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Beethoven Romance is a ballet made by New York City Ballet ballet master in chief Peter Martins to the composer's Romance in F for violin and orchestra, Op. 50 (1805). The premiere took place on 2 February 1989 at the New York State Theater, Lincoln Center, with costumes by Heather Watts and lighting by Mark Stanley. [1]
Le Baiser de la fée is a neoclassical ballet in one act and four scenes composed by Igor Stravinsky in 1928 and revised in 1950 for George Balanchine and the New York City Ballet. Based on Hans Christian Andersen's short story Isjomfruen, the work is an homage to Pyotr Ilyich Tchaikovsky, for the 35th anniversary of the composer's death. Stravinsky elaborated several melodies from early piano pieces and songs by Tchaikovsky in his score. A commission by Ida Rubinstein from 1927, the ballet was choreographed by Bronislava Nijinska and premiered in Paris on 27 November 1928.
Michael Puleo is an American dancer, currently ballet master at the Compagnia Virgilio Sieni Danza, Florence, and assistant choreographer at Compagnia del Teatro Nuovo, Turin, Italy. He received his dance training at the Richard Andros Theater Art Center, the New York Performing Arts High School, and the School of American Ballet, and danced with the New York City Ballet, where he performed in the premieres of George Balanchine's Le Bourgeois Gentilhomme and Jerome Robbins' Eight Lines, as well as with the Armitage Ballet Love's End in Armitage 'Contempt' and at the Metropolitan Opera.
John Taras was an American ballet master, repetiteur, and choreographer.
Ash is a ballet made by New York City Ballet's ballet master in chief Peter Martins to Ash (1991) by Michael Torke. The premiere took place Thursday, June 20, 1991, at the New York State Theater, Lincoln Center. Ash was the fourth in a series of collaborations between the choreographer and composer.
Touch is a ballet made by David Parsons on the New York City Ballet to music by Richard Peaslee. The premiere took place February 15, 1996, at the New York State Theater, Lincoln Center.
Piano–Rag–Music is a ballet made by New York City Ballet balletmaster in chief Peter Martins to Stravinsky's eponymous music from 1919. The premiere took place on June 10, 1982, as part of City Ballets's Stravinsky Centennial Celebration at the New York State Theater, Lincoln Center.
Arch Higgins was a soloist with New York City Ballet. He began his study at eight years with Berkeley Ballet Theater with former City Ballet dancer Sally Streets. From 1982 he attended summer courses at the School of American Ballet which he entered full-time on scholarship four years later. He was the recipient of the Mae L. Wien Award and joined the NYCB corps de ballet in 1989. Higgins was promoted to soloist in 1998 and danced until 2011. He is now a guest teacher for the company and assistant children's ballet master.
Rachel Rutherford is a former soloist with New York City Ballet.
Bugaku is a ballet made by New York City Ballet co-founder and ballet master George Balanchine to eponymous music by Toshiro Mayuzumi, commissioned by City Ballet in 1962. The premiere took place on 30 March 1963 at City Center of Music and Drama, New York, with scenery by David Hays, costumes by Karinska, and lighting by Ronald Bates. NYCB had toured Japan in 1958 and the Gagaku Company of the Imperial Household toured the US the following year.
The Chairman Dances is a ballet made by New York City Ballet ballet master in chief Peter Martins to John Adams' eponymous music from 1985. The music was originally written for Adams' opera, Nixon in China, but not used in production: the scene is that in which Mao Zedong dances with his future bride, movie star Chiang Ch'ing. The premiere took place on 14 May 1988, as part of City Ballet's American Music Festival at New York State Theater, Lincoln Center, with scenery and costumes by Rouben Ter-Arutunian, and lighting by Mark Stanley.
Mother Goose is a ballet made for New York City Ballet's Ravel Festival by balletmaster Jerome Robbins to Ravel's music and scenario, the Ma Mère l'Oye Suite from 1908, orchestrated by the composer in 1912. The premiere took place on May 22, 1975, at the New York State Theater, Lincoln Center, with costumes by Stanley Simmons and lighting by Jennifer Tipton. At its premiere it bore the French title, which was retained when it was first revived in January 1978 but anglicized by May of that year.
Interplay is a ballet in one act made by Jerome Robbins, subsequently ballet master of New York City Ballet, for Billy Rose's Concert Varieties to Morton Gould's 1945 American Concertette. The premiere took place on Friday, 1 June 1945 at the Ziegfeld Theatre, New York. It was taken into the repertory of the American Ballet Theatre and presented on Wednesday, 17 October that year with costumes by Irene Sharaff. It has been revived for the City Ballet on Tuesday, 23 December 1952 at City Center of Music and Drama.
River of Light is a ballet made by New York City Ballet balletmaster in chief Peter Martins to eponymous music by Charles Wuorinen commissioned in honor of his sixtieth birthday. The premiere took place June 11, 1998, at the New York State Theater, Lincoln Center, with costumes by Holly Hynes and lighting by Mark Stanley; the 2008 revival was conducted by the composer and held in honor of his seventieth birthday. The River of Light was the third work in a trio of scores the New York City Ballet commissioned from Wuorinen in the early 1990s, the others being The Mission of Virgil and The Great Procession. All three works refer to scenes in Dante's Divine Comedy.
Echo is a ballet made by New York City Ballet ballet master Peter Martins to Michael Torke's Slate (1989). The premiere took place on 15 June 1989 at the New York State Theater, Lincoln Center. Echo was the third in a series of collaborations between the choreographer and composer.
Chaconne is a ballet made by New York City Ballet co-founder and ballet master George Balanchine to ballet music from Gluck's Orfeo ed Euridice. The premiere took place Wednesday, 22 January 1976 at the New York State Theater, Lincoln Center, with lighting by Ronald Bates; Robert Irving conducted. Chaconne was danced in practice clothes at its premiere; Karinska's costumes were added in the spring season.
The Barber Violin Concerto is a ballet made by New York City Ballet ballet master in chief Peter Martins to Samuel Barber's Violin Concerto, Op. 14 (1939). The premiere was conducted by Robert Irving and took place on 12 May 1988 at the New York State Theater, as part of City Ballet's American Music Festival, with lighting by Jennifer Tipton and costumes by William Ivey Long. Two couples, one pair classical dancers, the other modern, perform a series of mix-and-match pas de deux. All four are dressed in white, with the classical dancers in point shoes and ballet slippers, and the modern dancers typically barefoot and the man bare-chested.
The Unanswered Question: Some Intimations of the American Composer Charles Ives is a ballet made by Eliot Feld to Charles Ives' The Unanswered Question, Calcium Light Night, Fugue in Four Keys, Mists, From the Housatonic at Stockbridge, Sonata No. 2 for Piano and Violin, Remembrance and An Old Song Deranged. The premiere took place April 30, 1988, at the New York State Theater, Lincoln Center, as part of New York City Ballet's American Music Festival with lighting by the Feld Ballet's Allen Lee Hughes and Willa Kim's costumes. Other works to the music of Ives in the City Ballet repertory include Peter Martins' Calcium Light Night, Jerome Robbins' Ives, Songs and George Balanchine's Ivesiana.
Margaret Tracey is an American ballet dancer and educator. She joined the New York City Ballet in 1986, was promoted principal dancer in 1991, and retired in 2002. She served as the director of the Boston Ballet School between 2007 and 2021, dean of the Colburn School's Trudl Zipper Dance Institute since 2023, and slated to become the artistic director of Canada's National Ballet School in 2024.
Maria Calegari is an American ballet dancer, teacher and répétiteur. She joined the New York City Ballet in 1974 and became a principal dancer in 1983. She left the company in 1994, then occasionally performed until 2004. She also teaches ballet and began working as a répétiteur for the Balanchine Trust and Robbins Rights Trust in 1996 and 2003 respectively.