KALEIDOSCOPE / IN SPACE & TIME - Encore Arts San Francisco
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2019 SEASON | PROGRAMS 02 / 03 KALEIDOSCOPE / IN SPACE & TIME
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February 2019 PROGRAM 02 | KALEIDOSCOPE /
Volume 96, No. 4
PROGRAM 03 | IN SPACE & TIME
TABLE OF CONTENTS
03 Greetings from the Artistic Director
Paul Heppner & Principal Choreographer
President
04 Board of Trustees
Mike Hathaway
Senior Vice President Endowment Foundation Board
Kajsa Puckett 05 SF Ballet Leadership
Vice President, Sales & Marketing
07 Timeline
03
Genay Genereux
Accounting & Office Manager 08 For Your Information
Production
09 Season News
Susan Peterson
Vice President, Production 10 Ballet as a Respite from Parkinson's
Jennifer Sugden
Assistant Production Manager
12 Explore Ballet
Ana Alvira, Stevie VanBronkhorst 16 Artists of the Company
Production Artists and Graphic Designers
24 PROGRAM 02 Kaleidoscope
Sales
Divertimento No. 15
Marilyn Kallins, Terri Reed
San Francisco/Bay Area Account Executives Appassionata
Devin Bannon, Brieanna Hansen,
Hurry Up, We're Dreaming
Amelia Heppner, Ann Manning
32 PROGRAM 03 In Space & Time
EMG
Seattle Area Account Executives
Carol Yip
The Fifth Season
MASTHEAD
Sales Coordinator Snowblind
32
Marketing Etudes
Shaun Swick
40 SF Ballet Orchestra
Senior Designer & Digital Lead
Ciara Caya
42 SF Ballet Staff
Marketing Coordinator
44 Donor Events and News
Encore Media Group 48 SF Ballet Donors
425 North 85th Street
62 Thank You to Our Volunteers
Seattle, WA 98103
p 800.308.2898 | 206.443.0445 64 Last Words on Snowblind
f 206.443.1246
info@encoremediagroup.com
www.encoremediagroup.com
FOLLOW US BEFORE AND AFTER THE PERFORMANCE!
Encore Arts Programs and Encore Stages are published monthly
by Encore Media Group to serve musical and theatrical events
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written permission is prohibited.
San Francisco Ballet |Program Book | Vol. 26, No. 4
2019 Repertory Season
All editorial material © San Francisco Ballet, 2019
Chris Hellman Center for Dance
455 Franklin Street, San Francisco, CA 94102
415 861 5600 | sfballet.org
Cover: Dores André and Joseph Walsh in Peck's
Hurry Up, We're Dreaming // © Erik Tomasson
Above, top to bottom: Helgi Tomasson;
Yuan Yuan Tan and Tiit Helimets in Tomasson's
The Fifth Season // Both © Erik Tomasson
PROGRAMS 02 / 03 | SFBALLET.ORG | 1
SAN FRANCISCO BALLET AUXILIARY FASHION SHOW WEDNESDAY, MARCH 20, 11 AM The Bently Reserve Presented by Sam Malouf Authentic Luxury Featuring the Fall 2019 Collection from acclaimed designer Jason Wu Don’t miss this exclusive opportunity to view the Fall 2019 collection of world-renowned designer Jason Wu. The event includes a cocktail reception, runway show, and an invitation to a trunk show featuring Wu’s collection immediately following the show. Guests who purchase at the VIP level will join Wu for an intimate dinner the night before. Tickets to this event are extremely limited and we anticipate selling out quickly. Proceeds will benefit a wide range of San Francisco Ballet initiatives, including new works, scholarships for San Francisco Ballet School students, and community outreach programs. TICKET PRICES START AT $500 415 865 6620 or sfballet.org/fashionshow Ann Kathryn Baer Ms. Andi Valo-Espina Ms. Patricia Dassios San Francisco Ballet 2019 Fashion Show VIP Dinner Chair Auxiliary President Chair FASHION SHOW PRESENTED BY SPONSOR
GREETINGS FROM THE ARTISTIC DIRECTOR
& PRINCIPAL CHOREOGRAPHER
Welcome to Kaleidoscope and In Space and Time, the second and third
programs of our 2019 Repertory Season. I’m delighted you’ve joined us
at the Opera House.
Each year, when I plan the next Season, I look to create an interesting
blend of classic story ballets, more recently created neoclassical and
contemporary ballets, and new works. All are important: the beloved
19th-century classics like the upcoming The Sleeping Beauty hone the
dancers’ technique, while newer works keep the art form vibrant and
relevant. The six ballets of Kaleidoscope and In Space and Time offer
a multifaceted look at the way choreographers express different ideas
through classical ballet, and how the art form is growing and changing.
Program 02, Kaleidoscope, showcases three wonderful pairings of
choreography and music. George Balanchine’s Divertimento No. 15,
set to Mozart’s sparkling score of the same name, brilliantly illuminates
the intricacies of the music. San Francisco Ballet danced this ballet
beautifully in New York City last fall and I’m pleased to bring it back
to the Opera House. Benjamin Millepied’s Appassionata matches the
maelstrom of Beethoven’s piano sonata with a work featuring three
couples over the course of one passionate evening. When I saw this
ballet, I immediately knew that our Company would be wonderful
dancing in it. The third ballet in this program, Justin Peck’s Hurry Up, We're Dreaming, premiered in our Unbound
festival last season. In his second commission for SF Ballet, this talented choreographer created an athletic piece
with a contemporary feel and a strong sense of community.
Program 03, In Space and Time, also brings back an Unbound favorite—Cathy Marston’s Snowblind, based on
Edith Wharton’s story of a tragic love triangle, Ethan Frome. Cathy is talented at transforming literary source material
into compelling dance, highlighting the motivation and desire of each character to draw us deeper and deeper into the
story. Also on this program is Harald Lander’s Etudes, always an audience favorite. Etudes starts with the most basic steps
of a ballet class and builds and builds into a thrilling display of technique that showcases more than half the Company.
Rounding out this program is The Fifth Season, a ballet I created in 2005 after being inspired by the music of Karl Jenkins.
Our Season continues through May with The Sleeping Beauty and The Little Mermaid; world premieres by Yuri Possokhov
and Liam Scarlett; Alexei Ratmansky’s Shostakovich Trilogy, and much more. I hope you’ll join us once again this spring as
we explore the full range of what ballet can be.
Sincerely,
Helgi Tomasson
Artistic Director & Principal Choreographer
PROGRAMS 02 / 03 | 41 5 865 2000 | 3
SAN FRANCISCO BALLET ASSOCIATION
BOARD OF TRUSTEES | 201 8–19
Carl F. Pascarella, Chair of the Board and Executive Committee
John S. Osterweis†, Immediate Past Chair Lisa Daniels Christine E. Sherry David A. Kaplan
Margaret G. Gill, Vice Chair Susan P. Diekman Charlotte Mailliard Shultz Mary Jo Kovacevich
James H. Herbert, II†, Vice Chair Sonia H. Evers Catherine Slavonia James J. Ludwig†
Lucy Jewett, Vice Chair Shelby M. Gans David Hooker Spencer Stephanie Marver
James D. Marver, Vice Chair Joseph C. Geagea Fran A. Streets Nancy H. Mohr
Diane B. Wilsey, Vice Chair Richard Gibbs, M.D. Judy C. Swanson Marie-Louise Pratt
Nancy Kukacka, Treasurer Beth Grossman Richard J. Thalheimer George R. Roberts
Jennifer J. McCall, Secretary Matthew T. Hobart Miles Archer Woodlief Kathleen Scutchfield
Susan S. Briggs, Assistant Secretary Patrick M. Hogan Timothy C. Wu Robert M. Smelick
Thomas E. Horn Zhenya Yoder Susan A. Van Wagner
Helgi Tomasson, Artistic Director Hiro Iwanaga Janice Hansen Zakin Dennis Wu
& Principal Choreographer Thomas M. Jackson, M.D. Akiko Yamazaki
Glenn McCoy*, Executive Director Elaine Kartalis
James C. Katzman
Yasunobu Kyogoku TRUSTEES EMERITI
Kelsey Lamond Michael C. Abramson ASSOCIATE TRUSTEES
Jola Anderson Brenda Leff Thomas W. Allen Ann Kathryn Baer, President,
Kristen A. Avansino Marie O’Gara Lipman Marjorie Burnett San Francisco Ballet Auxiliary
Richard C. Barker† Alison Mauzé Charles Dishman Steve Merlo, President, BRAVO
Karen S. Bergman Marissa Mayer Garrettson Dulin, Jr.† Daniel Cassell, President,
Gary Bridge ENCORE!
John T. Palmer Millicent Dunham
Chaomei Chen Stewart McDowell Brady,
Kara Roell J. Stuart Francis†
Patrice Lovato,
Hannah Comolli Christine Russell Sally Hambrecht
Co-Chairs, Allegro Circle
Christine Leong Connors Randee Seiger Ingrid von Mangoldt Hills
David C. Cox Robert G. Shaw Pamela J. Joyner†
SAN FRANCISCO BALLET ENDOWMENT FOUNDATION
BOARD OF DIRECTORS | 201 8–19
James D. Marver, President
John S. Osterweis, President Emeritus
J. Stuart Francis, Vice President
Thomas E. Horn, Treasurer Richard C. Barker Hilary C. Pierce
Kevin Mohr‡, Chief Financial Officer Susan S. Briggs Larissa K. Roesch
Elizabeth Lani‡, Assistant Secretary Nancy Kukacka
† Past Chair * Non-Trustee ‡ Non-Director
4 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03
SAN FRANCISCO BALLET LEADERSHIP
HELGI TOMASSON GLENN MCCOY
ARTISTIC DIRECTOR & EXECUTIVE DIRECTOR
PRINCIPAL CHOREOGRAPHER
Helgi Tomasson, one of the supreme SF Ballet pays tribute to Glenn McCoy
classical dancers of his generation, this season, which is his 31st and final
has led San Francisco Ballet for 34 years season with San Francisco Ballet
and is the longest-serving sole artistic before retirement. After working
director of a major ballet company. Born for San Francisco Opera and the
in Iceland, he danced with Harkness Metropolitan Opera, McCoy joined
Ballet, The Joffrey Ballet, and New York San Francisco Ballet in 1987. He served
City Ballet, where he distinguished himself as a dancer of technical as company manager and general manager before being appointed
purity, musicality, and intelligence. Tomasson assumed leadership of executive director in April 2002. McCoy has overseen the production
SF Ballet in 1985. Under his direction, SF Ballet has developed into a of more than 130 new repertory and full-length ballets and more than
Company widely recognized as one of the finest in the world. Tomasson 50 domestic and international tours, including engagements in Paris,
has balanced devotion to the classics with an emphasis on new work, London, New York, Beijing, and Washington, DC. He supervised
cultivating frequent collaborations and commissions with renowned SF Ballet’s operations for the critically acclaimed international dance
choreographers such as William Forsythe, Christopher Wheeldon, festival, UNited We Dance, in 1995; SF Ballet’s 75th Anniversary
Alexei Ratmansky, and Mark Morris, among many others. He has Season in 2008; and the 2018 Unbound festival. He has overseen
choreographed more than 50 works for the Company, including tapings of Lar Lubovitch’s Othello, Helgi Tomasson’s Nutcracker,
full-length productions of Swan Lake, The Sleeping Beauty, Romeo & and John Neumeier’s The Little Mermaid, which have been broadcast
Juliet (taped for Lincoln Center at the Movies’ Great American Dance), on PBS by Thirteen/WNET New York’s performing arts series Great
Giselle, and Nutcracker (taped for PBS’s Great Performances). He Performances, as well as Tomasson’s Romeo & Juliet, which premiered
conceptualized the 1995 UNited We Dance festival, in which SF Ballet in Lincoln Center at the Movies’ Great American Dance series in 2015.
hosted 12 international companies; the 2008 New Works Festival, His incredible contribution to the past, present, and future of SF Ballet
which included 10 world premieres by 10 acclaimed choreographers; is profoundly admired throughout the organization.
and the 2018 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 Armand
musically excellent as it is adventurous. studied with Rudy Bryans, his mother
Under his direction the SF Ballet Orchestra Colette Armand, and at the École de
has greatly expanded its catalog of Danse de Marseille. He won the Prix
recordings. Born in Bolton, England, de Lausanne in 1980 and continued his
he studied math at Cambridge. After studies at the School of American Ballet.
studying music at the Royal Academy In 1981, he joined the Ballet Théâtre
of Music in London and St. Petersburg Conservatory of Music, he made Français de Nancy and was promoted to principal dancer in 1983.
his debut with English National Ballet and was appointed resident The following year he joined the English National Ballet, where he
conductor. As a guest conductor, he has worked with New York City danced for six years before joining Boston Ballet in 1990. A frequent
Ballet, The National Ballet of Canada, and The Royal Ballet. He was guest teacher for schools and companies in Amsterdam, Florence,
named music director of SF Ballet in 2005. West’s recordings with London, Naples, Tokyo, and Toronto, Armand was appointed teacher
SF Ballet Orchestra include the complete score of Tchaikovsky’s and ballet master of the Teatro alla Scala in Milan in 2006. In 1998
Nutcracker and an album of suites from Delibes’ Sylvia and Coppélia. and 2009, he served as a jury member of the Prix de Lausanne and
He also conducted for the award-winning DVD of Neumeier’s The Little since 2010 has been the competition’s official male coach and teacher.
Mermaid as well as SF Ballet’s televised recording of Nutcracker for He was appointed principal of the SF Ballet School Trainee Program
PBS and the 2015 in-cinema release of Romeo & Juliet for Lincoln in 2010, SF Ballet School associate director in 2012, and director of
Center at the Movies’ Great American Dance. SF Ballet School in 2017.
Headshots // © Erik Tomasson and Chris Hardy
PROGRAMS 02 / 03 | SFBALLET.ORG | 5
“First Republic shares our passion for innovation
and world-class performance.”
ANDREA MILLER
Founder, Artistic Director and Choreographer, Gallim Dance
2017-2018 Artist in Residence, The Metropolitan Museum of Art
(855) 886-4824 | firstrepublic.com | New York Stock Exchange symbol: FRC
MEMBER FDIC AND EQUAL HOUSING LENDER
TIMELINE
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.
Key moments in the history of the six ballets that appear on Programs 02 and 03 are interwoven with SF Ballet
milestones in this timeline. For a complete history of San Francisco Ballet, please visit sfballet.org/history.
1933
The San Francisco Opera Ballet performs
the first all-dance performance at the new
1944
San Francisco Ballet dances the first complete
Opera House. San Francisco Ballet School
production of Nutcracker in the United States.
is established.
Celina Cummings and Joaquin Felsch in
Design for Adolph Bolm’s Le Ballet Mecanique Willam Christensen's Nutcracker
1948
1956
Harald Lander choreographs Etudes George Balanchine choreographs
for the Royal Danish Ballet. Divertimento No. 15 for New York City Ballet.
1957
SF Ballet is the first American 1960
ballet company to tour Asia. Ballet ’60 is one of the first choreographers’
workshops in America. Over the next 13 years,
SF Ballet in Yangon, Myanmar
43 choreographers create more than 100
new works.
Bruce Bain's Structures, created for Ballet ’71
SF Ballet establishes Dance in Schools
and Communities (DISC) to offer arts 1979
instruction in public schools.
1995
1985
Helgi Tomasson becomes artistic director.
SF Ballet hosts 12 international Helgi Tomasson
ballet companies for UNited We
Dance: An International Festival.
Sabina Allemann and
Eric Hoisington in Tomasson's
When We No Longer Touch
2006
Helgi Tomasson choreographs
2008
The New Works Festival marks the
The Fifth Season for SF Ballet.
Company’s 75th anniversary, with 10
premieres by 10 choreographers.
Sarah Van Patten and Unbound: A Festival of New Works
Gennadi Nedvigin in Morris’ Joyride
premieres 12 ballets by 12 international
choreographers, including Cathy Marston’s
Snowblind and Justin Peck’s Hurry Up,
Benjamin Millepied choreographs
Appassionata for Paris Opera Ballet 2016 We're Dreaming.
Natasha Sheehan
Historic photos: Courtesy of the Museum of Performance + Design
2018 Unbound photo: © Erik Tomasson 2018
PROGRAMS 02 / 03 | 41 5 865 2000 | 7
FOR YOUR INFORMATION
IN THE OPERA HOUSE
DINING and refreshment options are offered pre-show and THE SHOP at SF Ballet is open one hour before each performance,
at intermissions throughout the War Memorial Opera House during intermissions, and after weekend matinees, even if you’re
by Global Gourmet. For reservations, call 415 861 8150, email not attending the performance itself (visit the Box Office for a
operahousepreorder@ggcatering.com, or visit opentable.com. special pass). The Shop is also online at sfballet.org/shop.
Beverages in the auditorium are allowed if they are purchased RESTROOMS are located on all floors except Main Lobby level
in the Opera House and are in the approved compostable cup (first floor).
with a lid.
COAT AND PARCEL CHECK ROOMS are located on the north
and south side of the Main Lobby. All parcels, backpacks, and luggage
must be checked.
I M P O R TA N T P O L I C I E S OPERA GLASSES are available for $5 rental at the north lobby
coat check room and require a valid ID as a deposit.
Late seating isn’t allowed while a performance is in
progress. You’ll be asked to stand until a break in the COURTESY TELEPHONES, for local calls only, are on the
action, which might be at intermission. Main Lobby level, across from the elevators.
TAXIS line up after performances at the Grove Street Taxi Ramp
Occupying a seat other than the seat for which you hold
on the south side of the Opera House. Taxis are provided on a
a ticket isn't allowed. Please sit only in your ticketed seat.
first-come, first-served basis. Our staff will assist you.
Audio/visual recordings of any kind of the performance
WALKING TOURS of the San Francisco War Memorial and
are strictly forbidden.
Performing Arts Center are available most Mondays at select hours.
Mobile devices should be turned off and put away before For information, call 415 552 8338 .
the performance; the lights and sounds are a distraction.
ACC E S S I B I LIT Y
Children attending a performance must have a ticket SF Ballet is committed to providing access for all of our patrons.
and occupy that seat; no infants or lap sitting, please. Please contact Ticket Services at 415 865 2000 prior to the
Children need to be at least five years old to attend performance with questions so that we can ensure your comfort.
Repertory Season performances.
Wheelchair-accessible entrances are available on the north, east,
Management reserves the right to remove any patron and south sides of the Opera House.
who is creating a disturbance. Wheelchair seating positions are on the Orchestra and Dress Circle levels.
Smoking is not permitted in the Opera House. Wheelchair accessible stalls in restrooms can be found on all floors except
the Main Lobby and fifth floor Balcony level. A lockable single user/special
Emergency services are available in the Opera House
needs restroom is located on Floor 3. Please see the usher closest to this
Lower Lounge level, where an EMT is on duty.
location for access. Accessible drinking fountains are located on all floors
Lost & Found is located at the north coat check room. except the Balcony level.
Call 415 621 6600 , Mon–Fri, 8:30–11:30 am, or email Assistive listening devices (Sennheiser model infrared sound amplification
wmpac-lostandfound@sfgov.org . headsets) are available at both coat check locations 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, Monday–Friday,
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 and
opens four hours prior to each performance. 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.
8 | SAN FRANCISCO BALLET | PROGRAMS 02 / 032019 SEASON NEWS
SAN FRANCISCO BALLET AUXILIARY FASHION SHOW
FEATURING JASON WU
The San Francisco Ballet Auxiliary Fashion Show makes its long-awaited return on
March 20. Internationally acclaimed designer Jason Wu will show his iconic designs
against the stunning backdrop of the Bently Reserve. Sam Malouf Authentic Luxury is
presenting the show, UBS is sponsoring, and Andi Valo-Espina is chairing the event.
Jason Wu will showcase his Fall 2019 Collection for the first time on the West Coast.
He will also present a special archival segment that will only be seen at this event.
This additional segment will consist of pieces chosen by Wu himself as some of his
all-time favorite designs.
The afternoon will begin with a reception, followed by the runway show and a post-
show reception and trunk show. Guests who purchase VIP tickets to the event will also
have the opportunity to join Wu for an exclusive dinner to be held the evening prior to
the event at Ken Fulk's SoMa studio, The Magic Factory, and enjoy front row seating at
the runway show. Grand Benefactor tickets include cocktails with Wu the night before
the show. Tickets range in price from $500 to $5,000. Seats are extremely limited and
are selling quickly. The Fashion Show will benefit a wide range of San Francisco Ballet
initiatives, including new works, scholarships for San Francisco Ballet School students,
and community outreach programs. For more: sfballet.org/fashionshow
THREE PERFORMANCES + PARTIES FOR THE LGBTQ COMMUNITY
San Francisco Ballet will once again host Nite Out—a series of three Friday evening
performances and post-show parties celebrating the LGBTQ community. Each evening
(February 15, March 29, and April 19) begins with a SF Ballet performance. After the
performance, guests are invited to the lower level of the Opera House for specialty
cocktails, passed hors d’oeuvres, guest entertainment, music, and dancing.
For more: sfballet.org/niteout
SF BALLET SCHOOL SPRING FESTIVAL
See the next generation of professional dancers at SF Ballet School’s spring
presentation of student work. Formerly called Student Showcase, the SF Ballet School
Spring Festival will include three nights of performances, a dinner on opening night,
and new interactive activities. Performances will be held May 22–24 at Yerba Buena
Center for the Arts Theater. Following the May 22 performance, SF Ballet Auxiliary hosts
the SF Ballet School Spring Festival Dinner at the Four Seasons Hotel San Francisco to
benefit the School’s scholarship fund, which gives more than $1 million annually in need-
and merit-based grants to students. For more: sfballet.org/schoolfestival
SENSORIUM IS BACK
Sensorium, an evening of dance, art, fashion, and music, returns to the Opera House
on Tuesday, February 26. Designed to introduce young adult audiences to ballet,
the evening begins with interactive pop-ups in the Opera House. A program of two
short ballets are then followed by a dance party (aka selfie central). Tickets, which go
on sale Feb 1, start at $29. For more: sfballet.org/sensorium
Top to bottom, counterclockwise: Jason Wu // © Laurence Ellis;
Myles Thatcher and Solomon Golding at SF Ballet's 2018 Nite Out //
© Nikki Ritcher Photography; SF Ballet's 2017 Sensorium event //
© Nikki Ritcher Photography; SF Ballet School Students in
Tomasson's Blue Rose // © Lindsay Thomas
PROGRAMS 02 / 03 | SFBALLET.ORG | 9SAN FRANCISCO BALLET IN THE COMMUNITY
BA LLE T A S A R E S PITE F RO M PA R K I N S O N ' S
by Lynn Mundell
Four days a week, Richard, 72, takes an express bus from his home in San Francisco’s Richmond district to his
downtown job as a bank teller. There, he’s on his feet for five hours. Richard’s routine would be impressive for
any senior. But especially so for someone now three years into a Parkinson’s Disease diagnosis. Then there are
his Saturdays—taking a dance movement class at San Francisco Ballet School sponsored by Kaiser Permanente.
Ballet is Beneficial
Parkinson’s Disease affects the nerve cells in the brain that produce dopamine. Symptoms include changes in speech and gait, fatigue,
and balance issues—all symptoms Richard suffers—as well as muscle rigidity and tremors. Approximately half a million Americans have the
disease. There is no cure, but treatments can help relieve symptoms. That is what motivated the SF Ballet School Director Patrick Armand.
His mother was the director of Marseille’s national ballet school. She received a very early diagnosis of the disease that eventually included
dementia. Armand watched his mother’s long, painful decline, and it made an imprint. “There is something I can do now for those with
Parkinson’s that I couldn’t do then for her,” he says. “Ballet can be concretely beneficial. It’s a fantastic way for people to keep moving—
an hour where they can just get away from everything and concentrate on their bodies.”
“Certain types of exercise and certain types of dance slow the progression of Parkinson’s symptoms,” adds Meaghan Lynch, MD, a Kaiser
Permanente physical medicine and rehabilitation physician and former ballet dancer. “Ballet—with its musicality, broad expansive
movements, and poise—really lends itself to helping balance, gait stability, and mobility in these individuals.”
Dr. Lynch and Rima Ash, MD, a movement disorder neurologist, collaborated on the class structure with Cecelia Beam, a longtime
San Francisco Ballet employee and dance instructor. Beam modelled the class after those developed by the Mark Morris Dance Group
and Brooklyn Parkinson Group, and brought in her own love of folkloric dance.
Richard was prepared to not like the class. He was already enjoying “rock steady” boxing elsewhere. But he changed his mind quickly.
“By the time the very first class was ending, I said, ‘You know what? I’m going to be back here next week. There’s something different
about this.’”
San Francisco Ballet School Class for Parkinson's Patients // © Chris Hardy
10 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03Let’s Dance Nutcracker
In a large, sunny studio at San Francisco Ballet
School in December, a pianist plays as we
lift our arms and move our legs, emulating
Beam’s slow and graceful movements. She is
a wonderful, patient teacher who has said she
finds leading this class “hugely gratifying.”
A visitor is readily welcomed and soon we are
sliding and high-stepping our feet. We count
and add in arm movements. Some participants
hold on to the ballet barre. There are dances
with partners, with leaders to follow, and a
snaking dance for all.
About 30 people today imitate Beam, some
from the safety of their seats, if the disease
is advanced, or helped by family members,
caregivers, or volunteers. While the dancing
often prompts laughter, it is also clearly
intended to loosen limbs, stretch bodies,
and promote balance. Since Parkinson’s can
weaken the voice, everyone joins in singing a
Shaker folk song. We do a seated version of
the Russian dance from Nutcracker, folding
our arms in front of our chests and tapping 2/3V
SF TOWERS
our toes out in front and to the side.
Across the room, retired psychiatrist Reza,
80, smiles joyfully. His days are full—playing
with his 3-year-old granddaughter, reading
in multiple languages while learning French,
writing a blog, and going to boxing along with
Richard, but he rarely misses the class that he
said leaves him relaxed but not tired. “I have
Parkinson’s, but I am not handicapped.”
Rebecca is a veteran journalist in her 60s
who attends class for both the exercise and
her many friendships. She describes dance
as having “a transcendent quality” that takes
her somewhere else—reasons why she keeps
coming. “If this class was every day, I would
take it every day.”
Kaiser Permanente supports
San Francisco Ballet in bringing
regular dance-inspired movement
classes to people with Parkinson’s
Disease. For more information or
to join a class: sfballet.org/community
PROGRAMS 02 / 03 | 41 5 865 2000 | 11EXPLORE BALLET
ME E T TH E A RT IST IN TERV IEWS (A ND POD CASTS)
1–1:30 PM BEFORE SUNDAY MATINEES; 7–7:30 PM BEFORE FRIDAY EVENING PERFORMANCES;
1 HOUR PRIOR TO CURTAIN ON OPENING NIGHTS AND AFTER SELECT SATURDAY MATINEES
For details: sfballet.org/mta
FREE and open to all ticket holders for selected performances
For an inside look at the performance you’re about to see, come a bit early. Perfect for newcomers, balletomanes,
and everyone in between, Meet the Artist Interviews (MTAs) feature a conversation with an artist who worked on
the performance. Curious about what our artists have to say? An archive of previous MTAs is available on all
podcast players, including Apple Podcasts, and at sfballet.blog.
PO I N T ES OF V IEW LEC TURES
WEDNESDAYS, 6–6:45 PM
FREE and open to the public. For details: sfballet.org/pov
PROGRAM 02 Kaleidoscope February 1 3
SF Ballet dancers discuss the art of partnering and how male dancers build the necessary strength and stamina.
PROGRAM 03 In Space and Time February 20
Etudes is a ballet about ballet class, so join students of SF Ballet School to learn about the steps you’ll see performed.
PROGRAM 04 The Sleeping Beauty March 13
SF Ballet principal dancers discuss The Sleeping Beauty’s three pivotal dance challenges: the Rose Adagio, the wedding pas de deux,
and the Bluebird pas de deux.
PROGRAM 05 Lyric Voices March 27
Join SF Ballet’s 2019 Visiting Scholar Clare Croft, PhD as she asks the question: How might ballet help us imagine “American” as an identity
that can be reimagined and inhabited by many?
PROGRAM 06 Space Between April 3
SF Ballet’s Production Director Christopher Dennis and Company Manager Juliette LeBlanc discuss Arthur Pita’s spectacular Björk Ballet
and how they’ll bring it and 11 other ballets on tour to London.
PROGRAM 07 The Little Mermaid April 24
Company dancers discuss how they prepare to perform the dramatic roles in John Neumeier’s ballets.
PROGRAM 08 Shostakovich Trilogy May 8
Carrie Gaiser Casey, PhD presents an in-depth analysis of Alexei Ratmansky’s Chamber Symphony, the centerpiece of his stunning
Shostakovich Trilogy.
[ D I S C U S S & E X P LO R E > > K A L E I D O S C O P E ]
Whether over a glass of champagne at intermission or on the car ride back home, part of the fun of seeing live
performance is getting to discuss it with your date, your best friend, or your new friend sitting next to you in the
audience. A few questions about tonight’s performance to get your discussion started:
1. One of the ballets on the program tonight, Divertimento No. 15, was choreographed in 1956, while Appassionata and Hurry Up,
We're Dreaming were created in 2016 and 2018, respectively. Did this fact change how you watched them? Did one feel more
“old-fashioned” than the others? Was it the one you expected?
2. Benjamin Millepied and Justin Peck both spent time dancing the works of George Balanchine as members of New York City Ballet.
Do the three ballets you saw tonight seem related to one another in any way? Or, do you notice distinct differences between them?
3. One ballet on the program tonight features only a pianist, one a full orchestra, and the third a recorded score. How does this
change your experience of the ballet?
12 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03Looking to deepen your knowledge of SF Ballet and the art form in general? From classes to lectures to social events,
we have a wide variety of opportunities to explore the method behind the magic you see onstage as well as to meet
the artists who are creating ballet today. For more: sfballet.org/events
B A L LET BOOK C LUB
February 16, 5–6:30 pm: Snowblind / Ethan Frome
March 16, 5–6:30 pm: The Sleeping Beauty
April 20, 5–6:30 pm: The Little Mermaid
Ever wondered about the literature behind the ballets? Or wanted
an excuse to delve a little deeper into everyone’s favorite story
ballets? We’ll do exactly that: read the story, compare it to the ballet,
and, of course, have a glass of wine. Cost: $20 / $15 (subscribers
& donors)
B A L LET C H AT
February 1 7, 4:30–6 pm: Kaleidoscope
February 24, 4:30–6 pm: In Space and Time
March 31, 4:30–6 pm: Lyric Voices
April 7, 4:30–6 pm: Space Between Wei Wang and Joseph Walsh rehearsing Possokhov's
". . . two united in a single soul . . ." // © Erik Tomasson
May 12, 4:30–6 pm: Shostakovich Trilogy
You’ve just seen an inspiring performance. Now what? Rather than
BALLE T TALK
heading home, channel that insight and creative energy. Have a February 23, 5–6:30 pm: The Sleeping Beauty
glass of wine, mingle with fellow ballet fans, and participate in an March 19, 6–7:30 pm: Your Flesh Shall Be a Great Poem
informal moderated conversation. Cost: $10 and Bound To ©
May 11, 5–6:30 pm: Creating New Work with Marc Brew
E X P LOR I N G BA LLETS
These lively events include a 60-minute talk and Q & A,
March 24, 2–4 pm: Exploring Rodeo: Four Dance Episodes as well as a wine-and-cheese reception with the speaker.
Take a closer look at Rodeo: Four Dance Episodes. In this intensive Cost: $35/$30 (subscribers & donors)
one-day course, you’ll learn more about this ballet and hear from
the artists who perform it. Cost: $50/$45 (subscribers & donors) OPE RA HOUSE TOUR
March 11, 6:30–8:30 pm
All Audience Engagement Programs are subject to change. The views,
opinions, and information expressed are strictly those of the participants, Go behind the scenes with Dennis Hudson, former SF Ballet master
and do not necessarily represent or imply any official position of San Francisco electrician. You’ll learn about the quirky secrets and unique technical
Ballet Association. For more information about these programs, visit
and structural elements of this 1932 Beaux-Arts theater. Cost: $75
sfballet.org/explore or email audienceengagement@sfballet.org.
4. The costumes in these three ballets are very different from one another. Divertimento No. 15 features tutus and traditional ballet
costuming, Appassionata’s costumes resemble street clothing, and Hurry Up, We're Dreaming’s dancers wear athletic wear and
sneakers. How did the costumes impact your experience of viewing the ballets? How would Divertimento have seemed different
if the dancers were wearing the costumes from Appassionata? Or from Hurry Up, We're Dreaming?
[ > > I N S PAC E & T I M E ]
1. The Fifth Season, Snowblind, and Etudes each represent a different style of ballet: abstract neoclassicism, dance-drama,
and classical ballet. Did one of them appeal to you more than the others? If so, can you put your finger on why?
2. Snowblind is based on the Edith Wharton short story Ethan Frome. Have you read the story? If so, did it deepen your understanding
of the ballet? If not, did seeing the ballet make you want to read it?
3. Etudes is a ballet about classical ballet and ballet class. Have you ever taken a ballet class? If so, did you recognize elements of
ballet class organized for the stage? If not, what questions did this ballet raise for you?
PROGRAMS 02 / 03 | SFBALLET.ORG | 13EXPLORE BALLET CONTINUED
DA NC E F O R A LL AG ES BALLE T FOR CHILD R E N
Let your spirit soar as you experience the joy of moving in our Share a love of dance with the
beautiful studios. next generation.
A D U LT B A L L E T C L A S S E S C H I L D R E N ’ S AU D I T I O N S F O R
Our open classes are inclusive and fun, a good workout that stretches your artistry SF BALLET SCHOOL
as well as your muscles. Open to adults and teens over the age of 16 with basic ballet Pursue a love of dance. For children with an
experience, classes start at the barre, then move to the center through traditional ballet interest in dance or the dream of becoming
exercises and combinations. Be prepared to sweat (at least a little) and to have a good a ballet dancer, San Francisco Ballet School
time. Gentle Ballet, True Beginner, Beginner/Intermediate, and Intermediate/Advanced offers a training program of unqualified
classes are offered. For more information: sfballet.org/adultballet excellence. We’re holding auditions for our
2019–20 school-year program on June 2.
A D U LT B E G I N N E R B A L L E T S E R I E S
To be eligible to audition, students must
March 16–May 11, Saturdays, 3:00–4:20 pm
be age 8–11 by September 1, 2019.
Taught by Cecelia Beam
For more information and to register:
It’s never too late to start taking ballet. This eight-session beginner series is for those
sfballet.org/school/audition
who are new to ballet and those who feel like they would like to get a handle on the
basics. Instruction will be broken down to the core elements and then built each week B A L L E T F O R YO U N G C H I L D R E N
so that you’ll finish feeling confident and excited to continue your training. Learning the joy of movement begins with
Pre-Ballet classes at SF Ballet School. We
A D U LT B A L L E T W O R K S H O P
introduce young children ages 4–7 to the
June 10–15
fundamentals of classical ballet, focusing on
Why do kids always get to have all the fun? SF Ballet School is organizing the third-annual
proper body alignment, basic ballet technique
summer dance workshop just for adults. Join acclaimed faculty and special guests in daily
and terminology, and musicality. Audition
ballet technique and repertory classes in our beautiful studios with live accompaniment.
not required. Fall 2019 classes will be open
Dance lovers from across the country will unite in San Francisco this summer to share in
for enrollment beginning in April. For more
a one-week experience of a dancer’s life at SF Ballet.
information about free trial classes:
DA N C E S E R I E S F O R I N D I V I D UA L S W I T H PA R K I N S O N ’ S D I S E A S E sfballet.org/preballet
In partnership with Kaiser Permanente, we're offering free dance classes designed for
people with Parkinson’s Disease to develop individual artistic expression while honoring SUMMER BALLET CL ASSES
PD concerns such as balance, flexibility, coordination, isolation, and depression. Classes June 8–29 and July 6–27
take place Saturdays at 1 pm, beginning January 20. For more information, contact Students ages 4–13 welcome. For more:
Cecelia Beam at cbeam@sfballet.org. sfballet.org/school/summer-classes
S F B A L L E T S C H O O L AT F I T N E S S S F S U M M E R DA N C E C A M P
1455 Fillmore Street, San Francisco, CA Summer 2019 (June dates to be announced)
SF Ballet School Faculty now teach classes at FITNESS SF. Ballet 101 is a four-session Boys & Girls Clubs of San Francisco (BGCSF)
beginner series, Tuesdays 12:00–1:30 pm, intended for adults (ages 16+) who are new and SF Ballet are partnering to offer the
to ballet. Ballet 101 series run Feb 12–Mar 5, Mar 12–Apr 2, and Apr 9–May 7, and the annual Summer Dance Camp. At this free,
class fee includes a day pass to Fitness SF. NEW: Ballet 201, ongoing Wednesdays weeklong dance program, BGCSF members
6:00–7:30pm, an open beginner/intermediate ballet class. will take classes in a range of dance styles
from professional teaching artists at SF Ballet
School. Enrollment begins in April. For more
information: sfballet.org/dancecamp
Students from San Francisco Ballet School // © Chris Hardy
14 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03My legacy. My partner.
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Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A.SAN FRANCISCO BALLET ARTISTS OF THE COMPANY
201 8–19 SEASON
ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER
Helgi Tomasson
PRINCIPAL DANCERS
Dores André Mathilde Froustey Aaron Robison Sarah Van Patten
Ulrik Birkkjaer Jaime Garcia Castilla Ana Sophia Scheller Diana Dollar Knowles Principal Dancer
Frances Chung Angelo Greco Jennifer Stahl† Joseph Walsh
Herbert Family Principal Dancer Tiit Helimets Sofiane Sylve John and Barbara Osterweis
Diane B. Wilsey Principal Dancer Principal Dancer
Sasha De Sola Luke Ingham
Carlo Di Lanno Vitor Luiz Yuan Yuan Tan Wei Wang†
Richard C. Barker Principal Dancer
PRINCIPAL CHARACTER DANCERS
Ricardo Bustamante† Val Caniparoli† Anita Paciotti†
SOLOISTS
Max Cauthorn† Esteban Hernandez Elizabeth Powell† Lonnie Weeks
Daniel Deivison-Oliveira† Koto Ishihara† Julia Rowe† Hansuke Yamamoto
Isabella DeVivo† Vladislav Kozlov Henry Sidford† WanTing Zhao†
Jahna Frantziskonis Steven Morse† Lauren Strongin
Benjamin Freemantle† Wona Park†
CORPS DE BALLET
Kamryn Baldwin† Lucas Erni† Norika Matsuyama† Skyla Schreter
Sean Bennett† Solomon Golding Carmela Mayo† Natasha Sheehan†
Ludmila Bizalion† Gabriela Gonzalez Swane Messaoudi† Miranda Silveira†
Samantha Bristow† Nicolai Gorodiskii Davide Occhipinti† John-Paul Simoens†
Alexandre Cagnat† Anatalia Hordov† Kimberly Marie Olivier† Myles Thatcher†
Ethan Chudnow† Ellen Rose Hummel† Sean Orza† Mingxuan Wang†
Thamires Chuvas† Blake Johnston† Lauren Parrott† Joseph Warton†
Cavan Conley Madison Keesler† Nathaniel Remez† Maggie Weirich†
Diego Cruz† Shené Lazarus† Alexander Reneff-Olson† Ami Yuki†
Megan Amanda Ehrlich Elizabeth Mateer Emma Rubinowitz†
APPRENTICES
Estéban Cuadrado† Jasmine Jimison† Leili Rackow†
Max Föllmer† Joshua Jack Price† Jacob Seltzer†
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
Yuri Possokhov
MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR
Martin West
†Received training at San Francisco Ballet School
Dancer head shots // © Chris Hardy and David Allen
16 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03PRINCIPAL DANCERS
DORES ANDRÉ JAIME GARCIA CASTILLA
Born in Vigo, Spain, Dores André Jaime Garcia Castilla was born in
trained with Antonio Almenara and at Madrid, Spain, and studied at the
Estudio de Danza de Maria de Avila. Royal Conservatory of Professional
She joined the Company in 2004, Dance. He was named an SF Ballet
SASHA DE SOLA LUKE INGHAM
was promoted to soloist in 2012, apprentice in 2001 and joined the
and to principal dancer in 2015. Born in Winter Park, Florida, Company the following year. He was From Mount Gambier, South Australia,
Sasha De Sola trained at the Kirov promoted to soloist in 2006 and to Luke Ingham trained at the Australian
Academy of Ballet. She was named principal dancer in 2008. Ballet School. He danced with
an SF Ballet apprentice in 2006 and The Australian Ballet and Houston
joined the Company in 2007. She Ballet before joining SF Ballet as a
was promoted to soloist in 2012 soloist in 2012. He was promoted
and principal dancer in 2017. to principal dancer in 2014.
ULRIK BIRKKJAER ANGELO GRECO
Born in Copenhagen, Denmark, Born in Nuoro, Italy, Angelo Greco
Ulrik Birkkjaer trained at the Royal trained at La Scala Ballet School
Danish Ballet School. He danced in Milan. He danced with La Scala
with the Royal Danish Ballet before Ballet before joining SF Ballet as a
joining San Francisco Ballet as a soloist in 2016. He was promoted
principal dancer in 2017. CARLO DI LANNO to principal dancer in 2017. VITOR LUIZ
Carlo Di Lanno was born in Naples, Born in Juiz de Fora, Brazil, Vitor Luiz
Italy, and trained at La Scala Ballet trained at The Royal Ballet School.
School in Milan. He danced with He danced with Birmingham Royal
La Scala Ballet and Staatsballett Ballet and Ballet do Theatro Municipal
Berlin before joining San Francisco do Rio de Janeiro prior to joining
Ballet as a soloist in 2014. He was SF Ballet as a principal dancer
promoted to principal dancer in 2016. in 2009.
FRANCES CHUNG TIIT HELIMETS
Born in Vancouver, Canada, Born in Viljandi, Estonia, Tiit Helimets
Frances Chung trained at Goh Ballet trained at Tallinn Ballet School.
Academy before joining SF Ballet He danced with Estonian National
in 2001. She was promoted to soloist Ballet and Birmingham Royal Ballet
in 2005 and principal dancer in 2009. before joining San Francisco Ballet
She was appointed Herbert Family as a principal dancer in 2005.
Principal Dancer in 2018. MATHILDE FROUSTEY AARON ROBISON
Mathilde Froustey was born in Born in Coventry, England, Aaron
Bordeaux, France, and trained at Robison trained at the Institut del
the Marseille National School of Teatre in Barcelona and at the Royal
Ballet and Paris Opera Ballet School. Ballet School. He has danced with
She danced with Paris Opera Ballet Birmingham Royal Ballet, Ballet
before joining SF Ballet as a principal Corella, Houston Ballet, and English
dancer in 2013. National Ballet. Robison joined
SF Ballet as a principal in 2016
and returned in 2018.
PROGRAMS 02 / 03 | 41 5 865 2000 | 17PRINCIPAL DANCERS
ANA SOPHIA SCHELLER SARAH VAN PATTEN
Born in Buenos Aires, Argentina, Sarah Van Patten, born in Boston,
Ana Sophia Scheller trained at the Massachusetts, danced with
Instituto Superior de Arte del Teatro Massachusetts Youth Ballet and the
Colón and the School of American Royal Danish Ballet before joining
SOFIANE SYLVE WEI WANG†
Ballet. She danced with New York City SF Ballet as a soloist in 2002. She
Ballet before joining SF Ballet as a Sofiane Sylve was born in Nice, was promoted to principal dancer in Born in Anshan, China, Wei Wang
principal dancer in 2017. France, where she studied at the 2007. She was appointed Diana Dollar trained at Beijing Dance Academy
Académie de Danse. She danced Knowles Principal Dancer in 2013. and SF Ballet School. He was named
with Germany’s Stadttheater, Dutch apprentice in 2012, and joined the
National Ballet, and New York City Company as a corps de ballet
Ballet prior to joining SF Ballet as member in 2013. He was promoted
a principal dancer in 2008. She was to soloist in 2016 and to principal
appointed Diane B. Wilsey Principal dancer in 2018.
Dancer in 2017.
JENNIFER STAHL† JOSEPH WALSH
Born in Dana Point, California, Born in Doylestown, Pennsylvania,
Jennifer Stahl trained at Maria Lazar’s Joseph Walsh trained at Walnut Hill
Classical Ballet Academy and SF School of the Arts and Houston Ballet II.
Ballet School. She was named an SF He danced with Houston Ballet before
Ballet apprentice in 2005 and joined joining SF Ballet as a soloist in 2014.
the corps de ballet in 2006. She YUAN YUAN TAN He was promoted to principal dancer
was promoted to soloist in 2013 and Yuan Yuan Tan was born in Shanghai, that same year. He was appointed
principal dancer in 2017. China, and trained at Shanghai Dancing John and Barbara Osterweis Principal
School and Stuttgart’s John Cranko Dancer in 2017.
School. She joined SF Ballet as a soloist
in 1995 and was promoted to principal
dancer in 1997. She was appointed
Richard C. Barker Principal Dancer in 2012.
PRINCIPAL CHARACTER DANCERS
RICARDO BUSTAMANTE† VAL CANIPAROLI† ANITA PACIOTTI†
Born in Medellín, Colombia Born in Renton, Washington Born in Oakland, California
Joined in 1980 Joined in 1973 Joined in 1968
Named principal character dancer Named principal character dancer Named principal character dancer
in 2007 in 2007 in 1987
18 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03SOLOISTS
MAX CAUTHORN† ESTEBAN HERNANDEZ
Born in San Francisco, California Born in Guadalajara, Mexico
Named apprentice in 2013 Joined in 2013
Joined in 2014 Promoted to soloist in 2017
Promoted to soloist in 2017
JAHNA FRANTZISKONIS VLADISLAV KOZLOV
Born in Tucson, Arizona Born in Saratov, Russia
Joined in 2015 Joined as a soloist in 2018
Promoted to soloist in 2017
DANIEL DEIVISON-OLIVEIRA† KOTO ISHIHARA†
Born in Rio de Janeiro, Brazil Born in Nagoya, Japan
Joined in 2005 Joined in 2010
Promoted to soloist in 2011 Promoted to soloist in 2014
BENJAMIN FREEMANTLE† STEVEN MORSE†
Born in New Westminster, Canada Born in Harbor City, California
Named apprentice in 2014 Joined in 2009
Joined in 2015 Promoted to soloist in 2017
Promoted to soloist in 2018
ISABELLA DEVIVO†
Born in Great Neck, New York
Joined in 2013
Promoted to soloist in 2017
†Received training at San Francisco Ballet School
Dancer head shots // © Chris Hardy and David Allen
PROGRAMS 02 / 03 | SFBALLET.ORG | 19SOLOISTS
WONA PARK† LAUREN STRONGIN
Born in Seoul, South Korea Born in Los Gatos, California
Joined in 2017 Joined as a soloist in 2015
Promoted to soloist in 2018
JULIA ROWE† HANSUKE YAMAMOTO
Born in Elizabethtown, Pennsylvania Born in Chiba, Japan
Joined in 2013 Joined in 2001
Promoted to soloist in 2016 Promoted to soloist in 2005
ELIZABETH POWELL† LONNIE WEEKS
Born in Boston, Massachusetts Born in Los Alamos, New Mexico
Named apprentice in 2011 Joined in 2010
Joined in 2012 Promoted to soloist in 2018
Promoted to soloist in 2018
HENRY SIDFORD† WANTING ZHAO†
Born in Marblehead, Massachusetts Born in Anshan, China
Named apprentice in 2011 Joined in 2011
Joined in 2012 Promoted to soloist in 2016
Promoted to soloist in 2018
†Received training at San Francisco Ballet School
Dancer head shots // © Chris Hardy and David Allen
20 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03CORPS DE BALLET
KAMRYN BALDWIN† CAVAN CONLEY
Born in Honolulu, Hawai’i Born in Bozeman, Montana
Joined in 2015 Joined in 2018
ALEXANDRE CAGNAT† LUCAS ERNI†
Born in Cannes, France Born in Santo Tomé, Argentina
Named apprentice in 2016 Joined in 2018
Joined in 2017
SEAN BENNETT† DIEGO CRUZ†
Born in San Francisco, California Born in Zaragoza, Spain
Named apprentice in 2011 Joined in 2006
Joined in 2012
ETHAN CHUDNOW† SOLOMON GOLDING
Born in Napa, California Born in London, United Kingdom
Named apprentice in 2017 Joined in 2017
Joined in 2018
LUDMILA BIZALION† MEGAN AMANDA EHRLICH
Born in Rio de Janeiro, Brazil Born in Charleston, South Carolina
Named apprentice in 2006 Named apprentice in 2011
Joined in 2007 Joined in 2012
Returned in 2016 Returned in 2017
THAMIRES CHUVAS† GABRIELA GONZALEZ
Born in Rio de Janeiro, Brazil Born in Mérida, Mexico
Named apprentice in 2014 Joined in 2017
Joined in 2015
SAMANTHA BRISTOW†
†Received training at San Francisco Ballet School
Born in Media, Pennsylvania
Dancer head shots // © Chris Hardy and David Allen
Named apprentice in 2014
Joined in 2015
PROGRAMS 02 / 03 | 41 5 865 2000 | 21CORPS DE BALLET
NICOLAI GORODISKII NORIKA MATSUYAMA†
Born in Lviv, Ukraine Born in Chiba, Japan
Joined in 2018 Joined in 2014
MADISON KEESLER† DAVIDE OCCHIPINTI†
Born in Carlsbad, California Born in Rome, Italy
Joined in 2009 Named apprentice in 2016
Returned in 2017 Joined in 2017
ANATALIA HORDOV† CARMELA MAYO†
Born in Santa Clarita, California Born in Las Vegas, Nevada
Named apprentice in 2017 Named apprentice in 2017
Joined in 2018 Joined in 2018
SHENÉ LAZARUS† KIMBERLY MARIE OLIVIER†
Born in Durban, South Africa Born in New York, New York
Named apprentice in 2016 Named apprentice in 2009
Joined in 2017 Joined in 2010
ELLEN ROSE HUMMEL† SWANE MESSAOUDI†
Born in Greenville, South Carolina Born in Aix-en-Provence, France
Named apprentice in 2011 Named apprentice in 2017
Joined in 2012 Joined in 2018
ELIZABETH MATEER SEAN ORZA†
Born in Boca Raton, Florida Born in San Francisco, California
Joined in 2016 Named apprentice in 2007
Joined in 2008
BLAKE JOHNSTON†
Born in Charlotte, North Carolina
Joined in 2017
†Received training at San Francisco Ballet School
Dancer head shots // © Chris Hardy and David Allen
22 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03CORPS DE BALLET
LAUREN PARROTT† JOHN-PAUL SIMOENS†
Born in Palm Harbor, Florida Born in Omaha, Nebraska
Named apprentice in 2012 Named apprentice in 2014
Joined in 2013 Joined in 2015
SKYLA SCHRETER JOSEPH WARTON†
Born in Chappaqua, New York Born in Beaverton, Oregon
Joined in 2014 Joined in 201 7
NATHANIEL REMEZ† MYLES THATCHER†
Born in Washington, DC Born in Atlanta, Georgia
Named apprentice in 2016 Named apprentice in 2009
Joined in 2017 Joined in 2010
NATASHA SHEEHAN† MAGGIE WEIRICH†
Born in San Francisco, California Born in Portland, Oregon
Joined in 2016 Named apprentice in 2014
Joined in 2015
ALEXANDER RENEFF-OLSON† MINGXUAN WANG†
Born in San Francisco, California Born in Qingdao, China
Named apprentice in 2012 Named apprentice in 2013
Joined in 2013 Joined in 2014
MIRANDA SILVEIRA† AMI YUKI†
Born in Rio de Janeiro, Brazil Born in Saitama, Japan
Named apprentice in 2013 Named apprentice in 2014
Joined in 2014 Joined in 2015
APPRENTICES
ESTÉBAN CUADRADO† JASMINE JIMISON† LEILI RACKOW†
EMMA RUBINOWITZ† MAX FÖLLMER† JOSHUA JACK PRICE† JACOB SELTZER†
Born in San Francisco, California
Named apprentice in 2012
Joined in 2013 †Received training at San Francisco Ballet School
Dancer head shots // © Chris Hardy and David Allen
PROGRAMS 02 / 03 | SFBALLET.ORG | 2302
KALEIDOSCOPE FE B 1 2— FE B 23
PRODUCTION CREDITS
Divertimento No. 15 – Music: Divertimento No. 15 in B-flat major, K. 287. This performance of Divertimento No. 15, a Balanchine© Ballet,
is presented by arrangement with the George Balanchine Trust and has been produced in accordance with the Balanchine Style© and
Balanchine Technique© service standards established and provided by the Trust. Costumes courtesy of Pacific Northwest Ballet.
Appassionata – Music: Piano Sonata No. 23 in F minor, Op. 57 (“Appassionata”). Scenery courtesy of Paris Opera Ballet. Costumes
courtesy of Pacific Northwest Ballet.
Hurry Up, We’re Dreaming – Music: “Where the Boats Go” written by Anthony Gonzalez (EMI Blackwood Music Inc. [BMI]) and Justin Meldal-
Johnsen (Reach Music). “Raconte-Moi Une Histoire” written by Anthony Gonzalez and Yann Gonzalez (EMI Blackwood Music Inc. [BMI]) and
Justin Meldal-Johnsen (Reach Music). “Train To Pluton” written by Anthony Gonzalez (EMI Blackwood Music Inc. [BMI]) and Justin Meldal-
Johnsen (Reach Music). “Wait” and “New Map” written by Anthony Gonzalez and Yann Gonzalez (EMI Blackwood Music Inc. [BMI]) and
Justin Meldal-Johnsen (Reach Music). “Splendor” written by Anthony Gonzalez (EMI Blackwood Music Inc. [BMI]) and Bradley Laner
(Brava Entertainment). “Outro” written by Anthony Gonzalez (EMI Blackwood Music Inc. [BMI]) and Justin Meldal-Johnsen (Reach Music).
All performed by M83. Courtesy of Bank Robber Music, LLC o/b/o Mute. Costumes constructed by Colin Davis Jones Studios, New York, NY.
24 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03You can also read
