American Ballet Theatre Giselle

- About
- Synopsis
- Creative
- Artist
- Presenter
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About

Choreography after Jean Coralli, Jules Perrot, and Marius Petipa
Stage Director: Kevin MCKenzie
Librettist: Théophile Gautier, on a theme by Heinrich Heine
Music: Adolphe Adam
Orchestration: John Lanchbery
Scenery Designer: Gianni Quaranta
Costume Designer: Anna Anni
Lighting Designer: Jennifer Tipton

Artistic Director: Susan Jaffe
Conductors: Ormsby Wilkins (Nov. 09 19:30 / Nov. 11 14:00), Charles Barker (Nov. 10-11 19:30 / Nov. 12 14:00)
Accompanied by National Ballet of China Symphony Orchestra

The world premiere of Giselle, the oldest continually-performed ballet, occurred at the Theatre de l'Academie Royale de Musique in Paris on June 28^th, 1841, danced by Carlotta Grisi as Giselle and Lucien Petipa as Albrecht.

This ballet is in the repertoire of almost all of the major ballet companies in the world and was first presented by American Ballet Theatre (then Ballet Theatre) at the Center Theatre in New York City on January 12^th, 1940, with choreography by Anton Dolin and scenery and costumes by Lucinda Ballard. The leading roles were danced by Annabelle Lyon and Anton Dolin.

American Ballet Theatre’s second production of Giselle premiered on October 15^th, 1946, at the Broadway Theatre in New York City, with choreography by Dimitri Romanoff and scenery and costumes by Eugene Berman. The leading roles were danced by Alicia Alonso and Igor Youskevitch.

The third production of Giselle, directed by David Blair, received its first performance at the Carter Barron Amphitheatre in Washington, D.C. on July 4^th, 1968, with scenery by Oliver Smith and costumes by Peter Hall. The leading roles were performed by Lupe Serrano as Giselle and Royes Fernandez as Albrecht. The production's New York City premiere was given at the Metropolitan Opera House on July 10^th, 1968, with the same cast.

Using the Smith/Hall scenery and costumes, Mikhail Baryshnikov staged both the fourth and fifth productions of Giselle for ABT after choreography by Jean Coralli, Jules Perrot, and Marius Petipa. The first premiered at the Kennedy Center for the Performing Arts in Washington, D.C. on December 16^th, 1980, with Marianna Tcherkassky as Giselle and Baryshnikov himself as Albrecht; while the second, which featured additional staging by John Taras and Elena Tchernichova, received its first performance at the Filene Theatre at Wolf Trap Farm in Vienna, Virginia on August 28^th, 1985, danced by Miss Tcherkassky and Fernando Bujones.

American Ballet Theatre's sixth production, featuring scenery by Gianni Quaranta and costumes by Anna Anni, was created for the film Dancers, produced in 1987 by Cannon Films. The film incorporates Giselle into its storyline. The production's first public performance was given on March 20^th, 1987 at the Shrine Auditorium in Los Angeles, California, with Miss Tcherkassky as Giselle and Kevin McKenzie as Albrecht.

The current staging is by Kevin McKenzie, using the Quaranta and Anni designs.

Synopsis

ACT I

The ballet is set in the vineyard country bordering the Rhine. Hilarion, the village huntsman and a gamekeeper to the court, returns from his early morning chores and pauses before a neighboring cottage—the home of Giselle, with whom he is in love. Villagers pass by on their way to the vineyards, where they will harvest the last of the grapes before the Wine Festival.

Count Albrecht arrives with his squire and enters a cottage opposite Giselle’s. He emerges dressed as a peasant, submits his disguise to the squire’s inspection, and dismisses him. Hilarion has witnessed this exchange and is puzzled that the squire should show such deference to this youth, who is known to the villager as a fellow peasant named Loys. Loys excuses himself from joining the grape pickers so that he can be alone with Giselle. He swears eternal love, and she takes the traditional test with a daisy—“he loves me, he loves me not.” When it appears the answer will be “not,” she throws the flower away; Loys retrieves it and, by surreptitiously discarding a petal, comes up with the answer “he loves me.” Hilarion interrupts, protesting that he, and not Loys, truly loves Giselle. A quarrel ensues, and Hilarion’s suspicions deepen as Loys instinctively reaches for the sword that, as a nobleman, he is accustomed to wearing.

The villagers return, and Giselle invites them to join in a dance to celebrate the harvest. Her mother, Berthe, interrupts and warns her that her life may be endangered if she overexerts herself by dancing. She is struck by a momentary hallucination of her daughter in death. She sees her as a wili, a restless spirit who has died with her love unrequited.

A horn sounds in the distance, and Loys recognizes it as coming from the hunting party of the prince of Courland. As Loys hastily departs, Hilarion breaks into Loys’ cottage. Refreshments are served to the hunters, and the prince’s daughter, Bathilde, gives Giselle a gold necklace when she learns they are both engaged to be married. After the royal party has returned to the hunt, Hilarion emerges from Loys’ cottage with a hunting horn and a sword, further evidence that the supposed peasant is, in fact, a nobleman.

The villagers return and proclaim Giselle the queen of the Wine Festival. Hilarion interrupts to denounce Loys as an impostor. When Loys denies the charges and threatens the gamekeeper with his sword, Hilarion blows the hunting horn, a signal for the prince to return. Loys is exposed as an impostor when Bathilde reveals that he is her fiancé, Count Albrecht. The shock of learning of Albrecht’s duplicity is too great for Giselle’s frail constitution. Her mind becomes unhinged, and she dies of a broken heart—her love unrequited.

ACT II

The scene is laid in a clearing in the forest near Giselle’s grave. The wilis are summoned by their queen, Myrta, to attend the ceremonies that will initiate Giselle into their sisterhood. The wilis are maidens whose fiancés failed to marry them before their deaths. Their love unrequited, they can find no rest. Their spirits are forever destined to roam the earth from midnight to dawn, vengefully trapping any male who enters their domain and forcing him to dance to his death. Hilarion, in search of Giselle, meets his death at their hands. Albrecht arrives to leave flowers on Giselle’s grave. He too is trapped and commanded to dance until death. Giselle resolves to protect him. She dances with him until the clock strikes four, at which hour the wilis lose their power. Albrecht is rescued from death.

Creative

Susan JaffeArtistic Director

Susan Jaffe

Declared by The New York Times as “America’s Quintessential American Ballerina,” Susan Jaffe enjoyed a career as a Principal Dancer at American Ballet Theatre for 22 years. She performed on the international stage with the Royal Ballet, the Kirov Ballet, the Stuttgart Ballet, La Scala Ballet, Vienna State Opera Ballet, Royal Danish Ballet, Royal Swedish Ballet, and the English National Ballet. Her versatility as a dancer brought acclaimed interpretations to ballet classics, such as Swan Lake and The Sleeping Beauty, and dramatic works by Agnes de Mille, Antony Tudor, John Cranko, Ronald Hynd, and Kenneth MacMillan. She also worked with many prominent contemporary choreographers of her time, such as Twyla Tharp, Jerome Robbins, Merce Cunningham, Nacho Duato, Mark Morris, Ulysses Dove, and Jiří Kylián.

After retiring from the stage in 2002, Jaffe taught in the ABT Jacqueline Kennedy Onassis School and served as an advisor to the chairman of the board of ABT until 2007. In 2010 she became a Director of Repertoire at ABT. Two years later, she was appointed Dean of Dance at the University of North Carolina School of the Arts (UNCSA) in Winston-Salem, NC, a position she held for eight years. During her tenure at UNCSA, Jaffe and her faculty implemented a syllabus based on the ABT National Training Curriculum and established the Choreographic Institute of UNCSA. Additionally, she raised $3.5 million in endowed scholarships and other scholarships.

In 2020 Jaffe was appointed the Artistic Director of Pittsburgh Ballet Theatre. She helped to lead the company through the pandemic with digital programs, outdoor performances, and performances in museums. As audiences began returning to theaters, Jaffe curated programmes that included classic ballets and diverse, innovative voices of today.

Jaffe was appointed Artistic Director of American Ballet Theatre in December 2022.

Ormsby WilkinsMusic Director

Ormsby Wilkins

A native of Sydney, Australia, Ormsby Wilkins joined American Ballet Theatre as its Music Director in November 2005.

After taking his music studies at the Conservatories of Sydney and Melbourne, Wilkins joined The Australian Ballet and became resident conductor in 1982. Moving to Europe in 1983, he was appointed conductor with England’s Sadler’s Wells Royal Ballet (now called the Birmingham Royal Ballet).

Wilkins continued his association with The Australian Ballet, having been invited to guest on many occasions for its extensive engagements. Wilkins has conducted many orchestras around the world, both in association with ballet and in concert. They include the Philharmonia and Royal Philharmonic Orchestras of London, the Royal Opera House Orchestra, Winnipeg Symphony, Calgary Philharmonic, Edmonton Symphony, Hong Kong Philharmonic, Melbourne Symphony and National Arts Centre Orchestra, Ottawa.

Prior to his appointment to ABT, Wilkins spent 16 years as Music Director of the National Ballet of Canada. He has also worked a number of times with one of the top brass bands in North America, the Hannaford Street Silver Band.

Wilkins also conducted ABT’s performances of Swan Lake and Frederick Ashton’s The Dream filmed for PBS’s acclaimed “Dance in America” series.

Charles BarkerPrincipal Conductor

Charles Barker

Charles Barker has conducted orchestras worldwide including the Royal Philharmonic, Paris Opéra Orchestra, Danish Radio Symphony, La Orquestra Filarmonica de Buenos Aires, Adelaide Symphony, Columbus Symphony and the Pacific Symphony. He is currently Principal Conductor of American Ballet Theatre (since 1987), Music Director for the Pittsburgh Ballet Theatre (since 2007) and a regular guest conductor for San Francisco Ballet and Houston Ballet.

In addition to his work with ABT, he was Music Director of The Australian Ballet from 1997 to 2001 when he joined The Royal Ballet in London until 2003. He was Music Director of the Kansas City Ballet from 1985 to 1987. From 1995 to 1998 he was a member of the Barnard-Columbia Ancient Drama Group which presents Greek and Latin drama in the original language. In addition to being a cast member, Barker wrote music for The Bacchae, Hippolytus and Heracles.

Barker was Music Director and Conductor of the American Chamber Orchestra from 1981 to 1987. In February 1983 he made his Carnegie Hall debut conducting the ACO, and in November 1983 performed A Tribute to Aaron Copland at Carnegie Hall in honour of the composer’s 83^rdbirthday. In 1985, he was Music Director for Aaron Copland’s rarely performed opera The Second Hurricane which played to critical acclaim at the New Federal Theatre in New York.

Barker has conducted numerous film and television features for dance including Dance in America, a PBS special presentation on the works of Antony Tudor; the BBC in England and the ABC in Australia.

Artist

Joo Won Ahn as Count Albrecht Principal Dancer
Joo Won Ahn is originally from Wonju, Korea and began his formal training in 2006 at Y.J. Ballet People Academy and Sun-hwa Arts School. In 2012, he became a student at Korea National University of Arts in Seoul where his performance credits include Marius Petipa's The Sleeping Beauty, Paquita, Raymonda, La Bayadère, and Don Quixote. Ahn won the Silver Medal at the Korea International Ballet Competition and the 3^rd Prize at the 2012 Varna International Ballet Competition in Bulgaria. Ahn was invited to join ABT Studio Company in 2013 after winning the Gold Medal at Youth America Grand Prix in New York City.

Ahn joined ABT as an apprentice in January 2014 and became a member of the corps de ballet in June 2014. He was promoted to Soloist in September 2019 and to Principal Dancer in September 2020.

Aran Bell as Count Albrecht Principal Dancer
Born in Bethesda, Maryland, Aran Bell began studying ballet at age four, receiving the majority of his early training at Central Pennsylvania Youth Ballet and with Denys Ganio in Rome, Italy. He spent several summers at the Royal Ballet School in London and at American Ballet Theatre’s Summer Intensive in New York City. Between the ages of 11 and 16, Bell received the Hope Award at the Youth America Grand Prix, the Premio Positano, the Premio Amalfi Young Talent Award, a Gold Medal and Audience Choice Award at Rieti International Ballet Competition, and the Premio Capri Danza International, among other awards.

After joining ABT Studio Company in September 2014, Bell joined the main Company as an apprentice in May 2016 and became a member of the corps de ballet in March 2017. He was promoted to Soloist in September 2019 and appointed a Principal Dancer in September 2020.

Isabella Boylston as Giselle Principal Dancer
Born in Sun Valley, Idaho, Isabella Boylston began dancing at the age of three. While training at the Academy of Colorado Ballet, she won the gold medal in 2001 at the Youth America Grand Prix Finals in New York City. In 2002, she began training at the Harid Conservatory in Boca Raton, Florida, on a full scholarship.Boylston joined the ABT Studio Company in 2005, the main Company as an apprentice in May 2006 and the corps de ballet in March 2007. She was promoted to Soloist in June 2011 and to Principal Dancer in August 2014.

Boylston won the 2009 Princess Grace Award and was nominated for the 2010 Prix Benois de la Danse. In 2011, she received the Clive Barnes Award. She was the recipient of the 2014 Annenberg Fellowship. She has appeared as a guest artist with the Mariinsky Ballet in St. Petersburg and the Royal Danish Ballet.

Skylar Brandt as Giselle Principal Dancer
Skylar Brandt was born in Purchase, New York and began her training at age six with teachers Diana White and Christian Claessens at Scarsdale Ballet Studio. She also studied with Valentina Kozlova, Fabrice Herrault, Susan Jaffe, Irina Dvorovenko, and Maxim Beloserkovsky. She attended the American Ballet Theatre Jacqueline Kennedy Onassis School from 2005-2009 under the direction of Franco De Vita. Brandt spent five summers at ABT’s New York Summer Intensive, was a National Training Scholar from 2006-2009 and also received the Bender Foundation Scholarship in 2009. Brandt was a silver medalist at Youth America Grand Prix in 2004 and 2008.

Brandt joined ABT II (now ABT Studio Company) in 2009, became an apprentice with the main Company in November 2010, and joined the corps de ballet in June 2011. She was appointed a Soloist in August 2015 and a Principal Dancer in September 2020.

Brandt was awarded a 2013 Princess Grace Foundation-USA Dance Fellowship. That same year, she was featured in the film Ballet’s Greatest Hits. In 2022, Brandt was named to the Forbes “30 Under 30” list of influential leaders and entrepreneurs.

Daniel Camargo as Count Albrecht Principal Dancer
Daniel Camargo was born in Sorocaba, Brazil. He joined the John Cranko School in Stuttgart, Germany in 2005, studying under the Russian teacher Peter Pestov. After graduating in 2009, Camargo joined the Stuttgart Ballet as a member of the corps de ballet. He was promoted to Soloist in 2012. And to Principal Dancer in 2013. In 2016, he joined Dutch National Ballet as a Principal Dancer.

In 2009, Camargo received an award from the European Cultural Foundation. He received the Future Award from German Dance Prize in 2010 and won the Audience Choice Award at The Erik Bruhn Prize competition in 2011. He was awarded the Premio Positano in Italy in 2017 and was nominated for the Benois de la Danse in 2018 and 2019.

Camargo made his first appearance with American Ballet Theatre as a Guest Artist in the summer of 2022 before joining the Company as a Principal Dancer in September of that year.

Herman Cornejo as Count Albrecht Principal Dancer
Herman Cornejo was born in Mercedes, San Luis, Argentina and began his ballet studies at the age of eight at the Instituto Superior de Arte at Teatro Colón, Buenos Aires. In 1995, when he was 14, he earned a scholarship from the School of American Ballet. Upon his return to Buenos Aires, he was invited to join Julio Bocca’s Ballet Argentino. At the age of 16, Cornejo was the Gold Medal winner of the VIII International Ballet Competition in Moscow (1997), the youngest dancer ever in the history of the competition. He was then promoted to Principal Dancer with Ballet Argentino.

In 1999 he joined American Ballet Theatre, was promoted to Soloist in 2000 and to Principal Dancer in 2003.

Cornejo has won the Star of the 21^st Century international ballet competition in 2005 and the Mr. Expressivity prize at the Dance Open Festival in St Petersburg in 2010 and 2013. He received the Argentinian Pride Award from the Argentinian Culture Center (2013), The Bessie Award for Outstanding Performer (2013), the Prix Benois de la Danse for Outstanding Male Dancer (2014), the Konex Platinum Award for Best Male Dancer (2019), and a Dance Magazine Award (2022).

Catherine Hurlin as Giselle/Myrta Principal Dancer
Born in New York City, Catherine Hurlin began her dance training at Scarsdale Ballet Studio and Westchester Dance Academy. At the 2007 Youth America Grand Prix New York City Finals, she was awarded the Hope Award. The following year she received a full scholarship to the American Ballet Theatre Jacqueline Kennedy Onassis School under the direction of Franco De Vita. She received the first Angelina Ballerina Stars of Tomorrow Scholarship in 2010 and was a Northern Trust Scholar in 2011. She attended ABT’s Summer Intensive as a National Training Scholar from 2010–2012. As a student, Hurlin created the role of Young Clara in Alexei Ratmansky’s The Nutcracker. She also performed the role of “Clara” in the Radio City Christmas Spectacular at Radio City Music Hall for three years.

Hurlin joined ABT as an apprentice in December 2013 and the corps de ballet in June 2014. She was promoted to Soloist in September 2018 and to Principal Dancer in September 2022.

Devon Teuscher as Giselle Principal Dancer
Born in Pennsylvania, Devon Teuscher began her dance training at the age of nine under Deanna Doty at Champaign Urbana Ballet Academy in Champaign, Illinois, before studying at the Vermont Ballet Theatre School in Essex, Vermont under Alex and Kirsten Nagiba. Teuscher participated in summer intensives at The Kirov Ballet Academy and the Pacific Northwest Ballet, which she attended on full scholarship for two years. From 2002–2006, Teuscher attended American Ballet Theatre’s Summer Intensive and was a National Training Scholar from 2003–2006. In January 2005, she began training at the ABT Jacqueline Kennedy Onassis School on full scholarship.

After joining ABT Studio Company in 2006, Teuscher became an apprentice with the main Company in December 2007. She joined the corps de ballet in June 2008, became a Soloist in August 2014 and a Principal Dancer in September 2017.

Cassandra Trenary as Giselle Principal Dancer
Georgia native Cassandra Trenary began her dance training at Lawrenceville School of Ballet. She joined the school’s company, Southern Ballet Theatre in 2006 under the direction of Phyllis Allen and received additional training at Southeast Regional Ballet Association conventions and Brookwood High School’s Dance department.

Trenary trained at American Ballet Theatre's Summer Intensive programs as a National Training Scholar before joining the ABT Jacqueline Kennedy Onassis School in 2009. She was invited to join ABT II (now ABT Studio Company) on their European tour in 2011. In April of that year, she was offered an apprenticeship with ABT and, in November 2011, a corps de ballet contract. She was promoted to Soloist in August 2015 and appointed a Principal Dancer in September 2020.

Trenary was named a 2011 National Young Arts Award Winner and became a 2011 U.S. Presidential Scholar in the Arts nominee. She received a 2015 Princess Grace Dance Honorarium and the 2017 Annenberg Fellowship for Dance.

James Whiteside as Count Albrecht Principal Dancer
Born in Fairfield, Connecticut, James Whiteside began his training at age nine at the D'Valda & Sirico Dance and Music Centre. He continued his training at the Virginia School of the Arts for one year under the direction of Petrus Bosman and David Keener. In 2002, Whiteside joined Boston Ballet II. He then joined the corps de ballet in 2003, became a Second Soloist in 2006, First Soloist in 2008, and was promoted to Principal Dancer with Boston Ballet in 2009.

Whiteside joined American Ballet Theatre (ABT) as a Soloist in September 2012 and was named a Principal Dancer in October 2013. Whiteside has choreographed for various projects including City of Women for ABT, Sway for Lincoln Center’s Midsummer Night Swing, and On the Water, Zero Hour, and Bells & Whistles for Boston Ballet. In 2018, he starred in Arthur Pita's The Tenant at The Joyce Theater. In 2021, his memoir, Center Center, was published by Penguin Random House.

Chloe Misseldine as Myrta Soloist
Chloe Misseldine began her classical training at Orlando Ballet School. She attended ABT Summer Intensives in Orange County, California, and New York City as a National Training Scholar from 2016–2018. In 2016, she performed a traditional Chinese fan dance called Jasmine Flower in the CCTV New Year’s Gala known as the Spring Festival Gala (Chunwan), broadcast to over 700 million viewers. At age 15, Misseldine earned second place in the 2017 Youth America Grand Prix New York City Finals and performed at the YAGP “Stars of Today Meet the Stars of Tomorrow” Gala. In 2018, she was named a finalist at the Prix de Lausanne and joined American Ballet Theatre Studio Company.

Misseldine became an apprentice with American Ballet Theatre in December 2019, joined the corps de ballet in September 2021, and was promoted to Soloist in September 2022. Her repertoire includes a Flower Girl in Don Quixote, Myrta in Giselle, Rosaura in Like Water for Chocolate, one of the Nutcracker’s Sisters and the Spanish dance in Alexei Ratmansky’s The Nutcracker, Queen of Babylon in Of Love and Rage, Lady Montague in Romeo and Juliet, Ice in The Seasons, the pas de trois and a big swan in Swan Lake, and featured roles in Bernstein in a Bubble, La Follia Variations, and Songs of Bukovina.

Fangqi Li as Myrta Corps de Ballet
Originally from Zhengzhou, China, Fangqi LI studied ballet at the Affiliated Secondary School of Beijing Dance Academy and with the National Ballet of China. She won scholarships for six consecutive years (2010-2016) from her school and the government, and was regularly honoured as a Merit Student. She participated in summer intensive programs at American Ballet Theatre, St. Petersburg’s Ballet Heritage, and the Beijing International Ballet and Choreography Competition.

LI’s awards include the first prize in Group C at Beijing Dance Academy’s 5^th Annual International Ballet Competition for Dance Schools (2014), the third prize at the Youth America Grand Prix Asian Regional Semi-Finals (2015), and the second prize at the Helsinki International Ballet Competition (2016). In 2017, LI was a finalist at the Prix de Lausanne.

LI joined ABT Studio Company in September 2017, became an apprentice with the main Company in January 2018, and joined the corps de ballet in June 2018. Her repertoire includes Myrta and Moyna in Giselle, the Spanish Dance in Alexei Ratmansky’s The Nutcracker, the Swallow in The Seasons, a big swan in Swan Lake, and featured roles in Deuce Coupe, La Follia Variations, and Sinfonietta.

Presenter

American Ballet Theatre
American Ballet Theatre (ABT) is recognized as one of the great dance companies in the world. Few ballet companies equal ABT for its combination of size, scope, and outreach. Recognized as a living national treasure since its founding in 1940, ABT is the only major cultural institution that annually tours the United States, performing for more than 300,000 people. The Company has also made more than 30 international tours to 45 countries as perhaps the most representative American ballet company and has been sponsored by the State Department of the United States on many of these engagements.

When American Ballet Theatre was launched in the Autumn of 1939, the aim was to develop a repertoire of the best ballets from the past and to encourage the creation of new works by gifted young choreographers, wherever they might be found. Under the direction of Lucia Chase and Oliver Smith from 1945 to 1980, the Company more than fulfilled that aim. ABT’s repertoire, perhaps unmatched in the history of ballet, includes all of the great full-length ballets of the 19^thcentury, such as Swan Lake, The Sleeping Beauty, and Giselle, the finest works from the early part of the 20^th century, such as Apollo, Les Sylphides, Jardin aux Lilas, and Rodeo, and acclaimed contemporary masterpieces such as Airs, Push Comes to Shove, and Duets. In acquiring such an extraordinary repertoire, ABT has commissioned works by all of the great choreographic geniuses of the 20^th century: George Balanchine, Antony Tudor, Jerome Robbins, Agnes de Mille, and Twyla Tharp, among others.

In 1980, Mikhail Baryshnikov became Artistic Director of American Ballet Theatre, succeeding Lucia Chase and Oliver Smith. Under his leadership, numerous classical ballets were staged, restaged, and refurbished, and the Company experienced a strengthening and refining of the classical tradition. In 1990, Jane Hermann and Oliver Smith succeeded Baryshnikov and immediately established an agenda that was dedicated to maintaining the great traditions of the past while aggressively pursuing a vital and innovative future.

In October 1992, former American Ballet Theatre Principal Dancer Kevin McKenzie was appointed Artistic Director. McKenzie, steadfast in his vision of ABT as "American," was committed to maintaining the Company's vast repertoire, and to bringing the art of dance theater to the great stages of the world.

Former American Ballet Theatre Principal Dancer Susan Jaffe was named Artistic Director in December 2022. Jaffe is dedicated to preserving the beauty and depth of classical ballet while moving the Company artistically into the future, expanding ABT's audience, and exploring diverse choreographers and styles.

In keeping with ABT's long-standing commitment to bring the finest in dance to the widest international audience, the Company has recently enjoyed triumphant successes with engagements in Abu Dhabi, Brisbane, Paris, and Muscat, Oman.

On April 27^th, 2006, by an act of Congress, American Ballet Theatre became America’s National Ballet Company®.
Note

Box officeNorth Gate of NCPA, No. 2 West Chang'an Avenue, Xicheng District, Beijing, China

Tickets collection hours9:30-19:30 (CST) on performance day
9:30-18:00 (CST) for days without performance

Booking line+86 10 6655 0000

Booking hours9:30-18:00 (CST) Monday to Friday

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Festivals & Series* NCPA Piano Virtuosos 2025 * Charm of China—Maestros of Chinese Traditional Music

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Performance Days 9:30 AM -19:30 PM
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