George Balanchine for The Ballet Society

In 1946 Balanchine and Kirstein collaborated again to form ballet nightspot, a company which introduced saucy York subscription only audiences over the next two years to such naked Balanchine works as The Four Temperaments (1946) and Stravinskys Renard (1947) and Orpheus (1948). On October 11, 1948, Morton Baum, chairman of the urban center Center finance committee, saw concert dance Society in a urban center Center Theater program that include Orpheus, Serenade, and Symphony in C (a ballet which Balanchine had created for the Paris Opera Ballet under the title Le Palais de Crystal the previous year)George Balanchine for New York City Ballet Baum was so highly impressed, that he initiated negotiations that led to the companys being invited to associate the City Centre municipal complex (of which at the time the New York City Drama Company and the New York City Opera were a part) as the New York CityBallet. On October 11, 1948, the New York City Ballet was born, dancing a pr ogram consisting of Concerto Barocco, Orpheus and Symphony In C (a ballet which Balanchine had created for the Paris Opera Ballet under the title Le Palais de go game the previous year). From that time until his death, Balanchine served as artistic director for the New York City Ballet, choreographing (either wholly or in part) the majority of the productions the company has introduced since its inception Among them were vermillion flycatcher (1949 restaged with Jerome Robbins, 1970) Bouree Fantasque (1949) La Valse (1951) The Nutcracker (his first full-length work for the Company), Ivesiana and horse opera Symphony, (1954) In June 1972, Balanchine staged the New York City Ballets first festival, an intensive one-week jubilation of the music of his longtime friend and collaborator, Igor Stravinsky. Of the 20 works that received their land premieres during the Festival, he choreographed eight Stravinsky Violin Concerto, Duo Concertant, Choral Variations (on Bachs Vom Himmel Hoch , Scherzo A La Russe, Symphony in Three Movements, Divertimento from Le Baiser De La Fee, and new versions of Pulcinella (with Robbins) and Danses Concertantes. Till today his company, the New York City Ballet, is the leading dance pigeonholing of the United States and one of the greatest companies in the world