Serenade is a romantic work of immense sweep, set to a transcendent Tschaikovsky score.

Serenade is a milestone in the history of dance. It is the first original ballet George Balanchine created in America and is one of the signature works of New York City Ballet’s repertory. Balanchine began the ballet as a lesson in stage technique and worked unexpected rehearsal events into the choreography. A student’s fall or late arrival to rehearsal became part of the ballet.

After its initial presentation, Serenade was reworked several times. In its present form there are four movements: “Sonatina”, “Waltz”, “Russian Dance”, and “Elegy.” The last two movements reverse the order of Tschaikovsky’s score, ending the ballet on a note of sadness.

“In everything that I did to Tschaikovsky’s music, I sensed his help. It wasn’t real conversation. But when I was working and saw that something was coming of it, I felt that it was Tschaikovsky who had helped me.”

George Balanchine

Full of heartfelt emotion, this simple yet stirring pas de deux leaves audiences in silent awe.

Christopher Wheeldon’s After the Rain premiered in 2005 at NYCB’s annual New Combinations Evening, which honors the anniversary of George Balanchine’s birth with world premiere ballets. A ballet in two parts, the first section is set to Arvo Pärt’s Tabula Rasa, and features three couples. For the second section, only one couple returns, and performs a haunting pas de deux set to Pärt’s Spiegel im Spiegel. Originally performed by Wendy Whelan and Jock Soto, this was the last ballet Wheeldon created for Soto, before Soto retired from dancing in June of 2005.

A grand classical masterpiece, Symphony in C dazzles audiences with over 50 dancers covered in Swarovski elements and a spectacular finale uniting the entire cast.

Georges Bizet composed his Symphony in C Major when he was a 17-year-old pupil of Charles Gounod at the Paris Conservatory. The manuscript was lost for decades and was published only after it was discovered in the Conservatory’s library in 1933.

Balanchine first learned of the long-vanished score from Stravinsky. He required only two weeks to choreograph it as Le Palais de Cristal for the Paris Opera Ballet in 1947, where he was serving as a guest ballet master. When he revived the work the following year for New York City Ballet’s first program on October 11, 1948, he simplified the sets and costumes and changed the title. The ballet has remained a vital part of the Company’s repertory ever since.

For the 2012 Spring Season, new costumes for the ballet were designed by Marc Happel, NYCB’s Director of Costumes. The new designs were created in collaboration with Swarovski, and the production features costumes, as well as newly designed crowns, headpieces, and earrings, all created using Swarovski Elements.