Choreographs The Triumph of Bacchus and Ariadne (Rieti)  for second series of Ballet Society performances at City Center. ― Ballet Society gives American premiere of Le Palais de Cristal retitled Symphony in C . ― Ballet Society presents Élégie (Stravinsky)  and the Stravinsky-- Balanchine--Noguchi Orpheus  at City Center of Music and Drama in what prove to be its final performances. ― Following the premiere of Orpheus, Morron Baum, Chairman of Executive Committee of City Center, invites Kirstein and Balanchine to found permanent company to be called New York City Ballet with residency at City Center; Ballet Society, Inc., continues as sponsor for special projects. ― In addition to presenting independent repertory, company is to provide opera ballets for New York City Opera productions; ballet evenings are to be Mondays and Tuesdays. ― In Monte Carlo, for Grand Ballet du Marquis de Cuevas, stages Night Shadow and Concerto Barocco and choreographs Pas de Trois Classique (Minkus)  after Petipa. ― While preparing inaugural season of New York City Ballet, Balanchine choreographs dances for Broadway musical Where's Charley? (Loesser)  and ballets for New York City Opera [248,251-253, 255, 256]. ― New York City Ballet and Where's Charley? open October 11. ― For first performance, New York City Ballet presents Concerto Barocco, Orpheus, and Symphony in C; second performance consists of Serenade, The Four Temperaments, and Orpheus. ― Directs movements for actors in Broadway production of Giraudoux's play The Madwoman of Chaillot .
New York City Ballet presents first independent season and provides New York City Opera ballets [258, 260]. ― Company is to give regular repertory seasons each year at City Center and later at New York State Theater (see ITINERARIES UNDERTAKEN BY BALANCHINE'S AMERICAN COMPANIES). ― For Ballet Theatre, adapts Petipa's choreography for Princess Aurora  and Don Quixote and Swan Lake (Black Swan) Pas de Deux . ― Balanchine's first original production for television, Cinderella , to music by Tchaikovsky, is telecast on CBS. ― Stages Fokine's choreography of La Mort du Cygne (Saint-Saëns)  for performance at Holland Festival in Amsterdam. ― For New York City Ballet, choreographs Stravinsky's Firebird  and Bourrée Fantasque (Chabrier) .
Revives Prokofiev's Prodigal Son  for New York City Ballet and appears several times in role of the Father. ― Choreographs Pas de Deux Romantique (Weber)  and with Jerome Robbins creates Jones Beach (Andriessen) . ― In London, stages Ballet Imperial for Sadler's Wells Ballet at invitation of Ninette de Valois. ― New York City Ballet presents six-week season at Royal Opera House, Covent Garden, London, and makes three-week tour of England in first of frequent foreign tours (See ITINERARIES UNDERTAKEN BY BALANCHINE'S AMERICAN COMPANIES). ― Choreographs Haydn's Trumpet Concerto  for touring company of Sadler's Wells Ballet. ― For New York City Ballet stages The Fairy's Kiss (Le Baiser de la Fée) (Stravinsky) and choreographs Mazurka from 'A Life for the Tsar' (Glinka) and Sylvia:Pas de Deux (Delibes) [271-273].
Engaged by Samuel Goldwyn to choreograph dances for film Hans Christian Andersen, but schedule conflicts with New York City Ballet season prevent participation. ― Is principal choreographer for Music and Dance , presented by National Orchestral Society at Carnegie Hall, performed by members of New York City Ballet and students from School of American Ballet. ― For New York City Ballet, stages The Card Game (Stravinsky) and Pas de Trois (Minkus), and choreographs Ravel's La Valse and Mendelssohn's Capriccio Brillant [275-277, 279]. ― Choreographs pavane to music by David Diamond for Dwight Deere Wiman's Broadway production of Shakespeare's Romeo and Juliet . ― New York City Ballet presents first American season outside New York at Civic Opera House, Chicago. ― Stages dances for Broadway musical comedy Courtin' Time (Lawrence/Walker) . ― New York City Ballet dances La Valse on first color television program, broadcast by CBS. ― For New York City Ballet, choreographs À la Françaix (Françaix) andTyl Ulenspiegel (Richard Strauss), stages Apollon Musagète under title Apollo, Leader of the Muses and presents his own version of Act II of the Petipa/Ivanov Swan Lake [282-285].
For New York City Ballet choreographs Caracole  to Mozart's Divertimento No. 15, and Bayou (Thomson) . ― In Milan stages Ballet Imperial for ballet company of La Scala. ― New York City Ballet forms exchange program with San Francisco Ballet which stages Serenade. ― For New York City Ballet choreographs Scotch Symphony (Mendelssohn), Metamorphoses (Hindemith), Harlequinade Pas de Deux (Drigo), and Concertino (Françaix) [288-290, 292]. ― As Christmas program for television, stages abridged treatment of Coppélia (Delibes), titled One, Yuletide Square .
Choreographs Valse Fantaisie (Glinka)  for New York City Ballet. — Company performs in Washington, D.C., on eve of inauguration of President Dwight D. Eisenhower. — Publication of Anatole Chujoy’s book The New York City Ballet (Knopf). — Choreographs The Countess Becomes the Maid  to music by Johann Strauss the Younger for telecast on Kate Smith Hour. — Directs American premiere of Stravinsky’s opera The Rake’s Progress  for Metropolitan Opera. — Arranges Cotillion Promenade  for five hundred couples at Negro Debutante Ball, 369th Armory, in Harlem, New York City. — Stages opera ballets for La Scala in Milan and in Florence [297-300]. — New York City Ballet performs in Colorado and California on first of continuing tours throughout United States (see ITINERARIES UNDERTAKEN BY BALANCHINE’S AMERICAN COMPANIES).
Appears on cover of Time magazine. — Choreographs Opus 34 (Schoenberg)  while preparing The Nutcracker (Tchaikovsky) , New York City Ballet’s first full-length ballet and most elaborate production, using children from School of American Ballet. — Publication of Balanchine’s Complete Stories of the Great Ballets edited by Francis Mason (Doubleday). — Choreographs Western Symphony (Kay) ; Ivesiana  is given premiere four months after death of composer Charles Ives. — Creates dances for Broadway musical House of Flowers (Arlen)  but withdraws prior to New York opening.
For New York City Ballet, choreographs Roma (Bizet)  and Pas de Trois (Glinka) . — Stages ballet masque for American Shakespeare Festival production of The Tempest  in Stratford, Connecticut. — Choreographs Pas de Dix (Glazounov)  and sections of Jeux d’Enfants (Bizet)  for New York City Ballet.
Stage director of NBC Opera Theatre color telecast of The Magic Flute (Mozart) . ― School of American Ballet moves to new classrooms at 2291 Broadway. ― For New York City Ballet, choreographs Allegro Brillante (Tchaikovsky) . ― Choreographs A Musical Joke (Mozart)  and Divertimento No. 15 (Mozart)  for bicentennial Mozart Festival produced by American Shakespeare Festival in Stratford, Connecticut. ― Stages Apollon Musagète and Serenade for Royal Danish Ballet during five-month absence from United States.
Company travels to Montreal for first formal filming of ballets from repertory, made for Canadian Broadcasting Company; Pas de Dix and Serenade are among initial works made into kinescopes for telecasts; others are filmed during subsequent visits. — Choreographs Square Dance (Vivaldi—Corelli) . — Working closely with Stravinsky, creates Agon  to third Stravinsky commission by Balanchine and Kirstein; the others are The Card Party and Orpheus. — The Nutcracker in live telecast on CBS.
Immediately following Agon, choreographs Gounod Symphony  and Stars and Stripes (Sousa-Kay) . — New York City Ballet makes five-month tour of Japan, Australia, and Philippines sponsored by United States Department of State and American National Theatre and Academy (ANTA) (see ITINERARIES UNDERTAKEN BY BALANCHINE’S AMERICAN COMPANIES). — Choreographs dance passages for American Shakespeare Festival productions of A Midsummer Night’s Dream  and The Winter’s Tale . — Choreographs Waltz-Scherzo (Tchaikovsky)  and a new version of The Seven Deadly Sins (Weill/Brecht)  for New York City Ballet. — Designs production of The Nutcracker especially for CBS Christmas telecast; performs role of Drosselmeyer.
Choreographs Native Dancers (Rieti)  for New York City Ballet. ― Company performs Stars and Stripes at inauguration celebration of Governor Nelson A. Rockefeller in Albany. ― In Paris, stages Gounod Symphony for Opéra Ballet. ― Choreographs Episodes, Part II  to music by Webern; at his invitation Part I is choreographed by Martha Graham. ― Invited by Kirstein, Imperial Gagaku troupe of dancers and singers from Japan performs on regular programs of New York City Ballet. ― For American Shakespeare Festival, stages dances for productions of Romeo and Juliet  and The Merry Wives of Windsor . ― Under W. McNeil Lowry, Director of the Program in Humanities and the Arts, the Ford Foundation awards grant to Ballet Society enabling School of American Ballet to survey American ballet instruction and to establish first national scholarship fund. ― Through Department of State Balanchine arranges to give his ballets to state-supported national companies in Europe; first companies to benefit are La Scala, Netherlands Ballet, and Royal Swedish Ballet.
For New York City Ballet, revives Night Shadow (later called La Sonnambula, Rieti), creates Panamerica (Latin American composers), stages Theme and Variations (Tchaikovsky), and choreographs Pas de Deux (Tchaikovsky) [328-331]; creates The Figure in the Carpet (Handel)  in honor of Fourth International Congress of Iranian Art and Archeology. — Gives first of continuing School of American Ballet seminars for regional teachers, a four-day program. — Theme and Variations performed by American Ballet Theatre during first visit by an American ballet company to the Soviet Union.— Symphony in C and The Four Temperaments performed in People’s Republic of China by Royal Swedish Ballet. — New York City Ballet performs series of Saturday matinees for underprivileged New York City children, sponsored by Ballet Society. — Balanchine presides at Ballet Society national convocation of ballet company directors. — For Company choreographs Variations from Don Sebastian (later called Donizetti Variations), Monumentum pro Gesualdo (Stravinsky), Liebeslieder Walzer (Brahms), and Ragtime (1) (Stravinsky) [333-336].
For New York City Ballet, choreographs Modern Jazz Variants (Schuller)  and Electronics (Gassmann-Sala) , the latter to electronic tape. — Atlanta Civic Ballet presents Serenade, first result of Balanchine’s offer to make works available to United States regional companies capable of staging them. — Assists in efforts to form company that becomes Pennsylvania Ballet. — For New York City Ballet, choreographs Valses et Variations (Raymonda Variations, Glazounov) .
Choreographs A Midsummer Night's Dream (Mendelssohn) , his first wholly original full-length ballet. ― Under auspices of New York State Council on the Arts, New York City Ballet makes first of continuing tours to upstate New York; also gives lecture-demonstrations in twelve cities. ― In Germany stages and choreographs Eugen Onegin (Tchaikovsky)  for Hamburg State Opera at invitation of its director Rolf Liebermann. ― Working with Stravinsky, choreographs Noah and the Flood , composed for television. ― Returns to Hamburg with dancers of New York City Ballet to participate with Stravinsky in celebrations of composer's eightieth birthday; Agon, Orpheus and Apollo are performed. ― Participates in planning Saratoga Performing Arts Center at Saratoga Springs, New York. ― Company performs in Germany and Austria, and Balanchine returns to Russia for the first time since leaving in 1924 as Company makes its initial tour of Soviet Union, visiting Moscow, Leningrad, Kiev, Tbilisi, and Baku (see ITINERARIES UNDERTAKEN BY BALANCHINE'S AMERICAN COMPANIES).
Publication of Bernard Taper's biography Balanchine (Macmillan). ― In Washington, D. C., New York City Ballet dances Stars and Stripes at Second Anniversary Inaugural Celebration of Kennedy administration. ― For Company choreographs Bugaku (Mayuzumi)  and Movements for Piano and Orchestra (Stravinsky) . ― New York City Ballet begins lecture-demonstrations in New York City schools. ― Directs and choreographs Gluck's Orpheus und Eurydike  for Hamburg State Opera. ― For Company, choreographs Meditation (Tchaikovsky) . ― Stages Concerto Barocco, Scotch Symphony, The Four Temperaments, and Bourrée Fantasque for Paris Opéra Ballet. ― Ford Foundation makes first of a series of grants to support New York Cîty Ballet and first of two grants to School of American Ballet.
Last performances of New York City Ballet at City Center; choreographs Tarantella (Gottschalk-Kay) . ? Company participates in gala opening of New York State Theater at Lincoln Center for the Performing Arts, designed by Philip Johnson in consultation with Balanchine and Kirstein. ? Clarinade (Gould)  is first work choreographed for Company in new permanent home. ? Establishes costume shop for New York City Ballet under direction of Barbara Karinska. ? Founds James A. Doolittle--George Balanchine Ballet of Los Angeles, intended to become permanent West Coast company closely associated with New York City Ballet; company will disband after two years. ? For large-scale stage of New York State Theater, restages The Nutcracker with new scenery and costumes; mounts Ballet Imperial (Tschaikovsky Piano Concerto No. 2)  for its first New York City Ballet production.