinska. Set to music from The Nutcracker, both divertissements were created for Diaghilev’s Ballets Russes staging of The Sleeping Princess in 1921. Three Ivans was first presented by Ballet Theatre as part of Princess Aurora (a suite of divertissements from The Sleeping Beauty) in 1941. Performances of the Tchaikovsky Spectacular run through July 8. Full-Length Ballets American Ballet Theatre’s 2017 Spring season will include an additional five full-length ballets beginning with Don Quixote which opens the Met season on Monday evening, May 15 with Gillian Murphy as Kitri, Cory Stearns as Basilio, Hee Seo as Mercedes and James Whiteside as Espada. Staged by Kevin McKenzie and Susan Jones, with choreography after Marius Petipa and Alexander Gorsky, Don Quixote is set to music by Ludwig Minkus and features scenery and costumes by Santo Loquasto and lighting by Natasha Katz. The McKenzie/Jones staging of the current production was first performed by ABT on June 12, 1995. Don Quixote will be given eight performances through Saturday evening, May 20. The season’s performances of Giselle begins Thursday evening, May 25 led by Hee Seo in the title role, opposite Cory Stearns as Albrecht and Veronika Part as Myrta. Set to music by Adolphe Adam, with scenery by Gianni Quaranta, costumes by Anna Anni and lighting by Jennifer Tipton, Giselle features choreography after Jean Coralli, Jules Perrot and Marius Petipa and has been staged for ABT by Artistic Director Kevin McKenzie. The world premiere of Giselle, one of the oldest continually‑performed ballets, occurred at the Theatre de l’Academie Royale de Musique in Paris on June 28, 1841. The ballet was first presented by ABT (then Ballet Theatre) at the Center Theatre in New York City on January 12, 1940 with choreography by Anton Dolin and scenery and costumes by Lucinda Ballard. The leading roles were danced by Annabelle Lyon and Anton Dolin. American Ballet Theatre’s sixth production, featuring scenery by Gianni Quaranta and costumes by Anna Anni, was created for the film Dancers, produced in 1987 by Cannon Films. This production’s first public performance was given on March 20, 1987 at the Shrine Auditorium in Los Angeles, California, with Marianna Tcherkassky as Giselle and Kevin McKenzie as Albrecht. The current staging is by McKenzie, using the Quaranta and Anni designs. Giselle will receive eight performances through May 31. ABT will celebrate the 20th Anniversary year of Principal Dancer Marcelo Gomes during his performance in the leading role of Albrecht on Tuesday evening, May 30. Alexei Ratmansky’s The Golden Cockerel will be given four performances beginning Thursday evening, June 1 with Stella Abrera (Queen of Shemakhan) and Cassandra Trenary (the Golden Cockerel), Alexei Agoudine (Tsar Dodon) and James Whiteside (Astrologer) leading the first cast. Set to music by Nikolai Rimsky-Korsakov with sets and costumes by Richard Hudson, Ratmansky’s The Golden Cockerel is inspired by Michel Fokine’s original production. Anne Holm-Jensen Peyk will stage the ballet for ABT. The season’s first performance of Le Corsaire on Monday, June 5 features Maria Kochetkova, Herman Cornejo, Sarah Lane, Daniil Simkin and Jeffrey Cirio in the leading roles. Based on the Lord Byron poem “The Corsair” (1814), the ballet features choreography by Konstantin Sergeyev after Marius Petipa, and staging by Anna-Marie Holmes after Petipa and Sergeyev, with music by Adolphe Adam, Cesare Pugni, Léo Delibes, Riccardo Drigo and Prince Oldenbourg. Scenery and costumes are by Irina Tibilova, with additional costume designs by Robert Perdziola and lighting by Mary Jo Dondlinger. Le Corsaire received its Company Premiere by American Ballet Theatre on June 19, 1998 with Nina Ananiashvili (Medora), Ashley Tutttle (Gulnare), Giuseppe Picone (Conrad), Angel Corella (Birbanto), Jose Manuel Carréno (Ali, the slave) and Vladimir Malakhov (Lankendem). Le Corsaire will be given eight performances through June 10. Eight performances of Swan Lake, choreographed by Kevin McKenzie after Marius Petipa, will be given beginning Monday, June 12 with Isabella Boylston and Alban Lendorf leading the opening night cast. Swan Lake is set to the score by Peter Ilyitch Tchaikovsky and features scenery and costumes by Zack Brown and lighting by Duane Schuler. This production of Swan Lake premiered on March 24, 2000 at the Kennedy Center for the Performing Arts in Washington, D.C. with Julie Kent (Odette-Odile), Angel Corella (Prince Siegfried) and Marcelo Gomes (von Rothbart). John Cranko’s Onegin will be given eight performances during the Company’s Spring season beginning on Monday, June 19 with Diana Vishneva as Tatiana and Marcelo Gomes as Eugene Onegin. Set to music by Peter Ilyitch Tchaikovsky, arranged and orchestrated by Kurt-Heinz Stolze, Onegin is based on the verse-novel Eugene Onegin by Alexander Pushkin. Onegin received its World Premiere on April 13, 1965 by the Stuttgart Ballet in Stuttgart, Germany. The ballet received its Company Premiere by American Ballet Theatre on June 1, 2001 at the Metropolitan Opera House in New York with Julie Kent (Tatiana), Robert Hill (Onegin), Vladimir Malakhov (Lensky) and Maria Riccetto (Olga). This new production, with sets and costumes by Santo Loquasto and lighting by James F. Ingalls, was premiered by the National Ballet of Canada on June 19, 2010 at the Four Seasons Centre for the Performing Arts, Toronto, Canada and was first performed by ABT on June 4, 2012 at the Metropolitan Opera House. Le Corsaire is staged for ABT by Reid Anderson and Jane Bourne. ABTKids ABTKids, American Ballet Theatre’s annual one-hour introduction to ballet, is scheduled for Saturday morning, May 20 at 11:30 A.M. All tickets for ABTKids are $25. Subscriptions for American Ballet Theatre’s 2017 Spring Season at the Metropolitan Opera House, on sale beginning Wednesday, October 26, are available by phone at 212-362-6000, or online at ABT’s website www.abt.org. Follow American Ballet Theatre on Twitter at http://twitter.com/ABTBallet on Facebook at http://facebook.com/AmericanBalletTheatre or on YouTube at http://www.youtube.com/user/ABTBalletTheatre American Airlines is the Official Airline of American Ballet Theatre. 
Northern Trust is the Leading Corporate Sponsor of the American Ballet Theatre Jacqueline Kennedy Onassis School. 
ABT is supported, in part, with public funds from the National Endowment for the Arts; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council. Leadership support for Whipped Cream and The Golden Cockerel has been provided by the Blavatnik Family Foundation and the Lloyd E. Rigler – Lawrence E. Deutsch Foundation. Additional support has been provided by Linda Allard, Avery and Andrew F. Barth, The Susan and Leonard Feinstein Foundation, Brian J. Heidtke, the Segerstrom Center for the Arts, the Ted and Mary Jo Shen Charitable Gift Fund, The H. Russell Smith Foundation, and Stewart R. Smith and Robin A. Ferracone. Whipped Cream and The Golden Cockerel are generously supported through an endowed gift from The Toni and Martin Sosnoff New Works Fund. AfterEffect has been generously supported through an endowed gift from The Toni and Martin Sosnoff New Works Fund. American Ballet Theatre's performances of Le Corsaire are generously underwritten through an endowed gift from Irene and Fred Shen. Don Quixote is generously supported through an endowed gift from Anka K. Palitz, in memory of Clarence Y. Palitz, Jr. American Ballet Theatre’s performances of Giselle are generously supported through an endowed gift from Sharon Patrick. David H. Koch is the Lead Underwriter of American Ballet Theatre’s The Nutcracker. American Ballet Theatre’s performances of Onegin are generously supported through an endowed gift from Ruth and Harold Newman. ABT gratefully acknowledges Lead Sponsor of The Sleeping Beauty, David H. Koch. Additional leadership support is generously provided by the Lloyd E. Rigler – Lawrence E. Deutsch Foundation. Swan Lake has been generously underwritten by R. Chemers Neustein. Costumes for Swan Lake are generously sponsored by the Ellen Everett Kimiatek Costume Preservation Trust.

Has anybody else been following the back-and-forth regarding Devin Alberda taking behind the scene photos at NYCB? He's posted the company letter he received and some dancers' response on Instagram. https://www.instagram.com/dalberda/ We first brought this up back in April: I think the most telling line of the NYCB letter is not that Alberda is a distraction by taking these photos (as the executive claims) but that by doing so he's "amassed an immense archive of photographs of NYCB." Very interesting.

Here's the accompanying sketches.

From the company: WHIPPED CREAM, A WORLD PREMIERE BY AMERICAN BALLET THEATRE, CHOREOGRAPHED BY ALEXEI RATMANSKY AND DESIGNED BY ARTIST MARK RYDEN, SET FOR MARCH 15, 2017 AT SEGERSTROM CENTER FOR THE ARTS, COSTA MESA, CALIFORNIA TWO-ACT BALLET WITH ORIGINAL LIBRETTO AND SCORE BY RICHARD STRAUSS NEW YORK PREMIERE SCHEDULED FOR MAY 22, 2017 AT METROPOLITAN OPERA HOUSE American Ballet Theatre will present the World Premiere of an all-new production of Whipped Cream, a two-act ballet choreographed by Artist in Residence Alexei Ratmansky, with sets and costumes by artist Mark Ryden, March 15, 2017 at Segerstrom Center for the Arts in Costa Mesa, California. It was announced today by Artistic Director Kevin McKenzie. Whipped Cream, is based on the two-act ballet with libretto and score by Richard Strauss, originally created as Schlagobers and performed at the Vienna State Opera in 1924. The ballet will be given seven performances by American Ballet Theatre, March 15-19, 2017 in California, and will receive its New York Premiere on May 22, 2017 at the Metropolitan Opera House. Designing the sets and costumes for Whipped Cream is artist Mark Ryden. Known as a forefather of Pop Surrealism, Ryden will create a fantastical world to convey the tale of a young boy who overindulges at a Viennese pastry shop. “I am so very intrigued by this unique story and the approach Alexei and Mark are taking,” said McKenzie. “The combination of fantasy and surrealism will prove something dreamlike from both of them.” Leadership support for Whipped Cream has been provided by the Blavatnik Family Foundation and the Lloyd E. Rigler – Lawrence E. Deutsch Foundation. Additional support has been provided by Linda Allard, Avery and Andrew F. Barth, The Susan and Leonard Feinstein Foundation, Brian J. Heidtke, Segerstrom Center for the Arts, the Ted and Mary Jo Shen Charitable Gift Fund, The H. Russell Smith Foundation, and Stewart R. Smith and Robin A. Ferracone. Whipped Cream is generously supported through an endowed gift from The Toni and Martin Sosnoff New Works Fund.

The release: Publisher of Dance Magazine Announces New Ownership September 19, 2016 New York, NY – Frederic M. Seegal has acquired DanceMedia, a suite of five respected publications (both print and digital) written for and by dancers, including the renowned Dance Magazine, which marks its 90th year of publication in 2017. Seegal, Vice Chairman of Peter J. Solomon Company, has made his career advising major media, telecom and internet clients. He brings to DanceMedia a seasoned knowledge of and passion for the performing arts, having served as President of American Ballet Theatre’s Board of Trustees, and as trustee for New York City Center, San Francisco Symphony and San Francisco Opera. Currently, he is a trustee for Gallim Dance, based in New York. “I’m very excited about the potential for growth represented by these highly respected publications and the tremendous content they’ve created over the years,” says Seegal. “These magazines have enjoyed exceptional stability during a time when there has been sweeping change in the publishing industry, as they have continued to be the authoritative voice for the entire dance world.” “The DanceMedia publications deliver the most effective and highly targeted opportunities for the industry—in both print and online,” says Amy Cogan, Senior Vice President & Group Publisher. “Our reach is unsurpassed. This vote of confidence in our properties can only boost their effectiveness as we move into the future.” In addition to Dance Magazine, which is regarded as the most trusted content in the field of dance, the DanceMedia titles, with a combined reach of more than 2 million, include: Dance Spirit, written for dancers who aspire to “So You Think You Can Dance,” Pointefor students training pre-professionally for careers in ballet, Dance Teacher for studio owners and educators in conservatories, k–12 schools, and on faculty with colleges and universities. Dance Retailer News is the only monthly b2b publication connecting dance manufacturers with storeowners who serve the buying public. Macfadden Communications Group, which has owned Dance Magazine since 2001 and DanceMedia since its formation in 2006, will continue to provide publishing services for the brand, including digital services, print management, circulation and accounting, according to Carolyn Callahan, President and Chief Operating Officer. “The opportunities presented by this new affiliation assure a solid future for these titles,” Callahan says. “We look forward to a lasting partnership.” No changes in staffing are anticipated.

Official release: FAREWELL PERFORMANCE SCHEDULED FOR FRIDAY EVENING, JUNE 23 AT METROPOLITAN OPERA HOUSE Diana Vishneva, a Principal Dancer with American Ballet Theatre since 2005, will give her final performances with the Company during the 2017 Spring season at the Metropolitan Opera House. She will dance the role of Tatiana in Onegin on Monday, June 19 and at her farewell performance on Friday, June 23. Born in St. Petersburg, Russia, Diana Vishneva graduated from the Vaganova Ballet Academy, joined the Mariinsky Theatre Ballet in 1995 and was promoted to principal in 1996. Her repertoire with the Mariinsky includes the title roles in Giselle and Manon, Kitri in Don Quixote, Masha in The Nutcracker, Nikiya in La Bayadère, Juliet in Romeo and Juliet, Princess Aurora in The Sleeping Beauty, Gulnare in Le Corsaire, the third movement in Symphony in C, Terpsichore in Apollo, Rubies in Jewels, Tchaikovsky Pas de Deux and Grand Pas Classique, among others. Vishneva has performed as a guest artist with companies around the world, including Bayerische Staatsballett, Teatro alla Scala, the Bolshoi Ballet, Paris Opera Ballet and Staatsballett Berlin. She has been featured in the programs Diana Vishneva: Beauty in Motion (2009) and Diana Vishneva: Dialogues (2011). Vishneva’s prizes and awards include the International Ballet Competition in Lausanne (1994), Benois de la Danse prize (1995), the St. Petersburg theatrical prize Golden Sophit (1996), the BALTIKA prize (1998) and the Golden Mask (2001 and 2009). She was named Best in Europe by Dance Europe magazine in 2002. Vishneva made her first appearance with American Ballet Theatre during the Company’s 2003 Spring season dancing Juliet in Romeo and Juliet and she joined ABT as a Principal Dancer in 2005. Her repertory with the Company includes a leading role in Ballet Imperial, Nikiya in La Bayadère, Kitri in Don Quixote, Titania in The Dream, Giselle in Giselle, Marguerite Gautier in Lady of the Camellias, Manon in Manon, Nuages, Tatiana in Onegin, Olga in On the Dnieper, Odette-Odile in Swan Lake, the Sylph in La Sylphide, Sylvia in Sylvia, Tchaikovsky Pas de Deux and Thaïs Pas de Deux. She created Princess Aurora in Alexei Ratmansky’s The Sleeping Beauty and a leading role in Alexei Ratmansky’s Piano Concerto #1. Vishneva will dance opposite Marcelo Gomes in the role of Eugene Onegin on Monday, June 19 and for her farewell performance on Friday, June 23. Subscriptions for American Ballet Theatre’s 2017 Spring season at the Metropolitan Opera House go on sale October 26, 2016. For more information, please visit www.abt.org.

From the company: BOSTON BALLET OPENS 2016–2017 SEASON WITH NORTH AMERICAN PREMIERE OF IVAN LIŠKA’S LE CORSAIRE BALLET RECONSTRUCTED FROM ORIGINAL CHOREOGRAPHIC NOTATION HOUSED IN HARVARD UNIVERSITY LIBRARY September 12, 2016 (BOSTON, MA)—Boston Ballet’s 53rd season begins with the North American premiere of Ivan Liška’s adventure and romance-filled Le Corsaire, with music by Adolphe Adam, Léo Delibes, Cesare Pugni, Riccardo Drigo, and Prinz von Oldenburg, performed by the Boston Ballet Orchestra. The narrative follows a beautiful maiden, a wealthy aristocrat determined to add her to his harem, and a dashing pirate even more resolved to save her. Based on Marius Petipa’s 19th-century classic, Liška’s version of Le Corsaire was created for the Bavarian State Ballet in 2007. Liška enlisted the assistance of dance historian Doug Fullington to decipher the choreography from its original Stepanov dance notation, which is housed in Harvard University Library’s Theatre Collection. Le Corsaire will run from October 27 to November 6, 2016 at the Boston Opera House. “Le Corsaire hails from the golden era of classical ballet, and it hasn’t been in our repertoire for several years,” said Artistic Director Mikko Nissinen. “Liška’s production is magnificent, with opportunities for spectacular, virtuoso dancing; technically challenging roles for both men and women; and brilliant corps de ballet scenes with stylish costumes and sets.” French for “The Pirate,” Le Corsaire follows the noble pirate Conrad on his quest to rescue his beloved Medora from the Pasha’s harem. After battling the stormy seas, Conrad, his friend Birbanto, and their fellow corsairs arrive at the market of Andrinople. Medora, the beautiful foster daughter of the merchant Lankedem, spots Conrad from her terrace and immediately falls in love. She throws him a bouquet of flowers, each with a special meaning, and Conrad, understanding the symbolism, falls in love just as quickly. When the Pasha arrives at the marketplace, he is immediately entranced by Medora and buys her from Lankendum. Medora implores Conrad to rescue her, and they escape to a grotto on the pirate island with the corsairs and a group of slave girls. Conrad is later betrayed by Birbanto and poisoned, causing him to fall into a deep sleep, and allowing Lankedem to steal Medora and return her to the Pasha. When Conrad awakens, he and the corsairs sneak into the harem and free Medora from the Pasha. Choreographic highlights from Le Corsaire include the pas de deux with Medora and Conrad in Act II and the elegant pas de trios des Odalisques in Act III, some of the most widely recognized and commonly performed excerpts of classical ballet. Act III is “like that special box of chocolates, lots of mouth-watering flavors and textures to suit every palate” (Alison Kent, Dance Europe), a highlight being the renowned Jardin Animé scene. This magnificent showcase of the corps de ballet also includes more than 20 Boston Ballet School students, giving young students a unique opportunity to perform with professional Company dancers. Since its original premiere in 1856, Le Corsaire has undergone numerous revisions and additions to its musical score. It was the last ballet by Adolphe Adam, composer of 16 ballets and 46 operas and operettas. Jules Perrot later added music by Cesare Pugni, and Petipa’s first contribution was the well-known pas d’esclave in Act I with music by Prinz von Oldenburg. In the late 1860s, Petipa incorporated music by Leo Delibes, a student of Adam’s, for Jardin Animé, which became both a musical and choreographic highlight of Le Corsaire. Le Corsaire is loosely based on Romantic poet Lord Byron’s verse tale, The Corsair, which sold 10,000 copies on its first day of publication in 1814 and prompted several stage adaptations, including an opera by Verdi and numerous ballets. Its best-known version, with choreography by Marius Petipa, premiered in St. Petersburg, Russia in 1863 by the Imperial Ballet. In 1997, Boston Ballet became the first non-Russian ballet company to present the full-length ballet (The Pirate) Le Corsaire, with choreography by Konstantin Sergeyev (after Petipa). To recreate the version being presented this year, Liška and Fullington revived the 19th century choreography from the Mariinsky Theatre by deciphering its original Stepanov notation, a method of choreographic notation developed in the 1890s by Mariinsky dancer Vladimir Stepanov. This system was based on the Western musical notation system and used staves and notes to denote timing and placement of the body, as well as details regarding mime conversations, formations for dancers, and other production details. The Stepanov notation for Le Corsaire is part of the Sergeev Collection, currently housed in the Harvard University Library, and includes choreographic notations, libretti, full scores, printed programs, photographs, and drawings. Stager Gregory Mislin, a Benesh notator, is currently working with Liška to notate and preserve Liška’s version of Le Corsaire. Ivan Liška was a principal dancer with Hamburg Ballet and later served as Artistic Director of the Bavarian State Ballet from 1998 to 2016. He increased the company’s repertoire, adding classical works like Raymonda and his productions of Sleeping Beauty and Le Corsaire, as well as neoclassical and contemporary works by George Balanchine, Jiří Kylián, John Neumeier, Jerome Robbins, and William Forsythe, among others. Liška was honored with the German Dance Prize for his career as a dancer and his work as artistic director of the Bavarian State Opera Ballet, and in 2012 he received The Maximilian Order for outstanding achievements in arts and sciences, the highest honor of Bavaria. All performances of Le Corsaire take place at the Boston Opera House (529 Washington Street, Boston MA 02111): Thursday, Oct 27 at 7:30 pm Friday, Oct 28 at 7:30 pm Saturday, Oct 29 at 1 pm Saturday, Oct 29 at 7:30 pm Sunday, Oct 30 at 1 pm Wednesday, Nov 2 at 7:30 pm Thursday, Nov 3 at 7:30 pm Friday, Nov 4 at 7:30 pm Saturday, Nov 5 at 1 pm Saturday, Nov 5 at 7:30 pm Sunday, Nov 6 at 1 pm Tickets start at $35. For more information, visit bostonballet.org or call 617.695.6955. Le Corsaire is approximately 2 hours and 30 minutes with 1 intermission. Le Corsaire Music: Adolphe Adam, Léo Delibes, Cesare Pugni, Riccardo Drigo, and Prinz von Oldenburg Choreography: Ivan Liška after Marius Petipa Reconstruction of choreography by Marius Petipa: Doug Fullington Staging: Ivan Liška, Colleen Scott, and Gregory Mislin* Set and Costume Design: Roger Kirk Lighting Design: John Cuff Musical Arrangement and Dramaturgy: Maria Babanina *by Benesh Movement Notation About Boston Ballet Since 1963, Boston Ballet’s internationally acclaimed performances of classical, neo-classical, and contemporary ballets, combined with a dedication to world class dance education and community initiative programs, have made the institution a leader in its field, with a 53-year history of promoting excellence and access to dance. Under the leadership of Artistic Director Mikko Nissinen and Executive Director Max Hodges, the Company maintains a diverse repertoire, ranging from full-length ballets to new works by some of today's finest choreographers. Boston Ballet's second company, Boston Ballet II, is comprised of dancers who gain experience by performing with the Company and independently, presenting special programs to audiences throughout the Northeast. Boston Ballet School, the official school of Boston Ballet, has a long-standing dedication to providing exceptional dance education and ballet training to students across three studios in Boston, Newton, and the North Shore. Led by Director Margaret Tracey, the School reaches more than 5,000 students (toddler to adult) each year through its four core programs: Children’s Program, Classical Ballet Program, Adult Dance Program, and Pre-Professional Program. Boston Ballet’s Department of Education and Community Initiatives (ECI) provides programming, events, and activities that connect the community to dance. ECI reaches more than 4,000 individuals in Boston, North Shore, and the surrounding communities each year through Citydance, ECI on Location, Adaptive Dance, and other community programs. For more information, please visit bostonballet.org. Boston Ballet gratefully acknowledges the following institutional partners: Barr Foundation Boston Cultural Council The Boston Foundation Klarman Family Foundation Massachusetts Cultural Council National Endowment for the Arts

Official release on the roster: MIKKO NISSINEN ANNOUNCES 2016–2017 ROSTER OF 71 DANCERS REPRESENTING 18 NATIONALITIES PRINCIPAL DANCER ERICA CORNEJO TO RETIRE FROM THE COMPANY AT END OF SEASON AUGUST 29, 2016 (BOSTON, MA)—Boston Ballet Artistic Director Mikko Nissinen has announced the 2016–2017 season roster. A total of 71 dancers make up the Company roster, with 57 in Boston Ballet, the main professional company, and 14 in Boston Ballet II (BBII), the second company. A total of 17 nationalities are represented, with dancers from Brazil, South Korea, France, Georgia, and Australia, to name a few. More than 32 percent of the main company are BBII alumni and 18 percent are Boston Ballet School alumni. This year marks Principal Dancer Erica Cornejo’s final season with Boston Ballet after dancing with the Company for 11 seasons. Cornejo will retire from Boston Ballet in May 2017 with final performances in The Sleeping Beauty. Boston Ballet welcomes Florimond Lorieux (Paris, France) from Paris Opera Ballet as a soloist. Daniel Cooper (Winston-Salem, North Carolina) from Pennsylvania Ballet; Mamuka Kikalishvili (Poti, Georgia) from Hong Kong Ballet; Seung Hyun Lee (Seoul, South Korea) from Korea National University of Arts; So Jung Lee (Seoul, South Korea) from Korea National University of Arts; Nina Matiashvili (Tbilisi, Georgia) from Hong Kong Ballet; Alec Roberts (Adelaide, Australia) from The National Ballet of Canada; Reina Sawai (Urayasu, Japan), formerly with Vienna State Ballet; and Erik Thordal-Christensen (Copenhagen, Denmark) from Los Angeles Ballet join as artists of the Company. “As Artistic Director, every new season brings an opportunity to shape the Company in its evolution. I aim to hire talented, motivated dancers, to continuously develop them as artists, and to expand their horizons to master our three different styles—from classical, neo-classical and contemporary works,” said Mikko Nissinen, Boston Ballet Artistic Director. “It is a lot to ask of them, but also so exciting! The next big phase of the Company’s development is our William Forsythe partnership. Working directly with Bill will bring a whole new dimension to their work and I cannot wait to see all the dynamic energy that’s coming.” New Company Dancers Florimond Lorieux of Paris, France, joins Boston Ballet as a soloist. He trained at Paris Opera School under the direction of Claude Bessy and Élisabeth Platel. In 2005, Lorieux joined Paris Opera Ballet, the oldest national ballet company in the world, as quadrille. He was promoted to coryphée in 2008 and sujet in 2009. Lorieux has performed in galas around the world as a guest artist. Daniel Cooper of Winston-Salem, North Carolina, returns to Boston Ballet as an artist of the Company. Cooper began his training at the University of North Carolina School of the Arts. After completing the San Francisco Ballet School Trainee Program in 2005, he joined Boston Ballet where he danced for three seasons. In 2008, he joined the corps de ballet of Pennsylvania Ballet. Mamuka Kikalishvili of Poti, Georgia, joins Boston Ballet as an artist of the Company. He studied at Vakhtang Chabukiani Tbilisi Ballet Art School before joining State Ballet of Georgia as a coryphée. In 2013, he joined Hungarian National Ballet and then joined Hong Kong Ballet in 2014. Kikalishvili won the gold medal in the Riga Spring in 2012, and was also a finalist of the Helsinki International Ballet Competition. Seung Hyun Lee of Seoul, South Korea, joins as an artist of the Company. He is a recent graduate of the highly respected Korea National University of Arts. He won the Senior Male gold medal at the Valentina Kozlova International Ballet Competition last month and was recognized for the Best Interpretation of the Classical Compulsory. Lee won first place at the 2014 Seoul International Dance Competition and a silver medal at the Korea International Ballet Competition. Lee has appeared as a guest artist around the world. So Jung Lee of Seoul, South Korea, joins as an artist of the Company. Lee trained at Seoul Arts High School and Korea National University of Arts. She has received an array of honors and awards at international ballet competitions, including gold medal at the Youth America Grand Prix and junior gold medal at the Seoul International Dance Competition in 2009; bronze medal at the Youth America Grand Prix in 2013; finalist at the 2014 International Ballet Competition is Jackson, Mississippi; and gold medal at the 2015 Valentina Kozlova International Ballet Competition in New York. Nina Matiashvili of Tbilisi, Georgia, joins as an artist of the Company. She trained at the V. Chabukiani Tbilisi Ballet Art State School. In 2007, Matiashvili joined State Ballet of Georgia where she was promoted to soloist in 2012. She joined Hong Kong Ballet in 2014 as a coryphée. Alec Roberts of Adelaide, Australia, joins Boston Ballet as an artist of the Company. He trained at the Australian Ballet School where he was chosen to represent the school on exchange to Canada’s National Ballet School. Upon graduation in 2012, Roberts joined Queensland Ballet where he performed both classic and contemporary ballets. He joined The National Ballet of Canada in 2015. Reina Sawai of Urayasu, Japan, joins the Company as an artist of the Company. She began training at the age of 4, studying in Japan, Hong Kong, the Philippines, and Portugal. Upon graduation, Sawai joined National Ballet of Portugal and in 2010, joined the Vienna State Ballet under the direction of Manuel Legris. She was promoted to demi-soloist in 2012. During her fifth season with the Company, she left to pursue other types of dance and further expand her knowledge of the field. Erik Thordal-Christensen of Copenhagen, Denmark joins as an artist of the Company. He began training at age 9 at the Los Angeles Ballet. Thordal-Christensen joined the Company as an apprentice in 2012, and was promoted to the corps de ballet in 2013. Previously Announced Nissinen also previously announced the following promotions for the 2016–2017 season: Anaïs Chalendard (Renaison, France) and Seo Hye Han (Seoul, South Korea) have been promoted to the rank of principal dancer, Junxiong Zhao (Chongqing, China) to soloist, and Corina Gill (Fallbrook, California) to second soloist. Samivel Evans (Santa Fe, New Mexico) and Desean Taber (Salisbury, Connecticut), two dancers from BBII, have joined as artists of the Company. More than 40 percent of BBII dancers are Boston Ballet School (BBS) alumni. Previously announced new hires joining BBII from BBS after completing the Trainee Program are: Lex Ishimoto (Irvine, California), Graham Johns (Glen Ridge, New Jersey), Abigail Merlis (Westport, Connecticut), and Christian Pforr (Watertown, Massachusetts). Additional new hires in BBII are: Gabrielle Beach (St. Petersburg, Florida) from The Royal Ballet School, Derek Drilon (Vancouver, Washington) from Joffrey Studio Company, Thomas Harrison (New Hope, Pennsylvania) from the American Ballet Theatre Jackie Kennedy Onassis School, Sage Humphries (Seal Beach, California) from Sarasota Cuban Ballet School, Clay Murray (Hattiesburg, Mississippi) and Bella Ureta (Seattle, Washington) from Pacific Northwest Ballet School, and Gabriela Schiefer (Tampa, Florida) from School of American Ballet. For previous press releases with details of the 2016–17 promotions and BBII roster, visit bostonballet.org/press-room. For full biographies and a complete roster, visit bostonballet.org/company-roster. About Boston Ballet Since 1963, Boston Ballet’s internationally acclaimed performances of classical, neo-classical, and contemporary ballets, combined with a dedication to world class dance education and community initiative programs, have made the institution a leader in its field, with a 53-year history of promoting excellence and access to dance. Under the leadership of Artistic Director Mikko Nissinen and Executive Director Max Hodges, the Company maintains a diverse repertoire, ranging from full-length ballets to new works by some of today's finest choreographers. Boston Ballet's second company, Boston Ballet II, is comprised of dancers who gain experience by performing with the Company and independently, presenting special programs to audiences throughout the Northeast. Boston Ballet School, the official school of Boston Ballet, has a long-standing dedication to providing exceptional dance education and ballet training to students across three studios in Boston, Newton, and the North Shore. Led by Director Margaret Tracey, the School reaches more than 5,000 students (toddler to adult) each year through its four core programs: Children’s Program, Classical Ballet Program, Adult Dance Program, and Pre-Professional Program. Boston Ballet’s Department of Education and Community Initiatives (ECI) provides programming, events, and activities that connect the community to dance. ECI reaches more than 4,000 individuals in Boston, North Shore, and the surrounding communities each year through Citydance, ECI on Location, Adaptive Dance, and other community programs. For more information, please visit bostonballet.org. Boston Ballet gratefully acknowledges the following institutional partners: Barr Foundation Boston Cultural Council The Boston Foundation Klarman Family Foundation Massachusetts Cultural Council National Endowment for the Arts

A release: FACULTY FOR 2016-17 SCHOOL YEAR AT THE AMERICAN BALLET THEATRE JACQUELINE KENNEDY ONASSIS SCHOOL ANNOUNCED ABT ALUMNI ROBERT LA FOSSE AND ETHAN STIEFEL TO JOIN FACULTY Faculty for the 2016-17 school year at the American Ballet Theatre Jacqueline Kennedy Onassis (JKO) School was announced today by ABT Artistic Director Kevin McKenzie and ABT JKO School Artistic Director Cynthia Harvey. Joining the faculty this year as Principal Guest Instructor is former ABT Principal Dancer Ethan Stiefel. Also returning to train the next generation of dancers is former ABT and New York City Ballet Principal Dancer, Robert La Fosse. Both Stiefel and La Fosse will teach students in the ABT JKO Pre-Professional Division. Under the artistic direction of Cynthia Harvey, the American Ballet Theatre Jacqueline Kennedy Onassis School provides the highest quality ballet training, consistent with the stylistic requirements of ABT under the guiding principles of ABT’s National Training Curriculum. The ABT JKO School serves over 400 students with a Pre-Professional Division for dancers ages 12-18 and a Children’s Division for dancers ages 3-12. Classes include classical ballet technique, pointe, partnering, men’s class, character, modern technique, variations, ballet history and Pilates. Students also participate in the ABT JKO School Wellness Program. The ABT JKO School faculty is comprised of members of ABT’s artistic staff, distinguished teachers and alumni from ABT and renowned companies throughout the world. “For my inaugural year as Artistic Director of the ABT JKO School, I’ve assembled a top-tier list of instructors who can continue the legacy of the School's mission to train the next generation of excellent artists," said Ms. Harvey. "The faculty for this year are individuals whose careers I've long admired and whose teaching methods I've observed over the years as some of the best the field has to offer." Incoming faculty include Karin Averty, formerly Premier Danseuse of the Paris Opera Ballet, and Fabrice Herrault, world-renowned teacher formerly of the Hamburg Ballet and Royal Winnipeg Ballet. ABT alumni Elizabeth Ferrell, Leann Underwood and Karen Uphoff, as well as Ms. Harvey, will join the existing faculty of former ABT dancers, Harriet Clark, Mikhail Ilyin and Flavio Salazar. Former ABT Principal Dancers Amanda McKerrow, Lupe Serrano and Martine van Hamel will serve as guest instructors. Rounding out the new faculty are Kristen Stevens and Jaime Hickey, both teaching for the Children’s Division, as well as former principal of the Moiseyev Dance Company, Larisa Calero, who will teach character dance. Returning faculty for the Children’s Division include Sophie Alpern, Alexis Andrews, Jenna Bitterman Rodica Bordeianu, Carla Flores and Sonia Jones. Adjunct faculty include Marianne dello Joio, Allison Eggers, Jean Freebury, Eleanor Hullihan, Adrienne Hurd, Clarice Marshall and Keith Sabado. For more information on the American Ballet Theatre Jacqueline Kennedy Onassis School, please visit www.abt.org/education/jko_school.asp Northern Trust is the Leading Corporate Sponsor of the American Ballet Theatre Jacqueline Kennedy Onassis School.

Strange thing (unless I'm reading it wrong) in that weekend prices are cheaper than weeknight prices. Whereas these days, weekend prices are more than weeknight (except Friday). I also wonder, in the early 70s, the stars made a good salary but did the corps? I imagine now with the union (and the 70s featured some famous union showdowns in the ballet world) that the differential between corps, soloist and principal is a little better. So if the company is paying more in salaries across the board, they'd have to charge higher prices. Maybe a contributing factor? I love the $7 prime rib! (including salad and desert or a cheese platter)

I'm very sorry to hear about her passing. I had looked forward to her writing.

From social media, looks like Gwyneth Muller is leaving NYCB: https://www.instagram.com/p/BIdd4iYBF9b/?taken-by=lsweaters https://www.instagram.com/p/BIdLkL0hsvY/?taken-by=gmuller https://www.instagram.com/p/BIdPvz5B_Dc/?taken-by=shetess