New York City Ballet
An American ballet company renowned for George Balanchine’s repertory, a large resident orchestra, and performances at Lincoln Center and Saratoga Performing Arts Center.
Last updated August 21, 2026
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Overview
New York City Ballet (NYCB) is a major American ballet company based in New York City. It was established in 1948 by choreographer George Balanchine and arts administrator Lincoln Kirstein, growing from a sequence of earlier organizations that included the School of American Ballet’s producing company, American Ballet, Ballet Caravan, American Ballet Caravan, and Ballet Society. Jerome Robbins became the other principal founding choreographer, while Léon Barzin served as the company’s first music director. The company was created to give Balanchine a permanent artistic home and to develop an American ballet tradition centered on musical precision, abstract choreography, speed, clarity, and the close integration of dance, music, and stage design. Kirstein served as general director for several decades and was instrumental in building the company’s institutional, philanthropic, educational, and touring infrastructure. The School of American Ballet, founded by Balanchine, functions as NYCB’s principal training institution and has supplied generations of dancers. NYCB first became resident at the City Center of Music and Drama in 1948. Its later move to the New York State Theater, now the David H. Koch Theater at Lincoln Center, gave Balanchine the scale and technical conditions for many of his most important works. The theater was designed by Philip Johnson in consultation with Balanchine. NYCB also became the first United States ballet company with permanent engagements at two major venues: the Koch Theater in Manhattan and the Saratoga Performing Arts Center in Saratoga Springs, New York. Balanchine created a core repertory that includes Serenade, The Four Temperaments, Agon, Jewels, Symphony in Three Movements, Theme and Variations, and numerous ballets set to music by Igor Stravinsky, Pyotr Ilyich Tchaikovsky, Maurice Ravel, and other composers. Robbins expanded the repertory with works including Fancy Free, Dances at a Gathering, and The Concert. The company’s seasonal programming combines established repertory, new choreography, full-length narrative ballets, contemporary works, educational events, and family programming. Its annual production of George Balanchine’s The Nutcracker is a central part of its public identity and earned-income calendar. Following Balanchine’s death in 1983, Peter Martins became balletmaster and later guided the company for roughly three decades. During his tenure, NYCB maintained a substantial repertory and financial base while commissioning new works and organizing composer and choreographer festivals. Martins retired in 2018 after allegations of sexual misconduct and abuse prompted a leave of absence and an independent inquiry. The company subsequently continued under new artistic leadership while preserving Balanchine and Robbins works as central pillars. NYCB’s operations extend beyond stage performances. The organization maintains a resident orchestra of approximately 66 musicians, a staff of pianists, educational programs, public talks, workshops for children and adults, discounted-ticket initiatives, and the New York Choreographic Institute. It presents fall, winter, and spring seasons at Lincoln Center, a summer residency in Saratoga Springs, and selected domestic and international tours. Its cultural significance derives both from its artistic output and from its role in establishing ballet as a distinct American institutional form.
History
New York City Ballet emerged from Lincoln Kirstein’s effort to establish a durable American ballet institution around George Balanchine. The organization’s predecessors included a producing company associated with the School of American Ballet in 1934, American Ballet in 1935, Ballet Caravan in 1936, American Ballet Caravan in 1941, and Ballet Society in 1946. These experiments provided the artistic personnel, educational base, touring experience, and organizational structure from which NYCB was formed. The company adopted the New York City Ballet name in 1948 when it became resident at the City Center of Music and Drama. Kirstein served as general director from 1946 through 1989, concentrating on administration, fundraising, and institutional development, while Balanchine shaped the repertory and artistic identity. Léon Barzin was the first music director. Jerome Robbins, who had worked with earlier Balanchine projects, became a foundational choreographic presence alongside Balanchine. A decisive institutional change came with the company’s move to the New York State Theater at Lincoln Center, now the David H. Koch Theater. Designed by Philip Johnson to meet Balanchine’s requirements, the theater provided a permanent home suited to large-scale repertory and helped establish NYCB as a central Lincoln Center institution. The company also developed a permanent summer relationship with Saratoga Performing Arts Center, giving it an unusual two-venue structure for an American ballet company. Balanchine’s output expanded rapidly after the move to the State Theater. His choreography, often characterized by intricate musical structures, neoclassical lines, and an emphasis on movement rather than narrative, became the foundation of the company’s repertory. Robbins supplied a contrasting but complementary body of works, including ballets with theatrical, psychological, and distinctly American qualities. Balanchine’s death in 1983 created a major succession challenge. Peter Martins was selected as balletmaster and led the company for approximately thirty years, maintaining its performance scale, financial stability, orchestra, and repertory while commissioning new choreography. The company marked important artistic anniversaries through focused festivals. These included tributes to Igor Stravinsky in 1972 and 1982, a Ravel festival in 1975, and a Tchaikovsky festival in 1981. Later programming included an American Music Festival for the company’s fortieth anniversary, a major Jerome Robbins celebration in 2008, and dancer-organized benefit performances. NYCB also created public programs such as pre-performance discussions, Inside NYCB events, family workshops, adult ballet classes, and discounted ticket schemes. The New York Choreographic Institute was founded in 2000 by Irene Diamond and Peter Martins. It supports choreographic development through studio sessions, fellowships, forums, and opportunities for emerging creators. The company’s resident orchestra, consisting of roughly 66 musicians, accompanies its performances and tours and performs much of the concerto and chamber repertory associated with NYCB productions. Martins took leave in 2017 after a misconduct allegation and retired in January 2018. Several dancers subsequently described alleged verbal or physical abuse in press reports, while Martins denied misconduct. An independent inquiry commissioned by NYCB and the School of American Ballet did not corroborate the allegations cited in the organizations’ joint statement, although the report was not released publicly. In 2018, a separate civil action by former principal dancer Chase Finlay’s ex-girlfriend, Alexandra Waterbury, named Finlay, other dancers, a patron, NYCB, and the School of American Ballet. The litigation led to personnel departures and an arbitration ruling concerning two dancers. Waterbury withdrew her claims against NYCB and Finlay with prejudice in 2023. Today, NYCB presents extensive fall, winter, and spring seasons at the Koch Theater, a summer season at Saratoga Performing Arts Center, the annual Nutcracker run, educational activities, and tours. Its continuing identity rests on the preservation and interpretation of Balanchine and Robbins repertory, the development of new choreographers, and the integration of dance with live orchestral music.
- 2019
Orchestra pit renamed
[1]The company announced donor-funded renaming of its orchestra pit as the Stravinsky Orchestra Pit.
- 2018
Martins retires
[1]Peter Martins retired from NYCB after a leave of absence related to misconduct allegations.
- 2000
New York Choreographic Institute founded
[1]The institute was created to support emerging choreographers through studio opportunities, fellowships, and forums.
- 1983
Balanchine dies; Martins becomes balletmaster
[1]Balanchine’s death ended his direct artistic leadership, and Peter Martins was selected to lead the company.
- 1982
Stravinsky Centennial Celebration
[1]The company celebrated Stravinsky’s centennial with 25 ballets and new works by Balanchine.
- 1981
Tchaikovsky Festival
[1]NYCB mounted a two-week festival dedicated to Pyotr Ilyich Tchaikovsky and introduced twelve new dances.
- 1975
Hommage à Ravel
[1]A two-week festival honored Maurice Ravel with new and repertory ballets by Balanchine, Robbins, and other creators.
- 1972
Stravinsky Festival
[1]NYCB presented an eight-day celebration of Igor Stravinsky featuring new works by Balanchine, Robbins, and other choreographers.
- 1964
Move to New York State Theater
[1]The company moved to the Lincoln Center theater now known as the David H. Koch Theater, designed by Philip Johnson in consultation with Balanchine.
- 1948
New York City Ballet founded
[1]The company adopted its present name and became resident at City Center of Music and Drama.
Products and positioning
A premier nonprofit American ballet institution centered on the Balanchine and Robbins traditions, combining classical repertory, contemporary choreography, education, and live orchestral performance.
Seasonal ballet production
George Balanchine’s The Nutcracker
NYCB’s annual staging of Balanchine’s version of The Nutcracker is one of its best-known public offerings. It anchors the November and December calendar, combines classical dance with elaborate scenery and costumes, and introduces large audiences to the company’s repertory and performers.
Ballet repertory · 1948
Balanchine repertory
The company preserves and performs a large body of George Balanchine’s choreography, including abstract, neoclassical, musical, and full-length works. This repertory is the central artistic asset distinguishing NYCB from many other ballet organizations.
Ballet repertory · 1948
Robbins repertory
Works by Jerome Robbins form a second foundational repertory stream. They range from plotless and music-driven ballets to theatrical works with strong characterization, American settings, and dramatic structure.
Live performance · 1948
Seasonal repertory performances
NYCB presents extensive fall, winter, and spring seasons at the David H. Koch Theater, often programming dozens of ballets across each season. Programs can combine canonical works, contemporary commissions, full-length narratives, and shorter mixed bills.
Education and engagement
Education and public programs
The company offers discussions, Inside NYCB events, Family Saturdays, children’s workshops, In Motion workshops, and Ballet Essentials classes for adults. These programs connect performances with music, movement, history, and behind-the-scenes practice.
Orchestral performance · 1948
New York City Ballet Orchestra
The resident orchestra accompanies NYCB productions, tours in North America, and performs concertos, solos, and chamber works within the repertory. Its musicians are an integral part of the company’s performance model rather than an external accompaniment service.
Controversies
2023
Withdrawal of claims against NYCB and Finlay
Waterbury agreed to withdraw all claims against New York City Ballet and Chase Finlay with prejudice and without costs or attorneys’ fees to any party, according to the reported case history.
2019
Arbitration reinstatement in Waterbury-related case
An arbitrator ordered Amar Ramasar and Zachary Catazaro reinstated after their dismissals connected to the Waterbury controversy. Catazaro elected not to return to the company.
2018
Alexandra Waterbury civil action
Alexandra Waterbury sued former dancer Chase Finlay, other dancers, a patron, New York City Ballet, and the School of American Ballet over allegations concerning explicit images and videos allegedly taken or shared without her consent. Defendants contested the allegations and their legal liability.
2017
Misconduct allegations involving Peter Martins
Peter Martins took a leave of absence after a sexual-misconduct allegation. Several dancers later described alleged verbal or physical abuse in press accounts, while Martins denied misconduct. An independent inquiry commissioned by NYCB and the School of American Ballet did not corroborate the allegations described in the organizations’ statement; the report was not made public.
Marketing campaigns
- 2008Dancers’ Choice benefit
United States
Dancers organized a benefit performance to support the Dancers’ Emergency Fund, with programming supervised by company dancers.
Outcome. Created a recurring platform for dancer-led fundraising and artistic participation.
- 2008Jerome Robbins celebration
United States
The spring season featured major revivals and programming dedicated to Jerome Robbins.
Outcome. Reaffirmed Robbins’s role as a founding choreographic pillar of the company.
- 1988American Music Festival
United States
For its fortieth anniversary, NYCB commissioned and presented works by a broad group of American choreographers, including Laura Dean, Eliot Feld, William Forsythe, Lar Lubovitch, and Paul Taylor.
Outcome. Expanded the company’s contemporary American choreographic profile while retaining Balanchine and Robbins works.
- 1982Stravinsky Centennial Celebration
United States
The company presented 25 ballets and several new Balanchine works to mark the centennial of Igor Stravinsky’s birth.
Outcome. Strengthened the Stravinsky-Balanchine legacy at NYCB shortly before Balanchine’s death.
- 1981Tchaikovsky Festival
United States
A two-week presentation combined new choreography, repertory, and a reworked version of Mozartiana in honor of Tchaikovsky.
Outcome. Added a large-scale composer celebration to the company’s historical festival tradition.
- 1975Hommage à Ravel
United States
A two-week festival celebrated Maurice Ravel through sixteen new ballets and performances of existing works.
Outcome. Reinforced NYCB’s practice of building programming around composers and choreographic responses to their music.
- 1972Stravinsky Festival
United States
An eight-day festival honored Balanchine’s major musical collaborator and presented new works by Balanchine, Robbins, and other choreographers alongside established repertory.
Outcome. Expanded the company’s association with Stravinsky and demonstrated its festival-based commissioning model.
Brand decisions
2018
Peter Martins retiresOtherBackground
Martins took leave following misconduct allegations and later faced public reporting about alleged abuse, which he denied.
Action taken
He retired from New York City Ballet on January 1, 2018.
Aftermath
The company entered a new leadership period while continuing to preserve its Balanchine and Robbins repertory.
2011
Expand the discounted-ticket programStrategyBackground
The former Fourth Ring Society focused on low-cost seating in one theater section and was closed to new members.
Action taken
It was renamed Society NYCB and broadened to reflect discounted seating across more sections of the theater, subject to program and date restrictions.
Aftermath
The initiative continued NYCB’s effort to widen access through membership-based ticket discounts.
2000
Create the New York Choreographic InstituteStrategyBackground
The company sought to encourage new choreographic talent and provide structured development opportunities.
Action taken
Irene Diamond and Peter Martins founded an institute offering choreographic sessions, fellowships, and forums.
Aftermath
The institute became an organizational channel for developing emerging choreographers and discussing choreography, music, and design.
1983
Appoint Peter Martins as balletmasterOtherBackground
Balanchine’s death created a need for new artistic leadership while the company’s repertory and institutional structure continued.
Action taken
Peter Martins was selected as balletmaster.
Aftermath
Martins led NYCB for approximately three decades, maintaining its scale and financial security while adding new choreography.
1964
Move to the New York State TheaterStrategyBackground
The expanding company required a permanent venue designed for its artistic and production needs.
Action taken
NYCB moved to the New York State Theater at Lincoln Center, now the David H. Koch Theater.
Aftermath
The move gave Balanchine a purpose-suited stage and became central to the company’s identity.
1948
Establish a permanent New York ballet companyStrategyBackground
Kirstein and Balanchine sought a stable institution capable of sustaining an American choreographic tradition and giving Balanchine a permanent artistic base.
Action taken
The organization was named New York City Ballet and established a residence at City Center of Music and Drama.
Aftermath
The company became one of the principal ballet institutions in the United States.
Recent events
- 2019
NYCB orchestra pit renamed the Stravinsky Orchestra Pit[1]
Other
An anonymous donor funded the renaming of the company orchestra’s pit in recognition of Igor Stravinsky, a major artistic collaborator of Balanchine and the company.
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