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THEATRE,
DANCE classes for children, teens, and adults Discover
New York City Ballet Workshops
JULY 10
• Ballet Essentials Workshop for teens and adults
• Teen & Adult Access Workshop
JULY 13
• Children’s Workshops
• Children’s Access Workshop
Free workshops. Registration required.
PlayIN for Brass with The Philadelphia Orchestra
AUGUST 1
Step onto the SPAC stage and play along with members of The Philadelphia Orchestra. Trumpet, horn, trombone, euphonium, and tuba players of all ages are invited to this shared music-making event.
Free event. Registration required.
Family Nights at SPAC
JULY 12
New York City Ballet Swan Lake & Stars and Stripes
JULY 31
The Philadelphia Orchestra Tchaikovsky Spectacular
AUGUST 17
The Philadelphia Orchestra Disney’s The Lion King in Concert
Join us for lawn games, crafts, face painting, giveaways, and free Stewart’s ice cream.* Family Nights begin at 5:30pm and are free to ticketed attendees.
*Free ice cream available while supplies last
The Philadelphia Orchestra Sound All Around
AUGUST 4
Hosted by principal tuba, Carol Jantsch, Sound All Around introduces youngsters to musicians from The Philadelphia Orchestra through singing, movement, storytelling, and listening.
Free event. Registration required.
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BRIGHT LIKE A DIAMOND
ew York City Ballet will hit the SPAC stage July 9-13 for its annual summer residency—and this year, the dancers’ arrival also marks an opportunity to skip down memory lane. That’s because the world-famous company—founded in 1948 by famed choreographer George Balanchine and impresario Lincoln Kirstein—is celebrating its diamond anniversary.
“Saratoga is going to be a nice culmination of this 75th anniversary year,” says Artistic Director Jonathan Stafford.
“We’re going to bring lots of energy. It’s been such a special year for us, and we can’t wait to be up there in front of those great audiences in Saratoga.” Stafford, who was also a principal dancer and ballet master at the company, joined NYCB in 1998 and has been coming here for almost as long.
“My wife and I went on our first date in Saratoga,” he says of Brittany Pollack, a NYCB soloist. “So it’s been a special place for us for many years. I’ve gone up to Saratoga every summer since 1999. I have not missed one, including during Covid—my wife and I drove up here to go to all of our favorite spots. We walked around the grounds just so I could keep my streak intact. I love seeing the people who’ve been coming to the ballet for many, many years who I’ve gotten to know. We all have a great love and appreciation for the community here and love reconnecting every year.” Dancing outside on the SPAC stage always comes up while chatting with performers, who have in the past reminisced about magical moments such as seeing fireflies while dancing Midsummer Night’s Dream. Stafford, however, falls for the more passionate side of Mother Nature. “I have a memory of performing in a severe thunderstorm and
LEADING LADIES
A RECORD NUMBER OF FEMALE ARTISTS—LED BY THE GREAT NORAH JONES—HEADLINE THIS YEAR’S FREIHOFER’S SARATOGA JAZZ FESTIVAL
Female performers are coming out in force for this year’s 47th annual Freihofer’s Saratoga Jazz Festival, June 29 and 30 at SPAC. Led by the singer-songwriter-pianist Norah Jones (winner of nine Grammys and best known for “Come Away With Me” and “Don’t Know Why”), the record-breaking number of female headliners include the Grammy-nominated TikTok phenom Laufey and Samara Joy, the second jazz performer in history to win the Grammy award for best new artist. The rest of the exciting two-day line-up includes Lake Street Dive, legend Stanley Clarke with his band N*4Ever, Terence Blanchard Sextet and Coco Montoya. Afro-Cuban and funk bands Cory Henry, Cimafunk,
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Dear Friends,
We are delighted to welcome you back for our 2024 Season! Thank you for joining us at SPAC where we cultivate, through unforgettable encounters with great beauty, the unbreakable bonds of community and connection.
This summer season, we celebrate rhythm -- the rhythms in song and dance, the beating of the human heart, undulating waves of water, the orbiting of planets and galaxies, and the turning of the seasons that fill and animate our very days.
And we pay tribute to rhythm’s sister, harmony – the harmony in music, the harmony of the colors in nature, the harmony of choreographed human bodies moving together in space, and most importantly, the harmony of human lives lived in community informed by compassion, understanding, and empathy.
This exploration will reach new heights on our stage when Yannick Nézet-Séguin conducts Strauss’ An Alpine Symphony, the composer’s powerful and passionate ode to nature, with The Philadelphia Orchestra. The piece paints vivid imagery that allows listeners to revel in the many glorious moments nature has to offer – accentuated by our location at the confluence of human-made and natural beauty.
Thank you, again, for joining us for a spectacular summer at SPAC where revelation, healing and transformation are at the heart of everything we do.
Warmly,
Elizabeth Sobol President & CEO
Dear SPAC supporters,
As the new Chairman of the Board of Directors of the Saratoga Performing Arts Center, it is my distinct honor to welcome you to our 2024 season. I have attended performances at SPAC since I was a little boy. These experiences helped me to understand how broad SPAC’s appeal really is. People from all walks of life can appreciate the beauty of the arts, amidst the natural beauty that surrounds us. SPAC brings our community together and makes our lives more meaningful.
SPAC benefits the community in other ways as well. SPAC is a critical economic engine for the region -- contributing $105 million in economic impact and welcoming 500,000 visitors through our gates annually. These SPAC attendees stay in local hotels, eat at local restaurants, shop at local stores and use local service providers.
Under the exceptional leadership of our President and CEO, Elizabeth Sobol, SPAC is continuing to grow and flourish by investing in its physical campus, presenting year-round music, dance, theater, culinary and literary programming, and through its commitment to bringing robust and thoughtful arts education initiatives to the region. All of these advancements directly benefit our community.
Your prior Chair, Susan Dake, also an exceptional leader, has expertly guided the Board and SPAC, enabling SPAC to not only survive during the challenges presented by COVID-19, but to thrive. I am grateful to her, both personally and on behalf of SPAC, for her mentorship, generosity and guidance over these past years.
I look forward to upholding SPAC’s remarkable history of tradition that has been carried on by the generations before me, while embracing innovation and the future.
Thank you, again, for joining us. Your attendance and support keep SPAC strong and thriving. Enjoy the performance and please visit us again soon.
Charles V. Wait, Jr. Chair SPAC Board of Directors
WELCOME TO
Whether you’re joining us for the first time or you’ve been coming for years, we’re so glad you’re here. If you’ve visited us before, we are counting on your help to make SPAC an open and welcoming place for all. Here are some helpful tips to make your experience great!
How Long Are The Performances?
Most classical concerts and ballets last approximately 2 hours with one or two 20 minute intermission(s). Select productions such as NYCB On and Off Stage are 90 minutes with no intermission. Run times are also listed on our website.
When Do I Applaud?
For orchestral performances, the concert will begin with the Concertmaster coming onstage. The audience claps as a welcome, and as a sign of appreciation to all the musicians. After the orchestra tunes, the conductor (and sometimes a soloist!) will come onstage and everyone will clap to welcome them, too.
A symphony or large orchestral piece may be comprised of multiple movements (they will be listed in your program). The audience will applaud at the conclusion of the entire piece and tries to avoid clapping in between movements so as not to break the concentration of the performers. When in doubt, it’s always safe to wait and follow what the rest of the audience does. If you do applaud between movements, don’t worry, what’s most important is you enjoyed the performance!
For ballet performances with live music, the audience will clap when the conductor first appears. Similar to movements of orchestral pieces, ballets have separate sections. However, unlike the orchestra, audiences will applaud at the end of each section and the ballet as a whole, or even when a dancer does something impressive.
If you are a seasoned concert-goer, it’s important to recognize guests around you may be less familiar with concert behavior. Thank you for helping us create a welcoming environment. We want to make sure that first timers are excited to come back.
Are Phones Allowed?
Before the performance begins, we welcome photography and video of your SPAC experience– feel free to tag us on social media and we may share it to our stories! Once the curtain rises, please silence your electronic devices and refrain from using them until intermission or the end of the performance. The use of flash photography or any kind of recording devices are prohibited.
When Should I Be In My Seat?
Listen for the chimes, which will sound approximately five minutes before the show. If you are sitting in the amphitheater, please stay seated until intermission. Latecomers will be seated with discretion of the ushers until there is a pause in the program.
HOUSE RULES
Smoking is permitted on the SPAC grounds in designated areas only. Please ensure that all cigarette butts are disposed of properly.
Guests are welcome to bring blankets and umbrellas but please consider others around you- if your items are disruptive to others, you may be asked to remove them.
In the event that guests need or prefer to stand or move during a performance, please note that there is a grassy area behind the Julie Bonacio Family Pavilion with access to a video screen which would allow them to continue watching the show.
ACCESSIBILITY
There is an accessible ramp allowing easier access into the amphitheater located on the north side of the venue behind the Hall of Springs Gate. All reserved seats on the lower level (sections 1-14) can be accessed without using stairs. Although the balcony can be accessed via balcony ramps, only the accessible reserved seats behind sections 16-17 can be accessed without using stairs. All other sections of the balcony require the use of stairs.
The venue provides a limited number of courtesy carts to help move guests closer to their seats. These carts are available at most events including SPAC’s classical season and Jazz Festival. Guests may be dropped off at the Route 50 Gate near the Sun Dial or Hall of Springs Gate where venue staff will further assist them. Due to the crowd size, carts are not available for Live Nation Concerts.
Accessible Restrooms
Most restroom locations within the SPAC Grounds offer fully accessible and ambulatory restrooms stalls. Additionally, The Pines main restroom location has two private family/ inclusive restrooms. Upon request, the SPAC Medical Clinic may be accessed for assistance and privacy with accessible restroom needs. Please note that House restrooms and Hall of Springs restrooms are not fully accessible due to stairs.
Assisted Listening Devices
For SPAC events, we offer a limited number of Assisted Listening Devices (ALD) for guests. SPAC’s system is an ultra-high frequency, in-ear personal monitoring system. An induction neckloop for t-switch hearing aids or earbuds are available depending on need. Guests may pick up their ALD at Guest Services prior to the performance. If you’d like to reserve an ALD for future shows, please visit our website or call our Box Office.
Photos by Konrad Odhiambo
SPRING INTO:
ENHANCE YOUR STAY!
DOWNLOAD THE DISCOVER SARATOGA APP or visit DiscoverSaratoga.org for visitor information.
Check out local events, nearby attractions, dining experiences, & more. WILLIAMSTOWN MASSACHUSETTS CLARKART.EDU
SPRING INTO SARATOGA
GUILLAUME LETHIÈRE
JUNE 15–OCTOBER 14, 2024
Discover more than 100 paintings, drawings, and sculpture in the first major exhibition ever presented on the Caribbean-born artist who became a leading figure in revolutionary France.
Saratoga County’s Official Tourism Promotion Agency
Guillaume Lethière is made possible by Denise Littlefield Sobel.
Guillaume Lethière, Woman Leaning on a Portfolio (detail), c. 1799, oil on canvas. Worcester Art Museum, Massachusetts, museum purchase, 1954.21. Photo: Worcester Art Museum/Bridgeman Images
Surround yourself with music and magic all year long...
Become a 2025 SPAC Member Today!
As a nonprofit organization, your membership is vital to the success of everything we do at SPAC—from artistic programming to education and community initiatives and beyond.
Make every visit to SPAC unforgettable with exclusive member benefits* such as:
• Early ticket access and discounts for Jazz Festival, New York City Ballet, and The Philadelphia Orchestra
• VIP parking
• Live Nation concert ticket presales
• Behind-the-scenes rehearsals for New York City Ballet and The Philadelphia Orchestra
• Patrons’ Club Dining and Patrons’ Patio for pre-performance refreshments
• President’s Circle members get access to The Pines Terrace, with its breathtaking views of the entire SPAC campus.
Join or renew today to lock in 2024 rates and contribute to SPAC’s work on stage and in our community!
spac.org/membership or call 518.584.9330, ext. 803.
*Benefits vary based on membership level.
Interested in Becoming an Ambassador for SPAC?
Join SPAC Action Council or Friends of SPAC today!
SPAC Action Council was established in 1977 by SPAC founders Philly Dake and Jane Wait. The Action Council serves as a community of ambassadors, supporting SPAC’s cultural mission, membership, events, and programming by broadening awareness and promoting development.
Friends of SPAC Committee is a dynamic group of local community members, professionals, and performing arts patrons who work in tandem with the SPAC strategic planning and fundraising teams. Their primary focus is to cultivate a younger demographic to support SPAC and promote the arts in our community.
2024 SPRING SEASON
NEW YORK CITY BALLET
Founders: George Balanchine and Lincoln Kirstein
Founding Choreographers: George Balanchine and Jerome Robbins
Ballet Master in Chief from 1983-2017: Peter Martins
Artistic Director Executive Director
Jonathan Stafford
Katherine E. Brown
Associate Artistic Director
Wendy Whelan
Resident Choreographer and Artistic Advisor
Justin Peck Artist in Residence
Alexei Ratmansky
Senior Repertory Director: Rosemary Dunleavy
Repertory Directors
Jean-Pierre Frohlich Gonzalo Garcia Craig Hall
Lisa Jackson Glenn Keenan Rebecca Krohn
Christine Redpath Kathleen Tracey
New York City Ballet Orchestra
Music Director: Andrew Litton
Associate Music Director: Andrews Sill
Resident Conductor: Clotilde Otranto
The Company
Tyler Angle Ashley Bouder Chun Wai Chan Adrian Danchig-Waring
Megan Fairchild Jovani Furlan Emilie Gerrity Joseph Gordon
Anthony Huxley Isabella LaFreniere Sara Mearns Roman Mejia
Mira Nadon Tiler Peck Unity Phelan Taylor Stanley Daniel Ulbricht
Andrew Veyette Emma Von Enck Peter Walker Indiana Woodward
Sara Adams Daniel Applebaum Gilbert Bolden III Preston Chamblee Harrison Coll
David Gabriel Ashley Hod Emily Kikta Alec Knight Ashley Laracey
Megan LeCrone Jules Mabie Olivia MacKinnon Alexa Maxwell Miriam Miller
Dominika Afanasenkov, India Bradley, Nieve Corrigan, Naomi Corti, Savannah Durham, Sarah Harmon, Ruby Lister, Malorie Lundgren, Mary Thomas MacKinnon, Ava Sautter, Kennedy Targosz, Kloe Walker
KJ TAKAHASHI
Victor Abreu, Oscar Estep+, Owen Flacke, David Gabriel, Kennard Henson, Alec Knight, Jules Mabie, Noah McAuslin, Samuel Melnikov, Mckenzie Bernardino Soares, Shane Williams, Andres Zuniga
I: Run to the Edge by Jonathan Dove is presented under license by Peters Edition Ltd., copyright owners.
I: Cumbia y Congo from Danzas de Panama by William Grant Still is used by arrangement with Southern Music Pub. Co., Inc.
II: Fuga con pajarillo from Suite for Strings by Aldemaro Romero
III: Between New Year and Yom Kippur from Diary Pieces 2018 by Michael Zev Gordon is used by arrangement with the composer.
IV: Pines of the Janiculum from The Pines of Rome by Ottorino Respighi.
Lead underwriting support for Underneath, There Is Light is provided by Elysabeth Kleinhans. Leadership support is provided by The Travelers Companies, Inc., with major support from Michael and Nan Cooper. Support for new work is provided by LuEsther T. Mertz Charitable Trust, The Macallan, National Endowment for the Arts, and donors to the New Combinations Fund.
Premiere: May 2, 2024, David H. Koch Theater.
INTERMISSION
THURSDAY, JULY 11 AT 7:30PM
SATURDAY, JULY 13 AT 7:30PM
Mira Nadon in Pam Tanowitz’s Gustave Le Gray No.1.
PHOTO BY ERIN BAIANO
RED ANGELS
Music by Richard Einhorn
(Maxwell’s Demon)
Choreography by Ulysses Dove
Costumes by Holly Hynes
Lighting by Mark Stanley
Electric Violin: MARY ROWELL*
DOMINIKA AFANASENKOV
EMILIE GERRITY
JOSEPH GORDON DAVIDE RICCARDO
*Guest Artist
Support for Red Angels was provided by donors to the New Combinations Fund.
Premiere: May 19, 1994, New York State Theater, The Diamond Project, sponsored by Philip Morris Companies Inc.
PAUSE
GUSTAVE LE GRAY NO. 1
Music by Caroline Shaw
Choreography by Pam Tanowitz
Costumes by Reid Bartelme and Harriet Jung
Lighting by Davison Scandrett
Piano: STEPHEN GOSLING
NAOMI CORTI
EMILY KIKTA
RUBY LISTER MIRA NADON
Assistants to the Choreographer: Jason Collins and Vincent McCloskey
Music: Gustave Le Gray
Lead underwriting support for New York City Ballet’s production of Gustave Le Gray No. 1 was provided by Denise Littlefield Sobel.
Leadership support was provided by The Thompson Family Foundation, with additional support from Doris Duke Foundation, LuEsther T. Mertz Charitable Trust, Estate of Harlan Morse Blake, The Ted and Mary Jo Shen Charitable Gift Fund, and donors to the New Combinations Fund.
Leadership support for new works by female choreographers was provided by Virginia B. Toulmin Foundation.
World Premiere: May 31, 2019, John F. Kennedy Center for the Performing Arts New York City Ballet Premiere: April 22, 2022, David H. Koch Theater
THURSDAY, JULY 11 AT 7:30PM
SATURDAY, JULY 13 AT 7:30PM
Harrison Coll and the Company in Justin Peck’s The Times Are Racing.
PHOTO BY ERIN BAIANO
THURSDAY,
THE TIMES ARE RACING
Music by Dan Deacon
Choreography by Justin Peck
Costumes by Humberto Leon
Costumes supervised by Marc Happel
Lighting by Brandon Stirling Baker
Sound by Abe Jacob
INDIA BRADLEY TAYLOR STANLEY
HARRISON COLL PETER WALKER
MARY THOMAS MacKINNON ALEXA MAXWELL KRISTEN SEGIN VICTOR ABREU
Devin Alberda, Gilbert Bolden III, David Gabriel, Samuel Melnikov, Lars Nelson, Andres Zuniga
Music: USA I: Is A Monster, USA II: The Great American Desert, USA III: Rail and USA IV: Manifest, published by Original Beatles Compositions (SESAC). All rights reserved. Used by permission.
The Times Are Racing was made possible by a leadership gift from the Geoffrey C. Hughes Foundation, with additional support from donors to the New Combinations Fund.
Premiere: January 26, 2017, David H. Koch Theater
The program on July 13 is made possible in part with generous support from Skidmore College.
FRIDAY, JULY 12 AT 7:30PM
SATURDAY, JULY 13 AT 2:00PM
Unity Phelan and Joseph Gordon in George Balanchine’s Swan Lake.
PHOTO BY ERIN BAIANO
SWAN LAKE & STARS AND STRIPES
Conductor: ANDREWS SILL
SWAN LAKE
Music by Peter Ilyitch Tschaikovsky
Choreography by George Balanchine*, after Lev Ivanov
Scenery and Costumes by Alain Vaes
Original Lighting by Ronald Bates
Lighting by Mark Stanley
Odette, Queen of the Swans
ISABELLA LaFRENIERE
Prince Siegfried ANDREW VEYETTE
Swans
Pas de Neuf
Valse Bluette
Dominika Afanasenkov, Olivia Bell, Olivia Boisson, India Bradley Lauren Collett, Naomi Corti, Nieve Corrigan, Gabriella Domini, Savannah Durham, Meaghan Dutton-O’Hara, Sierra Griffith+, Laine Habony, Sarah Harmon, Allegra Inch, Baily Jones, Ruby Lister, Malorie Lundgren, Alston Macgill, Mary Thomas MacKinnon, Shelby Mann, Jenelle Manzi, Ava Sautter, Grace Scheffel, Quinn Starner, Kennedy Targosz, Rommie Tomasini, Claire Von Enck, Kloe Walker
MEGAN LeCRONE with Dominika Afanasenkov, Nieve Corrigan, Naomi Corti, Savannah Durham, Ruby Lister, Malorie Lundgren, Ava Sautter, Kloe Walker
ASHLEY HOD with Olivia Bell, Lauren Collett, Sierra Griffith+, Sarah Harmon, Allegra Inch, Baily Jones, Alston Macgill, Shelby Mann, Grace Scheffel, Quinn Starner, Rommie Tomasini
Variation ISABELLA LaFRENIERE
Valse ANDREW VEYETTE
Hunters
Victor Abreu, Oscar Estep+, Owen Flacke, David Gabriel, Jules Mabie, Noah McAuslin, Maxwell Read, Mckenzie Bernardino Soares, Shane Williams, Andres Zuniga
Music by arrangement with Boosey & Hawkes, Inc., sole agent in the US, Canada and Mexico for Durand S.A. Editions Musicales, a Universal Music Publishing Group company, publisher and copyright owner.
This production of The Steadfast Tin Soldier was commissioned by the Saratoga Performing Arts Center.
Performances of ballets by George Balanchine are made possible in part by generous support from donors to the Allegro Circle.
Premiere: July 30, 1975, Saratoga Performing Arts Center
PAUSE
COPPÉLIA
ACT III
A Village Wedding and Festival of Bells (Excerpt)
Music by Léo Delibes
Book by Charles Nuitter, after E.T.A. Hoffmann’s Der Sandmann
Choreography by George Balanchine and Alexandra Danilova* after Marius Petipa
Scenery and Costumes by Rouben Ter-Arutunian
Dawn, Prayer, Spinner, and Children’s Costumes Designed by Karinska Costumes Executed by Karinska and Barbara Matera
Original Lighting by Ronald Bates
Lighting by Mark Stanley
Dedication of the Bells –Waltz of the Golden Hours
The original production of Coppélia was made possible by a generous gift from the Meshulam Riklis family, with support from the Saratoga Performing Arts Center and the New York State Council on the Arts.
FRIDAY, JULY 12 AT 7:30PM
SATURDAY, JULY 13 AT 2:00PM
Roman Mejia in George Balanchine’s Stars and Stripes.
PHOTO BY ERIN BAIANO
The children appearing in Coppélia are students from the local area prepared and rehearsed by Dena Abergel and Arch Higgins
Premiere: July 17, 1974, New York City Ballet, Saratoga Performing Arts Center, Saratoga Springs, New York
INTERMISSION
STARS AND STRIPES
Music adapted and orchestrated by Hershy Kay after music by John Philip Sousa
Dominika Afanasenkov, India Bradley, Nieve Corrigan, Naomi Corti, Savannah Durham, Sarah Harmon, Ruby Lister, Malorie Lundgren, Mary Thomas MacKinnon, Ava Sautter, Kennedy Targosz, Kloe Walker
THIRD CAMPAIGN
3rd Regiment: Thunder and Gladiator
KJ TAKAHASHI
Victor Abreu, Oscar Estep+, Owen Flacke, David Gabriel, Kennard Henson, Alec Knight, Jules Mabie, Noah McAuslin, Samuel Melnikov, Mckenzie Bernardino Soares, Shane Williams, Andres Zuniga
Music by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.
Performances of ballets by George Balanchine are made possible in part by generous support from donors to the Allegro Circle.
Premiere: January 17, 1958, City Center of Music and Drama, New York
The program on July 12 is made possible in part with generous support from Teresa Kennedy. FRIDAY, JULY 12 AT 7:30PM SATURDAY,
JEWELS
Jewels, a work in three parts choreographed by George Balanchine, was inspired by a visit to famed jewelers Van Cleef and Arpels. Balanchine selected emeralds, rubies, and diamonds for his parure, having also considered pearls and sapphires. But Jewels is really not so much about gems as about illuminating the music of its three different composers: Fauré for Emeralds, Stravinsky for Rubies, and Tschaikovsky for Diamonds. While Jewels has been considered the first three-act story-less ballet, each section is quite distinct in style, with the jewel motif sustained by Karinska’s costumes and the décor.
EMERALDS
The music for Emeralds is taken from the respective concert suites that Gabriel Fauré derived from the incidental music he composed in 1889 for Edmond Haraucourt’s Shylock, a French verse adaptation of Shakespeare’s Merchant of Venice, and in 1898 for Maurice Maeterlinck’s Pelléas et Mélisande. The order of the numbers used and their sources are as follows: “Prélude,” “Fileuse,” “Sicilienne” (all from Pelléas et Mélisande); “Entr’acte,” “Nocturne,” “Epithalame,” “Final” (all from Shylock); and “La Mort de Mélisande” (from Pelléas et Mélisande). Balanchine added the “Nocturne” pas de deux and the final pas de sept in 1976.
RUBIES
Igor Stravinsky composed his three-movement Capriccio for Piano and Orchestra, the music for Rubies, in 1928-29. He intended it as a vehicle for his own appearances as a concert pianist and as something of a relief from his Concerto for Piano and Wind Instruments, which he had written five years before for the same purpose. The Capriccio is, in effect, a second piano concerto. Stravinsky said that as he wrote this score he had in mind Carl Maria von Weber, a composer he championed; in fact, he quotes Weber in the music. Another of Stravinsky’s enthusiasms that affects the Capriccio is the cimbalom. Figurations typical of this east European instrument are in evidence at various places in the solo piano part—in certain repeated notes and in the cadenza in the second movement, for example. Balanchine set the second movement as a pas de deux for the principal dancers, and they and a soloist dance with the corps de ballet in various combinations in the outer movements.
DIAMONDS
Balanchine choreographed Diamonds to Peter Ilyitch Tschaikovsky’s Symphony No. 3 in D major, Op. 29. Tschaikovsky composed this work in 1875, just before starting to write Swan Lake. It is the only one of his six symphonies in a major key, and it is the only one to have five movements, for it has two scherzos setting off the central Andante elegiaco. Balanchine, however, decided to omit the symphony’s first movement, deeming it unsuitable for dancing.
UNDERNEATH, THERE IS LIGHT
Underneath, There Is Light is Amy Hall Garner’s first work for NYCB. Set to selections of music by five composers—Jonathan Dove, Michael Zev Gordon, William Grant Still, Ottorino Respighi, and Aldemaro Romero—Underneath, There Is Light features costumes designed by NYCB Director of Costumes Marc Happel and scenery and lighting by NYCB Resident Lighting Designer Mark Stanley.
RED ANGELS
Created for New York City Ballet’s Diamond Project in 1994, Red Angels was the first work created for NYCB by the late choreographer Ulysses Dove. An abstract work for four dancers, Red Angels is set to Richard Einhorn’s Maxwell’s Demon, a solo for electric violin performed by innovative American violinist Mary Rowell.
GUSTAVE LE GRAY NO. 1
Pam Tanowitz’s Gustave le Gray No. 1, a work for four dancers and an onstage pianist, was originally created in 2019 for “Ballet Across America” at the John F. Kennedy Center for the Performing Arts, just weeks after the premiere of Tanowitz’s Bartók Ballet, her first creation for New York City Ballet. The ballet is set to Caroline Shaw’s Gustave le Gray and features costume design by Reid Bartelme and Harriet Jung and lighting design by Davison Scandrett.
THE TIMES ARE RACING
Justin Peck’s The Times Are Racing is set to the last four tracks of Dan Deacon’s expansive 2012 album, America. The ballet for 20 dancers premiered in 2017. The Times Are Racing is the second collaboration between Peck, who is New York City Ballet’s Resident Choreographer and Artistic Advisor, and fashion designer Humberto Leon of Opening Ceremony, and the lighting is by Peck’s frequent collaborator Brandon Stirling Baker.
SWAN LAKE
George Balanchine preferred The Sleeping Beauty to Swan Lake, the first of Tschaikovsky’s three fulllength ballets, so when asked by Morton Baum of the City Center of Music and Drama, both Balanchine and Lincoln Kirstein hesitated at staging Swan Lake for New York City Ballet, and finally did so only as insurance that they would be allowed to mount a more daring piece in the future. Balanchine’s one-act version, which premiered at City Center in 1951 with Maria Tallchief and André Eglevsky in the leading roles, is based on Lev Ivanov’s choreography for Act II, and uses music from both Acts II and IV, the lakeside acts. Balanchine often praised the almost forgotten genius of Ivanov, whose musicality served as an inspiration for the young choreographer. NYCB’s first production of Swan Lake was designed by Cecil Beaton, who created calligraphic scenery and costumes, white ink on black grounds, following pen and ink drawings by 16th century German painters. In 1964, with NYCB’s move to Lincoln Center, Rouben Ter-Arutunian created a new set for the larger stage, which replaced Beaton’s designs with a painted landscape. In 1986 the production was redesigned once more by Alain Vaes who created an icy landscape instead of the traditional Gothic lakeside, and dressed the corps of swans in black, which Balanchine may have been planning in 1981 when he mysteriously ordered 400 yards of black tarlatan. When asked to justify this odd request, Balanchine merely said, “There are black swans as well.”
THE STEADFAST TIN SOLDIER
This pas de deux, commissioned by the Saratoga Performing Arts Center in 1975, tells the story of a toy soldier and his love for a paper doll. It is inspired by one of Hans Christian Andersen’s tales, which Balanchine found “endlessly entertaining.” Georges Bizet first composed the score, Jeux d’Enfants (“Children’s Games”), as a suite of a dozen piano pieces, in 1871; he later arranged five of the pieces for orchestra. For The Steadfast Tin Soldier, Balanchine used four of the orchestral suite’s movements: Marche, Berceuse, Duo, and Galop. Bizet’s Jeux d’Enfants had also been employed for a 1955 ballet of the same name, choreographed by Balanchine, Francisco Moncion, and Barbara Milberg.
COPPÉLIA (excerpt)
Coppélia, considered one of the greatest comic ballets of the 19th century, has remained one of the best-loved classical works in the ballet repertory. Originally choreographed by Arthur St. Léon in 1870, restaged by Petipa in 1884, and revised by Cecchetti in 1894, it has been performed regularly since then. None of St. Léon’s original choreography remains in today’s productions, and although Acts I and II have retained his ideas and story, the nature of some of the roles has changed. This staging by Balanchine and Alexandra Danilova – who was considered a definitive Swanilda – also contains the most authentic of the character dances. In Act III, which is totally Balanchine’s, the story becomes secondary, as the village festivities are presented as a series of dances, culminating in an all-encompassing grand finale.
In Coppélia, Delibes, along with Nuitter (who devised the original book from E.T.A. Hoffmann’s Der Sandmann) and St. Léon, created a work which remains a model of ballet construction. Delibes was a dancer’s composer, with the gift of illustrating action, creating atmosphere, and inspiring movement in his music. He attempted to do in his music what the impressionists had achieved in painting – make color matter most. The result was the first symphonic ballet score that included melodic national dances, musical descriptions that introduced the main characters, and spectacular effects that held the interest of the audience. The music of Coppélia links two great historical periods of ballet – the French Romantic style and the Russian Classical style.
In 1974, when Balanchine decided to add Coppélia to NYCB’s repertory, he took the opportunity to gently update the ballet, adding some male solos, more pas de deux, and a new third act. He enlisted Danilova to restage the dances she knew so well for the first two acts, and to coach the principal roles, originally performed by Patricia McBride (Swanilda), Helgi Tomasson (Frantz), and Shaun O’Brien (Doctor Coppélius
STARS AND STRIPES
For all its exuberant patriotic touches, Stars and Stripes contains as much pure dancing as many full-length classical ballets. The work is divided into five “campaigns,” each of which uses different themes from John Philip Sousa’s marches. When asked why he chose to choreograph a ballet to Sousa, Balanchine replied, “Because I like his music.” Stars and Stripes has been performed for many memorable occasions, including Nelson Rockefeller’s inauguration as governor of New York, tributes for Presidents John F. Kennedy and Lyndon B. Johnson, and the opening ceremonies for the New York State Theater (now the David H. Koch Theater) at Lincoln Center. The ballet is dedicated to the memory of Fiorello H. LaGuardia, mayor of New York City from 1934 to 1945 and founder of the City Center of Music and Drama.
NEW YORK CITY BALLET
NEW YORK CITY BALLET
NEW YORK CITY BALLET
Board of Directors
Board of Directors
Board of Directors
Diana L. Taylor, Chair
Diana L. Taylor, Chair
Diana L. Taylor, Chair
Jeffrey M. Peek, President
Jeffrey M. Peek, President
Jeffrey M. Peek, President
Marie Nugent-Head
Marie Nugent-Head
Marie Nugent-Head
Sarah Jessica Parker
Franci J. Blassberg Secretary
Maria-Cristina Anzola
Sarah Jessica Parker
Sarah Jessica Parker
Alan D. Schnitzer
Alan D. Schnitzer
Alan D. Schnitzer
Barbara J. Slifka Vice Chairs
Franci J. Blassberg Secretary
Franci J. Blassberg Secretary
Maria-Cristina Anzola
Maria-Cristina Anzola
JT Batson
JT Batson
JT Batson
Susan J. Campbell
Donya Archer Bommer
Donya Archer Bommer
Kristin Kennedy Clark
Susan J. Campbell
Susan J. Campbell
Whitney Clay
Whitney Clay
Whitney Clay
Paul M. Donofrio
Paul M. Donofrio
Paul M. Donofrio
Thelma B. Ferguson
Barbara R. Evans
Barbara R. Evans
Randy Fishman
Thelma B. Ferguson
Thelma B. Ferguson
Maureen Footer
Randy Fishman
Randy Fishman
Barry S. Friedberg
Maureen Footer
Maureen Footer
Lynn J Good
Barry S. Friedberg
Barry S. Friedberg
Barbara J. Slifka Vice Chairs
Barbara J. Slifka Vice Chairs
Mark S. Melodia Counsel
Melanie Hamrick
Lynn J. Good
Lynn J. Good
Jennifer Lipschultz
Jennifer Lipschultz
Jennifer Lipschultz
Carol D. Mack
Carol D. Mack
Carol D. Mack
Alison Mass
Alison Mass
Alison Mass
Stacey C. Morse
Stacey C. Morse
Stacey C. Morse
Ellen Moskowitz
Ellen Moskowitz
Ellen Moskowitz
Clarke Murphy
Karen Murphy
Karen Murphy
Gordon B. Pattee
Gordon B. Pattee
Gordon B. Pattee
Jenny Paulson
Jenny Paulson
Jenny Paulson
Brynn Putnam
Brynn Putnam
Brynn Putnam
Raja Rajamannar
Raja Rajamannar
Raja Rajamannar
Mark S. Melodia Counsel
Mark S. Melodia Counsel
Mazdack Rassi
Mazdack Rassi
Mazdack Rassi
Stephen Kroll Reidy
Deborah Roberts
Deborah Roberts
Deborah Roberts
Paula Campbell Roberts
Paula Campbell Roberts
Denise Saul
Denise Saul
Paula Campbell Roberts
Allyson Tang
Charles W. Scharf
Charles W. Scharf
Bonnie Strauss
Bonnie Strauss
Danielle Taubman
Alair A. Townsend
Allyson Tang
Allyson Tang
Danielle Taubman
Cathinka Wahlstrom
Danielle Taubman
William H. Wright II
Alair A. Townsend
Alair A. Townsend
Strauss Zelnick
Strauss Zelnick
Strauss Zelnick
Chairmen Emeriti: Jay S. Fishman*, Barry S. Friedberg, Eugene P. Grisanti*, Theodore C. Rogers, Howard Solomon*, John L. Vogelstein
Chairmen Emeriti: Jay S. Fishman*, Barry S. Friedberg, Eugene P. Grisanti*, Theodore C. Rogers, Howard Solomon*, John L. Vogelstein
Chairmen Emeriti: Jay S. Fishman*, Barry S. Friedberg, Eugene P. Grisanti*, Theodore C. Rogers, Howard Solomon*, John L. Vogelstein
Directors Emeriti: Gillian Attfield, Frederick W. Beinecke, Daniel Brodsky, Randal R. Craft, Jr., Mary Sharp Cronson, Lawrence Herbert, Nancy Lassalle*, David H. Mortimer, Edward J. Toohey*
Directors Emeriti: Gillian Attfield, Frederick W. Beinecke, Daniel Brodsky, Randal R. Craft, Jr.,
Directors Emeriti: Gillian Attfield, Frederick W. Beinecke, Daniel Brodsky, Randal R. Craft, Jr.,
Mary Sharp Cronson, Lawrence Herbert, Nancy Lassalle*, David H. Mortimer, Edward J. Toohey*
Mary Sharp Cronson, Lawrence Herbert, Nancy Lassalle*, David H. Mortimer, Edward J. Toohey*
Members Ex-Officio: Honorable Eric Adams, Mayor of the City of New York; Stefanie Batten Bland, Designee, Mayor of the City of New York; Honorable Mark D. Levine, Manhattan Borough President; Honorable Adrienne Adams, Speaker, New York City Council; Honorable Laurie Cumbo, Commissioner, Department of Cultural Affairs
Members Ex-Officio: Honorable Eric Adams, Mayor of the City of New York; Stefanie Batten Bland, Designee, Mayor of the City of New York; Honorable Mark D. Levine, Manhattan Borough President; Honorable Adrienne Adams, Speaker, New York City Council; Honorable Laurie Cumbo, Commissioner, Department of Cultural Affairs
Members Ex-Officio: Honorable Eric Adams, Mayor of the City of New York; Stefanie Batten Bland, Designee, Mayor of the City of New York; Honorable Mark D. Levine, Manhattan Borough President; Honorable Adrienne Adams, Speaker, New York City Council; Honorable Laurie Cumbo, Commissioner, Department of Cultural Affairs
* In Memoriam As of June 2024
* In Memoriam As of May 2024
* In Memoriam As of May 2024
THANKS SPECIAL
Major annual support for New York City Ballet is provided by Miss Gillian Attfield, Berry Charitable Foundation, Franci Blassberg and Joe Rice, Emily and Len Blavatnik, Bloomberg Philanthropies, Mother Cabrini Health Foundation, Barbara and Brad Evans, Estate of Georgia Lee Funsten, The Giorgi Family Foundation, The Florence Gould Foundation, Holland and Knight LLP, JPMorgan Chase & Co., Elysabeth Kleinhans, Lincoln Center Corporate Fund, Estate of Douglas Matheson, Karen and Tommy Murphy, Liz and Jeff Peek, Stephen Kroll Reidy, Charles and Amy Scharf, The Shubert Foundation, Joseph and Sylvia Slifka Foundation, Denise Littlefield Sobel, Michael and Sue Steinberg, Estate of Winifred R. Williams, and a gift in Memory of Nancy Lassalle.
Major annual support for New York City Ballet is provided by
Jody and John Arnhold, Miss Gillian Attfield, Bank of America, The Berry Charitable Foundation, Estate of Harlan Morse Blake, Emily Blavatnik/Blavatnik Family Foundation, Bloomberg Philanthropies, Jeff and Susan Campbell, Chris and Anne Flowers, Barry Friedberg and Charlotte Moss, The Giorgi Family Foundation, Holland & Knight, Elysabeth Kleinhans, Jennifer and Marc Lipschultz, Lincoln Center Corporate Fund, LuEsther T. Mertz Charitable Trust, Mastercard, Karen and Tommy Murphy, Jenny Paulson, Lynne and Richard Pasculano, Liz and Jeff Peek, Brynn Putnam, The Ted and Mary Jo Shen Charitable Gift Fund, The Shubert Foundation, Joseph and Sylvia Slifka Foundation, Michael and Sue Steinberg, Vacheron Constantin, and The Travelers Companies, Inc.
Leadership support for new work is provided by the Doris Duke Charitable Foundation, LuEsther T. Mertz Charitable Trust, Ted and Mary Jo Shen Charitable Gift Fund, Estate of Harlan Morse Blake, and donors to the New Combinations Fund.
Leadership support for new work by female choreographers is provided by the Virginia B. Toulmin Foundation.
Lead Underwriting support for the 2022 Art Series and Access Evenings is provided by Lynne and Richard Pasculano, with generous sponsorship support from Bank of America.
The Stepping Forward Fund to support the salaries of NYCB dancers during their first year in the Company has been made possible through the generosity of the Joseph and Sylvia Slifka Foundation and Martha and Bob Lipp.
The creation and maintenance of New York City Ballet’s costumes are endowed in part by the LuEsther T. Mertz Costume Fund.
The Corps de Ballet is endowed in part by the Carl Jacobs Foundation.
New York City Ballet gratefully acknowledges The Jerome Robbins Foundation for leadership support of its Repertory Directors who ensure the excellence and vitality of the Company’s repertory performances.
New York City Ballet’s student matinees and school residencies are generously underwritten by a leadership grant in memory of Ralph W. Kern.
2021-22 commissioning support for emerging choreographers is provided by the Rudolf Nureyev Fund for Emerging Choreographers, established through a leadership grant from the Rudolf Nureyev Dance Foundation with additional grants from the Harriet Ford Dickenson Foundation and the Joseph and Sylvia Slifka Foundation.
New York City Ballet’s programs are made possible in part by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
New York City Ballet gratefully acknowledges the Lila Acheson and DeWitt Wallace Endowment Fund, which provides support for new work and audience development.
New York City Ballet’s musical leadership is endowed in part by the Agnes Gund and Daniel Shapiro Fund for Musical Excellence.
The creation and performance of works by Peter Martins is funded in part by an endowment gift from the Solomon family, given in loving memory of Carolyn B. Solomon.
New York City Ballet’s performances of works by George Balanchine are supported in part by the Balanchine Production Fund, an endowment created through The Campaign for New York City Ballet.
New York City Ballet is pleased to recognize:
Programming is made possible by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council, and in part by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and by the National Endowment for the Arts.
Medical services during the performances are provided under the direction of Youngnan Jenny Cho, M.D. Children’s costumes executed by the NYCB Costume Shop, Arel Studio, and Parsons-Meares, Ltd.
Scenery built by Feller Scenery Co.
Scenery painted by Nolan Scenery Studios, Inc.
Shoes by Capezio Ballet Maker and Freed of London.
Soft good and fabrics provided by I. Weiss and Sons.
New York City Ballet Gift Shop
Souvenir Merchandise designed and created by: The Araca Group www.araca.com or (212) 869-0070
The Saratoga Performing Arts Center is the summer home of New York City Ballet.
Steinway & Sons is the official piano of the David H. Koch Theater.
New York City Ballet wishes to express its appreciation to TDF for its support this season.
The taking of pictures in the theater is strictly prohibited.
The choreographies presented on this program are copyrighted by the individual choreographers.
ABOUT NEW YORK CITY BALLET
New York City Ballet is one of the foremost dance companies in the world, with a roster of spectacular dancers and an unparalleled repertory. The Company was founded in 1948 by George Balanchine and Lincoln Kirstein, and it quickly became world-renowned for its athletic and contemporary style. Jerome Robbins joined NYCB the following year and, with Balanchine, helped to build the astounding repertory and firmly establish the Company in New York.
New York City Ballet owes its existence to Lincoln Kirstein, who envisioned an American ballet where young dancers could be trained and schooled under the guidance of the greatest ballet masters. When he met George Balanchine in London in 1933, Kirstein knew he had found the right person for his dream. Balanchine traveled to America at Kirstein’s invitation, and in 1934 the two men opened the School of American Ballet, where Balanchine trained dancers in an innovative style and technique that matched his idea of a new, unmannered classicism.
In 1946 Kirstein and Balanchine formed Ballet Society and presented their new company at New York’s City Center of Music and Drama, which had been founded by Fiorello H. LaGuardia, Newbold Morris, and Morton Baum. After seeing a Ballet Society performance, Baum invited Balanchine and Kirstein’s fledgling company to officially join City Center. On October 11, 1948, New York City Ballet was born with a performance that featured Balanchine’s Concerto Barocco, Orpheus, and Symphony in C.
Balanchine served as Ballet Master of New York City Ballet from its inception until his death, in 1983, choreographing countless works and creating a company of dancers known for their linear purity, sharpness of attack, and overall speed and musicality. In 1949 Jerome Robbins joined the Company as associate director and, with Balanchine, created a varied repertory that grew each season.
Following Balanchine’s death, Jerome Robbins and Peter Martins were named Co-Ballet Masters in Chief, and from 1990 until he retired in 2017, Mr. Martins assumed sole responsibility for the Company’s artistic direction. Under Martins’ leadership, NYCB maintained the integrity of its core works, the 20th-century masterpieces by Balanchine and Robbins, while adding significantly to its repertory by commissioning more than 250 world premiere ballets created by more than 60 choreographers. As part of NYCB’s ongoing commitment to the development of new choreography, in 2001 Martins created the position of NYCB Resident Choreographer, which was first held by Christopher Wheeldon (2001-2006), and is currently held by Justin Peck. In September 2000, Martins and the late philanthropist Irene Diamond launched the New York Choreographic Institute, an affiliate of New York City Ballet, which promotes the development of choreographers and dancers involved in classical choreography by providing opportunities to develop their talents in Ballet. In August of 2023, Alexei Ratmansky became NYCB Artist in Residence.
In 2009 Katherine Brown was named NYCB’s first-ever Executive Director, a position created to oversee the Company's administrative management. In February of 2019, Jonathan Stafford was named Artistic Director of New York City Ballet and the School of American Ballet, and Wendy Whelan was named Associate Artistic Director of New York City Ballet.
Jonathan Stafford was appointed Artistic Director of New York City Ballet in February 2019, and also serves as Artistic Director and Chair of Faculty of the School of American Ballet. Upon retiring as an NYCB Principal Dancer in May 2014, Stafford was named one of NYCB’s Ballet Masters. In December 2017, he was appointed to lead NYCB’s interim artistic team.
As a dancer with NYCB, Stafford performed an extensive repertory of featured roles in numerous ballets by George Balanchine, Jerome Robbins, Peter Martins, and Christopher Wheeldon, and also originated featured roles in works by Mauro Bigonzetti and Alexei Ratmansky. As an educator, Stafford served as a member of SAB’s guest faculty beginning in 2006 and joined the School’s permanent faculty in 2007. In 2015 he was named SAB’s first Professional Placement Manager. He graduated summa cum laude from the Fordham School of Professional and Continuing Studies with a B.A. in Organizational Leadership.
Born in Carlisle, Pennsylvania, Stafford studied at Central Pennsylvania Youth Ballet before entering SAB in the summer of 1996. Stafford was named an apprentice with NYCB in 1998, joined the corps de ballet in 1999, and rose through the ranks to became a Principal Dancer in 2007.
Wendy Whelan was named New York City Ballet Associate Artistic Director in February 2019. One of the most acclaimed dancers of her generation, she performed with NYCB for 30 years. Whelan danced principal roles in more than 125 ballets in NYCB’s repertory, performing virtually all of the major Balanchine roles, working closely with Jerome Robbins on many of his works, and originating roles in more than 50 ballets by such choreographers as William Forsythe, Twyla Tharp, Alexei Ratmansky, Christopher Wheeldon, and numerous others. Following her retirement from NYCB in October 2014, she has cultivated multidisciplinary performance projects with a wide range of collaborators.
Whelan began studying dance in Louisville with Virginia Wooton, a local teacher, and at the Louisville Ballet Academy before first studying at SAB in the summer of 1981. She was named an apprentice with NYCB in 1984, joined the corps de ballet in 1986, and was promoted through the ranks to be elevated to Principal Dancer in 1991. She is the recipient of a 2007 Dance Magazine Award, the 2011 Jerome Robbins Award, a 2011 Bessie Award for Sustained Achievement in Performance, and a Doctorate of Arts, honoris causa, from Bellarmine University.
Andrew Litton, Music Director of the New York City Ballet since 2015, has also served as Principal Guest Conductor of the Singapore Symphony Orchestra, Conductor Laureate of Britain’s Bournemouth Symphony Orchestra, and Music Director Laureate of Norway’s Bergen Philharmonic. For his work in Bergen, King Harald V knighted Litton with the Norwegian Royal Order of Merit. Litton led the Dallas Symphony as Music Director from 1994 to 2006. Each season, he also guest conducts leading orchestras and opera companies around the globe and adds to his discography of more than 140 recordings, which have garnered America’s Grammy Award, France’s Diapason d’Or, and other honors.
Litton’s work in ballet began while he was a Juilliard student, performing as onstage pianist for Rudolf Nureyev, Natalia Makarova, and Cynthia Gregory. An accomplished pianist, Litton is an acknowledged expert on George Gershwin and has performed and recorded Gershwin widely as both pianist and conductor. In 2014 he released his first solo piano album, A Tribute to Oscar Peterson. For more information visit andrewlitton.com.
As a nonprofit organization, SPAC depends on the generous support of members, corporate and institutional partnerships, and philanthropic gifts.
Because of you, SPAC is able to deliver the best artists from around the world, life-changing arts education, and a unique array of arts and cultural experiences—all amidst majestic natural beauty.
Thank you for being an integral part of making SPAC the Capital Region’s home for arts, nature, and community.
SPAC Evergreen Society
Planned Giving
Your first ballet, romantic dates in the amphitheater, that family feeling at Jazz Fest, and grandchildren dancing on the lawn...these are moments at SPAC that will always hold a special place in your heart.
What better way to honor your memories than with a gift that will support SPAC for generations to come?
Your path to a legacy gift to SPAC can be as simple as:
• Adding SPAC as a beneficiary to your will or trust
• Naming SPAC as a life insurance beneficiary
• Donating a gift from your IRA
SPAC Evergreen Society recognizes those who have made a commitment to support SPAC with a gift from a will or trust, beneficiary designation, or another planned gift.
SPAC was born in 1966 thanks to the philanthropic support of its community. The Evergreen Society, thanks to people like you, will ensure this legacy continues. We are here to
For more information, please contact Christine Dixon at 518-485-9330 ext. 112 or cdixon@spac.org.
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The Saratoga Performing Arts Center is grateful for the contributions of the following individuals, corporations, foundations, and government agencies. As of May 10, 2024
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The Miller Family
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Mike Morgan
Eleanor K. Mullaney & Robert H. Coughlin Jr.
Nancy Mullen- In Memory of Virginia & John Flagg
John L. Myers & Christine Ames
Jessica Niles
Jackie & Chuck Okosky
Jeffrey Oskin
Talia & Marc Pallozzi
Zachary H. Passaretti
Amy & John Peckham
Scott Peterson
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Dennis, Jane, & Ryan Rose
Mark Rosen
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Dee Sarno
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Michael Scheidler
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Bridget Sheidler
Holly Shishik
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Disha & Josh Spath
Karen Squires
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Ilene & Chip Stein
Matthew Stein
Adam Stepansky & Pam Mahler
Patrick Szurek
Hon. Ann Marie Taddeo
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Rosemarie Tobin
Marie & Mark Treichel
Caryn & Robert Tyre
Carol & Pierre von Kaenel
Matt Wallen
Eileen G. & Donald J. Whelley
Kenneth D. Wilkins
Kelly & Jay Woods
James & Meredith Woolford
Tara & Arin Wright
Carol & John Zanetti
Jeffrey B. Ziegler
PATRON
Anonymous (4)
Karen & Victor Abate
Joseph Abed El Latif
Chris Abildgaard
Donna & Donald Adam
Mylea & Buzz Aldrich
Dr. & Mrs. Arnold Alfert
Kelly & Rick Alfred
William J. Allerdice, Jr.
David & Kelly Anderson
April & Dominick Arnold
Susan K. Arehart
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Jack & Siobhan Celeste
Bruce Cerone
Nora & Jeffrey Cheek
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Alex Shea
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2024 MEMBERS & SUPPORTERS
The King & Queen of Eight
Christopher Burns & Kathleen Stellrecht
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ENCORE
Anonymous (2)
Eric & Danica Andersen
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John L. Benvenuti
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Mr. David N. Deutsch
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Chad Dorrough
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Karin Hyman
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Tim Daniels
Robert M. & Debbie S. Jaffe
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Tim Jones
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M. Anne Krasnicki
Michele & Roy Lance
Jessica & Jeffrey LaValley
Vincent Lazzaro
Megan Lepp
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Jeremy David Linden
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The Honorable & Mrs. Earle I. Mack
Victor Macri
Shiraz Mawani
Andrew Max
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Jason McKee
Monaco Cooper Lamme & Carr, PLLC
Judy & Charles Monson
Jonathan Montag
Keith Monteleone
Matthew Morrissey
Paul C. Naef
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James Pace
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Arthur J. Perkowski & Paris Maney
Michael Plaia
Judy & Jim Pohlman
Akiva Rabinowitsh
Corey Rashkover
Florence Reed
Terry & Michael Reilly
Marc Conner & Barbara Reyes-Conner
Len Rockenstyre
Trisha Rogers-Byrns
Heather & Christopher Rusiecki
Elizabeth Rutnik
Roberto Santos
Jane Sanzen
Ray Sayour
Tyler Scott
John & Jean Shaver
Deb & John Shea
Melanie Shefchik
Jed T. Shpur
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Theodore Frederick Snyder
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Rosemary W. & Michael L. Somich
Jacqueline & Michael Stampalia
Joanne Stazio Silverman
Dorene & Michael Sternklar
Marcia Trotter
Margaret E. Tuft
Jennifer L Van Ort
Jenny & Mike Vidoni
Virginia & Jason Vitullo
Christopher Walsh
David Weare
Dympna Weil
Vera Weiss
Diane White & Ted Orosz
Lori A. Whitney
Ted & Sheila Winnowski
Richard Zick
BRAVO
Anonymous (4)
Naomi & Jeffrey Allen
Susan J. Anderson
Maureen Archambault-Versaci
Michael Arnush & Leslie Mechem
Lisa Aronson & Al Ormsby
Tina & Bob Ashton
Paul J. Azoulay
Charles E. Babcock
Michael F. Barrett
Karen Becker & Anthony Galloro
Annamaria & Mark Bellantoni
Benaman/Roginski Family
Jeffrey Bennett
Adolphe V. Bernotas
Daniel Bernstein
Andrea Betts
Mary Beth Bianconi
Angella Rella & Jim Birnby
Louise Bonanno
Marilyn Ammerman Bradley
Michelle & David Brandriss
Kristin Brenner
Anne M. Brockenauer
Susan Brynteson
Clarissa Bullitt
Donna A. Caniano & Richard A. Flores
MaryLou & Jerry Cartwright
Michael Casavant
David Clark
Anne & Joe Clark
Mr. Kenneth Clute
James Cochran & Fran Pilato
Catherine E. Commerford
John & Gabrielle Coppola
Mary A. Corrado
Richard A. Curreri
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Desiree & Zachary Dake
Joe Daly
David Davidson
Ilse de Veer & Elayne Livote
Amanda & David Demasi
Kristen DeRosia
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Kathleen & Peter Diedrich
Marsha & Steve Dolinsky
Stephen & Susan Dorsey
Siobhan Dunham
Theodore Ebersole
Julie Ehrlich
Chandra Eldred
Leigh Elkaim
Keith & Paula Enderle
David Engel
William A. Epple
Nancy & Richard Erdoes
Mary Anne Fantauzzi
The Farrelly Family
Corinne B. Feinberg
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Ben Foster
Lisa Frazzetta
David Fuller
Meg Gallien & Bill Hammond
Elizabeth Garofalo
Gary Gold & Nancy Pierson
Felice & David Gordis
Ivan J. Gotham
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Natalie Graham
William Gray
Michael Greenbaum
Susan Gurian & Bob Sommerville
Catherine Halim
Miles Douglas Hansen
David Harris
Wilhelmina A. Haruk
Jean & Walt Hayes
Judith & Richard J. Heller
Dean J. Henderson
Ray Jett & David Hersh
Thomas E. Hommel
Junko Kobori & Louis Hotchkiss
Michelle Hunt
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Marcia & John Keefe
Elain & Robert Kennedy
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Jack R. Lebowitz
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Robert J. Lindinger
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Christopher Lyons
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Helen Porter
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Mr. Vince Rua
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Samantha Ruth
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Susan Seeley
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Steve Sills
Rhea Singsen
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Danny Stevens
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Stacy Styles
Timothy Suprise
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Deborah H. Tagliento
Aaron To
Margot Tohn
Jim & Kay Tomasi
Mary & Kevin Tully
Mary Ellen Turner
Jennifer & Andrew Turro
Mr. & Mrs. Edward Van Gelder
Tim VanBenschoten
Heather N. Varney
Tricia Viola
Vogel Family
Robert Walker
Amy Wellman
Alexander & Katherine Wentworth-Ping
Nancy Werner & Roger Risch
Walter Whalen
Andre Wharer
Sarah & D. Billings Wheeler
Tim Wickes
Lawrence & Sara Wiest
Donna & Michael Wilcox
Winnie & Fred Wilhelm
Frank & Cynthia Williams
Mallory & Grant Willsea
Lisa Yanchitis
Melissa M. Zambri & Gina M. Moran
Bruno Zarkower
2024 CORPORATE MEMBERS
GOLD PARTNER
Fingerpaint
Mackey Auto Group
Stewart’s Shops
The Adirondack Trust Company
SILVER PARTNER
Druthers Brewing Company
East Hill Cabinetry
Plug PV Powered by Sunnova
Skidmore College
The Fort Miller Group, Inc.
BRONZE PARTNER
Hoffman Development Corp.
Lift Marketing
Merrill Lynch, Pierce, Fenner & Smith Inc
Mohawk Honda
Nuvalence
Social Radiant
The Albany and Saratoga Centers for Pain Management
PARTNER
Adirondack Radiology Associates
Austin & Co., Inc.
BPI Mechanical Service
BST & Co. CPA’S, LLP
Empire State University
Fenimore Asset Management
Greno Industries, Inc.
KPTC LLC
Mangino Buick GMC
Mechanical Dynamics & Analysis LLC
Point Breeze Marina
RJG Enterpirses LLC
Saratoga Schenectady Gastroenterology
Associates
Soleno
ASSOCIATE
Anne’s Washington Inn
Bouchey Financial Group
Carpe Diem Real Properties, LLC
Carpenter & Associates Insuring Agency LLC
CDPHP
Couch White, LLP
Ellis Medicine Foundation
Krackeler Scientific, Inc.
Lemery Greisler, LLC
Munter Enterprises, Inc.
Olde Bryan Inn
Omni Development Company, Inc
On Call Plumbing and Heating LLC
Polyset Company, Inc.
R.J. Murray Company
Saratoga Dermatology/Spa City Spa
Teakwood Builders, Inc.
Trustco Bank
UHY Advisors
Woods Oviatt Gilman LLP
Zippy Chicks
SPAC EVERGREEN SOCIETY
Anonymous
Virginia Alston
Elizabeth Louise Berberian
Joyce Bixby
Susan Bokan
Joanne Chaplek
Jane & John Corrou
David
Ellen deLalla
Gary DiCresce
Lois Emmens
Chris Freihofer
Dr. Jon D. Globerson
Richard Higgins
Robert M. & Debbie S. Jaffe
Judith Jameson
Virginia Mee
Denise Polit
Jean A. Richards
Katie Scalamandre
Carla H. Skodinski
Andrea Spungen
James Swenson
Dawn Szurek
Stephen Thomas
Robert Watts
INSTITUTIONAL SUPPORT
Carl E. Touhey Foundation
Charles R. Wood Foundation
Empire State Development
The Little Family Foundation
Frank and Lydia Bergen Foundation
New York State Council on the Arts
NYS Office of Parks, Recreation and Historical Preservation
Saratoga County, NY
Saratoga Foundation
The Wright Family Foundation
MEMORIAL AND HONORARY GIFTS
In Memory of Phyllis Aldrich
Anonymous (1)
Will Adrich
Elizabeth W. Atcheson
Boilin’ Sister
Susan Dake
Karen Flewelling
Lynne Gelber
Amy Knoeller and James North
Chuck Marshall
Nancy McPhaul
Bernard and Jennifer Mirling
Cecile Picard
Jo Anne Robbins
James Sevinsky
Jessica Schwartzman
Elizabeth Sobol
Cindy Spence
Merrill Stubbs Dorman
David and Claudia Watts
Pen and Bev Williamson
Russell Wise & Ann Alles
In Memory of Philly Dake
Tyler & Krista Keogh
In Memory of Rose Koplovitz
Susan & Tim Delaney
In Memory of Christa V. Kraft
Bonnie Myers
Darlene Landry
Maxine Sherrill
Carolyn Lull
Nicole Clarke
In Memory of: Robert F. & Mary E. Lennon
Jeff & Linda Anderson
Barbara A. Ash
Dan & Lynn O’Rourke
Elaine M. Smith & Paul V. Ertelt
Kenneth D. Wilkins
In Memory of Anthony Manganaro
Joseph E. & Zenia Aoun
Catherine & Larry Belkov
Arthur Black
Greg Gordon
Tom & Tracy Vagrin
Susan Wilson
The Manganaro Family
In Honor of Susan and Bill Dake
Chuck Marshall
Laura Dake Roche
Renee Dake Wilson
Nancy & Mike Ingersoll
The Robert and Lisa Moser Family Foundation
In Honor of Chris Mackey
Chuck Marshall
In Honor of Tas Steiner and Ken Kelly
Keeley Ardman DeSalvo
2024-2025 SEASON
Christian McBride and Ursa Major
McCormack Jazz Series
October 24, 2024 | 7PM
Chamber Music Society of Lincoln Center
October 26, 2024 | 3PM
A.I.M. by Kyle Abraham
November 9, 2024 | 7PM
November 10, 2024 | 2PM
Dorado Schmitt and the Django Festival Allstars with special guest Hot Club Saratoga
McCormack Jazz Series
November 22, 2024 | 7PM
Flamenco Vivo
March 8, 2025 | 7PM
March 9, 2025 | 2PM
Chamber Music Society of Lincoln Center
March 29, 2025 | 3 PM
Alfredo Rodriguez Trio
McCormack Jazz Series
April 5, 2025 | 7PM
Chamber Music Society of Lincoln Center
April 26, 2025 | 3PM
Veronica Swift
McCormack Jazz Series
May 1, 2025 | 7PM
Christian McBride and Ursa Major
A.I.M. by Kyle Abraham
Alfredo Rodriguez
Veronica Swift
Flamenco Vivo
As RPI celebrates our Bicentennial and 200 years of innovation in 2024, we are proud to continue our partnership with SPAC.
Concert Hall at the Curtis R. Priem Experimental Media and Performing Arts Center at Rensselaer
