Cover: Catherine Hurlin and Isaac Hernández in Don Quixote. Photo: Quinn Wharton.
This page: Takumi Miyake in Sylvia. Photo: Nir Arieli.
INTAGLIOS AND CAMEOS
The art of stone carving: Intaglio or Shell Cameo, dates back to the ancient Greeks and Mesopotamians. Intaglio is the technique of carving into a precious gemstone while Cameo is a raised relief design. Intaglios were created to produce seals authenticating official documents, in time becoming a collectible art form. Using precious materials, including Turquoise, Lapis, Banded Agate and Volcanic Stone, we continue to create these unique jewels in our New York workshop.
Seaman Schepps has revived the art of family crests by meticulously carving these precious stones. These bespoke rings are a collaboration between you and our master craftsmen, who carry forward this centuries old technique to create wearable heirlooms.
welcome letter from aBt leadership
DEAR FRIENDS,
Welcome to American Ballet Theatre’s 2026 Summer season at the Metropolitan Opera House. We are delighted that you are here to experience the brilliance of our artists in four beautiful full-length ballets representing some of the best of ABT’s classical repertory.
This Summer we present the return of the beloved Don Quixote, after Marius Petipa and Alexander Gorsky, in a new staging by ABT Artistic Director Susan Jaffe and Regisseur Susan Jones. Several versions of this classic have graced ABT’s stages for decades, telling Miguel de Cervantes’s tale of the knight errant through the language of dance. A joyful romp, Don Quixote is packed with humor, virtuoso dancing, and vibrant Spanish flair—perfect for a hot summer night!
John Cranko’s Onegin returns to the Met stage for the second week of our season, ushering in rich drama and romance. In July, Frederick Ashton’s Sylvia introduces us to a joyful world of nymphs, shepherds, and deities, featuring a score by Léo Delibes. This year marks the 150th anniversary of Delibes’s unforgettable score, which remains as joyful and radiant as ever. The quintessential classical ballet for new audiences and longtime fans alike, Kevin McKenzie’s Swan Lake, bookends our season of beloved works.
As the curtain rises, our hope is that you can lose yourself in these stories, and in the remarkable talents of ABT’s artists. In a challenging world, we all need a moment of escape and inspiration.
That transformation is the power of the arts. That is the power of American Ballet Theatre.
Thank you for choosing to support your National Ballet Company®, and in turn, this glorious art form. Your continued attendance and financial support make it possible for us to carry ABT’s legacy forward with the commitment to excellence that has been our hallmark for 86 years.
With gratitude,
BARRY HUGHSON Executive Director
SUSAN JAFFE Artistic Director
Susan Jaffe following a performance of Swan Lake. Photo: Rosalie O’Connor Photography.
Chloe Misseldine in Swan Lake
Photo: Emma Zordan, courtesy of American Ballet Theatre.
Susan Jaffe
ARTISTIC DIRECTOR
Barry Hughson EXECUTIVE DIRECTOR
JOO WON AHN • ARAN BELL • ISABELLA BOYLSTON • SKYLAR BRANDT
DANIEL CAMARGO • HERMAN CORNEJO • THOMAS FORSTER
ISAAC HERNÁNDEZ • CATHERINE HURLIN • CHLOE MISSELDINE
NATALIA OSIPOVA* • CALVIN ROYAL III • HEE SEO • CHRISTINE SHEVCHENKO
CORY STEARNS • DEVON TEUSCHER • JAMES WHITESIDE • ROMAN ZHURBIN
SIERRA ARMSTRONG • JAROD CURLEY • ZHONG-JING FANG • LÉA FLEYTOUX • PATRICK FRENETTE
CARLOS GONZALEZ • BREANNE GRANLUND • SUNG WOO HAN • FANGQI LI
BETSY M C BRIDE • TAKUMI MIYAKE • SUNMI PARK • JAKE ROXANDER • JOSE SEBASTIAN
Nathan Vendt** · Aleisha Walker · Paulina Waski · Atau Watanabe · Annabelle Watt‡ · Remy Young
APPRENTICES
Max Barker · Elijah Geolina · Daniel Guzmán · Kayla Mak · Delfina Nelson-Todd · Sooha Park
Clinton Luckett
ASSOCIATE ARTISTIC DIRECTOR
Ormsby Wilkins MUSIC DIRECTOR
Charles Barker
PRINCIPAL CONDUCTOR
David LaMarche CONDUCTOR
Susan Jones
REGISSEUR
Irina Kolpakova
PRINCIPAL RÉPÉTITEUR
John Gardner
Carlos Lopez
Amanda McKerrow Luciana Paris Nancy Raffa DIRECTORS OF REPERTOIRE
*Guest Artist **2026 Jennifer Alexander Dancer ‡courtesy of The Australian Ballet
ABT gratefully acknowledges Avery and Andrew F. Barth for their support of the Corps de Ballet in memory of Laima and Rudolph Barth and in recognition of former ABT Corps dancer Carmen Barth Fox.
ABT is supported, in part, with public funds from the New York State Council on the Arts with the support of The Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs in partnership with the City Council.
The Feldenkrais Method ® is a new and exciting resource that has the potential to help many people through recent discoveries in neuroplasticity and simple movement However, few have heard of it or know that it is an option. Would you like to help us get the word out and make it accessible?
The Feldenkrais Method ® is a new and exciting resource that has the potential to help many people through recent discoveries in neuroplasticity and simple movement . However, few have heard of it or know that it is an option. Would you like to help us get the word out and make it accessible? Created in 2008, the Feldenkrais Foundation is a non-profit, tax-deductible foundation devoted to promoting greater understanding of-and access to —the F eldenkrais Method
Created in 2008, the Feldenkrais Foundation is a non-profit, tax-deductible foundation devoted to promoting greater understanding of-and access to —the Feldenkrais Method .
The Feldenkrais Foundation's core activities include:
Scan the QR code above to read this magazine on your phone.
The Feldenkrais Foundation's core activities include: A
JULY 9 7:30 P.M. Sylvia JULY 10 2:00 P.M. 7:30 P.M. Sylvia
JULY 4
2:00 P.M. Don Quixote
JULY 15
2:00 P.M. 7:30 P.M.
Swan Lake
JULY 16
JULY 17
ORMSBY WILKINS'S FINAL PERFORMANCE 7:30 P.M. Swan Lake
JULY 18 2:00 P.M. Swan Lake JULY 11 7:30 P.M. Sylvia JULY 11 2:00 P.M. Sylvia
7:30 P.M. Swan Lake JULY 18 7:30 P.M. Swan Lake
Scene from Onegin. Photo: Rosalie O’Connor Photography.
MARCHAND
Hugo Marchand stars in a tour de force program alongside other Étoiles of Paris Opera Ballet and Béjart Ballet Lausanne.
by Maria Helena
Photos
Buckley
your generosity keeps abt thriving
ABT Members make it possible for America’s National Ballet Company® to share the beauty of classical ballet with audiences across the country and around the world.
We invite you to join this vibrant global community! With a membership gift of $100 or more, you will help to bring extraordinary performances to the stage and nurture the next generation of dance artists. You’ll also receive exclusive benefits including discounts on tickets and merchandise, access to dress rehearsals, and online discussions with ABT artists. We thank you, and we thank our current members for their ongoing generosity.
To learn more or give, please scan the QR code below or call 212-477-3030 or email membership@abt.org.
Donors giving $100 or more receive benefits including:
• Dress rehearsal access and ticket discounts (all levels)
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Top: Chloe Misseldine and Daniel Camargo during an in-studio rehearsal visit. Photo: Natalia Sánchez. Bottom: James Whiteside in Swan Lake. Photo: Gene Schiavone.
A HISTORY OF AMERICAN BALLET THEATRE’S
don quixote
his Summer, American Ballet Theatre presents a new staging of Don Quixote by Artistic Director Susan Jaffe and Regisseur Susan Jones. This marks the fourth version of the ballet to grace ABT’s stages, a testament to its beloved narrative, energy, and unique ability to evolve with each generation of artists. In celebration of Jaffe and Jones’s contribution to this rich legacy, we invite you to trace the journey of ABT’s Don Quixote, told through photos and reflections from the artists who shaped it.
The story of the knight errant was first performed by the Company in former ABT Artistic Director Mikhail Baryshnikov’s Don Quixote (Kitri’s Wedding). The production premiered in 1978, with choreography by Baryshnikov and Alexander Gorsky after Marius Petipa and sets and costumes by Santo Loquasto, whose designs have graced every ABT performance of Don Quixote ever since.
1978 1991
“The choreography and story are so well placed within the world Santo [Loquasto] has created. I have long admired Santo’s work from before grad school. I first met Santo on stage at the Met and he gave me a ‘tour’ of the show. Not sure I actually absorbed what he was saying as this was truly an Elvis like moment for me.”
—Vincent Roca, ABT Director of Production
“It was the 1970s and the world was caught up with the romance and magic of dance, in particular ballet—classical and modern. So much to learn, so much to do; and for me a new sophisticated civilization to explore and embrace. Varied creative agendas flew about my studio in hopes to capture the spirit of a traditional production infused with the energy and brilliance that Baryshnikov brought to the stage.”
—Santo Loquasto, Scenic and Costume Designer
In 1991, Vladimir Vasiliev staged his own Don Quixote with choreography after Petipa and Gorsky. ABT Principal Dancers Cynthia Harvey and Julio Bocca premiered at the Civic Opera House in Chicago. Susan Jaffe danced in Baryshnikov’s version, then in Vasiliev’s, and in each staging that followed.
“Don Quixote is a funny ballet, it’s a happy ballet, and it’s a love ballet. You finish the show, and you go home laughing! Technically it is very hard, so it’s a challenge each time you go onto the stage. That’s why I think it’s one of the best ballets.”
—Julio Bocca, Former ABT Principal Dancer
“With each version, I was able to deepen my understanding of Kitri, bringing more of her fire, wit, and comedic flair to the stage as I matured as an artist. Don Quixote remains one of my favorite ballets.”
—Susan Jaffe, ABT Artistic Director
The most recent staging was created by Jones and former ABT Artistic Director Kevin McKenzie, premiering in 1995 at the Metropolitan Opera House with Paloma Herrera and Julio Bocca in the leading roles. Their production has been ABT’s version for the past 30 years.
“With Don Quixote, it’s a triumph of the human spirit. Don Quixote is on a quest for perfect beauty, and his confusion with Kitri is a warmhearted mistake. Don Quixote is a confused old gent with a worthy cause.”
—Kevin McKenzie, Former ABT Artistic Director, as quoted in Stagebill in June 1995
“I will never forget a performance in the late 90s with Paloma Herrera as Kitri and Angel Corella as Basilio—they looked like they were trying to outdo each other throughout the entire ballet; the excitement kept building, and the audience response was incredible—as was the response in the wings from their colleagues.”
—Danielle Ventimiglia, ABT Production Stage Manager
“Don Quixote was a very special ballet for me. By age 19, when I was just promoted to Principal Dancer, Kevin [McKenzie] gave me the opening night of his version of the full-length Don Quixote, and what can I say . . . it was one of those ‘once in a lifetime’ performances.”
—Paloma Herrera, Former ABT Principal Dancer
2026
Jones and Jaffe bring to this Summer’s staging firsthand experience of nearly every Don Quixote in ABT’s history: Jones helped mount the Baryshnikov production before staging her own version with McKenzie, and Jaffe danced in every one. Their staging not only continues the legacy of this beloved classic but opens remarkable opportunities for ABT dancers, with five Principal role debuts across the run.
“Now, nearly half a century later—like Don Q himself—this production is once again joyfully returning home. With it, Don Quixote carries the Company’s history, and now legacy. I believe there will always be a yearning for its power, romance, and joy.”
—Santo Loquasto
“Don Quixote is a total escape from reality! It’s also like visiting an old friend. You recall performances you’ve seen before and are completely smitten by artists you’ve not seen. The pyrotechnics, the laughs, the wonderful music—what’s not to love! All our artists are brilliant at keeping this ballet alive, thereby, keeping me entertained.”
—Susan Jones, ABT Regisseur
Left page, top to bottom: Cynthia Harvey and Mikhail Baryshnikov in Don Quixote (Kitri’s Wedding). Photo: MIRA. Santo Loquasto’s original Don Quixote costume sketch, 1978, courtesy of Santo Loquasto. Gelsey Kirkland, Mikhail Baryshnikov, and President Jimmy Carter following the World Premiere of Don Quixote (Kitri’s Wedding) at the Kennedy Center on March 23, 1978. Photo: Charles W. Harrity. Susan Jaffe, Vladimir Vasiliev, and Cynthia Harvey in Don Quixote. Photo: Martha Swope, courtesy of the Jerome Robbins Dance Division, The New York Public Library. Right page, top to bottom: Paloma Herrera and Julio Bocca on opening night of Don Quixote, June 14, 1995. Photo: Jack Vartoogian. Gillian Murphy and Kevin McKenzie in rehearsal for Don Quixote. Photo: Rosalie O’Connor Photography. Skylar Brandt and Herman Cornejo in Don Quixote. Photo: Rosalie O’Connor Photography.
swan lake
Christine Shevchenko and Calvin Royal III in Swan Lake
Photo: Rosalie O’Connor Photography.
Choreography by KEVIN MCKENZIE after MARIUS PETIPA and LEV IVANOV
Music by PETER ILYITCH TCHAIKOVSKY
Sets and Costumes by ZACK BROWN
Lighting by DUANE SCHULER
This production has been generously underwritten by R. Chemers Neustein.
Scenery executed by National Scenery Studios, Inc., Michael Hagen, Inc., and Scaena Studios.
Men’s boots executed by Pluma.
Costumes for Swan Lake are generously sponsored by the Ellen Everett Kimiatek Costume Preservation Trust.
Additional support is provided by Jay Grossman and Maxwell Murphy. There will be one intermission.
SYNOPSIS
PROLOGUE
Long before our story begins, Odette, a beautiful princess, falls under the spell of von Rothbart, a wicked sorcerer.
ACT I: THE PRINCE’S BIRTHDAY PARTY
It is Prince Siegfried’s coming of age, and he is celebrating with friends. The Queen Mother arrives to give him his present—a crossbow—and reminds him that as he is to become king, he must choose a bride at the ball the next evening. She leaves, bidding him to enjoy himself but reminding him again to think about his royal obligation to be wed. Siegfried, realizing that his carefree days are at an end, leaves the party at the height of the festivities to seek the solace of the woods. Benno, his friend, finds him and suggests that they go hunting. Siegfried declines, preferring to be alone.
ACT II: SOME HOURS LATER, BY THE LAKE
Prince Siegfried enters a moonlit clearing in the forest and sees a magnificent swan in flight. He carefully takes aim, but to his astonishment, the bird transforms into a breathtakingly beautiful girl, and he withdraws into the trees to observe her. Unable to restrain his curiosity, he steps out, only to startle and frighten her. He assures her that he will do her no harm and asks her to explain the marvel he has just seen. Impressed by his gentleness, Odette tells him the story of her plight: She is a princess of high birth who fell under the spell of an evil sorcerer, and now her fate is to be a swan. Only in the hours of darkness may she assume her human guise. Indeed, this very lake is filled with her mother’s tears. Odette tells him she is condemned for eternity, and only if a virgin youth swears eternal fidelity to her and marries her can she find release; only then can the spell be broken. But if he should forswear her, she must remain a swan forever.
At that moment, von Rothbart appears. The prince, in his passion, reaches for his crossbow, but Odette immediately protects the sorcerer with her body, for she knows that if he is killed before the spell is broken, she too will die. The sorcerer disappears, and Odette slips away into the forest. Siegfried realizes his fate is now entwined with hers. Dawn approaches, and Odette is compelled by the spell to return to her guise as a swan. Siegfried is left awestruck.
INTERMISSION
ACT III: THE GREAT HALL Heralds and trumpets announce the start of the ball. Eligible young princesses from all over the world arrive to be introduced to Prince Siegfried so that he may choose a bride. They present their national dances for the
entertainment of the prince and the Queen Mother, who reminds Siegfried that he must choose one for his wife. As Siegfried struggles with his responsibility to marry, his thoughts remain with Odette, and he cannot choose.
Trumpets announce an uninvited guest. It is von Rothbart, with his daughter, Odile. She seduces Siegfried as von Rothbart holds the court in thrall. When Siegfried announces his intention to marry Odile, von Rothbart asks him to swear fidelity. Siegfried realizes too late that he has been the victim of a terrible plot. The scene darkens. Odette is seen at the castle door, weeping. Grief-stricken, Siegfried rushes to the lakeside.
ACT IV: THE LAKESIDE
A great storm rages. Siegfried, bursting into the glade, discovers Odette and begs her forgiveness. Odette tells him that she must kill herself, or she will forever be a swan. Siegfried, knowing that his destiny is forever changed, declares he will die with her, thus breaking von Rothbart’s power over Odette. As dawn approaches, von Rothbart appears. The lovers answer his threat by throwing themselves into the lake. The sorcerer is vanquished and his power destroyed.
APOTHEOSIS
The lovers are united in life after death.
PRODUCTION HISTORY
The first production of Swan Lake, with choreography by Julius (Wentzel) Reisinger, received its World Premiere by the Russian Imperial Ballet at the Bolshoi Theatre in Moscow on March 4, 1877, danced by Pelagias (Paulina) Karpakova as Odette/Odile and Stanislav Gillert as Prince Siegfried. Swan Lake as we know it, with choreography by Marius Petipa and Lev Ivanov, was given its first full-length production at the Maryinsky Theatre in St. Petersburg on January 27, 1895, danced by Pierina Legnani (Odette/Odile) and Pavel Gerdt (Prince Siegfried).
American Ballet Theatre (then Ballet Theatre) first performed Act II of Swan Lake, with choreography by Anton Dolin after Ivanov and Petipa, at the Center Theatre in New York City on January 16, 1940, led by Patricia Bowman (Odette) and Dolin (Prince Siegfried). Dolin also choreographed the grand pas de deux from Act III as the “Black Swan Pas de Deux,” which premiered at the Metropolitan Opera House on October 23, 1944, danced by Tamara Toumanova (Odile) and Dolin (Prince Siegfried).
A new production of Swan Lake, with additional choreography by Mikhail Baryshnikov after Ivanov and Petipa, was given its World Premiere on December 2, 1988, at the Orange County Performing Arts Center in Costa Mesa, California, danced by Susan Jaffe (Odette/Odile) and Andris Liepa (Prince Siegfried).
The World Premiere of this current production, staged by Kevin McKenzie after Petipa and Ivanov, was given on March 24, 2000, at the Kennedy Center for the Performing Arts in Washington, D.C., danced by Julie Kent (Odette/Odile) and Angel Corella (Prince Siegfried).
onegin
A ballet in three acts
Choreography by JOHN CRANKO
Based on the verse novel by ALEXANDER PUSHKIN
Music by PETER ILYITCH TCHAIKOVSKY
Arranged and Orchestrated by KURT-HEINZ STOLZE
Sets and Costumes by SANTO LOQUASTO
Lighting Design by JAMES F. INGALLS
Staged by JANE BOURNE
Supervised by REID ANDERSON and TAMAS DETRICH
Copyrights: DIETER GRAEFE
Chloe Misseldine and Thomas Forster in Onegin. Photo: Rosalie O’Connor Photography.
Production courtesy of the National Ballet of Canada.
There will be two intermissions.
SYNOPSIS
ACT I
SCENE ONE: MADAME LARINA’S GARDEN
Madame Larina, Olga, and the nurse are finishing the party dresses and gossiping about Tatiana’s coming birthday festivities. Madame Larina speculates on the future. Girls from the neighborhood arrive and play an old folk game: whoever looks into the mirror will see her beloved.
Lensky, a young poet engaged to Olga, arrives with a friend from St. Petersburg. He introduces Onegin, who, bored with the city, has come to see if the country can offer him any distraction. Tatiana, full of youthful and romantic fantasies, falls in love with the elegant stranger, so different from the country people she knows. Onegin, on the other hand, sees in Tatiana only a naïve country girl who reads too many romantic novels.
SCENE TWO: TATIANA’S BEDROOM
Tatiana, her imagination aflame with impetuous first love, dreams of Onegin and writes him a passionate love letter, which she gives to the nurse to deliver.
INTERMISSION
ACT II
SCENE ONE: TATIANA’S BIRTHDAY
The provincial gentry have come to celebrate Tatiana’s birthday. Onegin finds the company boring. Stifling his yawns, he finds it difficult to be civil to them; furthermore, he is irritated by Tatiana’s letter, which he regards merely as an outburst of adolescent love. In a quiet moment, he seeks out Tatiana, and telling her that he cannot love her, tears up her letter. Tatiana’s distress, instead of awakening pity, merely increases his irritation.
Prince Gremin, a distant relative, appears. He is in love with Tatiana, and Madame Larina hopes for a brilliant match; but Tatiana, troubled with her own heart, hardly notices her kind relative.
Onegin, in his boredom, decides to provoke Lensky by flirting with Olga, who lightheartedly joins in the teasing. But Lensky takes the matter with passionate seriousness. He challenges Onegin to a duel.
SCENE TWO: THE DUEL
Tatiana and Olga try to reason with Lensky, but his high romantic ideals have been shattered by the betrayal of his friend and the fickleness of his beloved; he insists that the duel take place. Onegin kills his friend.
INTERMISSION
ACT III
SCENE ONE: ST. PETERSBURG
Years later, Onegin, having traveled the world in an attempt to escape from his own sense of futility, returns to St. Petersburg, where he is received at a ball in the palace of Prince Gremin. Gremin has married, and Onegin is astonished to recognize, in the stately and elegant young princess, Tatiana, the uninteresting little country girl whom he once turned away. The enormity of his mistake and loss engulfs him. His life now seems even more aimless and empty.
SCENE TWO: TATIANA’S BOUDOIR
Onegin has written to Tatiana, revealing his love and asking to see her, but she does not wish to meet him. She pleads in vain with her unsuspecting husband not to leave her alone this evening. Onegin comes and declares his love for her. In spite of her emotional turmoil, Tatiana realizes that Onegin’s change of heart has come too late. Before his eyes, she tears up his letter and orders him to leave her forever.
PRODUCTION HISTORY
Onegin received its World Premiere by the Stuttgart Ballet at the Wuerttemburg Staatstheater, Stuttgart on April 13, 1965, danced by Marcia Haydée (Tatiana), Ray Barra (Onegin), Egon Madsen (Lensky), Ana Cardus (Olga), Kenneth Barlow (Prince Gremin), and Ruth Papendieck (Madame Larina).
Cranko produced a revised version of Onegin for the Stuttgart Ballet in 1967; this revised version is the one being performed tonight.
Onegin was given its United States premiere, under the title Eugene Onegin, by the Stuttgart Ballet at the Metropolitan Opera House, New York on June 10, 1969, danced by Marcia Haydée (Tatiana), Heinz Clauss (Onegin), Egon Madsen (Lensky), Susan Hanke (Olga), Jan Stripling (Prince Gremin), and Ruth Papendieck (Madame Larina).
Onegin was given its American Ballet Theatre Company Premiere on June 1, 2001, danced by Julie Kent (Tatiana), Robert Hill (Onegin), Vladimir Malakhov (Lensky), and Maria Riccetto (Olga).
This new production of Onegin was given its World Premiere by The National Ballet of Canada on June 19, 2010 at the Four Seasons Centre for the Performing Arts, Toronto, Ontario, Canada, danced by Xiao Nan Yu (Tatiana), Jiri Jelinek (Onegin), Heather Ogden (Olga), and Guillaume Côté (Lensky).
Tatiana’s Letter to Onegin
I write to you — no more confession is needed, nothing’s left to tell. I know its now in your discretion with scorn to make my world a hell.
But, if you’ve kept some faint impression of pity for my wretched state, you’ll never leave me to my fate. At first I thought it out of season to speak; believe me; of my shame you’d not so much as know the name, if Id possessed the slightest reason to hope that even once a week I might have seen you, heard you speak on visits to us, and in greeting I might have said a word, and then thought, day and night, and thought again about one thing, till our next meeting. But you’re not sociable, they say; you find the country godforsaken; though we …don’t shine in anyway, our joy in you is warmly taken. Why did you visit us, but why? Lost in our backwoods habitation Id not have known you, therefore I would have been spared this laceration. In time, who knows, the agitation Of inexperience would have passed.
I would have found a friend, another, and in the role of virtuous mother, and faithful wife Id have been cast.
Another!… No, another never in all the world could take my heart!
Decreed in highest court forever … heaven’s will — for you Im set apart; and my whole life has been directed and pledged to you, and firmly planned; I know. Godsent one. Im protected until the grave by your strong hand; you’d made appearance in my dreaming; unseen, already you were dear, my soul had heard your voice ring clear, stirred at your gaze, so strange so gleaming, long, long ago … no, that could be no dream. You’d since arrived, I reckoned to know you, swooned, and in a second all in a blaze, I said: its he!
You know, its true, how I attended, drank in your words when all was still helping the poor, or while I mended with balm of prayer torn and rended spirit that anguish had made ill.
At this midnight of my condition, was it not you, dear apparition who in the dark came flashing through and, on my bed-head gently leaning
with love and comfort in your meaning, spoke words of hope? But who are you: the guardian angel of tradition or some vile agent of perdition sent to seduce? Resolve my doubt. Oh, this could all be false and vain, A sham that trustful souls work out; Fate could be something else again …
So let it be! For you to keep I trust my fate to your direction, henceforth in front of you I weep. I weep and pray for your protection … Imagine it: quite on my own Ive no one here who comprehends me, and now a swooning mind attends me, dumb I must perish and alone. My heart awaits you: you can turn it to life and hope with just a glance –or else disturb my mournful trance with censure — Ive done all to earn it!
I close. I dread to rend this page … for shame and fear my wits are sliding … and your honor is my gauge, and in it boldly Im confiding …
—Alexander Pushkin
Alessandra Ferri and Julio Bocca in Carmen. Photo: Rosalie O’Connor Photography.
don quixote
Additional
by
Sets and Costumes by SANTO
Lighting Design by
Catherine Hurlin and Aran Bell in Don Quixote. Photo: Rosalie O’Connor Photography.
Choreography by MARIUS PETIPA and ALEXANDER GORSKY
Staged by SUSAN JAFFE and SUSAN JONES
Music by LUDWIG MINKUS , arranged by JACK EVERLY
music
ISAAC ALBENIZ , arranged by DAVID CARP
LOQUASTO
NATASHA KATZ
Don Quixote was generously supported through an endowed gift from Anka K. Palitz, in memory of Clarence Y. Palitz, Jr. There will be two intermissions.
SYNOPSIS PROLOGUE
Lost in obsessive tales of chivalry and visions of knightly glory, the tarnished yet inspired Don Quixote reads aloud to his trusty squire, Sancho Panza, before embarking on his adventures in pursuit of his idealized Dulcinea.
ACT I: SEVILLA
Kitri, Lorenzo’s spirited daughter, is in love with the handsome Basilio. To her dismay, she learns that her father intends for her to marry Gamache, a vain and eccentric nobleman. Don Quixote and Sancho Panza arrive in the village, stirring up excitement among the townspeople. Captivated by Kitri, Don Quixote wonders if he has found his beloved Dulcinea. Amid the lively festivities, Kitri and Basilio, with the help of their friends Espada and Mercedes, make their escape, followed by Don Quixote and Sancho Panza. Lorenzo and Gamache set off after them.
INTERMISSION
ACT II
SCENE 1: ROMANI CAMP
Don Quixote and Sancho Panza come upon the fleeing lovers at a lively Romani camp, where the romance of the evening enchants them all. As a vision of Dulcinea appears before him, Don Quixote comes to understand that Kitri is not his destined love, but belongs instead with Basilio. Suddenly, the wind begins to rise, and Don Quixote charges recklessly at a windmill, imagining it to be a monstrous giant threatening Dulcinea. Defeated by his own delusion, he falls into an exhausted sleep.
SCENE 2: THE DREAM
Don Quixote enters an enchanted dream inhabited by a mercurial Cupid and beautiful maidens, where the image of Kitri appears to him as his beloved Dulcinea.
SCENE 3: SUNRISE
Lorenzo and Gamache interrupt Don Quixote’s dream. Moved by the devotion of the young lovers, Don Quixote does his best to mislead them and help Kitri and Basilio escape.
SCENE 4: A TAVERN
Kitri and Basilio take refuge in a lively tavern, hoping to evade Lorenzo and Gamache while reveling in the freedom of the night. Their celebration is short-lived, however, as the pursuing party soon discovers them. Enraged, Lorenzo demands that Kitri accept the attentions of Gamache. In desperation, Basilio stages his own “suicide.” Moved by the lovers’ devotion, Don Quixote persuades Lorenzo to grant Kitri’s wish to marry Basilio before he dies. The moment Lorenzo relents, Basilio miraculously springs back to “life.” Triumphantly, Kitri departs to prepare for the wedding while Don Quixote and Basilio salute Lorenzo and Gamache for accepting the inevitable.
INTERMISSION
ACT III: THE WEDDING
The village rejoices as Kitri and Basilio are finally wed. Don Quixote offers the happy couple his blessing before taking his leave and setting off once more in search of new adventures.
PRODUCTION HISTORY
Don Quixote, with choreography by Marius Petipa, received its World Premiere by the Imperial Russian Ballet at the Bolshoi Theatre, Moscow, on December 14, 1869, danced by Anna Sobeshenskaya (Kitri) and Sergei Sokolov (Basil). A second production, also with choreography by Marius Petipa, received its World Premiere by the Imperial Ballet at the Maryinsky Theatre, St. Petersburg, on November 21, 1871, danced by Alexandra Vergina (Kitri) and Lev Ivanov (Basil).
Mikhail Baryshnikov’s production of Don Quixote (Kitri’s Wedding) received its World Premiere by American Ballet Theatre at the Kennedy Center for the Performing Arts in Washington, D.C., on March 28, 1978, with Gelsey Kirkland and Mikhail Baryshnikov as Kitri and Basil. The New York premiere took place at the Metropolitan Opera House on May 2, 1978, with the same leading dancers.
Don Quixote, staged by Vladimir Vasiliev, received its American Ballet Theatre Company Premiere at the Civic Opera House in Chicago on February 15, 1991, danced by Cynthia Harvey (Kitri) and Julio Bocca (Basil).
The previous production, staged by Kevin McKenzie and Susan Jones, received its American Ballet Theatre Company Premiere at the Metropolitan Opera House in New York on June 12, 1995, with Paloma Herrera as Kitri and Julio Bocca as Basilio.
This new 2026 staging is by Susan Jaffe and Susan Jones. The Cup solo in the Tavern scene was choreographed by Mikhail Baryshnikov in 1978, and appears in this production courtesy of Mr. Baryshnikov.
sylvia
Hee Seo in Sylvia. Photo: Marty Sohl.
Choreography by FREDERICK ASHTON
Music by LÉO DELIBES
Original designs by ROBIN and CHRISTOPHER IRONSIDE
Additional designs (revival) by PETER FARMER
Lighting by MARK JONATHAN
Sylvia is generously supported through an endowed gift from Monica, Stefano, Cosima, and Tassilo Corsi.
Sylvia is performed by arrangement with The Frederick Ashton Foundation, and is one of over 100 ballets created by Frederick Ashton (1904–1988). These performances are given as part of the Ashton Worldwide 2024–2028 festival. For further information, visit frederickashton.org.uk. Sylvia was originally staged for ABT in 2005, and re-mounted in 2012 by Christopher Newton.
There will be one intermission.
SYNOPSIS
ACT I: A SACRED WOOD
Woodland creatures dance in the moonlight before the shrine of Eros, the god of love. They are interrupted by the arrival of the shepherd Aminta, who is in love with Sylvia. Hearing Sylvia and her attendants approaching, Aminta hides and watches them dance as they celebrate the success of their hunt. Sylvia, who as one of Diana’s nymphs has promised to renounce love, taunts the statue of Eros. Meanwhile, Orion, the evil hunter, has also been secretly watching Sylvia and, inflamed by her beauty, is determined to possess her.
Aminta’s cloak is discovered and the shepherd is dragged from his hiding place. He declares his love for Sylvia, but she is outraged and, blaming the mischievous Eros, draws her bow at the god. Aminta, shielding the statue, is pierced to the heart by Sylvia’s arrow. Eros retaliates by shooting Sylvia. Shaken, she removes the arrow from her heart and leaves with her companions.
Peasants, on their way to the fields, dance in honor of Eros. As they leave, Orion enters and gloats over the body of Aminta. He is interrupted by the return of Sylvia, who, having been pierced to the heart by Eros’ arrow, now mourns the dead Aminta. Emerging from his hiding place, Orion captures Sylvia and carries her off to his island cave.
A peasant, having witnessed Sylvia’s abduction, calls his friends back and they too weep over Aminta’s body. A strange, cloaked figure appears among them, and they ask him for his help. He picks a flower from the nearby bush and, pressing the petals to Aminta’s lips, brings him back to life. Aminta thanks the stranger, who then tells him of Sylvia’s abduction. As the peasants find her bow, the stranger reveals himself to be Eros and sends Aminta in search of Sylvia.
INTERMISSION
ACT II: ORION’S ISLAND CAVE
Orion tries in vain to gain Sylvia’s affection by tempting her with jewels and fine clothes. She is reminded of her love for Aminta by Eros’ arrow, but as she attempts to escape, Orion takes it from her. He offers her wine, but she, in order to evade his advances, encourages him to drink. She dances for him until he falls senseless, whereupon she retrieves the arrow and prays to Eros for help. Appearing, Eros shows Sylvia a vision of Aminta waiting for her by Diana’s temple and takes her to be reunited with him.
ACT III: THE SEA COAST NEAR THE TEMPLE OF DIANA
A festival in honor of the god Bacchus is interrupted by the arrival of Aminta in search of Sylvia. He hopes to find her in Diana’s temple but is met by closed doors. He sees a boat approaching with Eros, Sylvia, and her attendants on board, and Eros reunites the lovers.
The general rejoicing is interrupted by Orion, determined to recapture Sylvia. She takes refuge in the temple and, after a fight with Aminta, Orion tries to break in. Enraged by the intrusion, Diana appears and kills him. Her anger is now directed at the lovers and she forbids their union. Eros reminds Diana that she herself was once infatuated with a simple shepherd, Endymion. She relents and gives the lovers her blessing.
PRODUCTION HISTORY
The World Premiere of Frederick Ashton’s ballet Sylvia was given by The Royal Ballet on September 3, 1952, at the Royal Opera House, Covent Garden, London, danced by Margot Fonteyn (Sylvia), Michael Somes (Aminta), John Hart (Orion), and Alexander Grant (Eros).
The United States Premiere of this original production was given by the Sadler’s Wells (now The Royal Ballet) on September 29, 1953, at the Metropolitan Opera House, danced by Margot Fonteyn (Sylvia), Michael Somes (Aminta), John Hart (Orion), and Alexander Grant (Eros).
The World Premiere of the revival of Sylvia was given by The Royal Ballet on November 4, 2004 at the Royal Opera House, Covent Garden, danced by Darcey Bussell (Sylvia), Jonathan Cope (Aminta), Thiago Soares (Orion), and Martin Harvey (Eros).
Sylvia received its American Ballet Theatre Company Premiere at the Metropolitan Opera House on June 3, 2005, danced by Gillian Murphy (Sylvia), Maxim Beloserkovsky (Aminta), Marcelo Gomes (Orion), and Herman Cornejo (Eros).
CORY STEARNS
ABT Dancer 2005–2026
“Cory Stearns is an artist of intelligence and emotional power. His performances have left an indelible mark on American Ballet Theatre and on everyone who has had the pleasure of working with him. We celebrate his remarkable career and thank him for the artistry, generosity, and leadership he has brought to our stage.”
“He joined the main Company at a time of generational renewal and I thought to myself he would likely go far. And indeed he did! Climbing through the ranks quickly and proving he was not only an elegant dancer, but also a very good partner. There didn’t appear to be a ballerina he couldn’t work with. A very good recipe for success in a ballet company!”
Susan Jaffe, ABT Artistic Director
“Watching [Cory] perform was always a joy, but what became even more inspiring over the years was the depth of artistry he brought to his work. His dedication to refining not just the mechanics of dance, but its emotional expression, truly set him apart. I could not be prouder of my friend and all that he has accomplished. Through talent, discipline, and unwavering commitment to his craft, Cory has rightfully secured his place among the great artists and legends of American Ballet Theatre.”
Thomas Forster, ABT Principal Dancer
Kevin McKenzie, ABT Artistic Director, 1992–2022
“Cory and I absolutely loved the spontaneity of live performances. We rehearsed a lot but there was no set plan; we reacted to each other on stage. It was truly special because we respect and trust each other as artists, allowing each other the freedom to explore and express.”
Hee Seo, ABT Principal Dancer
PHOTO CREDITS
(Top to Bottom, Left to Right) Gillian Murphy and Cory Stearns in The Dream. Photo: Rosalie O’Connor Photography. Misty Copeland and Cory Stearns in Manon.
Photo: Rosalie O’Connor Photography. Cory Stearns at the curtain call for Giselle. Photo: Natalia Sánchez. Catherine Hurlin and Cory Stearns in In the Upper Room. Photo: Kyle Froman. Christine Shevchenko and Cory Stearns in Onegin Photo: Rosalie O’Connor Photography. Herman Cornejo and Cory Stearns in Fancy Free. Photo: Marty Sohl. Cory Stearns in Swan Lake. Photo: Gene Schiavone.; Hee Seo and Cory Stearns in The Nutcracker. Photo: Gene Schiavone.
JOO WON AHN
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Joo Woh Ahn in Swan Lake. Photo: Rosalie O’Connor Photography.
fter more than two decades shaping the sound of American Ballet Theatre, Music Director Ormsby Wilkins prepares to take his final bow at the close of the 2026 Summer season. It is a moment of both celebration and quiet poignancy, marking not only the end of an era, but the culmination of a remarkable artistic journey defined by musical excellence, collaboration, and an enduring devotion to ballet.
Before his arrival at ABT, Wilkins had already built a distinguished international career spanning more than four decades. A native of Sydney, Australia, he trained at the Conservatories of Sydney and Melbourne before joining The Australian Ballet, where he became resident conductor in 1982. A move to Europe followed, where he worked with Sadler’s Wells Royal Ballet (now Birmingham Royal Ballet), touring extensively across continents. He later served for 16 years as Music Director of the National Ballet of Canada, noted for his musical leadership and deep understanding of the ballet repertoire.
a final overture
ORMSBY WILKINS RETURNS, REFLECTS, AND TAKES
BY SARAH WEINER
HIS BOW
Wilkins’s relationship with ABT began in 2000, when he was invited by then Artistic Director Kevin McKenzie to appear as a guest conductor. His early contributions included conducting PBS filmings of The Dream and Swan Lake, performances that extended the Company’s reach beyond the theater. Though initially hesitant to commit, Wilkins ultimately accepted McKenzie’s invitation to join the Company full-time in 2005, a decision that would shape both his own career and the musical identity of ABT for the next two decades.
During his tenure, Wilkins became a defining artistic force behind the Company’s performances. His conducting reinforced the dialogue between orchestra and dancer. Under his leadership, the orchestra became not merely an accompaniment, but an active partner in storytelling. As ABT Artistic Director Susan Jaffe observed, his “musical leadership, collaborative spirit, and profound understanding of ballet” have left an indelible mark on generations of dancers and musicians.
For Wilkins, the uniqueness of ABT lies in its extraordinary artists. “I had never worked in a company that had so many top world-class dancers,” he reflects. That concentration of talent creates an electricity that reverberates throughout the theater.
Among the many performances etched in his memory, one stands above the rest: Diana Vishneva’s farewell performance of Onegin at the Metropolitan Opera House. Wilkins recalls not only her technical command, but a rare musical sensitivity, an artistry built on trust between dancer and conductor. For him, Onegin remains the quintessential dramatic ballet, and that evening represented its emotional power at its fullest expression.
That connection to music has been the cornerstone of Wilkins’s career. He speaks with particular affection for Stravinsky’s Firebird, a score he describes as “brilliantly constructed and
glitteringly orchestrated.” Though much more infrequently performed, Wilkins is equally enamored with Maurice Ravel’s score for Benjamin Millepied’s Daphnis and Chloé. And of course, Tchaikovsky’s scores have long been central to Wilkins’s work; it is fitting that his final performance as Music Director will be Swan Lake, a ballet that has accompanied him throughout his career.
Wilkins’s influence has extended far beyond the orchestra pit. Throughout his years with ABT, he traveled extensively with the Company, working with musicians across North America, Europe, and Asia to maintain the highest musical standards. His ability to collaborate across cultures reflects both his international stature and his unwavering commitment to artistic excellence.
Yet for all its rewards, the role of Music Director carries constant responsibility. Wilkins speaks candidly about the weight of leadership, the ongoing attention to personnel, performance, and relationships that defines the position. After decades in such roles, retirement offers something rare: the freedom of an open calendar. He looks forward to traveling, attending music festivals long missed, and simply enjoying time at home, choosing, at last, what to do and when to do it.
Even as he prepares to step away, Wilkins remains a passionate advocate for live music. He acknowledges the challenges facing classical performance today, particularly within ballet, where the presence of a live orchestra is increasingly under pressure. His hope for ABT is simple: that its orchestra continues to be nurtured, supported by conductors who share a deep love for the art form, and sustained by audiences who understand the irreplaceable magic of live music in the theater.
In many ways, Wilkins’s legacy cannot be measured solely in performances or seasons. It resides in the standard he set, a standard of sensitivity, collaboration, and respect for the relationship between music and movement. His work has shaped not only how ABT sounds, but how it feels. e
(L–R): Ormsby Wilkins. Photo: Rosalie O’Connor Photography. Ormsby Wilkins and Devon Teuscher at the curtain call for Études. Photo: Rosalie O’Connor Photography.
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American Ballet Theatre acknowledges that as we rehearse and perform across the United States, we do so on the unceded homeland of Indigenous peoples, most notably that of the Lenape people whose land, Manhattan, originally known as Lenapehoking, was forcibly taken by colonial settlers. For ABT’s full land acknowledgement, please visit abt.org/land-acknowledgement
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Division Class. Photo: Emma Zordan.
stamina on stage:
CARRYING AMERICAN BALLET THEATRE’S SYLVIA
BY LAURA MILLER
here are few roles in the classical repertory that demand as much continuous stage time as the title role in Frederick Ashton’s Sylvia. She appears in nearly every scene, carrying the ballet across three acts with little opportunity to rest. Quick footwork, balances, and jumps makes the role technically challenging, but its central demand is stamina: physically and emotionally. The role requires sustaining a clear, steady presence in each act to support the gradual development of the plot. There is no singular standout moment or one dramatic scene upon which the story hinges.
Ashton establishes Sylvia’s command from the very beginning. Sylvia, a huntress devoted to the goddess Diana, enters as a figure already in control of her surroundings. Her opening jumps and turns exude strength and clarity. She leads her nymphal hunt attendants: women who live apart from traditional romantic expectations, defined instead by independence and shared purpose. When Aminta, a shepherd, declares his love, Sylvia rejects him without hesitation, consistent with the life she has chosen.
The story shifts when Orion, an evil hunter, enters with a forceful presence. He disrupts Sylvia’s world and ultimately abducts her, introducing a new dynamic of tension
and control. At the same time, the deity of love, Eros, intervenes, setting in motion Sylvia’s gradual change in her perspectives on romance. The ensemble of nymphs establishes a setting that is orderly and self-contained, reflecting discipline and mutual support. Against this, Aminta’s steady presence contrasts Orion’s aggression, and the ballet unfolds through these opposing forces, helping to define Sylvia’s responses.
“Sylvia isn’t built around one big moment,” says Clinton Luckett, Associate Artistic Director of American Ballet Theatre. “It’s about how a dancer manages the entire role. It requires pacing, stamina, and the ability to sustain energy from beginning to end.”
Ashton’s Sylvia was created for Margot Fonteyn in 1952, following a series of less successful productions in the late 19th and early 20th centuries. Her performance in the role amplified the character’s range, setting the bar high for future generations and exemplifying the incredible possibility in dancing Sylvia.
“The part has everything for Fonteyn,” Clive Barnes wrote in 1952. “It exploits her imperiousness, her tenderness, her pathos, her womanliness, her bravura. It gives us Fonteyn,
triumphant. Fonteyn, bewildered. Fonteyn, exotic. Fonteyn, pathetic. […] The whole ballet is like a garland presented to the ballerina by her choreographer.”
Each dancer, including Fonteyn, and since her, approaches the great demand of the role in her own way, informed by her own technique and background. Five Principal Dancers will lead this Summer’s performances of Sylvia. These ballerinas constitute a range of career experiences, ages, and relationships to the role, defining their distinct interpretations.
Sylvia’s character is also importantly influenced and supported by Léo Delibes’s score. Delibes’s renowned music provides a clear structure that supports both the choreography and the storytelling. Its pacing helps guide the ballet in a direct and accessible way; it is no coincidence the luminous score has remained so distinguished and unforgettable since its creation 150 years ago.
By the final act of the ballet, Sylvia shows some change, but the original strength of her character persists. The ending suggests a shift in outlook rather than a complete transformation. Her independence is not replaced, but expanded through experience. Rather than building towards a single dramatic moment, the ballet unfolds through a series of events that keep the focus on its title character and the dancer’s ability to carry the role with clarity from beginning to end. e
Left, top to bottom: Catherine Hurlin in Sylvia
Photo: Nir Arieli. Scene from Sylvia. Photo: Nir Arieli.
Above: Carlos Gonzalez in Sylvia. Photo: Nir Arieli.
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American Ballet Theatre expresses tremendous gratitude for the individuals, corporations, foundations, and government agencies whose contributions support the Company’s dancers, productions, and education and training programs. Listing contributions as of April 2026.
ANNUAL FUND
Philanthropy is of paramount importance in keeping ABT vibrant. Gifts to the ABT Today Fund, Membership Programs, ABT Jacqueline Kennedy Onassis School, Education and Community Engagement Programs, ABT RISE, ABT Studio Company, and the ABT Dancer Fund fuel the Company. Thank you!
$1,000,000 AND ABOVE
Alexandra Airth
Sarah Arison
Avery and Andrew F. Barth
Brian and Darlene† Heidtke
Omar Mir
Patricia R. Morton
Ruth and Harold† Newman
Elizabeth Segerstrom
The H. Russell Smith Foundation/ Stewart R. Smith and Robin A. Ferracone
Melissa A. Smith
Susan Winokur and Paul Leach
Anonymous (1)
$500,000–$999,999
Blavatnik Family Foundation
Bloomberg Philanthropies
Ford Foundation
Jacqueline Badger Mars
Janine and Steven Racanelli
Denise Littlefield Sobel
The Martin and Toni Sosnoff Foundation
Douglas C. Wurth
$200,000–$499,999
Donna S. Calamari
Beth Chartoff Spector
Mr. and Mrs.
Austin T. Fragomen
Estate of Barbara McCullough
Sharon Patrick
Richard & Elizabeth Pepperman
Dmitri Potishko and Heidi Ho
The Shubert Foundation
Melanie and Joseph Shugart
Anonymous (2)
$100,000–$199,999
The Alvarez Foundation
Estate of Patricia C. Bontz
Estate of Polly Bruckmann
Valentino D. Carlotti
Lisa and Dick Cashin
First Hungarian Literary Society
Howard Gilman Foundation
Angela and James Ho
Yongsoo Huh
Caroline and Edward Hyman
Larry Kanter and Shelly London
Alissa Hsu Lynch
Arielle Patrick
Tatiana Piankova Foundation
Rockefeller Brothers Fund
The Saurel Foundation
Jenna and Paul Segal
The Ted and Mary Jo Shen
Charitable Gift Fund
Alexis Stiles
The Straus Family Foundation
Kathy Taggares
Nancy B. Weinstein, RN
Estate of Peter C. Xiques
Anonymous (2)
$75,000–$99,999
Chris and Francesca Beale
Private Foundation
John and Paula Mahoney
Nancy McCormick/Chauncey and Marion D. McCormick Family Foundation
New York City Department of Cultural Affairs
Sutton Stracke
$50,000–$74,999
Tony and Gail Alvarez
Patricia A. Brown
Sofia and Francisco Elizalde
Susan Fales-Hill
Georgia Hiden Charitable Foundation
Lillian E. Kraemer
Joan T. Mischo
Henry and Lucy Moses Fund
John Rallis and Mary Lynn Bergman-Rallis
Laura and Jamie Rosenwald/ Orinoco Foundation
The Fan Fox and Leslie R. Samuels Foundation
SHS Foundation
Virginia B. Toulmin Foundation
Theodore Stuart
Harkins Ueng
Weston Yonge and Roxanne Glass
$25,000–$49,999
The Achelis and Bodman Foundation
Mohammed Alardhi Anderson-Rogers Foundation
Kara Medoff Barnett
Edward “Chip” Beam in loving memory of John and Jack
Guillermo and Viviana Bichara
Andrea and Ken Brodlieb
Ryan and Mackenzie Brumberg Foundation
Mrs. David Burgin Chanel, Inc.
Robert J. Colton
Stefano and Monica Corsi
The Gladys Krieble Delmas Foundation
Linda and Martin Fell
Florian Fund of The Chicago Community Foundation
Carmen and Edward Fox
Ian Friedland
General Atlantic Foundation
Maysoune Ghobash
Deane A.† and John D. Gilliam
Sherwin M. Goldman
Victoria and Lloyd Goldman
Lola A. Goldring
Sheila and Jody Grant
Kathryn O. Greenberg
Jay Grossman and Maxwell Murphy
Dan V. Gueron
Sherry & Michael Guthrie
Krystn Hammond
Nancy E. Havens-Hasty
The DuBose & Dorothy Heyward Memorial Fund
Kenneth and Diane Hipkins
Paul Jackson
H.E. Huda Kanoo
Christian Keesee
Anna-Maria and Stephen Kellen Foundation
Estate of Lois Kirschenbaum
Ron Krause
Diane Kuhl
Lauridsen Family Foundation
Shelley and Stephen Limmer/ William C. & Joyce C. O’Neil Charitable Trust
Seth Lockwood and Julia Loomis Lockwood
James Marver and Shirin Kaufman
Lisa Kott Massirman
The Mathey Family
Bill McIntosh
Cynthia and George Mitchell Foundation
Kelli L. Moll
Robin Chemers Neustein
New York State Council on the Arts
The O’Neill Family Charitable Trust
Annie W. Pell
Amy and JB Perrette
Tina Raja
Virginia S. Risley Trust
Jerome Robbins Foundation
Estate of Ellis Santone
Karin and Stanley Schwalb
Carol and Jesse Schwartz
Irene Shen
Janet Barbara Slavin
Margaretta Taylor
Alysia Vanitzian and Michael Backauskas
Christy Welker
The Winston Foundation
Constance A. Woo
Christian Zimmermann and Jim Coakley
Anonymous (6)
$10,000–$24,999
Julia Arnhold and Lane Gerson
Sabrina and John Beck
Estate of Irma L. Beckley-Maloney
The Morris S. & Florence H. Bender Foundation
Estate of Peggy Blackford
Nicole M. Boutmy
de Katzmann and R. Christopher Whalen
Virginia Brody
Susan J. Campbell
N. David and Janet Campbell
Lisa & Catie Carnoy
Beverly and Herbert Chase
Edward and Sylvia Chin
Paul Choi and Yeon Hee Oh
Dr. Symra A. Cohn
Christine M. Cumming
A. David and Dr. Sona I. Degann
Mr. and Mrs. Charles Diker
Drs. Jozsef S. Duhl and Olga Anna Duhl
Janet W. and Henry V. Eggers
Diane Elam and Nancy Donohue
Mr. and Mrs. John P. Falk
Paula B. Fenton
FGK Foundation
Mr. Roger Fine and Dr. Rebecca Fine
Margaret Finerty and Neil Getnick
Elizabeth L. Fox
Jennifer Garner
David and Nancy Gavrin
Melissa M. Gibbs
Jennifer and George Glyphis
Marianne Goodman, M.D.
Estate of Susan P. Gullia
Sharon Gurwitz
Kristen and Robert Harper
Dr. and Mrs. Warren J. Herbst, Jr.
Judith M. Hoffman
Ms. Deirdre Howley and Mr. Ira Eisenstadt†
Mr. and Mrs. William R. Huff
The Carl Jacobs Foundation
Johnson & Johnson
Kauff McGuire & Margolis LLP
Leona Kern
Victoria Kimbrough
Naomi and John Lawrence
Mickey Lemle
Rosanne Leshner
Ellen and Harry Levitt
Leon Levy Foundation
Harald Link
Margaret K. Loeb
Linda and Edward Morse
Carol and Melvin Newman
Gregory O’Rourke
Deepak Parayanken
Steve Pesner and Setpheap “Peace” San in memory of Michéle Pesner
Stefan Pischinger Trust
Jay B. Rosenberg
Dr. Nathan E. Saint-Amand
Yolanda Santos
Maureen and Edwin Schloss
Ginny S. Seabrook
Keela Seawright
Amy Sherman-Palladino
Deepak Parayanken
Susan and Arthur Rebell
Patricia and Howard Silverstein
Ophelia Branca Snyder and Paul Jaquet
Mrs. Linda B. Strumpf
Peter Svrcek
Helen and Jerome Tepper
Barbara L. Trommer, M.D.
Zachary Turner
Brian H. Vincent
Svetlana and Herbert M. Wachtell
Foundation
Ronald B. Warren
Johanna Weber
Thomas and Hedi White
Owen Williams
The Windfall Fund
Robert Ziff
Anonymous (7)
$6,000–$9,999
Jackie Archis
Paulette Bernd
Yvonne Chen
Simon and Eve Colin Foundation
Mr. and Mrs. James Fang
Dr. Sharon Albers Glick and Mr. Michael B. Glick
Granoff Family Foundation
Sarah T. Grout
Dr. Betty Iu and Mr. Andrew J. Chen
Duncan and Nancy MacMillan
John L. McHugh Foundation
Leslie McNabb
Richard Menschel†
Maria M. Patterson
Douglas & Nerlyn Pierson
Jill and Kevin Plancher
Nancy Sands
Jonathan Schiller
Ms. Pat Sebastian
Betty and Mike Shaffet
Bruce L. Stein
Monica Taylor
Ryan Turley and Matthew Papas
Carol Weil
Doreen K. and Martin Weisfuse
Mrs. Mary L. Zaks
Anonymous (3)
$3,600–$5,999
Deborah and Charles Adelman
Miguel and Diana Arteche
Muffie P. Aston
Dr. and Mrs. Robert L. Bard
Christine Batty
Kent G. Becker and Rachel Miller
Cheryl Bergenfeld
Elaine S. Bernstein
The Blalock Family
Together, we can change the story.
TEN YEARS OF EMPOWERING THE PUBLIC WITH VIBRANT & ENGAGING ART EXHIBITIONS
CLIMATE MUSEUM.ORG
Jan Boswinkel
Bethany Brandstatter
Robin Brem
Mr. Robert M. Brenner
Cynthia and Richard Brodhead
Patty Brown and David Bronston
Michael Bronzo
Mary Ann Casati
Joyce Chelberg
Jeanne Claire Cotnoir
Dancers Responding to AIDS
Margaret D’Angelo
Stephen Deblasi
Alice de Callatay
Dr. David and Dr. Miriam Donoho
In loving memory of Bill Perlmuth from Patricia Dugan Perlmuth
Theresa and Andrew Fenster
Dr. Marjorie Fisher and Mr. Roy Furman
Marilyn J. Flood and Nicholas J. Wise
Alexandra Frankel
Arlene and Morris Goldfarb
Lorrie Gordon and Jonathan Orr
Sienna Gough
Georgy and Judy Graff
The Harkness Foundation for Dance
Cecil S. Harvell
Alexis Hoag-Fordjour
Richard H. Holzer
Memorial Foundation
Susan L. Jacobson
Patricia J. Jaffarian
Ms. Rita Gail Johnson
Mr. and Mrs. Perry J. Koplik
Kit Kreilick
Andrew Kresse
Rachel Lam
Russell L. Lamb, PhD
Chase Landow
James Levin in memory of Emily
Mr. and Mrs. Peter L. Malkin
Steve Marcus
Dr. Michael R. McGarvey
Curtis W. McGraw Foundation
Bobby Melnick
Ellen C. Monk and Gary E. Snyder
Paul and Sandra Montrone
Judith A and Gary T Moomjian
Stephen Murphy
Ron Papell
Christina Paumgarten and Christopher Campbell
Eugene Petracca
Antonia Pew
Rajika Puri
Mrs. Denice H. Rein
Jana Rich
Mr. and Mrs. Robert E. Ronus
Stephen Rubenstein and June Gaston
Hideko Sakamoto
Phyllis Ann Santry
Vasudha Saxena
Christa Schmidt
Jeffrey Seller
Erana Stennett
Sharon and Thomas Teles
Brad Tully
Beth Uffner
Stella Um and Colin Teichholtz
Konrad Wos and Meggan Walsh
Charles and Jacqueline Warren
Sanford Weisburst and Angie Nguyen
Eileen M. Wolff
Ann Eden Woodward Foundation Anonymous (6)
$2,400–$3,599
Eugenia Ames
William Ausman
Edwin Bacher
Agnes T. Barling
Marla Behrman
Veronica & Bruce Bennett
Virginia Berlin
Dr. Gail Berry
Marcia Bradley, Giving Tree Fund as a component fund at Madison
Community Foundation
Cristina Brennan
Patty Brown and David Bronston
Irina Gulina and Sergey Butkevich
Peter and Eloise W. Canzone
Charles & Sandra Carmeci
Mary Hazel Ceniza
Kevin Lyle and Renee Chatelain
Yoni Arbel and Leona Clague
Patricia and John Coatsworth
Jennifer Cohen
Lammot D. Copeland Jr.
Bernice R. and Richard L. Croiter
Leslie and Richard Curtis
Irene Rosner David, In Memory of Dr. Raphael David
Tony Della Salla
Michael Ditkoff
Alison Maschmeyer and Guy Dorsainvil
Daniel Feinstein
Jackie and Don Feinstein
Mr. and Mrs. Brent Fery
Jennifer Fitzpatrick
Alice Gantcher
George and Sandy Garfunkel
Barbara Germack
Robert Goldfarb
Lisette Gonzalez
Doree Gottlieb
Lydia J. Goutas
Ms. Madelyne Gray
Violet Elizabeth Grayson
William H. Greene and Roanne Langbaum
Mr. and Mrs. Samuel H. Hagler
Heather A. Haley
Nancy & Bruce Hall
Vera Hough
Wenrui Huang
Ms. Sandra Hurse
Janet McClintock and John Imle
Spencer Ingle
Barbara S. Jacobs
Tina Jiang
Mr. and Mrs. R. Sidney Jones
Jocelyn Kapp-Manship
Melissa Elstein and Eric Katzman
Clive Keatinge
Audrey S. Kingsley
Carole Kosover
Amy Sklar and Ron Kremnitzer
Stephanie Kurpis
Ruth Anna Carlson and Albert Leonetti
Elaine Leventhal
Karen Levine
Ida Liu
Gregory and Patricia Loftus
Thomas and Xiaoli Lumpkin
Sharon Mandell
June Mara
Ms. Delrosa R. Marshall
Melanie Maslow, M.D.
Christopher Jones and Deb McAlister
Aedie and John McEvoy
Dana and Frank Messina
Laurence R. Milstein
Monica Murakami
Ellen R. Nadler and Robert J. Cubitto
Dr. Mindy B. Nelkin
Elissa Kramer and
Jay Newman
Estate of Diane Nixon
Mrs. Ellen F. Oelsner
Gail Okun
Marjory Oliker
Kathleen Owens
Christine M. Pallares
Beverly and Alvin Patrick
Kate Peck
Scott Perrin
Tracy Elise Poole
Amanda Porterfield
The Portia Fund
Slobodan Randjelovic
Philip W. Riskin Charitable Foundation
Michael Roberts
Ann Belle Rosenberg
Mr. and Mrs. Jerel F. Rush
Alicia and Matthew Sable
Terri and Richard Schlenger
Dafna E. Schmerin
Jieun Wax and William Schwitzer
David Shank
Liza Sheker
Laura Frohman and Bradley Sherborne
Joy V. Silber
Richard Slate
Annaliese Soros
Christopher W. Soule
Bob Stone and Roxane Stern
Iris Sutz
Leanne M. Sweet
The Henry & Marilyn Taub Foundation
Ms. Mary E. Torrebueno
In memory of Dr. Freya Tumarkin and Dr. Irving Tumarkin
Mr. and Mrs. Dirk Van De Mark
Diego R. and Vincent D. Visceglia Foundation
Mrs. Ginger Wallach
Jeff Walsh
Ms. Evelene Wechsler
Vivian J. Weinblatt
Nadia S. Wharton
Laura A. Wright Leenaars
Lisa Wright
Athena Xiong
Michael Young
Arnold and Ellen Zetcher
Diana Zeydel
Anonymous (7)
$1,200–$2,399
Hirschel B. Abelson
Luz Abrera-Crum
Addison Albano
Michael Allen and Jane Wooten
John L. Aloia
Diego Alvarez
Jessica and Max Anderson
Joanna and Elena Andriopoulos— West Jersey Youth Ballet
Joanne Angstadt
Eleanor S. Applewhaite
Amy Ayres
Lauretta Bain
Sallie Baldwin
Eric Barron
Geoffrey and Maureen Bartlett
Prof. Dr. Ines Batinic-Haberle
Ilene and David Baumrin
Sean Baxter
Mr. & Mrs. Wael Bayazid
T. H. B.
Henry Behar
Madeleine D. Bennett
Douglas Benson
Sasha Berger
Gail S. Berney
Teva Lynn Bjerken
Mary Betts Bohm
Marsha Z. and Howard Borin
Caitlin Brady
Dreama Briley
Michael Britten-Kelly and Janet Markham
Charles Buddeke II
Karen Bull
Susan and Dennis Bunder
Claudia Bungaro and Christopher Rapcewicz
Jessi Butterfield
Meg Brennan Caplan
J R Carneiro
Maureen, John, Carly, and Brett Caroselli
Jon R. Carter
Frank Carucci
Joe Caserta
Kathryn Casey Nourse
Anthony Chance
Carolyn Chang
Chen Ing Chang
Lance Chang
Benette B. Chen
Lawrence Chien
Christopher Ciccarino
Paul Cleary
Nancy K. Coll
Amy and Bradley Collins
Jane B. and John C. Colman
Cassandra Crowley
Kathy S. Cuadrado
Leah M. Cunningham
Michael R. Dallos, MD
Patricia and Marcus Dash
Barbara Deacon
Curtis Decker
Jocelyn Delifer
Barbara Deller
Daniel and Katherine DeMarco
Nicholas DeSantis and Christine Larchian
Christina Dickson
Linda Donn
Marjorie Drexler
Bruno Dupire
Joanne Clifford Eaton
Abigail Eberts
Angela C. Eduarte
Ari Efron
Serra Eken
Peter G. Elkas
Janice Elliott and C. Tate Elliott
Patricia Emrich
Anthony and Elizabeth Enders
Jith Eswarappa
Leslie and Bernard Ettinger Foundation
Caroline D. Ewing
Patrick Fannon
Mary and Terry Faulkenberry
Ann and Richard Feldman
Mr. and Mrs. William S. Field
Susan P. Finkelstein
Dr. Gene S. Fisch
Darrell Fontenot
Patricia Foy
Gloria Francesconi
The Marshall Frankel
Foundation
Bonnie Gale
Andrea Ganz
Alexander Garifulin
Marna Garwood
Peter Geller
Lynn Gilbert
Dzhamala Gilmandyar
Lucienne and Lawrence Glaubinger
Walter and Karla Goldschmidt Foundation
Monique and Dan Goldwasser
Michael Graf
Ellie Greenhouse
Jack and Michele Greenstein
Katherine Grehl
Terry and Michael Groll
Jan M. Guifarro
Pelle Gustafsson
Gretchen Hagerty
Susie Hahn
Aya Stark Hamilton
Brianna Hanan
Kevin Hanks and Cindy Schneider
Julie and Josh Heisler
Monisha and Evan Henley
Jerry Heymann
Lisa Hickman Wood
Joan Holmes
Samantha Howard
Sandra Hu
Shengchao Hu
Craig and Susan Hupper
David Imre
Estate of Marjorie S. Isaac
Judith Jacobson
Jalna Jaeger and David Callan
David and Amy Jaffe
Col. Jason M. Johnson, MD
Lynn E. Johnson
Helen Kay
Susan Keefer
Rose Kenerson
Arlene Kenny
Gerd and Nancy Keuffel
Erin K. Khar-Hodes
Laurie Klempner
Victoria Kolbe
Nancy Kosowsky
Mona Kratzert
Peter Kroll
Douglas Kruse and Betty Whelchel
Ms. Joan M. Kunsch
Wynne LaBounta
Winston Layne
Jean S. Lee
Serena and William Lese
Evelyn and Jeffery Levy
Jeremy Liu
Thomas A. Locastro
Valerie Low
Elena Luca
Michelle Luo
Sanda Lwin
Janet Mackey
Dr. Evaristus Mainsah
Sally Marks
Ruth Ann Marshall and Patricia Houtz
Linda and John Maxwell
Enken and Jerry Mayer
Mary McCain
Noah McCormack
Elizabeth McCoy
Susan McDowell
STELLA ABRERA, ARTISTIC DIRECTOR, ABT JACQUELINE KENNEDY ONASSIS SCHOOL
JKO SCHOOL PRE-PROFESSIONAL DIVISION
September–May
Ages 12-18
Chaperoned Dormitory Housing: Ages 14 and up
JKO SCHOOL CHILDREN’S DIVISION
September–May
Ages 3-12
Learn more about our world class training programs at ABT.org
@ABTSchool
ABT Studio Company congratulates the 76 alumni of American Ballet Theatre Studio Company—including 15 Principals, 11 Soloists, 44 corps de ballet members, and 6 apprentices—who are performing in ABT’s 2026 Summer season at the Met!
ABT Studio Company develops the next generation of ballet dancers, choreographers, and audiences. Its central mission is to prepare its talented dancers (ages 16-21) for careers in American Ballet Theatre or other leading ballet companies worldwide. Each season, ABT Studio Company commissions works by emerging and established choreographers, engaging the broadest possible audience by performing repertoire in a range of venues around the globe.
www.abt.org/ABTStudioCompany
@abtstudioco
Corps de ballet dancer Cy Doherty and Soloist SunMi Park performing Seven Sonatas by Alexei Ratmansky in ABT Studio Company, 2021. Photo: Erin Baiano
Photos: Emma Zordan.
Mr. and Mrs. Alexander R. McHale
Giraldo McHugh and Family
Carole McKibben
John and Erica McLean
Pamela Meech
Elizabeth and David Merrill
Stacey Messina
Don E. Miller
Elizabeth and Ian Miller
Wayne Miller
Mr. and Mrs. Andrew Minitelli
Martha J. Mitchell
Sophia Mitchell
Hassan and Laurie Mohaideen
Vibiana Molina
Gerald Morin
Alberto Moris
Elizabeth A. Mullins
Christina Bott Murphy
Maurine M. Murtagh
Barbara Q. Myers
Dr. Melonie Nance and Dr. Umamaheswar Duvvuri
Steven Nelson and Shirley Sarna
Robyn and Doyle Newmyer
SPECIAL EVENTS
$100,000 AND ABOVE
Alexandra Airth
Sarah Arison and Thomas Wilhelm
Jody and John Arnhold
Avery and Andrew Barth
Emily and Len Blavatnik
Ricki Gail Conway / Doris and Stanley Tanabaum
Foundation
Susan and Leonard Feinstein
Ford Foundation
Amy Griffin
JPMorgan Chase & Co.
Lillian E. Kraemer
Jacqueline Badger Mars
Robin Chemers Neustein
Sharon Patrick
Richard and Elizabeth Pepperman
Janine and Steven Racanelli
Tina Raja
Steve and Christine Schwarzman
Jenna and Paul Segal
Elizabeth Segerstrom
Melissa A. Smith
Stewart R. Smith and Robin A. Ferracone
Douglas C. Wurth and Isiah Magsino
$50,000–$99,999
Maria-Cristina Anzola
Ambassador Nicole Avant
Brown Brothers Harriman
Suzanne Hall and Valentino Carlotti
Kathryn and Kenneth Chenault
Dior
Susan Fales-Hill
Mr. and Mrs.
Austin T. Fragomen
Angela and James Ho
Ava Niedermaier
Judith Lennox and Barbara Nims
Lillian O’Bourke
Trisha Ostergaard
Ostrowitz & Ostrowitz, Esqs.
Noreen Palinkas
Ellen and Kyryk Pavlovsky
Davida Perry and Ronald Solow
Lloyd Petchey
Susan Peters
Katherine M. Peterson
Michelle Pirret
Anthony & Susana Piscitiello
Maria Plantilla
Teresa Pollak
Suzanne Pomerantzeff
Drs. Joseph and Kathy Porder
Jacqueline Porter
Allan and Leah Rabinowitz
Maria Ragucci
The Redel Foundation
Jessica Ree and Michele McEnroe
Susan M. Reed
Velvor V. Rhone
Caroline and Edward Hyman
Marcella and Gregg Hymowitz
Julia Koch Family Foundation
Nyssa and Chris Lee
Seth Lockwood and Julia Loomis Lockwood
Shelly London and Larry Kanter
Alissa Hsu Lynch
Jeff and Ashley McDermott
Arielle Patrick
Yana and Stephen Peel
Leah Solivan
Laurie M. Tisch
Illumination Fund
Kathryn and Bill Tyree
Andrea Virgin
Nicole Washington and Damien Dwin
Gillian Wynn
Anonymous (1)
$25,000–$49,999
American Express
Bloomberg Philanthropies, Kara Moore
Beth Chartoff Spector and Jason Spector
Robyn Coles
The Egbert Family
Sofia Zobel Elizalde
Kathryn McGarvey
Kauff McGuire & Margolis LLP
Ellen and Harry Levitt
Patricia R. Morton
Karen C. Phillips
Margarita Sears, in memory of her son
Will Sears
Marva Smalls, Paramount
Kathy Taggares and Chris Gorog
Rutger von Post—
Oliver Wyman
Anonymous (1)
$10,000–$24,999
Cynthia R. Richards
Peter Riemer
Sandra Robinson
Anne and William Ronai
Ilene and Thomas Rosenthal
Eve Rostkowski
Susan and David Ruder
Yasmeen Sabet
Mr. Hans Sachse
Christina R. Salem
Audrey Sander
Prince A. and Petar Sanders
Jayne Santoro
Fran Schulman
Stylianos P. Scordilis
Ms. Betty B. Seibert
Anita Seline and Michael Remez
Lev and
Leslie Kane Shikhman
Mark Silverschotz and Anne Segal
Joel Herman and Milt Sleeter
Barbara Madsen Smith
James Allan Smith
Meaghan Smith
Dr. Robert C. and Tina Sohn Foundation
Cathy and Bob Solomon
Dr. Liliana Soltero
In memory of
Barbara Louis Spivak
Joan N. Stern
Jill L. Stern
Ann Stevens Teichmeier
Barbara J. Stevens
Jessica L. Steyers
Merrill and Geri Stone
Nancy V. Strahan, MD
Rachel Sussman and Gary Hobbib
Linda Suter
Elaine and David Sutula
Richard Swanson
Eileen Swerdlick
Lynn Sylvester
Angela Tai and Arthur Xu
S. Talyarkhan
Ellie and Sam Telzer
Nora Tezanos
Jim Tharp and Jim Lindheim
Celeste Thomas and John Verstraaten
Chris and Stacey Tirro
Charlotte Triggs
Laura and Roy G Turner III
Julie C. Van Camp
Jennifer Vasiloff
Eduardo Vilchez and Daughters
Katharina von Maltzahn
Colonel Robert L. von Tersch and Ms. Cindy A. Kronman
Thea and Ethan Wagner
Mr. and Mrs. Leroy J. Walker
Benita Ward Jarrett
Barbara Warren
Ruth and Howard Warshower
Mary R. Waters
Sarah Wenig
Thomas Kahn and Marilyn Wietzman
Bonnie Wolpe and Alan Lorber
Ralph Womble
Patrick B. Woods
Nancy Zeckendorf
Catherine A. Zehr
Anonymous (16)
Anna & Dean Backer—
GS Gives
Sloan L. Barnett
Francesca Macartney Beale
Mary Lynn Bergman-Rallis and John Rallis
Nicole Boutmy de Katzmann
Ed Bradley Family Foundation
Benjamin Brudney
Mr. and Mrs. Ryan Brumberg
Reggie Rock Bythewood and Gina Prince-Bythewood
Donna S. Calamari
M.A. Casati Trio Foundation
Philanthropy
Lisa and Dick Cashin
Eric Chow
Clark Transfer
Dr. Symra A. Cohn
Mr. and Mrs. Charles Diker
Drs. Jozsef S. Duhl and Olga Anna Duhl
Maggie Gold Seelig
Sheila and Jody Grant
Nancy E. Havens-Hasty
Carola Jain
Sheila C. Johnson
Deepa Kumaraiah and Sean Dempsey
Mickey Lemle
Janine Luke
Andrew J. Martin-Weber
Mrs. Macdonald Mathey
Nancy McCormick
Tai and Tom Mendoza
Chelsea Clinton and Marc Mezvinsky
Judith and Gary Moomjian
Wendy Stark Morrissey
Soledad O’Brien Productions
Dayssi Olarte de Kanavos
Christina Paumgarten and Christopher Campbell
Adrienne Pollack-Sender
Theodore Rapp Foundation
The Reffkin Family
Anita Porte Robb
Segerstrom Center for the Arts
Irene Shen
Mary Jo and Ted Shen
Cindy and John C. Sites Jr.
Florence Sloan
Connie and
Dr. Peter Spenuzza
Laurene Sperling
Alexis and Gary Stiles
Mr. and Mrs. Kevin W. Stone
Sutton Stracke
Rachel Sussman and Gary Hobbib
Barbara Tober
Misty Tompoles, En Face Magazine
Theodore Stuart Harkins Ueng
Maroa Velez and
Thomas Vurno
Dr. Anne-Sojourner Wendell
Susan Winokur and Paul Leach
Zhang Xin and Pan Shiyi
Felice and Glenn Zalk
Christian Zimmermann and Jim Coakley
Carol E. Zurcher
$5,000–$9,999
The Alvarez Foundation
Muffie Potter Aston
Michelle and Jonathan Auerbach
Cheryl Bergenfeld
Laila Blavatnik
Bethany Brandstetter
Jeff Buckner
Mayree Clark
Christine M. Cumming
Michael Dal Bello and Kikka Hanazawa
Stephen DeBlasi
Nell Diamond/
Hill House Home
Maury DiMauro
Mitzi and Warren Eisenberg
Jennifer Glyphis
Lorrie Gordon and Jonathan Orr
Ronnie and Richard Grosbard
Ann and Weston Hicks
Alexis Hoag-Fordjour
Judith M. Hoffman
Paul Jackson
Jayson A. Johnson
Carol Johnson and David Scindler
Bella Kaplan
Lily Kaplan
The Kling Family Foundation
Casey Kohlberg
Andrew Kresse
Deepa Kumaraiah
Debra L. Lee
Lauren K. Levison
Emily T. Limpe
Nancy S. MacMillan
Bill McIntosh
McLaughlin & Stern, LLP
Pippa Newman
Nancy A. Northrop
Annie and Nicholas Pell
Dr. Tonya Perkins
Lilah Ramzi
Donald and Judith Rechler Foundation
Jana Rich and Jill Nash
Koni and Geoff Rich
Loren and Frances Rothschild
Vasudha Saxena
Mr. and Mrs. Calvin Schmidt
Nina Shaw
Sharareh Siadat
Erana Stennett
Hilary and Douglas J. Tabish
Sandra and Anthony Tamer
Sharon Teles
Lorena Topilow
Lindsey and Brad Tully
Stella Um
Reginald Van Lee
Alysia Vanitzian and
Michael Backauskas
HSBC US International
Wealth & Premier Banking and Private Banking
Alexandra Haynes Adame
Bart and Elizabeth Asner
Jordan Roth and Richie Jackson
Alicia and Matthew Sable
Exigent Technologies
Justice Faith and Nia Faith
Alexandra and Grant Frankel
Mala Gaonkar
Owen and Sabine Williams
Mary Jo Ziesel
Nadine Zukoski
Anonymous (2)
ABT WOMEN'S MOVEMENT
In 2017, ABT launched The ABT Women’s Movement, formerly the Women Choreographers Initiative. The program supports the creation, exploration, and staging of new works by female choreographers for ABT and ABT Studio Company.
Commissions and presentations of new works by women choreographers are supported by the ABT Women’s Move ment, sparked by funding from the Virginia B. Toulmin Foundation.
Champion support for The ABT Women’s Movement is provided by Jenna Segal.
ABT RISE ADVISORY COUNCIL
The ABT RISE Advisory Council engages the leadership of trustee and non-trustee advisors to advance the Company’s commitment to universal respect and holistic well-being. As a collective, Advisory Council members serve as guides and ambassadors in creating a more vibrant and welcoming future for dance.
Alma Derricks, Co-Chair
Sharareh Siadat, Co-Chair
Bridget Alsdorf
Sarah Arison
Kimberly Ayers Shariff
Andrew F. Barth
Carrie Gaiser Casey
Misty Copeland
Bryce Coughlin
GLOBAL COUNCIL
Aimee M. Cox
Joselli Deans
Susan Fales-Hill
Tiffany Hall
Angela Ho
Gary Holland
Sheila C. Johnson
Shelly London
Alissa Hsu Lynch
Odell Mays
Kara Moore
Tangie Murray
Sharon L. Patrick
Milagros Phillips
David Rabkin
Michelle Silverthorn
Denise Littlefield Sobel
Bonita Stewart
Allison Wright
Douglas C. Wurth
The Global Council of American Ballet Theatre was launched in 2020 as part of the celebration marking ABT’s 80th Anniversary. Made up of influential leaders in business and philanthropy from around the world, Global Council members are dedicated to the Company’s vision of engaging and inspiring communities with the spirit, energy, and power of world-class dance.
Alexandra Airth
Mohammed Alardhi
Kara Medoff Barnett
Andrew Barth
Guillermo and Viviana Bichara
Sofia Zobel Elizalde
Maysoune Ghobash
Gary Holland
EDUCATION AND TRAINING
H.E. Huda Kanoo
Paul Jackson
Harald Link
Julia Loomis Lockwood
James Marver
Robin Chemers Neustein
Yana Peel
Our thanks go out to all of the supporters who help make American Ballet Theatre’s Education and Training initiatives possible.
Luz Abrera-Crum
Tony and Gail Alvarez
Maria-Cristina Anzola
Kara Medoff Barnett
Edward “Chip” Beam in loving memory of John and Jack/ The John Palatinus Trust
The Morris S. & Florence H. Bender Foundation
Cynthia and Richard Brodhead
Chanel, Inc.
Paul Choi and Yeon Hee Oh
Dr. Symra A. Cohn
The Covillo Lynch Foundation
Mr. and Mrs. Charles Diker
Sofia and Francisco Elizalde
Goldman Sachs Gives
Kathryn O. Greenberg
Granoff Family Foundation
Deirdre Hamilton
Krystn Hammond
The Harkness Foundation for Dance
Kristen and Robert Harper
Brian and Darlene† Heidtke
Judith M. Hoffman
Christian Keesee / Christian Keesee American Ballet Theatre Education Fund
Woo Fung Kwong and Alice de Callatay
Mr. and Mrs. Peter L. Malkin
New York City Department of Cultural Affairs
Rockefeller Brothers Fund
Laura and Jamie Rosenwald/ Orinoco Foundation
Estate of Elizabeth Shapiro
The Ted and Mary Jo Shen Charitable Gift Fund
THE CHAIRMAN’S COUNCIL AT AMERICAN BALLET THEATRE
Annie Pell
Amy Perrette
Tina Raja
Ophelia Branca Snyder and Paul Jaquet
Dr. Robert C. and Tina Sohn Foundation
Virginia B. Toulmin
Foundation
Nancy B. Weinstein, RN Anonymous (12) † In Memoriam
Council members’ annual gifts support the Company’s commitment to bring classical ballet and dance education programs to all ages across the nation and around the world. Members are invited to gather several times per year to hear from ABT leaders, dancers, and other artists at intimate events. They receive concierge services including priority tickets and access at ABT performance venues, travel opportunities, and personal attention from ABT Trustees and dedicated staff.
Linda Fell, Chair
Joan T. Mischo, Vice-Chair
Carol and Jesse Schwartz, Vice-Chairs
Linda and Martin Fell
Mr. and Mrs.
Austin T. Fragomen
Sherwin M. Goldman
Lola A. Goldring
Sherry & Michael Guthrie
Kenneth and Diane Hipkins
Lillian E. Kraemer
Diane Kuhl
Shelley and Stephen Limmer
Lisa Kott Massirman
Joan T. Mischo
Kelli L. Moll
Carol and Jesse Schwartz
Melanie Shugart
Janet Barbara Slavin
Susan Winokur and Paul Leach
Christian Zimmermann Anonymous (2)
THE LUCIA CHASE SOCIETY
The Lucia Chase Society honors and recognizes those who are supporting American Ballet Theatre through a will or bequest.
Mrs. Norma Andrews
Jackie Archis
Joan D. Baekeland
Jean C. Bao
Virginia Berlin
Anne E. Bosch
Mrs. David Burgin
Benette B. Chen
Stephanie H. Cohen
Katherine Lutz Coppock
Robert M. Costa
Michael Ditkoff
Elizabeth H. Dudley
Ms. Diane C. Dunne
Linda Eckard
A. Ross Eckler
THE DANCER FUND
Esther Elias
Beverly Epstein
Ellen and Frank Estes
Donna and Richard Esteves
Pedro Figueredo
Stuart M. Fischman, Esq.
Carolyn Fleishman
James Darrell Fontenot
Edward A. Fox
Deborah Fuller
Lois Gartlir
Dr. Philip Gerdine
Judith Beryl Grebin
Hal W. Grouver
Dr. Susan R. Harris
Brian J. Heidtke
Richard Michael Kagan
Lisa H. Keaton and
John J. Harmon
Thomas King
Ron Krause
Michael J. Langlois
Eve Larner
Cynthia Muss Lawrence
Dr. Roberta Leff and Mr. Roy Raved
Rosanne Leshner
Catherine Lomuscio
Bobby Melnick
Joan T. Mischo
Kelli L. Moll
Anne Marie Morris
Sharon Patrick
Richard and Sandra Pearse
Antonia Pew
Keith and Judy Reemtsma
Marjorie and Blake Robinson
Ellen A. Schiavone
Alice Schwartz
Patricia D. Scudder
Ginny S. Seabrook
Amy H. Seiler
Debra Sencer
Edith Shneorson
Shari Siegel
Charles G. Smith
Gary and Roberta Soren
Gregory St. John and
Gary McKay
Barbara B. Stewart
Mary Mylenki
Alysia Vanitzian and Michael Backauskas
Ruth and Howard Warshower
Carol Weil
Carolyn Williams
Rami Wiluzanski
Constance A. Woo
Nancy Zeckendorf
Anonymous (2)
ABT’s most important asset is its incredible dancers. Contributions to The ABT Dancer Fund help to develop, train, and sustain these remarkable artists/athletes at every stage of their careers. Support for the training pipeline is crucial to the success of the Company. We extend heartfelt thanks to our Dancer Sponsors for honoring ABT’s brilliant dancers.
Alexandra Airth in honor of Luigi Crispino and Hannah Marshall
Sarah Arison in honor of Olivia Tweedy
Avery and Andrew F. Barth, in memory of Laima Barth and Rudolph Barth, in honor of Scout Forsythe
Andrea and Ken Brodlieb in honor of Isabella Boylston
Nicole Boutmy de Katzmann and R. Christopher Whalen in honor of Ingrid Thoms
Donna Calamari in honor of Thomas Forster, Catherine Hurlin, and Devon Teuscher
Kathleen Condon in honor of Leah Baylin and Kayla Mak
Dr. Rebecca Fine and Mr. Roger Fine in honor of Abbey Marrison
Margret Finerty and Neil Getnick in honor of all of the dancers
Carmen and Edward Fox in honor of Isaac Hernández
Mr. and Mrs. Austin T. Fragomen in honor of Alejandro Valera Outlaw and Atau Watanabe
Ian Friedland in honor of Andrii Ishchuk and Virginia Lensi
David and Nancy Gavrin in honor of Paulina Waski
Roxanne Glass and Weston Yonge in honor of Jake Roxander and Takumi Miyake
Victoria and Lloyd Goldman in honor of Hee Seo
Marianne Goodman, M.D. in honor of Rachel Richardson
Jay Grossman and Max Murphy in honor of SunMi Park
Krystn Hammond in honor of Max Barker
Nancy E. Havens-Hasty in honor of Zimmi Coker
Georgia Hiden Charitable Foundation in honor of all the dancers
Kenneth and Diane Hipkins in honor of Trinity Santoro
Angela and James Ho in honor of Skylar Brandt
Deirdre Howley in honor of Elisabeth Beyer
Lillian E. Kraemer in honor of James Whiteside
Ron Krause in honor of Daniel Camargo and Daniel Guzmán
Mickey Lemle in honor of Lauren Bonfiglio
Joshua Mack and Ron Warren in honor of Tyler Maloney
The Mathey Family in honor of Cory Stearns
Joan T. Mischo in honor of James Whiteside
Linda and Edward Morse, and Janet and Henry Eggers in honor of Carlos Gonzalez
The O’Neill Family Charitable Trust in honor of Jarod Curley
Gregory O’Rourke in honor of Joseph Markey
Arielle Patrick in honor of Kyra Coco
Sharon Patrick in honor of Michael de la Nuez, Calvin Royal III, Chloe Misseldine, and Christine Shevchenko
Steve Pesner and Setpheap “Peace” San, in memory of Michéle Pesner, in honor of all of the dancers
Janine and Steven Racanelli in honor of Roman Zhurbin and Yoon Jung Seo
Mary Lynn Bergman-Rallis and John Rallis in honor of Aran Bell and Michael de la Nuez
Irene Shen in honor of Fangqi Li
Mary Jo and Ted Shen in honor of Chloe Misseldine
Denise Littlefield Sobel in honor of Léa Fleytoux
Mrs. Linda B. Strumpf in honor of Camila Ferrera
Theodore Stuart Harkins Ueng in honor of Cory Stearns and João Menegussi
Brian H. Vincent in honor of Andrew Robare
Jennifer and Rutger Von Post in honor of all the dancers
Susan Winokur and Paul Leach in honor of Zhong-Jing Fang and Patrick Frenette
An anonymous donor in honor of Cameron McCune
Anonymous (2)
american Ballet theatre staff
Susan Jaffe ARTISTIC DIRECTOR
ADVANCEMENT
ARTISTIC
ABT MAIN COMPANY
Clinton Luckett, Associate Artistic Director
Cristina Escoda, Director of Artistic Administration
Susan Jones, Regisseur
Irina Kolpakova, Principal Répétiteur
John Gardner, Carlos Lopez, Amanda McKerrow, Luciana Paris, Nancy Raffa, Directors of Repertoire
Miki Shintani, Senior Manager of Artistic Scheduling and Administration
Lilia Hamdy, Rehearsal Coordinator
Nate Jones, Executive Assistant to the Artistic Department
Stella Abrera, Alexei Agoudine, Yan Chen, John Gardner, Espen Giljane, Isabelle Guérin, Carlos Lopez, Duncan Lyle, Amanda McKerrow, Sascha Radetsky, Nancy Raffa, Company Teachers
ABT STUDIO COMPANY
Sascha Radetsky, Artistic Director, ABT Studio Company
Claire Florian, Managing Director, ABT Studio Company
Yan Chen, Rehearsal Director, ABT Studio Company
Stella Abrera, Evvie Allison, Charles Barker, Gemma Bond, Hope Boykin, Herman Cornejo, Jeannette Delgado, Robbie Fairchild, Thomas Forster, Carmela Gallace, John Gardner, Carlos Lopez, Clinton Luckett, Caridad Martinez, Luciana Paris, Gennadi Saveliev, Arron Scott, Byam Stevens, Roman Zhurbin, ABT Studio Company Faculty
ABT JACQUELINE KENNEDY ONASSIS SCHOOL
Stella Abrera, Artistic Director, ABT JKO School
Yan Chen, Principal Teacher, ABT JKO School Pre-Professional Division
Ethan Stiefel, Senior Faculty, ABT JKO School Pre-Professional Division
Harriet Clark, Artistic Coordinator, ABT JKO School Children’s Division
Elizabeth Aymong, Director, ABT JKO School, Pre-Professional Division and Summer Intensives
Katie Ferris, Director, ABT JKO School Children’s Division
Kate Lydon, Artistic Director, ABT Summer Intensives
Pamela Levy, Director, ABT/NYU Master’s Degree Program in Ballet Pedagogy
Franco De Vita, Raymond Lukens, ABT National Training Curriculum Artistic Associates
Evvie Allison, Sophie Alpern, Alexis Andrews, Gemma Bond, Rodica Bordeianu, Cornell Callender, Nieve Corrigan, Harriet Clark, Franco De Vita, Sarah Deming, Elizabeth Ferrell, Thomas Forster, Carmela Gallace, Lesley Garrison, Adrienne Hurd, Marianne dello Joio, Amanda Lindamood, Clarice Marshall, Caridad Martinez, Luciana Paris, Sascha Radetsky, Flavio Salazar, Brittany Shinay, Sarah Smith, Kristen Stevens, Karilyn Surratt, Leann Underwood, Roman Zhurbin, ABT JKO School Training Faculty
Michael Cherry, Stephanie Chun, John Epperson, Shimako Horii, Mark Klett, Sofiya Leavsie, Renee Ong, Benjamin Pawlak, Dmitry Polischuk, Tim Prepscius, Victor See Yuen, Mihoko Suzuki, Laura Tishchenko, Mira Tsidulko, Raisa Umanskaya, Tracy Yang, ABT Training Programs Musicians
MUSIC
Ormsby Wilkins, Music Director
Charles Barker, Principal Conductor
David LaMarche, Conductor and Music Administrator
Kobi Malkin, Concertmaster
Matthew Dine, Orchestra Personnel Manager
David LaMarche, Nuno Marques, Jacek Mysinski, Evangelos Spanos, Emily Wong, Company Pianists
EXECUTIVE
EXECUTIVE OFFICE
Kas Adams, Chief of Staff
Helen Kim, Director of Philanthropic Partnerships and Special Campaigns
Roseanne Forni, Office Manager
Marilou Cardona, Crisbeth Medina, Receptionists
Kyle Y. Ridaught, Chief Advancement Officer
Cheryl Kohn, Senior Director, Advancement
Pia Catton, Director of Membership and Advancement Operations
Kate Besong, ABT Studio Company and ABT JKO School Physical Therapist
Brittany Hillyer, ABT Studio Company and ABT JKO School Counselor
Rebecca Alcosser, ABT Studio Company and ABT JKO School Nutritionist
Kauff McGuire & Margolis LLP, Labor and Immigration Counsel
Lutz & Carr LLP, Auditor
Jason Walters, 890 Broadway Building Manager
American Ballet Theatre is a member of the American Arts Alliance, the Arts and Business Council, Inc. and Dance/U.S.A.
The dancers and stage managers of American Ballet Theatre are represented for the purpose of collective bargaining by the American Guild of Musical Artists, AFL-CIO.
ABT Crew is represented by IATSE.
Trucking by Clark Transfer Inc.
Tour booking for ABT Main Company this season is managed in house by Kyle Pickles, General Manager, and Jean-Jacques Cesbron, Columbia Artists Management, LLC.
Tour booking for ABT Studio Company in North America this season is managed by Ines Velasco, Columbia Artists Management, LLC.
American Ballet Theatre will be represented exclusively next season by Matthew Bledsoe of IMG Artists. www.imgartists.com
International freight forwarding by Rock-It Global. Harlequin is the official floor of American Ballet Theatre.
ABT would like to extend a sincere thank you to the ABT Barre Association for their continued and valued support with special thanks to Clifford Chance, Cahill Gordon & Reindel LLP, King & Wood Mallesons LLP, and Sullivan & Cromwell LLP.
GRATEFULLY ACKNOWLEDGES
The R. Chemers Neustein ABT Artistic Initiatives Fund.
Lead support of ABT’s New Works Initiative is provided by the Blavatnik Family Foundation, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund.
Commissions and presentations of new works by women choreographers are supported by the ABT Women’s Movement, sparked by funding from the Virginia B. Toulmin Foundation.
Champion support for the ABT Women’s Movement is provided by Jenna Segal.
ABT is proud to participate in Bloomberg Philanthropies’ Digital Accelerator Program, which supports arts organizations through strategic improvements to technology infrastructure.
Lead support from Andrew and Avery Barth, Elizabeth Segerstrom, the Family of Clara Yust, and Lloyd E. Rigler—Lawrence E. Deutsch Foundation inaugurates the ABT Southern California Fund, helping to make possible the Company’s engagements in Los Angeles and Orange County.
A special thanks to Denise Littlefield Sobel for her leadership gifts to the ABT Today Fund and ABT RISE, which are advancing the Company’s mission to create a more vibrant and welcoming future for ballet.
The Weinstein family for their leading support of The Nancy B. and Skippy Weinstein ABT Apprentice Program in 2026.
Architectural Digest and an anonymous donor for the beautiful renovation of the ABT Lounge.
The Linda Allard and Herbert Gallen Costume Fund.
Ellen Everett Kimiatek Costume Preservation Trust.
James S. and Amy Regan for their endowed gift in recognition of the Principal First Violin/Concertmaster Chair.
Barbara Hemmerle Gollust for their endowed gift in recognition of the Principal Conductor’s Chair.
Nancy E. Havens-Hasty and J. Dozier Hasty for their endowed gift in support of David LaMarche’s performances with ABT.
The Peter T. Joseph Foundation for its endowed gift in recognition of The Special Needs Fund.
Lisa and Dick Cashin for their endowed gift in support of Ballet for the New Audience.
Flower presentations are provided through an endowed gift from Karin and Stanley Schwalb.
The Mathey Family for their endowed sponsorship in recognition of a Corps de Ballet member.
Wölffer Estate Vineyard is a wine partner of ABT.
Make-up provided by M·A·C.
Harlequin is the official floor of American Ballet Theatre. Chanel, Inc.
Core Pilates NYC.
En Face Magazine.
LoveWins
A DON QUIXOTE –INSPIRED PLAYLIST
Happy love songs that are sure to get you dancing in your seat or on your feet.
LISTEN NOW ON SPOTIFY
lincoln center campus fund
Lincoln Center Corporate Fund is proud to support the following
10 resident organizations:
The Chamber Music Society of Lincoln Center
Film at Lincoln Center
Jazz at Lincoln Center
The Juilliard School
Lincoln Center for the Performing Arts
Lincoln Center Theater
The Metropolitan Opera
New York City Ballet
New York Philharmonic
School of American Ballet
LEADER
Aman New York
American Express
Bloomberg Philanthropies
Kenneth C. Griffin, Citadel, and Citadel Securities
Hearst
JPMorganChase
The New York Times
BENEFACTOR
A+E Global Media
Brookfield Properties
Citigroup
EY
Fried, Frank, Harris, Shriver & Jacobson LLP
Glenwood Management Corp.
The Jefferies Companies
Daniel Krizek, Citadel
The Marc Haas Foundation
Dave Miller
Mitsui & Co. (U.S.A.), Inc.
Morgan Stanley
New Line Structures
Pfizer Inc
Point72 Asset Management
Rockefeller Brothers Fund
Tatiana Piankova Foundation
Tudor Investment Corporation
EXECUTIVE
ABS Partners Real Estate, LLC
Irene Bar-Am, United Airlines*
Barings Real Estate
Benenson Capital Partners, LLC
BNY Mellon
Capital One
CBRE
Chicago Title Insurance Company
CRSG
Donald Zucker Company / Manhattan Skyline
The Durst Organization
Emmet, Marvin & Martin, LLP
Feil Family Foundation
Fox Corporation
Gotham Organization, Inc.
Greenberg Traurig, LLP, Robert Ivanhoe
Scott Handwerger / Acrisure
Horizon Media Inc.
Jack Resnick & Sons
Kirkland & Ellis LLP
The Laurie M. Tisch Illumination Fund
Mr. and Mrs. Peter L. Malkin
Morrison & Foerster LLP
NYC DANCE ANNUAL Finally.
lincoln center campus fund
Naftali Group
Ogden CAP Properties, LLC
RAMSA
Rose Associates
Kenneth & Karen Rosen
Samuel I. Newhouse Foundation
SLCE Architects, LLP
Solomon Organization Charitable Trust
The Starr Foundation
Sumitomo Corporation of Americas Foundation
Miranda Torres-Tierney, JPMorganChase*
Troutman Pepper Locke LLP
USA Interiors LLC
Weiler Arnow Management Company Inc.
PATRON
David and Susan Coulter
First Eagle Investment Management Foundation
GFP Real Estate
IBM International Foundation
Che King Leo, Point72 Asset Management
Loeb & Loeb LLP
Loews Corporation
M&T Bank
Matthew Maimone**
Marcus & Pollack LLP
Mitsubishi Corporation (Americas)
Stephanie Nwaiwu, American Express**
Fabien Odry**
Pachulski Stang Ziehl & Jones LLP**
Quinn McCabe LLP
Richard H. Holzer Memorial Foundation
Rockefeller Group
Sullivan & Cromwell LLP
Sy Syms Foundation
Luis M. Zabala and Sofia Delgado-Zabala**
FRIEND
Brown Harris Stevens
Debra and Kenneth Caplan Foundation
Gallagher
Ron Garfunkel
Gates Capital Management
Erez Glambosky, Esq. Rivkin Radler LLP
Sarah Hawkins, Hines
Kasirer
Langan
McKissack & McKissack
Park Tower Group
Kimberly Sherman Stamler, Related Beal
The Stop & Stor Charitable Fund
Tiffany Melanie Wong
WSP Global Inc.
Kenneth L. Wyse
Zetlin & De Chiara, LLP
and 26 supporters under $5,000 as of May 1, 2026
*Campus Leadership Council Co-Chair
**Campus Leadership Council Member
For information, please contact the Lincoln Center Campus Fund at campusfund@lincolncenter.org.
Visit our website: LincolnCenter.org/CampusFund.
ON STAGE: THE NATIONAL DANCE CALENDAR
Your exclusive guide to where dance is lighting up stages across the country this summer
GISELLE
HOUSTON BALLET
A fresh interpretation of one of ballet’s most revered works, this heart-wrenching story of a peasant girl tragically betrayed by an aristocrat posing as a commoner closes another incredible season.
JUN 11–21 &
SUMMER SEASON
AMERICAN BALLET
THEATRE
Experience all the excitement, passion, and heartbreak of love with four incredible story ballets— from the strength of Odette and Tatiana in Swan Lake and Cranko’s Onegin, to the adventures of the spirited Kitri and Sylvia in Don Quixote and Ashton’s Sylvia
JUN 17–JUL 18 &
NEW YORK CITY BALLET ON TOUR
THE MUSIC CENTER, LOS ANGELES
The premier dance company returns to the Dorothy Chandler Pavilion after more than 20 years with two electrifying programs featuring Red Angels, The Times Are Racing, Allegro Brillante, This Bitter Earth, and more.
JUN 24–28
2026 SUMMER FESTIVAL
BALLET SUN VALLEY
Don’t miss Pacific Northwest Ballet’s debut on the Sun Valley Pavilion stage, featuring Balanchine’s Rubies, Tharp’s Nine Sinatra Songs, and the world premiere of a new co-commissioned work from Resident Choreographer Jessica Lang.
JUN 27 & 28 «
ASPEN SANTA FE BALLET PRESENTS
ASPEN, CO & SANTA FE, NM
Dazzling athleticism and bound ary-breaking style are on display as the incredible dancers of BODYTRAFFIC, Complexions Contemporary Ballet, and MOMIX take to the stage with programs filled with larger-than-life spectacle, playful theatricality, and technical excellence.
JUL 8–31
LAKE TAHOE DANCE FESTIVAL
TAHOE CITY, CA
Head to the beautiful lakeshore and see stunning performances by New York City Ballet’s Taylor Stanley, Adrian DanchigWaring, Indiana Woodward, and Daniel Ulbricht alongside Boston Ballet’s Lia Cirio and Paul Craig, Houston Ballet’s Melody Walsh, and more.
JUL 21–24
HUGO MARCHAND
NEW YORK CITY CENTER
The Paris Opera Ballet Étoile curates and performs in an ambitious program, including Maurice Béjart’s athletic, tour-de-force solo Boléro plus Angelin Preljocaj’s sumptuous pas de deux Le Parc (alongside fellow Étoile Dorothée Gilbert), Béjart’s The Firebird , Balanchine’s Sonatine , van Manen’s Trois gnossiennes , and more.
JUL 23–26
FESTIVAL 2026
JACOB’S PILLOW
The nation’s largest and longest-running international dance festival has another incredible 10-week season in store for 2026, featuring the U.S. premiere of A.I.M by Kyle Abraham’s White Space, the return of San Francisco Ballet for the first time since 1956, a 100th-birthday celebration for Martha Graham Dance Company, and the final touring production of the Akram Khan Company—plus performances by Paul Taylor Dance Company, Ballet Hispánico New York, Hubbard Street Dance Chicago, and much more.
JUN 24–AUG 30
BAAND TOGETHER FESTIVAL
LINCOLN CENTER
Now in its sixth year, this beloved summer staple reunites five of NYC’s most iconic dance companies—Ballet Hispánico New York, Alvin Ailey American Dance Theater, American Ballet Theatre, New York City Ballet, and Dance Theatre of Harlem— on one stage, offering dance workshops and performances of treasured repertory favorites.
JUL 28–AUG 1
VAIL DANCE FESTIVAL
VAIL, CO
It’s another exciting season nestled amidst the stunning Rocky Mountains, with new ballets choreographed by Robert Battle, Tiler Peck, Artist-inResidence Alexei Ratmansky, and more—plus performances from stars of New York City Ballet, American Ballet Theatre, Philadelphia Ballet, Alonzo King LINES Ballet, and the Royal Danish Ballet.
JUL 31–AUG 10
2026 BALLET FESTIVAL
THE JOYCE THEATER
Curated by Misty Copeland, the festival will gather together world-class dancers, visionary choreographers, and fresh creative voices who are shaping the future of dance.
AUG 4–16
DISCOVER MORE INCREDIBLE UPCOMING PERFORMANCES
« World Premiere & Story Ballet ² Gala
Tour J Family Series
Contact calendar@enfacemagazine.com for more information on calendar opportunities.
