David Bintley is well-known for being a laid-back character, but it's a little surprising to realise he is not quite sure how many Stravinsky ballets he's taken on.
"We reckon there are something like just over 20 ballets and theatre pieces, but we are adding to that," he says.
For example, Dumbarton Oaks, choreographed by BRB principal dancer Michael Kopinski and premiered on tour in Hull in April, will launch the first of the company's all-Stravinsky programmes on Wednesday.
With Duo Concertant (George Balanchine) and Scenes de Ballet (Frederick Ashton), plus the Birmingham premiere of the reconstructed Nijinsky ballet Rite of Spring, it will launch an ambitious project to stage all of Stravinsky's ballets.
This month also sees the launch of the CBSO's parallel exercise, which means that over the next three years the city will see and hear every work composed during the long life of arguably the 20th century's greatest composer.
The project was originally one of the big ideas in Birmingham's bid for European Capital of Culture 2008.
When that proved unsuccessful, it seemed to good to let go. In fact, it got bigger - from complete ballets to complete works.
CBSO music director Sakari Oramo originally had the idea of the two organisatons actually joining forces for the ballets. It could have been spectacular but would also have been tricky, as BRB has its own orchestra. In the event, the award of Capital of Culture to Liverpool eliminated the dilemma.
Since then plans have drawn in other organisations - Birmingham Contemporary Music Group, Birmingham Rep, DanceXchange and Ex Cathedra - but the music and ballet strands seem to have become somewhat uncoupled: the CBSO one has been branded "IgorFest" while BRB has opted for the more staid "Celebration of Stravinsky".
The three great pre-First World War ballets - The Firebird, Petrushka and Rite of Spring - are still Stravinsky's most popular pieces and are probably better known as concert showpieces than as ballets, certainly in the case of the Rite.
But David Bintley points out that there are other works of which the opposite is true, where concert pieces have achieved greater popularity as ballets.
" You get things like Duo Concertant, which is a fabulous piece. You very rarely hear the Violin Concerto and Symphony in Three Movements in the concert hall, but these things are performed round the world as ballets.
"I would say well over half of Stravinsky's compositions are regularly performed as ballets - a lot of them by Balanchine - but were never written as such. And there are a number of ballets that have not been given a definitive choreography, like Les Noces and The Firebird. A lot of people have done versions of Firebird. With these classics I would say there is a core that remains and you take as much as you need.
"When you come to the shorter ballets, there wasn't such a thing as shorter ballets until the period just prior to Diaghilev's company.
"That coincided with the rockbottom of classical ballet. Diaghilev put Sleeping Beauty on and it was a big flop, because all people wanted was these shorter pieces. That's really where modern ballet started and the concept of a total work of art."
Bintley is confident that the reconstructed Rite of Spring will be wonderful, though he has deliberately kept away from rehearsals in order to get the maximum impact from Wednesday's premiere.
"Next year we're doing a new Pulcinella with Agon, and the year after that an all-Balanchine, all-Stravinsky programme. And I do want to do Les noces.
"Orpheus I'm definitely out to do. We did it some years ago and it didn't really work. I don't think Balanchine's version is a very good ballet, so that's one I might get someone to have a fresh look at.
"Our plan as far as the ballets are concerned is somehow to bring it all together in 2008 with an entire three-week season with a different programme every night - if it's possible!"