BRIGHT FAST COOL BLUE - 2018 SEASON PROGRAM 02 DISTINCTLY SF BALLET - Encore Arts San Francisco
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2018 SEASON
PROGRAM 02
BRIGHT FAST
COOL BLUE
PROGRAM 03
DISTINCTLY
SF BALLET
LOVING
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8 00.274.675 4
February 2018
Volume 95, No. 4
Paul Heppner
Publisher
24 32
Susan Peterson
Design & Production Director
TABLE OF CONTENTS
Ana Alvira, Robin Kessler,
Stevie VanBronkhorst
Production Artists and Graphic Design
Mike Hathaway 5 Greetings from the Artistic Director 40 San Francisco Ballet Orchestra
Sales Director
& Principal Choreographer
Amelia Heppner, Marilyn Kallins, 42 San Francisco Ballet Staff
Terri Reed 7 Board of Trustees
San Francisco/Bay Area Account Executives Endowment Foundation Board 44 Donor Events and News
Brieanna Bright,
Joey Chapman, Ann Manning
8 San Francisco Ballet Leadership 50 Season Sponsors
Seattle Area Account Executives
10 For Your Information 52 Great Benefactors
Carol Yip
Sales Coordinator 11 History of San Francisco Ballet 53 Artistic Director's Council
12 Explore Ballet 54 The Chairman's Council
EMG 16 Artists of the Company 55 The Christensen Society
MASTHEAD 24 Program 02
Bright Fast Cool Blue
58 Corporate and Foundation Support
Paul Heppner Serenade 60 The Jocelyn Vollmar Legacy Circle
President The Chairman Dances—Quartet for Two
Mike Hathaway Rodeo: Four Dance Episodes 62 San Francisco Ballet
Vice President Endowment Foundation
32 Program 03
Genay Genereux
Accounting & Office Manager Distinctly SF Ballet 65 Thank You to Our Volunteers
On a Theme of Paganini
Sara Keats
Ibsen's House 66 San Francisco War Memorial
Marketing Manager
Ghost in the Machine and Performing Arts Center
Shaun Swick
Senior Designer & Digital Lead
San Francisco Ballet | Vol. 25, No. 4
Barry Johnson 2018 Repertory Season
Digital Engagement Specialist All editorial material © San Francisco Ballet, 2018
Chris Hellman Center for Dance
Ciara Caya
455 Franklin Street, San Francisco, CA 94102
Customer Service Representative &
415 861 5600 | sfballet.org
Administrative Assistant
Cover: Dores André and Carlo Di Lanno in Thatcher's
Ghost in the Machine // © Erik Tomasson
Corporate Office Above, left to right: San Francisco Ballet in Balanchine's Serenade
// Choreography by George Balanchine © The Balanchine Trust;
425 North 85th Street Seattle, WA 98103
San Francisco Ballet in Thatcher's Ghost in The Machine // Photos © Erik Tomasson
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PROGRAMS 02 & 03 | SFBALLET.ORG | 3
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GREETINGS
FROM THE ARTISTIC DIRECTOR
& PRINCIPAL CHOREOGRAPHER
Welcome to Bright Fast Cool Blue and Distinctly SF Ballet, the second
and third programs of our 2018 Repertory Season. I’m delighted you
have joined us at the Opera House.
Here at San Francisco Ballet, the ballets we perform range from
19th-century classics like Swan Lake and Nutcracker to more recent
neoclassical and contemporary ballets, as well as newly created works.
In this way, we nurture our art form: tending our storied roots while
encouraging the nascent bloom of new ideas. We’ve just wrapped up
a successful run of The Sleeping Beauty—these next two programs
focus on more recent classics.
Program 02, Bright Fast Cool Blue, features works by three
choreographers closely associated with my alma mater, New York City
Ballet. NYC Ballet founder George Balanchine created Serenade in 1934
but it feels timeless; it’s a hauntingly beautiful ballet that the dancers
love to perform. Although both Benjamin Millepied and Justin Peck
danced with New York City Ballet long after George Balanchine passed
away, they experienced his genius through dancing his ballets. Both
have gone on to develop and hone their own artistic voices. Millepied
has built upon the imaginative work he created for our 2017 Opening
Night Gala to make The Chairman Dances—Quartet for Two. Justin
Peck’s Rodeo: Four Dance Episodes harnesses the tremendous male
talent in our Company in an inventive ballet that will let you see Aaron
Copland’s iconic score in a whole new way.
If Program 02 has a hint of New York flavor, Program 03 is entirely San Francisco born and bred (and aptly named
Distinctly SF Ballet). This program has three ballets made for this Company by artists within the Company. In addition
to my ballet On a Theme of Paganini, the program includes Ibsen’s House, created for our 2008 New Works Festival
by Val Caniparoli. Val, currently a principal character dancer, has a long and illustrious history creating ballets here and
for companies around the world. The dramatic Ibsen’s House illuminates this talented artist’s range. Also on this program
is Myles Thatcher’s Ghost in the Machine. Myles is a dancer with SF Ballet and a rapidly emerging choreographic talent:
I think you’ll agree that he draws out the best in his fellow dancers in creating dynamic ballets that resonate on an
emotional level.
Both Justin Peck and Myles Thatcher have also created ballets for our Unbound festival, which takes place April 20
to May 6. They are two of 12 choreographers contributing to this groundbreaking festival. Unbound will feature an
unprecedented amount of new work, with four distinct programs of three ballets each. I hope you’ll join us once
again this spring as we cultivate this new bloom of ideas, from a talented group of international artists.
Sincerely,
Helgi Tomasson
Artistic Director & Principal Choreographer
PROGRAMS 02 & 03 | 415 865 2000 | 5
Barbara Bream, joined in 2011
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SAN FRANCISCO BALLET ASSOCIATION
Board of Trustees 2017–18
CARL F. PASCARELLA, Chair of the Board and Executive Committee
Chris Hellman† (1933–2017) Jola Anderson Christine Russell Stephanie Marver
Chair Emerita Kristen A. Avansino Randee Seiger Nancy H. Mohr
Richard C. Barker Robert G. Shaw Marie-Louise Pratt
John S. Osterweis†
Karen S. Bergman Christine E. Sherry George R. Roberts
Immediate Past Chair
Gary Bridge Charlotte Mailliard Shultz Kathleen Scutchfield
Margaret G. Gill Chaomei Chen Catherine Slavonia Robert M. Smelick
Vice Chair Hannah Comolli David Hooker Spencer Susan A. Van Wagner
James H. Herbert II† Christine Leong Connors Fran A. Streets Dennis Wu
Vice Chair David C. Cox Judy C. Swanson Akiko Yamazaki
Susan P. Diekman Richard J. Thalheimer
Lucy Jewett
Kate Duhamel Jennifer M. Walske
Vice Chair
Sonia H. Evers Miles Archer Woodlief ASSOCIATE TRUSTEES
James D. Marver Shelby M. Gans Timothy C. Wu Brenda Leff
Vice Chair Joseph C. Geagea Janice Hansen Zakin President,
Richard Gibbs, M.D. San Francisco Ballet Auxiliary
Diane B. Wilsey
Beth Grossman
Vice Chair Patricia D. Knight
Matthew T. Hobart TRUSTEES EMERITI
Nancy Kukacka President, BRAVO
Patrick M. Hogan Michael C. Abramson
Treasurer Thomas E. Horn Thomas W. Allen Christopher Correa
Jennifer J. McCall Donald F. Houghton (1929–2017) Marjorie Burnett President, ENCORE!
Secretary Hiro Iwanaga Charles Dishman
Stewart McDowell Brady,
Elaine Kartalis Garrettson Dulin, Jr.†
Susan S. Briggs Patrice Lovato
James C. Katzman Millicent Dunham
Assistant Secretary Co-Chairs, Allegro Circle
Yasunobu Kyogoku J. Stuart Francis†
Helgi Tomasson Kelsey Lamond Sally Hambrecht
Artistic Director & Marie O’Gara Lipman Ingrid Von Mangoldt Hills
Principal Choreographer Mark G. Lopez George B. James II† (1937–2017)
Glenn McCoy* Alison Mauzé Pamela J. Joyner†
Executive Director Marissa Mayer David A. Kaplan
Kurt C. Mobley Mary Jo Kovacevich
Kara Roell James J. Ludwig†
SAN FRANCISCO BALLET ENDOWMENT FOUNDATION
Board of Directors 2017–18
JAMES D. MARVER, President
John S. Osterweis Kevin Mohr‡ Richard C. Barker Chris Hellman (1933–2017)
President Emeritus Chief Financial Officer Susan S. Briggs Director Emerita
J. Stuart Francis
Hank J. Holland Laura Simpson‡ George B. James II (1937–2017)
Nancy Kukacka
Vice President Secretary Director Emeritus
Hilary C. Pierce
Thomas E. Horn Elizabeth Lani‡ Larissa K. Roesch
Treasurer Assistant Secretary
†Past Chair *Non-Trustee ‡ Non-Director
PROGRAMS 02 & 03 | SFBALLET.ORG | 7
SAN FRANCISCO BALLET LEADERSHIP
HELGI TOMASSON GLENN MCCOY
ARTISTIC DIRECTOR & EXECUTIVE DIRECTOR
PRINCIPAL CHOREOGRAPHER
Helgi Tomasson, one of the supreme Glenn McCoy’s career in the
classical dancers of his generation, has performing arts spans more
led San Francisco Ballet for 33 years than 30 years of operations
and is the longest-serving sole artistic management and marketing.
director of a major ballet company. Born in After working for San Francisco
Iceland, he danced with Harkness Ballet, Opera and the Metropolitan Opera,
The Joffrey Ballet, and New York City Ballet, where he distinguished he joined San Francisco Ballet in 1987. He served as company
himself as a dancer of technical purity, musicality, and intelligence. manager and general manager before being appointed executive
Tomasson assumed leadership of SF Ballet in 1985. Under his guidance, director in April 2002. McCoy has overseen the production of
SF Ballet has developed into a company widely recognized as one of more than 60 new repertory and full-length ballets and more than
the finest in the world. Tomasson has balanced devotion to the classics 45 domestic and international tours, including engagements in
with an emphasis on new work, cultivating frequent collaborations and Paris, London, New York, Beijing, and Washington, DC. He
commissions with renowned choreographers such as William Forsythe, supervised SF Ballet’s operations for the critically acclaimed
Christopher Wheeldon, Alexei Ratmansky, and Mark Morris, among international dance festival, UNited We Dance, in 1995 and
others. Tomasson has choreographed more than 50 works for SF Ballet, SF Ballet’s 75th Anniversary Season in 2008. He has overseen
including full-length productions of Swan Lake, The Sleeping Beauty, tapings of Lubovitch’s Othello, Tomasson’s Nutcracker, and
Romeo & Juliet (taped for Lincoln Center at the Movies’ Great American Neumeier’s The Little Mermaid, which have been broadcast on
Dance), Giselle, and Nutcracker (taped for PBS’s Great Performances). PBS by Thirteen/WNET New York’s performing arts series
He conceptualized the 1995 UNited We Dance festival, in which Great Performances, as well as Tomasson’s Romeo & Juliet,
SF Ballet hosted 12 international companies; the 2008 New Works which premiered in Lincoln Center at the Movies’ Great American
Festival, which included 10 world premieres by 10 acclaimed Dance series in 2015.
choreographers; and this season’s Unbound: A Festival of New Works.
Tomasson has also connected SF Ballet to the world, through
co-commissions with American Ballet Theatre, The Royal Ballet, and
Dutch National Ballet; and major tours to Paris, London, New York City,
China, and his native Iceland.
MARTIN WEST PATRICK ARMAND
MUSIC DIRECTOR & DIRECTOR,
PRINCIPAL CONDUCTOR SAN FRANCISCO BALLET SCHOOL
Martin West leads an Orchestra that is as Born in Marseille, France, Patrick
musically excellent as it is adventurous. Armand studied with Rudy Bryans,
Under his direction the Orchestra has his mother Colette Armand, and at
greatly expanded its catalog of recordings. the École de Danse de Marseille.
Born in Bolton, England, he studied math He won the Prix de Lausanne in
at Cambridge. After studying music at the 1980 and continued his studies
Royal Academy of Music in London and St. Petersburg Conservatory at the School of American Ballet. In 1981, he joined the Ballet
of Music, he made his debut with English National Ballet and was Théâtre Français de Nancy and was promoted to principal dancer
appointed resident conductor. As a guest conductor, he has worked in 1983. The following year he joined English National Ballet,
with New York City Ballet, The National Ballet of Canada, and where he danced for six years before joining Boston Ballet in
The Royal Ballet. He was named music director of SF Ballet in 2005. 1990. A frequent guest teacher for schools and companies in
West’s recordings with SF Ballet Orchestra include the complete Amsterdam, Florence, London, Naples, Tokyo, and Toronto,
score of Tchaikovsky’s Nutcracker and an album of suites from Delibes’ Armand was appointed teacher and ballet master of the Teatro
Sylvia and Coppélia. He also conducted for the award-winning DVD of alla Scala in Milan in 2006. In 1998 and 2009, he served as a jury
Neumeier’s The Little Mermaid as well as SF Ballet’s televised recording member of the Prix de Lausanne and since 2010 has been the
of Nutcracker for PBS and the 2015 in-cinema release of Romeo & Juliet competition’s official male coach and teacher. He was appointed
for Lincoln Center at the Movies’ Great American Dance. principal of the SF Ballet School Trainee Program in 2010,
SF Ballet School associate director in 2012, and director of
SF Ballet School in 2017.
Headshots: Tomasson, West, and Armand // © Erik Tomasson; McCoy // © Chris Hardy
8 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03
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FOR YOUR INFORMATION
IN THE OPERA HOUSE PLEASE NOTE
Beverages in the auditorium are allowed if they are purchased in the Opera Late seating isn’t allowed while a performance is in progress.
House and are in the approved compostable cup with a lid. You’ll be asked to stand until a break in the action, which might be
at intermission.
The Café at the Opera House on the Lower Lounge level opens two hours
prior to curtain time—and is also open during intermission. Call Audio/visual recordings of any kind of the performance are strictly
415 861 8150 for reservations. forbidden.
Refreshments are available on the lower level as well as the Box, Orchestra, Mobile devices should be turned off and put away before the
and Dress Circle levels. There are drinking fountains on all levels near performance; the lights and sounds are a distraction.
the elevators.
Children attending a performance must have a ticket and occupy that
The Shop at SF Ballet is open one hour before each performance, during seat; no infants or lap sitting, please. Children need to be at least five
intermissions, and after weekend matinees, even if you’re not attending the years old to attend Repertory Season performances.
performance itself (visit the Box Office for a special pass). The Shop is also
Smoking is not permitted in the Opera House.
online at sfballet.org/shop.
Opera House management reserves the right to remove any patron who
Restrooms are located on all floors except Main Lobby level (first floor).
is creating a disturbance.
Coat and parcel check rooms are located on the north and south side of
Emergency services are available in the Opera House Lower Lounge
the Main Lobby. All parcels, backpacks, and luggage must be checked.
level, where an EMT is on duty.
Opera glasses are available for $5 rental at the north lobby coat check
Walking tours of the San Francisco War Memorial and Performing Arts
room and require a valid ID as a deposit.
Center are available most Mondays at select hours. For information,
Lost & Found is located at the north coat check room. Call 415 621 6600, call 415 552 8338.
Mon–Fri, 8:30–11:30 am, or email wmpac-lostandfound@sfgov.org.
ACCESSIBILITY
Courtesy telephones, for local calls only, are on the Main Lobby level, SF Ballet is committed to providing access for all of our patrons.
across from the elevators. Please contact Ticket Services at 415 865 2000 prior to the
Chariot shuttles are available from the Civic Center/UN Plaza BART Station performance with questions so that we can ensure your comfort.
at Grove Street and Hyde Street to the War Memorial Opera House Wheelchair-accessible entrances are available on the north, east,
(301 Van Ness Avenue) one hour before and one hour after performances. and south sides of the Opera House.
This complimentary shuttle service will be available for all 2018 Repertory
Season performances, unless otherwise noted. Wheelchair seating positions are on the Orchestra and
Dress Circle levels.
Taxis line up after performances at the Grove Street Taxi Ramp on the south
side of the Opera House. Taxis are provided on a first-come, Wheelchair accessible stalls in restrooms can be found on all floors
first-served basis and we cannot guarantee availability. Our staff will except the Main Lobby and fifth floor Balcony level. A lockable
assist you. single-user, special-needs restroom is located on Floor 3. Please see
the usher closest to this location for access. Accessible drinking
Reducing waste is important to us. We’re using recyclable and compostable fountains are located on all floors except the Balcony level.
materials for food service. Please help our efforts by sorting items into
our recycling bins (hard plastic wine glasses, bottles, cans, and paper Assistive listening devices (Sennheiser model infrared sound
programs), compost bins (lidded cups, disposable cutlery, napkins, and most amplification headsets) are available at both coat check locations
food containers), and landfill (potato chip bags). in the Main Lobby. A major credit card or driver’s license is required
for deposit.
PURCHASING TICKETS
You can order online at sfballet.org or call Ticket Services at 415 865 2000, Mon–Fri, 10 am–4 pm.
On performance dates, phones are open from 10 am until the performance begins. The SF Ballet
Box Office in the Opera House is open only on performance dates: Tues–Fri, noon through the
first intermission; Sat and Sun, 10 am through the first intermission. During the hour prior to curtain,
the Box Office only handles business for the upcoming show.
Groups of 10 or more can save up to 30 percent. For information, visit sfballet.org/groups
or call 415 865 6785.
10 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03TIMELINE: SAN FRANCISCO BALLET
A tradition of innovation flows through the history of San Francisco Ballet. As America’s oldest professional ballet company, SF Ballet
builds upon strong classical roots, while continually exploring and redefining where the art form is headed. Interwoven with SF Ballet's
milestones are key career moments of the six choreographers whose works appear in Bright Fast Cool Blue and Distinctly SF Ballet.
1924 1933 1934
George Balanchine flees The San Francisco Opera Ballet The earliest version of
Russia and joins the Ballets is founded to provide dancers George Balanchine's Serenade
Russes in Paris as a dancer for opera productions. is first danced in White Plains,
and choreographer, San Francisco Ballet School New York, by students of the
then ballet master. is established. School of American Ballet.
Alexandra Danilova in
George Balanchine's Serenade,
April 18, 1952
1952
Lew Christensen becomes 1944 1942
director of SF Ballet. San Francisco Ballet The newly named
Lew Christensen, dances the first complete San Francisco Ballet
Willam Christensen,
and Harold Christensen
production of Nutcracker splits from the opera with
in the United States. Willam Christensen as artistic
Celena Cummings director. His brother Harold is
1970 and Joaquim Felsch in
Lew Christensen's
director of the School.
Helgi Tomasson joins Nutcracker
New York City Ballet as
a principal dancer.
1973 1982
Michael Smuin is appointed Firsts: Helgi Tomasson
1985
associate artistic director of choreographs for the Helgi Tomasson becomes
SF Ballet. Val Caniparoli joins School of American artistic director, starting a
SF Ballet as a dancer. Ballet in New York new era for SF Ballet.
Betsy Erickson and Val Caniparoli and Val Caniparoli for Helgi Tomasson
in Christensen's Vivaldi Concerto SF Ballet.
Grosso.
2008
The New Works Festival marks the
Company’s 75th anniversary, with 1995
10 premieres by 10 choreographers, SF Ballet hosts 12
including Val Caniparoli's Ibsen's House. international ballet
Helgi Tomasson's On a Theme of Paganini companies for
premieres this year as well. UNited We Dance:
An International
Festival. Benjamin
Millepied joins
New York City Ballet.
2010
2009 Myles Thatcher joins
Benjamin Millepied's Quasi SF Ballet as a dancer.
Una Fantasia, his first work 2018
for New York City Ballet,
Unbound: A Festival of New Works
premieres, and both Justin
premieres 12 ballets by 12
Peck and Myles Thatcher
international choreographers.
create their first ballets for
student groups.
For a complete history of San Francisco Ballet, visit sfballet.org/history.
Historic photos courtesy of the Museum of Performance and Design. 2009 photo of SF Ballet in Morris' Joyride; 2010 photo of
Dores André and Myles Thatcher rehearsing Wheeldon's Number Nine©; 2018 photo of Wei Wang // © Erik Tomasson.
PROGRAMS 02 & 03 | 415 865 2000 | 11EXPLORE BALLET
CURTAIN TALKS AND PODCASTS
For an inside look at the performance you’re about to see, come to the Opera House a bit early for a Meet the Artist
interview or a Pointes of View lecture. You can also listen to our two new podcasts: To the Pointe, for an in-depth exploration
of the upcoming performance, and Demi-Pointe, for a quick overview. All SF Ballet podcasts, including recordings of our
Meet the Artist interviews and Pointes of View lectures, are available on our website and on all podcast players, including
Apple Podcasts. For more information: sfballet.org/explore/podcasts
MEET THE ARTIST (MTA) INTERVIEWS
Fridays, 7–7:30 pm and Sundays, 1–1:30 pm, Free and open to all ticket holders one hour before selected performances.
Check sfballet.org/explore/curtain-talks for additional MTA dates during Unbound: A Festival of New Works.
Meet the Artist interviews feature an artist who worked on the performance.
POINTES OF VIEW (POV) LECTURES
Wednesdays, 6–6:45 pm, Free and open to the public
Company artists, visiting scholars, and others offer key insights into the performance. All are welcome—you don't even need a ticket.
Program 02 | Bright Fast Cool Blue Program 05 | Robbins: Ballet & Broadway Programs 07 & 08 | Unbound: A Festival of
February 14 March 21 New Works
Was Serenade really Balanchine’s In honor of the Jerome Robbins April 25
first piece in America? And if not, how Centennial, Associate Director of What does it take to put on a festival like
did that myth come to be? SF Ballet Audience Engagement Jennie Scholick, Unbound? SF Ballet writer Cheryl A. Ossola
Visiting Scholar James Steichen discusses PhD will briefly discuss the many facets hosts a panel discussion on the creation of
Balanchine’s early work and the pieces of Jerome Robbins’ talents, including his new work at San Francisco Ballet and why
that preceded Serenade. successes on Broadway and as a ballet SF Ballet has made new choreography a
choreographer, followed by a discussion guiding principle. General Manager Debra
Program 03 | Distinctly SF Ballet with SF Ballet dancers about performing Bernard, Production Director Christopher
February 21 Robbins’ ballets and his impact on other Dennis, and Ballet Master and Assistant to
SF Ballet Soloist James Sofranko leads contemporary choreographers. the Artistic Director Ricardo Bustamante
SF Ballet School students in choreographic discuss how Unbound came together and
explorations, followed by a panel discussion Program 06 | Nijinsky: A Ballet by the stories behind the festival.
with Associate Director of Audience John Neumeier, danced by
Engagement Jennie Scholick, PhD; Sofranko; The National Ballet of Canada May 2
SF Ballet School Director Patrick Armand; April 4 Principal Dancer Tiit Helimets demonstrates
and SF Ballet School alums. SF Ballet’s Scholar-in-Residence, the differences between classical,
Carrie Gaiser Casey, PhD, will lead a neoclassical, and contemporary ballet with
Program 04 | Frankenstein discussion of the dramatic life and SF Ballet School students, followed by a
March 7 career of Vaslav Nijinsky, with a focus discussion with Dance Educator Mary Wood.
Dance Educator Mary Wood discusses the on John Neumeier’s provocative ballet
intricacies of the makeup and costumes in and the many historical figures who
Liam Scarlett’s Frankenstein with SF Ballet appear within it.
production staff.
Above, left to right: Max Cauthorn in Scarlett's Frankenstein; The National Ballet of Canada's Heather Ogden and Guillaume Côté in Neumeier's Nijinsky
Opposite page: Vitor Luiz and Yuan Yuan Tan // All Photos © Erik Tomasson
12 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03SEMINARS, WORKSHOPS, MASTER CLASSES, AND MORE
From lectures to social events, we offer opportunities to explore the method behind the magic you see onstage.
BALLET TALK BALLET BASICS AMERICAN BALLET 1900–1983
Join us for a 60-minute talk and Q & A, A Beginner’s Guide to SF Ballet August 2018 (dates to be announced)
followed by a wine-and-cheese reception March 18, 1–4 pm How did American ballet get its start?
with the speaker. This three-hour seminar will give you Join us for an interactive three-session
Distinctly SF Ballet: A Panel Discussion a deeper understanding of ballet, from its seminar that will look from Anna Pavlova
of New Work in San Francisco classical roots to current practice. Take to Lew Christensen to George Balanchine.
February 17, 5–6:30 pm a ballet class, hear from a dancer, and
learn about the history of classical ballet. WANT TO LEARN MORE ABOUT
Breaking Bounds: Annabelle Lopez Ochoa,
UPCOMING PERFORMANCES?
Cathy Marston, and New Perspectives in
CELEBRATING JEROME ROBBINS Meet Aurora, SF Ballet’s new chatbot
Ballet Choreography
March 20, 5:30–6:30 pm and resident expert on all things ballet.
April 7, 5–6:30 pm
Atrium Theater at the To engage with her, just start a conversation
Led by Carrie Gaiser Casey, PhD
Wilsey Center for Opera with SF Ballet on Facebook Messenger and
say “Hi Aurora.” Learn about the production,
MASTER CLASS The year-long celebration of Jerome
the Opera House, and our dancers—and you
Register to Dance or Observe Robbins comes to San Francisco with
may even get to hear from a dancer or two!
Master Classes provide an in-depth look SF Ballet’s Program 05: Robbins: Ballet
You can meet her by opening the Messenger
at one particular ballet or choreographer. and Broadway (March 20–25). Before the
app on your phone, clicking “Scan Code,”
Designed for advanced-level dancers first performance, join Helgi Tomasson,
and scanning this QR code; or by going to
ages 15 to 20, Master Classes also welcome Patricia McBride, and Jean-Pierre Frohlich
http://m.me/sfballet
up to 75 observers, and offer an intimate, as they share their memories and discuss
behind-the-scenes look at the rigor and Robbins’ work on the centennial
craft of ballet. For more information: anniversary of his birth.
sfballet.org/masterclasses
BOUNDLESS: A SYMPOSIUM
Jerome Robbins’ Ballets
ON BALLET’S FUTURE
February 25, 10 am–12 pm
April 27–29
Prepare for the Jerome Robbins
centennial by exploring the repertory Three days of discussions among LOVED THE MUSIC AT THE
of this choreographic genius. artists, scholars, and critics will explore PERFORMANCE?
how issues around choreography, Listen to it when you get home by checking
diversity, and technology are shaping out SF Ballet’s Spotify playlists. You’ll find
ballet’s future. For more information: recordings of the music played tonight—
sfballet.org/boundless and get the opportunity to prep for
upcoming programs.
PROGRAMS 02 & 03 | SFBALLET.ORG | 13EXPLORE BALLET CONTINUED
DANCE FOR ALL AGES
Let your spirit soar as you experience the joy of moving in our beautiful studios.
ADULT BALLET CLASSES ADULT BALLET WORKSHOP
Our open classes are inclusive and fun, a good workout that stretches June 11–16
your artistry as well as your muscles. Open to adults and teens over Why do kids always get to have all the fun? SF Ballet School is
the age of 16 with basic ballet experience, classes start at the barre, organizing the second-annual summer dance workshop just for
then move to the center through traditional ballet exercises and adults. Join acclaimed faculty and special guests in daily ballet
combinations. Be prepared to sweat (at least a little) and to have a technique and repertory classes in our beautiful studios with live
good time. It is recommended that true ballet beginners start with accompaniment. Dance lovers from across the country will unite
our Beginner Ballet series. We want to make sure you get the full in San Francisco this summer to share in a one-week experience
attention of our teachers, so we limit enrollment to 30 students of a dancer’s life at SF Ballet. For more information:
per class. Classes fill quickly—reserve your spot today. For more sfballet.org/adultballetworkshop
information: sfballet.org/adultballet
DANCE SERIES FOR INDIVIDUALS WITH PARKINSON’S DISEASE
ADULT BEGINNER BALLET SERIES In partnership with Kaiser Permanente, we're offering free dance
April 7–May 19 classes designed for people with Parkinson’s Disease. Classes
Saturdays, 2:30–4 pm develop individual artistic expression while honoring PD concerns
Taught by Cecelia Beam such as balance, flexibility, coordination, isolation, and depression.
It’s never too late to start taking ballet. This eight-session beginner The next 8-week session begins Saturday, April 7. For more information,
series is for those who are new to ballet and those who feel like they contact Cecelia Beam at cbeam@sfballet.org.
would like to get a handle on the basics. Instruction will be broken
down to the core elements and then built each week so that you’ll
finish feeling confident and excited to continue your training. For more
information: sfballet.org/adultballet
Whether over a glass of champagne at intermission or on the car ride back home, part of the fun of seeing live
DISCUSS & performance is discussing it with your date, your best friend, or your new friend sitting next to you in the audience.
EXPLORE A few questions about tonight’s performance to get your discussion started:
BRIGHT FAST COOL BLUE
1. One of the ballets on the program tonight, Serenade, was choreographed in 1934, while the other two were created within
the last year. Were you aware of this as you watched them? Did one feel more “old-fashioned” than the others, or did they
all feel modern?
2. Justin Peck and Benjamin Millepied have both danced with New York City Ballet and performed in many of
George Balanchine’s works. In addition, Peck has danced in one of Millepied’s ballets. Did you notice more similarities or
differences in their three pieces tonight?
3. One ballet on the program tonight features an almost-all-female cast; another features an almost-all-male cast. How did that
affect how you perceived each work?
4. None of these ballets has a narrative, and yet many people see small stories emerge in Serenade, the music for
The Chairman Dances was created with a story in mind, and Rodeo: Four Dance Episodes is choreographed to music first
used for a narrative ballet by early 20th-century choreographer Agnes de Mille. Did you see plots emerge in these plotless
ballets? And if so, what were they?
DISTINCTLY SF BALLET
1. On a Theme of Paganini, Ibsen’s House, and Ghost in the Machine each represent a different style of ballet: abstract
neoclassicism, dance-drama, and contemporary ballet. Did one of them appeal to you more than the others? If so, can you
put your finger on why?
2. All three choreographers in the performance are based here in San Francisco. Is there anything about these works that
seemed influenced by the city? Or by the other works on the program?
3. Both Ibsen’s House, which is inspired by Henrik Ibsen’s plays about Victorian society, and Ghost in the Machine,
choreographed just after the 2016 election, ask questions about what happens to people in repressive or divisive societies.
How did you respond to this element in these works? Was it something you noticed, or did you see other themes in the ballets?
14 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03CHILDREN’S AUDITIONS FOR SUMMER DANCE CAMP
SAN FRANCISCO BALLET SCHOOL June 11–15
Pursue a love of dance. For children with an Boys & Girls Clubs of San Francisco (BGCSF) and San Francisco Ballet are partnering
interest in dance or the dream of becoming a to offer the fourth-annual Summer Dance Camp. This free, week-long dance program is
ballet dancer, San Francisco Ballet School open to BGCSF members and promotes creative expression while encouraging education
offers a training program of unqualified through the performing arts. BGCSF members will have the opportunity to take a range of
excellence. We’re holding auditions for our classes in ballet, hip hop, world dance, and music from professional teaching artists onsite
2018–19 School-Year program on June 2. To be at San Francisco Ballet School. Summer Dance Camp will be open for enrollment beginning
eligible to audition, students must be age 8–11 in April. For more information: sfballet.org/dancecamp
by September 1, 2018. For more information and
to register: sfballet.org/school/audition
BARBARA FRACCHIA ART STUDIO
operatic and ballet paintings
BALLET FOR YOUNG CHILDREN
Give your child the gift of dance! Learning the
joy of movement begins with Pre-Ballet classes
at San Francisco Ballet School. We introduce
BARBARA FRACCHIA
young children ages 4–7 to the fundamentals
of classical ballet, focusing on proper body
alignment, basic ballet technique and terminology,
and musicality. Audition not required. Fall 2018
classes will be open for enrollment beginning
in April. For more information about free trial
1/2V
classes: sfballet.org/preballet
SUMMER BALLET CAMP
July 9–Aug 3
The second year of our popular Summer Ballet
Camp, taught by SF Ballet School Faculty, will take
place in July. In addition to four different one-week
ballet camps for children ages 8–12 years old,
Pre-Ballet classes will be offered for children ages
4–7. No audition is required. For more information:
sfballet.org/school/summer-sessions Bright Fast Cool Blue
oil on canvas, 16 x 12
All Audience Engagement Programs are subject
to change. The views, opinions, and information
expressed are strictly those of the participants,
and do not necessarily represent or imply any official
position of San Francisco Ballet. For more information
about these programs, visit sfballet.org/explore or
email audienceengagement@sfballet.org.
Above: San Francisco Ballet School students // © Chris Hardy
PROGRAMS 02 & 03 | 415 865 2000 | 15ARTISTS OF THE COMPANY
ARTISTIC DIRECTOR &
PRINCIPAL CHOREOGRAPHER
HELGI TOMASSON
PRINCIPAL DANCERS
Dores André Jaime Garcia Castilla Vitor Luiz Yuan Yuan Tan
Ulrik Birkkjaer Angelo Greco Ana Sophia Scheller Richard C. Barker Principal Dancer
Frances Chung Tiit Helimets Jennifer Stahl† Sarah Van Patten
Diana Dollar Knowles Principal Dancer
Sasha De Sola Luke Ingham Sofiane Sylve
Diane B. Wilsey Principal Dancer Joseph Walsh
Carlo Di Lanno Maria Kochetkova
John and Barbara Osterweis
Mathilde Froustey Herbert Family Principal Dancer Principal Dancer
PRINCIPAL CHARACTER DANCERS
Ricardo Bustamante† Val Caniparoli† Rubén Martín Cintas Anita Paciotti†
SOLOISTS
Max Cauthorn† Jahna Frantziskonis Steven Morse† Lauren Strongin
Isabella DeVivo† Esteban Hernandez Julia Rowe† Wei Wang†
Daniel Deivison-Oliveira† Koto Ishihara† James Sofranko Hansuke Yamamoto
WanTing Zhao†
CORPS DE BALLET
Kamryn Baldwin† Gabriela Gonzalez Kimberly Marie Olivier† Natasha Sheehan†
Sean Bennett† Jillian Harvey Sean Orza† Henry Sidford†
Ludmila Bizalion† Ellen Rose Hummel† Wona Park† Miranda Silveira†
Samantha Bristow† Blake Johnston† Lauren Parrott† John-Paul Simoens†
Alexandre Cagnat† Madison Keesler† Elizabeth Powell† Myles Thatcher†
Thamires Chuvas† Blake Kessler† Nathaniel Remez† Isabella Walsh†
Diego Cruz† Shené Lazarus† Alexander Reneff-Olson† Mingxuan Wang†
Megan Amanda Ehrlich Elizabeth Mateer Rebecca Rhodes† Joseph Warton†
Benjamin Freemantle† Norika Matsuyama† Emma Rubinowitz† Lonnie Weeks
Solomon Golding Davide Occhipinti† Skyla Schreter Maggie Weirich†
Ami Yuki†
APPRENTICES
Ethan Chudnow† Anatalia Hordov† Carmela Mayo† Swane Messaoudi† Larisa Nugent† Benji Pearson†
BALLET MASTERS & ASSISTANTS TO THE ARTISTIC DIRECTOR
Ricardo Bustamante† Felipe Diaz†
BALLET MASTERS
Betsy Erickson† Anita Paciotti† Katita Waldo†
COMPANY TEACHERS
Helgi Tomasson Patrick Armand Ricardo Bustamante† Felipe Diaz†
CHOREOGRAPHER IN RESIDENCE MUSIC DIRECTOR & PRINCIPAL CONDUCTOR
Yuri Possokhov Martin West
†Received training at San Francisco Ballet School
16 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03PRINCIPAL DANCERS
DORES ANDRÉ FRANCES CHUNG
Born in Vigo, Spain, Dores André Born in Vancouver, Canada,
trained with Antonio Almenara and at Frances Chung trained at
Estudio de Danza de Maria de Avila. Goh Ballet Academy before joining
She joined the Company in 2004, SF Ballet in 2001. She was
was promoted to soloist in 2012, and promoted to soloist in 2005 and
to principal dancer in 2015. principal dancer in 2009.
ULRIK BIRKKJAER SASHA DE SOLA
Born in Copenhagen, Denmark, Born in Winter Park, Florida,
Ulrik Birkkjaer trained at the Sasha De Sola trained at
Royal Danish Ballet School. He the Kirov Academy of Ballet. She was
danced with the Royal Danish Ballet named an SF Ballet apprentice in 2006
before joining San Francisco Ballet and joined the Company in 2007.
as a principal dancer in 2017. She was promoted to soloist in 2012 and
principal dancer in 2017.
CARLO DI LANNO JAIME GARCIA CASTILLA
Carlo Di Lanno was born in Naples, Jaime Garcia Castilla was born in
Italy, and trained at La Scala Ballet Madrid, Spain, and studied at
School in Milan. He danced with the Royal Conservatory of Professional
La Scala Ballet and Staatsballett Berlin Dance. He was named an SF Ballet
before joining San Francisco Ballet apprentice in 2001 and joined the
as a soloist in 2014. He was promoted Company the following year. He was
to principal dancer in 2016.
MATHILDE FROUSTEY promoted to soloist in 2006 and to
ANGELO GRECO
Mathilde Froustey was born in principal dancer in 2008. Born in Nuoro, Italy, Angelo Greco
Bordeaux, France, and trained at the trained at La Scala Ballet School
Marseille National School of Ballet in Milan. He danced with
and Paris Opera Ballet School. She La Scala Ballet before joining SF Ballet
danced with Paris Opera Ballet as a soloist in 2016. He was promoted
before joining SF Ballet as a principal to principal dancer in 2017.
dancer in 2013.
TIIT HELIMETS MARIA KOCHETKOVA
Born in Viljandi, Estonia, Tiit Helimets Born in Moscow, Russia,
trained at Tallinn Ballet School. He Maria Kochetkova trained at the
danced with Estonian National Ballet Bolshoi Ballet School in Moscow and
and Birmingham Royal Ballet before danced with The Royal Ballet and
joining San Francisco Ballet English National Ballet before joining
as a principal dancer in 2005. SF Ballet as a principal dancer in
LUKE INGHAM 2007. She was appointed Herbert
VITOR LUIZ
From Mount Gambier, South Australia, Family Principal Dancer in 2012. Born in Juiz de Fora, Brazil, Vitor Luiz
Luke Ingham trained at the Australian trained at The Royal Ballet School. He
Ballet School. He danced with danced with Birmingham Royal Ballet
The Australian Ballet and Houston and Ballet do Theatro Municipal do
Ballet before joining SF Ballet as a Rio de Janeiro prior to joining SF Ballet
soloist in 2012. He was promoted as a principal dancer in 2009.
to principal dancer in 2014.
†Received training at San Francisco Ballet School
Dancer headshots // © Chris Hardy and David Allen
PROGRAMS 02 & 03 | SFBALLET.ORG | 17PRINCIPAL DANCERS
PRINCIPAL CHARACTER DANCERS
ANA SOPHIA SCHELLER
Born in Buenos Aires, Argentina,
Ana Sophia Scheller trained at the
Instituto Superior de Arte del Teatro
Colon and the School of American
Ballet. She danced with New York City
Ballet before joining SF Ballet as a YUAN YUAN TAN
principal dancer in 2017.
Yuan Yuan Tan was born in Shanghai,
China, and trained at Shanghai Dancing
School and Stuttgart’s John Cranko
School. She joined SF Ballet as soloist
in 1995 and was promoted to principal RICARDO BUSTAMANTE†
dancer in 1997. She was appointed
Richard C. Barker Principal Dancer Born in Medellín, Colombia
in 2012. Joined in 1980
Named principal character dancer
in 2007
VAL CANIPAROLI†
Born in Renton, Washington
Joined in 1973
Named principal character dancer
in 1987
JENNIFER STAHL†
Born in Dana Point, California, Jennifer
Stahl trained at Maria Lazar’s Classical
Ballet Academy and SF Ballet School.
She was named an SF Ballet apprentice
in 2005 and joined the corps de ballet
in 2006. She was promoted to soloist in SARAH VAN PATTEN
2013 and principal dancer in 2017.
Sarah Van Patten, born in Boston,
Massachusetts, danced with
Massachusetts Youth Ballet and the
Royal Danish Ballet before joining
SF Ballet as a soloist in 2002. She was RUBÉN MARTÍN CINTAS
promoted to principal dancer in 2007.
She was appointed Diana Dollar Born in Reus, Spain
Knowles Principal Dancer in 2013. Joined in 2000
Named principal character dancer
in 2014
ANITA PACIOTTI†
Born in Oakland, California
Joined in 1968
Named principal character dancer
in 1987
SOFIANE SYLVE
Sofiane Sylve was born in Nice, France,
where she studied at the Académie
de Danse. She danced with Germany’s
Stadttheater, Dutch National Ballet, and
New York City Ballet prior to joining
SF Ballet as a principal dancer in 2008.
She was appointed Diane B. Wilsey
JOSEPH WALSH
Principal Dancer in 2017. Born in Doylestown, Pennsylvania,
Joseph Walsh trained at Walnut Hill
School of the Arts and Houston Ballet II.
He danced with Houston Ballet before
joining SF Ballet as a soloist in 2014. He
was promoted to principal dancer that
same year. He was appointed John and
Barbara Osterweis Principal Dancer
in 2017.
18 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03SOLOISTS
MAX CAUTHORN† STEVEN MORSE†
Born in San Francisco, California Born in Harbor City, California
Named apprentice in 2013 Joined in 2009
Joined in 2014 Promoted to soloist in 2017
Promoted to soloist in 2017
JAHNA FRANTZISKONIS WEI WANG†
Born in Tucson, Arizona Born in Anshan, Liaoning, China
Joined in 2015 Named apprentice in 2012
Promoted to soloist in 2017 Joined in 2013
Promoted to soloist in 2016
ISABELLA DEVIVO† JULIA ROWE†
Born in Great Neck, New York Born in Elizabethtown, Pennsylvania
Joined in 2013 Joined in 2013
Promoted to soloist in 2017 Promoted to soloist in 2016
ESTEBAN HERNANDEZ HANSUKE YAMAMOTO
Born in Guadalajara, Mexico Born in Chiba, Japan
Joined in 2013 Joined in 2001
Promoted to soloist in 2017 Promoted to soloist in 2005
DANIEL DEIVISON-OLIVEIRA† JAMES SOFRANKO
Born in Rio de Janeiro, Brazil Born in Marion, Indiana
Joined in 2005 Joined in 2000
Promoted to soloist in 2011 Promoted to soloist in 2007
KOTO ISHIHARA† WANTING ZHAO†
Born in Nagoya, Japan Born in Anshan, Liaoning, China
Joined in 2010 Joined in 2011
Promoted to soloist in 2014 Promoted to soloist in 2016
LAUREN STRONGIN
Born in Los Gatos, California
Joined as a soloist in 2015
†Received training at San Francisco Ballet School
Dancer headshots // © Chris Hardy and David Allen
PROGRAMS 02 & 03 | 415 865 2000 | 19CORPS DE BALLET
KAMRYN BALDWIN† MEGAN AMANDA EHRLICH
Born in Honolulu, Hawai’i Born in Charleston, South Carolina
Joined in 2015 Named apprentice in 2011
Joined in 2012
Returned in 2017
ALEXANDRE CAGNAT† JILLIAN HARVEY
Born in Cannes, France Born in Hollidaysburg, Pennsylvania
Named apprentice in 2016 Named apprentice in 2012
Joined in 2017 Joined in 2012
SEAN BENNETT† BENJAMIN FREEMANTLE†
Born in San Francisco, California Born in New Westminster,
Named apprentice in 2011 British Columbia, Canada
Joined in 2012 Named apprentice in 2014
Joined in 2015
THAMIRES CHUVAS† ELLEN ROSE HUMMEL†
Born in Rio de Janeiro, Brazil Born in Greenville, South Carolina
Named apprentice in 2014 Named apprentice in 2011
Joined in 2015 Joined in 2012
LUDMILA BIZALION† SOLOMON GOLDING
Born in Rio de Janeiro, Brazil Born in London, United Kingdom
Named apprentice in 2006 Joined in 2017
Joined in 2007
Returned in 2016
DIEGO CRUZ† BLAKE JOHNSTON†
Born in Zaragoza, Spain Born in Charlotte, North Carolina
Joined in 2006 Joined in 2017
SAMANTHA BRISTOW† GABRIELA GONZALEZ
Born in Media, Pennsylvania Born in Mérida, Mexico
Named apprentice in 2014 Joined in 2017 †Received training at San Francisco Ballet School
Joined in 2015 Dancer headshots // © Chris Hardy and David Allen
20 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03CORPS DE BALLET
MADISON KEESLER† SEAN ORZA†
Born in Carlsbad, California Born in San Francisco, California
Joined in 2009 Named apprentice in 2007
Returned in 2017 Joined in 2008
NORIKA MATSUYAMA† NATHANIEL REMEZ†
Born in Chiba, Japan Born in Washington, DC
Joined in 2014 Named apprentice in 2016
Joined in 2017
BLAKE KESSLER† WONA PARK†
Born in Jacksonville, Florida Born in Seoul, South Korea
Named apprentice in 2015 Joined in 2017
Joined in 2016
DAVIDE OCCHIPINTI† ALEXANDER RENEFF-OLSON†
Born in Rome, Italy Born in San Francisco, California
Named apprentice in 2016 Named apprentice in 2012
Joined in 2017 Joined in 2013
SHENÉ LAZARUS† LAUREN PARROTT†
Born in Durban, South Africa Born in Palm Harbor, Florida
Named apprentice in 2016 Named apprentice in 2012
Joined in 2017 Joined in 2013
KIMBERLY MARIE OLIVIER† REBECCA RHODES†
Born in New York, New York Born in Chicago, Illinois
Named apprentice in 2009 Named apprentice in 2008
Joined in 2010 Joined in 2009
ELIZABETH MATEER ELIZABETH POWELL†
Born in Boca Raton, Florida Born in Boston, Massachusetts
Joined in 2016 Named apprentice in 2011
Joined in 2012
PROGRAMS 02 & 03 | SFBALLET.ORG | 21CORPS DE BALLET
EMMA RUBINOWITZ† ISABELLA WALSH†
Born in San Francisco, California Born in Rolling Hills, California
Named apprentice in 2012 Named apprentice in 2016
Joined in 2013 Joined in 2017
MIRANDA SILVEIRA† MAGGIE WEIRICH†
Born in Rio de Janeiro, Brazil Born in Portland, Oregon
Named apprentice in 2013 Named apprentice in 2014
Joined in 2014 Joined in 2015
SKYLA SCHRETER MINGXUAN WANG†
Born in Chappaqua, New York Born in Qingdao, China
Joined in 2014 Named apprentice in 2013
Joined in 2014
JOHN-PAUL SIMOENS† AMI YUKI†
Born in Omaha, Nebraska Born in Saitama, Japan
Named apprentice in 2014 Named apprentice in 2014
Joined in 2015 Joined in 2015
APPRENTICES
NATASHA SHEEHAN† JOSEPH WARTON† ETHAN CHUDNOW†
Born in San Francisco, California Born in Beaverton, Oregon ANATALIA HORDOV†
Joined in 2016 Joined in 2017
CARMELA MAYO†
SWANE MESSAOUDI†
LARISA NUGENT†
MYLES THATCHER†
BENJI PEARSON†
Born in Atlanta, Georgia
Named apprentice in 2009
Joined in 2010
HENRY SIDFORD† LONNIE WEEKS
Born in Marblehead, Massachusetts Born in Los Alamos, New Mexico
Named apprentice in 2011 Joined in 2010 †Received training at San Francisco Ballet School
Joined in 2012 Dancer headshots // © Chris Hardy and David Allen
22 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03THE CREATURE IS BACK
FRANKENSTEIN
MAR 06 – MAR 11
“Frankenstein offers luscious performances,
relentless drama, and spectacular set
design and lighting. Replete with delicious
steampunk pyrotechnics, the design alone
creates enough imaginative spectacle to
Vitor Luiz in Scarlett’s Frankenstein // © Erik Tomasson
become a leading character in its own right.”
–The Mercury News
TICKETS ON SALE NOW
SFBALLET.ORG/FRANKENSTEIN
2018 MEDIA SPONSOR
The 2017 SF Ballet premiere of Frankenstein was made possible by
Lead Sponsors Bently Foundation and The Hellman Family; Costume
Sponsor E. L. Wiegand Foundation; and Sponsors Ms. Laura Clifford,
Stephanie and James Marver, and an anonymous donor.San Francisco Ballet in Balanchine's Serenade // Choreography by George Balanchine © The Balanchine Trust // Photo © Erik Tomasson
PROGRAM
02 BRIGHT FAST
COOL BLUE
FEB 13—FEB 24
Program Notes by Cheryl A. Ossola
SERENADE
Composer: Peter Ilyich Tchaikovsky World Premiere:
Choreographer: George Balanchine March 1, 1935—American Ballet, Adelphi Theater;
New York, New York
Staged by: Elyse Borne
Costume Design: after Karinska San Francisco Ballet Premiere:
Original Lighting Design: Ronald Bates April 18, 1952—War Memorial Opera House; San Francisco, California
These performances of Serenade are made possible by Lead Sponsor
Diane B. Wilsey; Major Sponsors David and Vicki Cox, Christa and Mark Lopez,
and Mr. and Mrs. Kurt Mobley; and Sponsors Gioia and John Arrillaga,
Mr. and Mrs. Edward Roach, and ENCORE!
THE CHAIRMAN DANCES—
QUARTET FOR TWO
Composer: John Adams World Premiere:
Choreographer: Benjamin Millepied January 19, 2017—San Francisco Ballet 84th Anniversary Gala,
War Memorial Opera House; San Francisco, California
Costume Design: Benjamin Millepied
Lighting Design: Jim French These performances of The Chairman Dances—Quartet for Two are made
possible by Lead Sponsors Gaia Fund, and Mr. and Mrs. John S. Osterweis;
Major Sponsor Jennifer and Steven Walske; and Sponsors Kathleen Grant, M.D.
and Thomas Jackson, M.D., Kacie and Michael Renc, Larissa Roesch and
Calder Roesch, and O.J. and Gary Shansby, with additional support from
the TeRoller Fund for New Productions of the San Francisco Ballet
Endowment Foundation.
RODEO: FOUR DANCE EPISODES
Composer: Aaron Copland World Premiere:
Choreographer: Justin Peck February 4, 2015—New York City Ballet, David H. Koch Theater;
New York, New York
Staged by: Craig Hall
Costume Design: Reid Bartelme, San Francisco Ballet Premiere:
Harriet Jung, and Justin Peck
January 18, 2018—San Francisco Ballet 85th Anniversary Gala,
Lighting Design: Brandon Stirling Baker War Memorial Opera House; San Francisco, California
The San Francisco Ballet premiere of Rodeo: Four Dance Episodes is made
possible by Lead Sponsors Teri and Andy Goodman, Mrs. Randee Seiger,
and Judy C. Swanson; Major Sponsors Hannah and Kevin Comolli,
and Catherine and Mark Slavonia; Sponsors John G. Capo and
Orlando Diaz-Azcuy, Robert and Laura Cory, and Nion McEvoy and
Leslie Berriman, with additional support from the Osher New Work Fund
of the San Francisco Ballet Endowment Foundation.
PROGRAMS 02 & 03 | 415 865 2000 | 25SERENADE
PROGRAM NOTES
Of all George Balanchine’s works, Serenade provides as close
to a spiritual experience as can be found in ballet. Created on
students at the School of American Ballet during a class on
stage technique, it is one of the most beloved works by this
choreographic master. From the moment the curtain rises—on an
iconic image of 17 women standing still and serene—to the last
glimpse of their pointe shoes as the curtain falls, Serenade takes
gentle hold of our emotions.
Balanchine, the co-founder and artistic director of New York City
Ballet and the School of American Ballet, was one of the most
prolific choreographers in dance history. He created more than
200 ballets, but perhaps more notable are the astounding stylistic
range and enduring nature of his works. Serenade, set to Peter
Ilyich Tchaikovsky’s Serenade for Strings, was the first ballet that
Balanchine created in the United States, and 84 years later Despite being created on students, Serenade is far from easy to
it still has unwavering power. As San Francisco Ballet Artistic dance. “It’s allowed to be done by schools because he made it for
Director and Principal Choreographer Helgi Tomasson puts it, the [School of American Ballet],” says Borne. “And yet the dancing
this ballet is “timeless, so exquisite.” is so hard. I think it was a lot for him to demand from students—it’s
not only hard technically but artistically. Although there’s no story,
Serenade premiered in White Plains, New York, in 1934, danced there’s a lot of romance, a lot of drama and passion. If the dancers
by students; its professional premiere came the following year, just do the steps, it doesn’t look like Serenade.” Over time,
danced by the American Ballet (a predecessor to New York City Balanchine continued to develop the ballet, eventually using
Ballet). Serenade entered SF Ballet’s repertory in 1952 and Tchaikovsky’s full score and fitting it to the skills of the
has reappeared throughout the Company’s history, most professionals who danced it.
recently in 2015.
One of the ballet’s most touching moments occurs when the
As Balanchine relates in his book Complete Stories of the Great 17 women, standing with feet together in parallel (sixth position),
Ballets, he created Serenade to demonstrate to his students that open them to a wide V: first position. This simple movement,
performing is far more complex than taking class. The day he so elemental, reflects Serenade’s origins as a piece for students.
began, there were 17 students; the next day, nine; the third six. And, in part, those quiet, understated moments of beauty make
In each class he worked with whoever was there, adding men Serenade timeless. “No one ever gets tired of it—not dancing it,
when a few showed up to class, and including mishaps, like a late not seeing it, not staging it,” says Borne. “The curtain goes up
entrance and a fall. Serenade is a prime example of Balanchine’s and you hear that beautiful music and see the light, and it’s
often quoted philosophy (embraced by Tomasson): “Use what transcendent.”
you’ve got.” He always did, in ways that display his tremendous
creative depth.
Along with its steps, movement quality, and emotional PRODUCTION CREDITS
Music: Serenade in C Major for String Orchestra, Op. 48. This performance
expressiveness, Serenade shows off Balanchine’s ability to
of Serenade, a Balanchine© Ballet, is presented by arrangement with the
elevate to an art the simple act of creating patterns; in fact, George Balanchine Trust and has been produced in accordance with the
the beauty of its formations makes it fun to watch from above. Balanchine Style© and Balanchine Technique© service standards established
“It’s like an ebb and flow—there’s confusion and then instantly and provided by the Trust. Costumes constructed by Barbara Matera, Ltd.,
there’s order,” says stager Elyse Borne. Making those patterns New York, New York.
work seamlessly requires a heightened sense of bonding,
especially among the corps women.
26 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03You can also read
