New York City Ballet Guest Artists
choreographed by Christopher Wheeldon
The New York Times describes Liturgy: The sense was that they were on a spiritual journey and ''Liturgy,'' set to Arvo Pärt's music, is the spiritual equivalent of what could be called the secular ballets Mr. Wheeldon has choreographed to Ligeti's is an experiment in is a striking experiment on a high plane."
--Anna Kisselgoff

Christopher Wheeldon

Christopher Wheeldon was born in Yeovil, Somerset, England, and attended The Royal Ballet School. In 1991 he joined The Royal Ballet and that same year won the Gold Medal at the Prix de Lausanne competition. In 1993, Wheeldon joined New York City Ballet, and he began choreographing for NYCB with Slavonic Dances for the 1997 Diamond Project. In spring 2000, he retired from dancing and during the 2000-2001 season served as the Company’s first-ever artist in residence before being named its first Resident Choreographer.

In 2007, Wheeldon founded Morphoses/The Wheeldon Company, serving as the Company’s Artistic Director until early 2010. In addition, Wheeldon has created works for the Bolshoi Ballet, Pennsylvania Ballet, The Royal Ballet, and San Francisco Ballet. Outside of the ballet world, Wheeldon choreographed Dance of the Hours for The Metropolitan Opera’s La Gioconda, as well as ballet sequences for the 2000 film Center Stage, directed by Nicholas Hytner. In 2002, he and Hytner collaborated on Sweet Smell of Success for Broadway. Most recently, he choreographed for The Metropolitan Opera’s production of Carmen. Among Wheeldon’s honors are Lincoln Center’s Martin E. Segal Award, the London Critics’ Circle Award, the Olivier Award, and the Dance Magazine Award.  

New York City Ballet Guest Artists
New York City Ballet possesses a rich and distinguished heritage. The Company's repertory, largely created by George Balanchine, Jerome Robbins and Peter Martins, redefines classical dance giving the language of ballet an inflection both thoroughly American and wholly modern. The dedication to continually test and extend the boundaries of ballet has earned New York City Ballet the reputation as one of the greatest creative engines of the past century. If audiences could turn back the clock, they would be startled to see how markedly ballet technique has changed. The difference is the realization of Balanchine's daring vision, which conceived a way of dancing that was without precedent in its speed, attack and technical challenge. Many individuals, organizations and moments have contributed to this continually unfolding legacy and are documented in the New York City Ballet Chronology.


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