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SEASON GUIDE
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SAN FRANCISCO BALLET
2020 REPERTORY SEASON GUIDE
44 See You at SF Ballet 69 PROGRAM 06 Present Perspectives
Upcoming Events Classical Symphony
50 PROGRAM 01 Cinderella Appassionata
The Seasons SF Ballet Premiere
53 PROGRAM 02 Classical (Re)Vision
Bespoke 73 PROGRAM 07 Jewels
Hummingbird 76 PROGRAM 08 Romeo & Juliet
09
Sandpaper Ballet 80 SF Ballet Staff
57 PROGRAM 03 Dance Innovations 83 Season Sponsors
The Infinite Ocean
87 Great Benefactors
The Big Hunger World Premiere
09 Welcome to the Season 89 Annual Support
Etudes
11 SF Ballet Leadership
61 PROGRAM 04 A Midsummer Night’s Dream 90 Institutional Support
12 Board of Trustees 92 SF Ballet Endowment Foundation
65 PROGRAM 05 Ballet Accelerator
Endowment Foundation Board
7 for Eight 94 Thank You to Our Volunteers
14 Subscriber Benefits Mrs. Robinson World Premiere
96 A Conversation with
15 Artists of the Company Anima Animus
Executive Director Kelly Tweeddale
43 SF Ballet Orchestra
San Francisco Ballet
Season Guide
| Vol. 27, No. 2 44
2020 Repertory Season
Program Notes: Cheryl A. Ossola, Caitlin Sims
Graphic Designer: Francis Zhou
Photographer: Erik Tomasson
Photo Editing: JC Szostak
Principal Dancer and SF Ballet Leadership Portraits
Photo Shoot Coordinator: You You Xia
Photo Shoot Assistants: Mike Norman,
Kevin Yoshimitsu, Mark Wilson, James Childers
Photo Shoot Tech Assistant: Rachel Bauer
Makeup Artists and Hair Stylists of Local 706:
Richard Battle, Melanie Birch, Raymond Burns,
Sarah Coy, Elisa Mack, Toby Mayer,
Christina Martin, Thomas Richards-Keyes
Cover: Benjamin Freemantle and Sasha De Sola //
© Erik Tomasson
This page (left to right): Helgi Tomasson //
© Erik Tomasson; Pacific Northwest Ballet dancers
in Balanchine’s A Midsummer Night’s Dream //
© Angela Sterling; 2019 Gala with decor by
J. Riccardo Benavides // © Nikki Richter
All editorial material © San Francisco Ballet, 2020
Chris Hellman Center for Dance
61
455 Franklin Street, San Francisco, CA 94102
415-861-5600 | sfballet.org
Cinderella © by Christopher Wheeldon
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Welcome to San Francisco Ballet’s 87th Repertory Season. Together
with this incredible Company of artists, I’m thrilled to introduce you
to a season that will span the wide range of work that this company
has become known for: beloved story ballets, neoclassical favorites,
world premieres, and much more.
The three story ballets in our 2020 Season explore love in its
many forms, from the romance of Christopher Wheeldon’s Cinderella©
and the whimsy of George Balanchine’s A Midsummer Night’s
Dream, to the heartbreak of Romeo & Juliet. We start in January with
Wheeldon’s Cinderella, a wonderful retelling of the classic tale that
encompasses both his inventive choreography and mesmerizing
visual effects. In March, Balanchine’s A Midsummer Night’s Dream
returns to SF Ballet for the first time in 35 years. It’s a delightful
retelling of the Shakespeare comedy with sets and costumes by
Martin Pakledinaz, who designed our Nutcracker and Don Quixote.
We end our season with my Romeo & Juliet, set to the powerful Sergei
Prokofiev score. We brought this production to Copenhagen last fall
and were delighted by the warm reception of Danish audiences.
I’ve invited two choreographers from our 2018 Unbound festival
back to San Francisco to create world premieres for our 2020
season. In Mrs. Robinson, Cathy Marston re-examines the story of © Erik Tomasson
The Graduate from Mrs. Robinson’s perspective. Cathy has a very
thoughtful process for creating narrative through movement, and
her new ballet offers a look at the gender dynamics of the 1960s through a different lens. Trey McIntyre explores universal
questions around the search for meaning in a world overwhelmed by minutiae in The Big Hunger, set to Prokofiev’s complex,
beautiful Piano Concerto Number 2. I’m also thrilled to present the west coast premiere of Alexei Ratmansky’s The Seasons,
a fanciful, inventive reimagining of a lost ballet by Marius Petipa, set to the Alexander Glazunov score. This dynamic work features
many of our dancers and draws upon both Alexei’s reverence for classicism and his endlessly inventive choreographic voice.
Alongside these premieres, we have the return of Mark Morris’s Sandpaper Ballet, Liam Scarlett’s Hummingbird, Benjamin
Millepied’s Appassionata, Harald Lander’s Etudes, and Choreographer in Residence Yuri Possokhov’s Classical Symphony,
as well as my own 7 for Eight. And I’m elated to bring back three Unbound festival favorites: Edwaard Liang’s The Infinite Ocean,
Stanton Welch’s Bespoke, and David Dawson’s Anima Animus. For both personal and professional reasons, I’m also looking
forward to our penultimate program of the season, George Balanchine’s Jewels, which we will be performing in its entirety for the
first time since 2002. We’re also planning an event, “Celebrating Jewels” for which we’re bringing together a number of former
Balanchine dancers to discuss about what it was like working with Mr. B on the three ballets that make up Jewels and to coach
the dancers on the roles they know so well. I’m looking forward to hearing their memories and perspectives—and to catching up
with some old friends.
Thank you for your enduring support and for being a part of the San Francisco Ballet family. I look forward to seeing at the
Opera House this season.
Helgi Tomasson
Artistic Director & Principal Choreographer
2020 SEASON GUIDE | 41 5-865-2000 | 9Location,
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RETIREMENT LIVING SAN FRANCISCO STYLESAN FRANCISCO BALLET LEADERSHIP
HELGI TOMASSON KELLY TWEEDDALE
ARTISTIC DIRECTOR & EXECUTIVE DIRECTOR
PRINCIPAL CHOREOGRAPHER
Helgi Tomasson, one of the most venerated classical dancers of his Kelly Tweeddale’s 30-year career leading arts organizations throughout
generation, embarks on his 35th season with San Francisco Ballet in North America has had one focal point: connecting people and places
2020 and is the longest-serving sole artistic director of a major ballet through the performing arts. She is recognized for forging paths of
company. Born in Iceland, he danced with Harkness Ballet, The Joffrey notable growth in audience building and innovation. During her tenure
Ballet, and New York City Ballet, where he distinguished himself as a with the Seattle Opera beginning in 2000, she helped build one of the
dancer of technical purity, musicality, and intelligence. Tomasson assumed highest per capita opera attendance rates in the United States. From
leadership of SF Ballet in 1985. Under his direction, SF Ballet has become 2015 to 2019, Tweeddale was president of the Vancouver Symphony and
a company widely recognized as one of the finest in the world. Tomasson VSO School of Music. Under her direction, the organization surpassed
has balanced devotion to the classics with an emphasis on new works, milestones including a critically lauded centennial celebration, and the
cultivating frequent collaborations and commissions with choreographers appointment of a new music director. There she led an experimental live
such as William Forsythe, Christopher Wheeldon, Alexei Ratmansky, streaming agreement that promised a new model of digital engagement,
Liam Scarlett, Cathy Marston, and Mark Morris, among many others. He has and expanded the orchestra’s performance season. Her previous
choreographed more than 50 works for the Company, including full-length leadership roles include those with The Cleveland Orchestra and the
productions of Swan Lake, The Sleeping Beauty, Romeo & Juliet (taped Seattle Symphony. Tweeddale is a dedicated advocate for women in
for Lincoln Center at the Movies’ Great American Dance), Giselle, and leadership, has served as an adjunct professor for Seattle University’s
Nutcracker (taped for PBS’s Great Performances). He conceptualized the graduate program for Arts Leadership, and was one of the founding board
1995 UNited We Dance festival, in which SF Ballet hosted 12 international members of the Tessitura Network. She has a degree in Communications
companies; the 2008 New Works Festival, which included 10 world and Advertising from the University of Washington, where she also
premieres by 10 acclaimed choreographers; and the 2018 Unbound: studied ballet with Balanchine protégé Ruthanna Boris.
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 musically excellent as it is Born in Marseille, France, Patrick Armand studied with Rudy Bryans, his
adventurous. Under his direction, the SF Ballet Orchestra has greatly mother Colette Armand, and at the École de Danse de Marseille. He won
expanded its catalog of recordings. Born in Bolton, England, he studied the Prix de Lausanne in 1980 and continued his studies at the School of
math at Cambridge. After studying music at the Royal Academy of Music in American Ballet and the Centre de Danse International Rosella Hightower
London and St. Petersburg Conservatory of Music, he made his debut with in Cannes. In 1981, he joined the Ballet Théâtre Français de Nancy
English National Ballet and was appointed resident conductor. As a guest and was promoted to principal dancer in 1983. That same year, he was
conductor, he has worked with New York City Ballet, The National Ballet nominated for a Laurence Olivier Award for his performance in Maurice
of Canada, and The Royal Ballet. He was named music director of SF Ballet Béjart’s Songs of a Wayfarer, which he danced with Rudolf Nureyev.
in 2005. West’s recordings with SF Ballet Orchestra include the complete He joined English National Ballet (London Festival Ballet) in 1984 and
score of Tchaikovsky’s Nutcracker and an album of suites from Delibes’ Boston Ballet in 1990. Since retiring from the stage in 2006, Armand has
Sylvia and Coppélia. He also conducted for the award-winning DVD been a frequent guest teacher for schools and companies in Amsterdam,
of John Neumeier’s The Little Mermaid as well as SF Ballet’s televised Florence, London, Naples, Tokyo, and Toronto. He was appointed teacher
recording of Nutcracker for PBS and the 2015 in-cinema release and ballet master of the Teatro alla Scala in Milan in 2006. He became
of Helgi Tomasson’s Romeo & Juliet for Lincoln Center at the Movies’ principal of the SF Ballet School Trainee Program in 2010, SF Ballet School
Great American Dance. associate director in 2012, and director of SF Ballet School in 2017. In 1998
and 2009, he served as a jury member of the Prix de Lausanne and since
Headshots // © Erik Tomasson, Chris Hardy, and Brandon Patoc 2010 has been part of the competition as a coach and teacher.
2020 SEASON GUIDE | SFBALLET.ORG | 11SAN FRANCISCO BALLET ASSOCIATION
BOARD OF TRUSTEES | 201 9–20
Sunnie Evers and Robert G. Shaw, Co-Chairs of the Board and Executive Committee
Carl F. Pascarella†, President and Susan P. Diekman David Hooker Spencer James J. Ludwig†
Immediate Past Chair Shelby M. Gans Fran A. Streets Nancy H. Mohr
Margaret G. Gill, Vice Chair Joseph C. Geagea Judy C. Swanson Marie-Louise Pratt
James H. Herbert, II†, Vice Chair Richard Gibbs, M.D. Richard J. Thalheimer George R. Roberts
Lucy Jewett, Vice Chair Beth Grossman Timothy C. Wu Kathleen Scutchfield
James D. Marver, Vice Chair Thomas E. Horn Zhenya Yoder Robert M. Smelick
Diane B. Wilsey, Vice Chair Hiro Iwanaga Janice Hansen Zakin Susan A. Van Wagner
Nancy Kukacka, Treasurer Thomas M. Jackson, M.D. Dennis Wu
Jennifer J. McCall, Secretary Elaine Kartalis Akiko Yamazaki
Susan S. Briggs, Assistant Secretary James C. Katzman
Yasunobu Kyogoku TRUSTEES EMERITI
Helgi Tomasson, Artistic Director Kelsey Lamond Michael C. Abramson
& Principal Choreographer Thomas W. Allen ASSOCIATE TRUSTEES
Brenda Leff
Kelly Tweeddale*, Executive Director Marjorie Burnett Ann Kathryn Baer, President,
Marie O’Gara Lipman
Alison Mauzé Robert Clegg San Francisco Ballet Auxiliary
Marissa Mayer Charles Dishman Steve Merlo, President, BRAVO
Jeff Minick Garrettson Dulin, Jr.† Daniel Cassell, President,
Jola Anderson Millicent Dunham ENCORE!
John S. Osterweis†
Kristen A. Avansino Stephanie Barlage Ejabat Stewart McDowell Brady,
John T. Palmer
Richard C. Barker† Patrice Lovato,
Fritz Quattlebaum J. Stuart Francis†
Karen S. Bergman Co-Chairs, Allegro Circle
Christine Russell Sally Hambrecht
Lydia Bergman Ingrid von Mangoldt Hills
Randee Seiger
Gary Bridge Pamela J. Joyner†
Christine E. Sherry
Christine Leong Connors David A. Kaplan
Charlotte Mailliard Shultz
David C. Cox Mary Jo Kovacevich
Catherine Slavonia
Lisa Daniels
SAN FRANCISCO BALLET ENDOWMENT FOUNDATION
BOARD OF DIRECTORS | 201 9–20
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
Carmen Creel‡, Secretary Nancy Kukacka
Elizabeth Lani‡, Assistant Secretary
† Past Chair * Non-Trustee ‡ Non-Director
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DRE 01484878 DRE 02016667SUBSCRIBER BENEFITS
DISCOVE R TH E RE WARDS
Your enthusiasm and commitment as a season ticket holder and/or donor are vital to sustaining San Francisco Ballet as
a world-class company. That’s why we’ve reserved a host of exclusive benefits just for you.
DISCOUNTS G R E AT S E AT S
Want to invite family and friends to performances? We offer discounted Principal Package subscribers get the same great seats for each
subscriber prices when you buy additional tickets. Plus, we waive the performance in their package. Many subscribers have made lasting
handling fee on additional tickets and you lock in the subscriber price so friendships with their seatmates as they share their love for ballet.
you don’t have to worry about price increases based on demand.
See something that catches your eye in The Shop at SF Ballet? It’s yours
for 15% off the full price.
Want to expand your ballet experience? Get discounts on an array
of adult classes.
MORE
Plus, enjoy discounts at select neighborhood restaurants.
If you have any questions about your tickets, call Ticket Services
at 415-865-2000, Mon–Fri, 10 am–4 pm, or email tickets@sfballet.org.
On performance days we keep the phone lines open 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.
FLE XIBLE E XCHANGES*
You can exchange your tickets in advance for a different performance
or program. Exchange fees are waived for Principal Package subscribers,
and Story Ballet Trio and Choreograph Your Own (CYO) subscribers pay
only $10.
P R E M I U M S E AT I N G P R O G R A M S U B S C R I B E R S
Subscribers in our Premium Seating Program (PSP) are entitled to these additional perks:
P R E PA I D PA R K I N G LIMITED EDITION CALENDAR
As subscribers in our Premium Seating Program, you have the option Principal Package subscribers in our Premium Seating Program
to purchase prepaid parking vouchers at the Civic Center Plaza receive a limited edition 2020 SF Ballet calendar.†
Garage. If your total donation is $2,500 or more, you’re eligible to
receive access to the Performing Arts Garage across the street
from the Opera House.
$25 CREDIT
Principal Package subscribers in our Premium Seating Program
receive a $25 credit toward any one-time purchase at The Shop
at SF Ballet.**
*Subject to availability. Restrictions and price differentials may apply.
**Minimum purchase of $75 (pre-tax). Must be used during the 2020 Repertory Season.
† You must have subscribed before November 2019.
14 | SAN FRANCISCO BALLET | 2020 SEASON GUIDESAN FRANCISCO BALLET ARTISTS OF THE COMPANY
201 9–20 SEASON
ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER
Helgi Tomasson
PRINCIPAL DANCERS
Dores André Mathilde Froustey Jennifer Stahl† Joseph Walsh
Ulrik Birkkjaer Angelo Greco Sofiane Sylve John and Barbara Osterweis
Principal Dancer
Frances Chung Tiit Helimets Diane B. Wilsey Principal Dancer
Herbert Family Principal Dancer Wei Wang†
Esteban Hernandez Yuan Yuan Tan
Richard C. Barker Principal Dancer WanTing Zhao†
Sasha De Sola Luke Ingham
Carlo Di Lanno Misa Kuranaga Sarah Van Patten
Benjamin Freemantle† Aaron Robison Diana Dollar Knowles Principal Dancer
PRINCIPAL CHARACTER DANCERS
Ricardo Bustamante† Val Caniparoli† Anita Paciotti†
SOLOISTS
Max Cauthorn† Jahna Frantziskonis Sasha Mukhamedov Henry Sidford†
Cavan Conley Madison Keesler† Wona Park† Lonnie Weeks
Daniel Deivison-Oliveira† Vladislav Kozlov Elizabeth Powell† Hansuke Yamamoto
Isabella DeVivo† Steven Morse† Julia Rowe†
CORPS DE BALLET
Kamryn Baldwin† Max Föllmer† Davide Occhipinti† Miranda Silveira†
Sean Bennett† Gabriela Gonzalez Kimberly Marie Olivier† John-Paul Simoens†
Ludmila Bizalion† Anatalia Hordov† Lauren Parrott† Bianca Teixeira
Samantha Bristow† Ellen Rose Hummel† Joshua Jack Price† Myles Thatcher†
Alexandre Cagnat† Jasmine Jimison† Leili Rackow† Mingxuan Wang†
Thamires Chuvas† Blake Johnston† Nathaniel Remez† Joseph Warton†
Diego Cruz† Elizabeth Mateer Alexander Reneff-Olson† Maggie Weirich†
Estéban Cuadrado† Norika Matsuyama† Skyla Schreter Ami Yuki†
Megan Amanda Ehrlich Carmela Mayo† Jacob Seltzer†
Lucas Erni† Swane Messaoudi† Natasha Sheehan†
APPRENTICES
Rubén Cítores† SunMin Lee† Adrian Zeisel†
Lleyton Ho† Tyla Steinbach†
BALLET MASTERS & ASSISTANTS TO THE ARTISTIC DIRECTOR
Ricardo Bustamante† Felipe Diaz†
BALLET MASTERS
Betsy Erickson† Tina LeBlanc Anita Paciotti† Katita Waldo†
COMPANY TEACHERS
Helgi Tomasson Ricardo Bustamante† Tina LeBlanc
Patrick Armand Felipe Diaz†
CHOREOGRAPHER IN RESIDENCE
Yuri Possokhov
MUSIC DIRECTOR & PRINCIPAL CONDUCTOR
Martin West †Received training at San Francisco Ballet School
2020 SEASON GUIDE | SFBALLET.ORG | 15PRINCIPAL DANCERS
YUAN YUAN TAN
Yuan Yuan Tan was born in Shanghai, China, and trained
at Shanghai Dancing School and Stuttgart’s John Cranko
School. She joined San Francisco Ballet as a soloist in
1995 and was promoted to principal dancer in 1997. She
was appointed Richard C. Barker Principal Dancer in 2012.
“It is no wonder that Tan is known as one of the world’s
best prima ballerinas.” —Hong Kong Tatler
16 | SAN FRANCISCO BALLET | 2020 SEASON GUIDEANGELO GRECO
Born in Nuoro, Italy, Angelo Greco
trained at La Scala Ballet School in Milan.
He danced with La Scala Ballet before
joining San Francisco Ballet as a soloist
in 2016. He was promoted to principal
dancer in 2017.
“Greco knows how to move, carrying the
entire stage with power and domination . . .
his technique tidy, his energy high, and his
charisma off the charts.” —HuffPost
2020 SEASON GUIDE | 41 5-865-2000 | 17PRINCIPAL DANCERS
DORES ANDRÉ
Born in Vigo, Spain, Dores André trained with Antonio
Almenara and at Estudio de Danza de Maria de Avila.
She joined San Francisco Ballet in 2004 and was promoted
to soloist in 2012 and to principal dancer in 2015.
“You’re astounded by her strength, the power to coil her
spine like a cobra, but foremost by her willpower, which
she deploys in the manner of Bette Davis. She is top dog
on this stage.” —Bay Area Reporter
18 | SAN FRANCISCO BALLET | 2020 SEASON GUIDECARLO DI LANNO
Carlo Di Lanno was born in Naples, Italy, and trained
at La Scala Ballet School in Milan. He danced with
La Scala Ballet and Staatsballett Berlin before joining
San Francisco Ballet as a soloist in 2014. He was
promoted to principal dancer in 2016.
“This young dancer is everything a Romeo ought to be:
technically pure yet natural, tender yet honor-bound
to fight, conflicted yet focused on his one true desire.”
—DanceTabs review of Romeo & Juliet
2020 SEASON GUIDE | SFBALLET.ORG | 19PRINCIPAL DANCERS
JOSEPH WALSH
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 San Francisco 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.
“The dancer to see is Joseph Walsh, flashing that
million-dollar smile, all irrepressible charisma.
A wonder of physical freedom and control.”
—The Fjord Review
20 | SAN FRANCISCO BALLET | 2020 SEASON GUIDEPRINCIPAL DANCERS MATHILDE FROUSTEY
Mathilde Froustey was born in Bordeaux, France,
and trained at the Marseille National School of Ballet
and Paris Opera Ballet School. She danced with
Paris Opera Ballet before joining San Francisco Ballet
as a principal dancer in 2013.
“[Froustey] has brought a quicksilver technique,
a pliant torso, witty musicality, pinpoint articulation,
and sheer elan to everything she has danced. . . .
Froustey looks delicate, but hers is the strength of
spun steel.” —San Francisco Chronicle
2020 SEASON GUIDE | 41 5-865-2000 | 21PRINCIPAL DANCERS
LUKE INGHAM
From Mount Gambier, South Australia, Luke Ingham
trained at the Australian Ballet School. He danced
with The Australian Ballet and Houston Ballet before
joining San Francisco Ballet as a soloist in 2012.
He was promoted to principal dancer in 2014.
“[Hummingbird ] offers the most arresting view of
Australian-born Luke Ingham and his easy compatibility
with contemporary abstractions.” —HuffPost
22 | SAN FRANCISCO BALLET | 2020 SEASON GUIDEFRANCES CHUNG
Born in Vancouver, Canada, Frances Chung trained at
Goh Ballet Academy before joining San Francisco Ballet
in 2001. She was promoted to soloist in 2005 and
principal dancer in 2009. She was appointed Herbert
Family Principal Dancer in 2018.
“[Chung] has only to float an arm or slide an instep across
the stage to evoke a world of feeling.”
—San Francisco Chronicle
2020 SEASON GUIDE | SFBALLET.ORG | 23PRINCIPAL DANCERS
JENNIFER STAHL
Born in Dana Point, California, Jennifer Stahl
trained at Maria Lazar’s Classical Ballet Academy
and San Francisco 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 2013 and to principal dancer in 2017.
“It’s exciting to watch Stahl continue to grow, in ability
and potential.” —Bachtrack
24 | SAN FRANCISCO BALLET | 2020 SEASON GUIDEWEI WANG
Born in Anshan, China, Wei Wang trained at Beijing
Dance Academy and SF Ballet School. He was named
apprentice in 2012, and joined San Francisco Ballet as
a corps de ballet member in 2013. He was promoted to
soloist in 2016 and to principal dancer in 2018.
“ . . . a superb live wire of a dancer.” —Culture Whisper
2020 SEASON GUIDE | 41 5-865-2000 | 25PRINCIPAL DANCERS 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 San Francisco Ballet as a principal dancer in 2008. She was appointed Diane B. Wilsey Principal Dancer in 2017. “The reigning goddess was Sofiane Sylve, a ballerina of rich expressive gifts and a large-scale, expansive technique. . . . [She] left the audience gasping.” —The Washington Post review of The Infinite Ocean 26 | SAN FRANCISCO BALLET | 2020 SEASON GUIDE
ESTEBAN HERNANDEZ
Born in Guadalajara, Mexico, Esteban Hernandez
trained at The Rock School for Dance Education and
The Royal Ballet School. He joined San Francisco Ballet
in 2013 and was promoted to soloist in 2017. He was
promoted to principal dancer in 2019.
“His solo, at once delicate and muscular, sinuous and
doomed, could have been a last brave survivor’s
final moments.” —San Francisco Chronicle review of
Die Toteninsel
2020 SEASON GUIDE | SFBALLET.ORG | 27PRINCIPAL DANCERS
SASHA DE SOLA
Born in Winter Park, Florida, Sasha De Sola trained at the
Kirov Academy of Ballet. She was named a San Francisco
Ballet apprentice in 2006 and joined the Company in
2007. She was promoted to soloist in 2012 and to principal
dancer in 2017.
“Sasha De Sola was radiant in the first movement . . . showing
off her pretty feet in a series of little steps on pointe.”
—San Francisco Classical Voice review of Prism
28 | SAN FRANCISCO BALLET | 2020 SEASON GUIDEMISA KURANAGA
Born in Osaka, Japan, Misa Kuranaga trained at Jinushi
Kaoru Ballet School and School of American Ballet. She
was named a San Francisco Ballet apprentice in 2001,
then joined Boston Ballet where she became a principal
dancer. She joined SF Ballet as a principal dancer in 2019.
“Kuranaga, whose killer work ethic and lyrical lines have
long made her a fan favorite, has come to embody the
future of ballet—a world of dancers who are independent
and endlessly versatile.”
—Dance Magazine
2020 SEASON GUIDE | 41 5-865-2000 | 29PRINCIPAL DANCERS
TIIT HELIMETS
Born in Viljandi, Estonia, Tiit Helimets trained at Tallinn
Ballet School. He danced with Estonian National Ballet
and Birmingham Royal Ballet before joining San Francisco
Ballet as a principal dancer in 2005.
“Helimets fulfills all the qualifications for a genuine danseur
noble. He is tall and blessed with textbook proportions,
infinitely tapered legs, and an aristocratic bearing.”
—Dance Magazine
30 | SAN FRANCISCO BALLET | 2020 SEASON GUIDESARAH VAN PATTEN
Born in Boston, Massachusetts, Sarah Van Patten
danced with Massachusetts Youth Ballet and the Royal
Danish Ballet before joining San Francisco Ballet as
a soloist in 2002. She was promoted to principal dancer
in 2007. She was appointed Diana Dollar Knowles
Principal Dancer in 2013.
“The feathery etherealness of Ms. Van Patten draws the
eye like a magnet.” —The New York Times
2020 SEASON GUIDE | SFBALLET.ORG | 31PRINCIPAL DANCERS ULRIK BIRKKJAER Born in Copenhagen, Denmark, Ulrik Birkkjaer trained at the Royal Danish Ballet School. He danced with the Royal Danish Ballet before joining San Francisco Ballet as a principal dancer in 2017. “[Birkkjaer] has great technique; extraordinarily, though, it’s joined with his high-transparent portrayals of love, happiness, bewilderment, sorrow. You don’t see many faces like that in dance.” —San Francisco Classical Voice 32 | SAN FRANCISCO BALLET | 2020 SEASON GUIDE
WANTING ZHAO
Born in Anshan, China, WanTing Zhao trained at the
Beijing Dance Academy, the Rock School for Dance
Education, and San Francisco Ballet School. She joined
San Francisco Ballet in 2011, was promoted to soloist in
2016, and to principal dancer in 2019.
“ . . . lovely WanTing Zhao, of the beautifully expressive
arms . . .” —San Francisco Classical Voice
2020 SEASON GUIDE | 41 5-865-2000 | 33PRINCIPAL DANCERS AARON ROBISON Born in Coventry, England, Aaron Robison trained at the Institut del Teatre in Barcelona and at the Royal Ballet School. He has danced with Birmingham Royal Ballet, Ballet Corella, Houston Ballet, and English National Ballet. Robison joined San Francisco Ballet as a principal dancer in 2016 and returned in 2018. “ . . . A powerhouse of virtuosic energy . . . riveting to watch.” —Seeing Dance †Received training at San Francisco Ballet School Principal dancer photos // © Erik Tomasson 34 | SAN FRANCISCO BALLET | 2020 SEASON GUIDE
BENJAMIN FREEMANTLE
Born in New Westminster, Canada, Benjamin Freemantle trained
at Caulfield School of Dance and San Francisco Ballet School. He
was named a San Francisco Ballet apprentice in 2014 and joined
the Company in 2015. He was promoted to soloist in 2018 and to
principal dancer in 2019.
“Freemantle’s closing solo was like watching Michelangelo’s David
come to life, iterating one elegant shape after another.”
—Lucy Writer’s Platform review of Your Flesh Shall Be a Great Poem
2020 SEASON GUIDE | SFBALLET.ORG | 35SOLOISTS
MAX CAUTHORN†
Born in San Francisco, California JULIA ROWE†
Named apprentice in 2013 Born in Elizabethtown, Pennsylvania
Joined in 2014 Joined in 2013
Promoted to soloist in 2017 Promoted to soloist in 2016
CAVAN CONLEY
Born in Bozeman, Montana SASHA MUKHAMEDOV
Joined in 2018 Born in London, England
Promoted to soloist in 2019 Joined as a soloist in 2019
36 | SAN FRANCISCO BALLET | 2020 SEASON GUIDEISABELLA DEVIVO† STEVEN MORSE†
Born in Great Neck, New York Born in Harbor City, California
Joined in 2013 Joined in 2009
Promoted to soloist in 2017 Promoted to soloist in 2017
HENRY SIDFORD† ELIZABETH POWELL†
Born in Marblehead, Massachusetts Born in Boston, Massachusetts
Named apprentice in 2011 Named apprentice in 2011
Joined in 2012 Joined in 2012
Promoted to soloist in 2018 Promoted to soloist in 2018
†Received training at San Francisco Ballet School
Soloist photos // © Erik Tomasson
2020 SEASON GUIDE | 41 5-865-2000 | 37SOLOISTS
HANSUKE YAMAMOTO WONA PARK†
Born in Chiba, Japan Born in Seoul, South Korea
Joined in 2001 Joined in 2017
Promoted to soloist in 2005 Promoted to soloist in 2018
BENJAMIN FREEMANTLE†
LONNIE WEEKS Born in New Westminster, Canada
Born in Los Alamos, New Mexico Named apprentice in 2014
Joined in 2010 Joined in 2015
Promoted to soloist in 2018 Promoted to soloist in 2018
†Received training at San Francisco Ballet School
Soloist photos // © Erik Tomasson
38 | SAN FRANCISCO BALLET | 2020 SEASON GUIDEJAHNA FRANTZISKONIS DANIEL DEIVISON-OLIVEIRA†
Born in Tucson, Arizona Born in Rio de Janeiro, Brazil
Joined in 2015 Joined in 2005
Promoted to soloist in 2017 Promoted to soloist in 2011
MADISON KEESLER†
Born in Carlsbad, California
VLADISLAV KOZLOV Joined in 2009
Born in Saratov, Russia Returned in 2017
Joined as a soloist in 2018 Promoted to soloist in 2019
2020 SEASON GUIDE | SFBALLET.ORG | 39PRINCIPAL 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
CORPS DE BALLET
KAMRYN BALDWIN† THAMIRES CHUVAS†
Born in Honolulu, Hawai’i Born in Rio de Janeiro, Brazil
Joined in 2015 Named apprentice in 2014
Joined in 2015
SAMANTHA BRISTOW† MEGAN AMANDA EHRLICH
Born in Media, Pennsylvania Born in Charleston, South Carolina
Named apprentice in 2014 Named apprentice in 2011
Joined in 2015 Joined in 2012
Returned 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
ALEXANDRE CAGNAT† LUCAS ERNI†
Born in Cannes, France Born in Santo Tomé, Argentina
Named apprentice in 2016 Joined in 2018
Joined in 2017
LUDMILA BIZALION† ESTÉBAN CUADRADO†
Born in Rio de Janeiro, Brazil Born in Frejus, France
Named apprentice in 2006 Named apprentice in 2018
Joined in 2007 Joined in 2019
Returned in 2016
40 | SAN FRANCISCO BALLET | 2020 SEASON GUIDEMAX FÖLLMER† CARMELA MAYO†
Born in London, United Kingdom Born in Las Vegas, Nevada
Named apprentice in 2018 Named apprentice in 2017
Joined in 2019 Joined in 2018
JASMINE JIMISON† LAUREN PARROTT†
Born in Palo Alto, California Born in Palm Harbor, Florida
Named apprentice in 2018 Named apprentice in 2012
Joined in 2019 Joined in 2013
GABRIELA GONZALEZ SWANE MESSAOUDI†
Born in Mérida, Mexico Born in Aix-en-Provence, France
Joined in 2017 Named apprentice in 2017
Joined in 2018
JOSHUA JACK PRICE†
BLAKE JOHNSTON†
Born in Wollongong, Australia
Born in Charlotte, North Carolina
Named apprentice in 2018
Joined in 2017
Joined in 2019
ANATALIA HORDOV† DAVIDE OCCHIPINTI†
Born in Santa Clarita, California Born in Rome, Italy
Named apprentice in 2017 Named apprentice in 2016
Joined in 2018 Joined in 2017
ELIZABETH MATEER LEILI RACKOW†
Born in Boca Raton, Florida Born in Nanchang, China
Joined in 2016 Named apprentice in 2018
Joined in 2019
ELLEN ROSE HUMMEL† KIMBERLY MARIE OLIVIER†
Born in Greenville, South Carolina Born in New York, New York
Named apprentice in 2011 Named apprentice in 2009
Joined in 2012 Joined in 2010
NORIKA MATSUYAMA†
Born in Chiba, Japan
Joined in 2014
†Received training at San Francisco Ballet School
Dancer headshots // © Chris Hardy and David Allen
2020 SEASON GUIDE | 41 5-865-2000 | 41CORPS DE BALLET
NATHANIEL REMEZ† BIANCA TEIXEIRA
Born in Washington, DC Born in São Paulo, Brazil
Named apprentice in 2016 Joined in 2019
Joined in 2017
NATASHA SHEEHAN† JOSEPH WARTON†
Born in San Francisco, California Born in Beaverton, Oregon
Joined in 2016 Joined in 201 7
ALEXANDER RENEFF-OLSON† MYLES THATCHER†
Born in San Francisco, California Born in Atlanta, Georgia
Named apprentice in 2012 Named apprentice in 2009
Joined in 2013 Joined in 2010
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
RUBÉN CÍTORES† SUNMIN LEE† ADRIAN ZEISEL†
LLEYTON HO† TYLA STEINBACH†
JACOB SELTZER†
Born in Washington, DC
Named apprentice in 2018
Joined in 2019
†Received training at San Francisco Ballet School
Dancer headshots // © Chris Hardy and David Allen
42 | SAN FRANCISCO BALLET | 2020 SEASON GUIDESAN FRANCISCO BALLET ORCHESTRA
For more than 40 years, the Grammy Award–winning San Francisco Ballet Orchestra has made the music that propels our
movement. With a core group of 49 regular members that expands to 65 players for certain productions, the Orchestra’s
repertory extends from classics such as Tchaikovsky’s Swan Lake and Nutcracker to the more abstract and contemporary of
ballet and symphonic works. Our musicians are as brilliant as individual artists as the orchestra is as an ensemble. Please visit
sfballet.org/orchestra for photos of SF Ballet Orchestra musicians.
MUSIC DIRECTOR & PRINCIPAL CONDUCTOR
Martin West
VIOLIN I CONTRABASS TRUMPET / CORNET
Cordula Merks, Concertmaster Steve D’Amico, Principal* Adam Luftman, Principal
Heeguen Song, Associate Concertmaster Jonathan Lancelle, Acting Principal Joseph Brown
Beni Shinohara, Assistant Concertmaster Shinji Eshima, Associate Principal
Heidi Wilcox Mark Wallace, Assistant Principal**
Robin Hansen Mark Drury* TROMBONE
Brian Lee Michael Minor** Jeffrey Budin, Principal
Mariya Borozina Michael Cox
Minsun Choi
FLUTE
Barbara Chaffe, Principal BASS TROMBONE
VIOLIN II Julie McKenzie, 2nd & Piccolo Scott Thornton, Principal
Ani Bukujian, Principal
Craig Reiss, Associate Principal
Jeanelle Meyer, Assistant Principal OBOE TUBA
Marianne Wagner Laura Griffiths, Principal Peter Wahrhaftig, Principal
Laura Keller Marilyn Coyne, 2nd & English Horn
Jeremy Preston
TIMPANI
CLARINET James Gott, Principal*
VIOLA Natalie Parker, Principal* John Burgardt, Principal**
Yi Zhou, Principal Andrew O’Donnell, Principal**
Anna Kruger, Associate Principal Andrew Sandwick, 2nd & Bass Clarinet*
Joy Fellows, Assistant Principal Barret Ham, 2nd & Bass Clarinet** PERCUSSION
Caroline Lee David Rosenthal, Principal
Paul Ehrlich
BASSOON
Rufus Olivier, Principal HARP
CELLO Patrick Johnson-Whitty, Annabelle Taubl, Principal
Eric Sung, Principal 2nd & Contrabassoon
Jonah Kim, Associate Principal
Victor Fierro, Assistant Principal ORCHESTRA PERSONNEL MANAGER
Thalia Moore HORN & MUSIC ADMINISTRATOR
Ruth Lane** Kevin Rivard, Principal Tracy Davis
Keith Green
Brian McCarty, Associate Principal
William Klingelhoffer MUSIC LIBRARIAN
Matthew Naughtin
**Seasonal Substitute
*Leave of Absence
2020 SEASON GUIDE | SFBALLET.ORG | 43SEE YOU AT SF BALLET
San Francisco Ballet Gala After Party // © Nikki Ritcher Photography
SAN FRANCISCO BALLET’S 2020 OPENING NIGHT GALA IS SPELLBOUND
From the lyricism of George Balanchine’s A Midsummer Night’s Dream and the joyfulness of Alexei Ratmansky’s The Seasons to the playfulness
of Christopher Wheeldon’s Cinderella and the grand displays of Balanchine’s Jewels—the 2020 Season showcases the grace, technique,
and athleticism of our dancers. Join us for cocktails, a lavish dinner, and a one-night-only performance as we embrace this magical, innovative,
and unexpected spirit on Thursday, January 16. For more: sfballet.org/gala
A MIDSUMMER NIGHT’S DREAM OPENING NIGHT DINNER
To mark the return of Balanchine’s A Midsummer Night’s Dream to SF Ballet after more than 30 years, we are toasting the fairy realm with
a pre-performance dinner at the Conservatory of Flowers on Friday, March 6. Proceeds benefit a wide range of SF Ballet artistic initiatives.
For more: sfballet.org/midsummer-dinner
Left to right: © Kristen Loken, © Andrew Caulfield for Drew Altizer
44 | SAN FRANCISCO BALLET | 2020 SEASON GUIDESan Francisco Ballet School Trainees // © Erik Tomasson
WOMEN’S HISTORY MONTH BREAKFAST
Join us for this family-friendly event on Saturday, March 21 at the Fairmont San Francisco. Guests enjoy a meet-and-greet with special guests, followed
by breakfast and conversation focusing on each of the special guests’ unique perspectives as women in the arts. Proceeds from this event support
scholarships and financial aid programs for girls at San Francisco Ballet School. For more: sfballet.org/womenshistory
SILVER ANNIVERSARY DINNER
Following the Sunday, April 19 matinee performance of Balanchine’s Jewels, come celebrate Principal Dancer Yuan Yuan Tan’s sparkling performance
in the principal role in Diamonds and her incredible 25th anniversary with San Francisco Ballet. For details, contact Special Events Coordinator
Meg Sullivan at msullivan@sfballet.org or 415-865-6625.
SF BALLET SCHOOL SPRING FESTIVAL
See the next generation of professional dancers at the SF Ballet School Spring Festival, which includes three nights of performances, a dinner on opening
night, and interactive activities pre-show and in the lobby. Performances are May 20–22 at Yerba Buena Center for the Arts Theater. Following the May 20
performance, the SF Ballet Auxiliary hosts the SF Ballet School Spring Festival Dinner at the Four Seasons Hotel San Francisco.
For more: sfballet.org/schoolfestival
2020 SEASON GUIDE | 41 5-865-2000 | 45Private Ocean Ad
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www.PrivateOcean.comDONOR EVENTS
San Francisco Ballet Donors are invited to join us behind the scenes for dress rehearsals, insider lectures, and other
events designed to deepen their connection with the Company. To make your gift and receive exclusive benefits designed
to enhance your SF Ballet experience, visit sfballet.org/donate or contact the Membership Office at friends@sfballet.org
or 415-865-6568.
Throughout the 2020 Repertory Season, members of the Artistic Directors Council, Chairman’s Council, Christensen
Society, Friends of SF Ballet, and The Jocelyn Vollmar Legacy Circle are invited to exclusive events outlined below. For more
information on our donor benefits, contact the Christensen Society Office at cs@sfballet.org or 415-865-6622.
JANUARY MARCH MAY
On-Stage Rehearsal, Cinderella* ORCHESTRA REHEARSAL (PAT+/VLC) Pre-Curtain Dinner,
Tuesday, January 21 Friday, March 20 at 11 am Romeo & Juliet (CHO+)
War Memorial Opera House Taube Atrium Theater, Wilsey Center for Opera Friday, May 1 at 5:30 pm
The Green Room, Veterans Building
Pre-Curtain Dinner, Ballet Accelerator (CHO+)
Tuesday, March 24 at 5 pm CS Cast Party ,
FEBRUARY
The Green Room, Veterans Building Romeo & Juliet (ASO+)
CS STUDIO REHEARSAL (DAN+)
Friday, May 1 at 10:30 pm
Wednesday, February 5 at 5:30 pm CS Cast Party, Ballet Accelerator (ASO+)
The Green Room, Veterans Building
Chris Hellman Center for Dance Tuesday, March 24 at 10 pm
The Green Room, Veterans Building Ballet History Lecture (CON+)
On-Stage Rehearsal , Classical (Re)Vision*
Thursday, May 7
Tuesday, February 11 On-Stage Rehearsal, Present Perspectives*
Location TBD
War Memorial Opera House Thursday, March 26
War Memorial Opera House
On-Stage Rehearsal, Dance Innovations* * Contributor Level and above members may
Wednesday, February 12 use their allotted number of single-use passes
War Memorial Opera House at the On-Stage Rehearsal(s) of their choice.
APRIL Capacity is limited and tickets are required.
Pre-Curtain Dinner, Dance Innovations (CHO+) ON-STAGE REHEARSAL, JEWELS*
Thursday, February 13 at 5 pm Tuesday, April 14 EVENT DATES, TIMES, AND
The Green Room, Veterans Building War Memorial Opera House LOCATIONS ARE SUBJECT
CS Cast Party, Dance Innovations (ASO+) Company Class Observation TO CHANGE.
Thursday, February 13 at 10 pm and Reception (SUP+)
The Green Room, Veterans Building Saturday, April 18
Legacy Studio Rehearsal (VLC) War Memorial Opera House
Thursday, February 27 at 5:30 pm LEGACY LUNCHEON & TECH REHEARSAL (VLC)
Chris Hellman Center for Dance Thursday, April 30 at 11:30 am
CS Studio Rehearsal (DAN+) War Memorial Opera House
Friday, February 28 at 5:30 pm
Chris Hellman Center for Dance
MEMBERSHIP LEVELS KEY
ADC | ARTISTIC DIRECTOR’S COUNCIL ($100,000+) F R I E N D S O F S F B A LLE T
CHM | CHAIRMAN’S COUNCIL ($15,000–$99,999) PAT | PATRON ($1,000–$2,499)
SUP | SUPPORTER ($500–$999)
CHRISTENSEN SOCIET Y
CON | CONTRIBUTOR ($200–$499)
CHO | CHOREOGRAPHER’S COUNCIL ($7,500–$14,999)
DAN | DANCER’S COUNCIL ($5,000–$7,499) VLC | JOCELYN VOLLMAR LEGACY CIRCLE
ASO | ASSOCIATE’S COUNCIL ($2,500–$4,999)
2020 SEASON GUIDE | SFBALLET.ORG | 47OFF STAGE
MEET THE ARTIST INTERVIEWS (AND PODCASTS)
One hour prior to curtain on opening nights, Fridays, and Sundays; immediately following select Thursday evening and
Saturday matinee performances.
Want to know more about what it’s like to dance at SF Ballet? Or about a particular ballet? Then join us for a Meet the Artist (MTA) interview. Perfect for
newcomers, balletomanes, and everyone in between, MTAs feature a conversation with an artist who worked on the performance.
FREE and open to all ticket holders for selected performances
An archive of previous MTAs is available on all podcast players and at sfballet.org/backstage.
POINTES OF VIEW LECTURES
WEDNESDAYS, 6–6:45 PM
Company artists and visiting scholars invite you to delve deeper into that evening’s performance. You don’t have to buy a ticket to attend—all ballet fans
are welcome.
Attendees should enter through the carriage entrance on the north side of the War Memorial Opera House, adjacent to the courtyard.
FREE and open to the public
PROGRAM 01 Cinderella January 22
Christopher Wheeldon’s Cinderella© is a spectacular display of dancing, but also of stunning sets, costumes, and props. Join SF Ballet’s Production Stage
Manager Jane Green; Manager of Wardrobe, Wig, Makeup, and Costume Construction Kate Share; and Master of Properties Kenneth Ryan to discuss how
these theatrical elements are constructed, cared for, and utilized in this elaborate production.
PROGRAM 02 Classical (Re)Vision February 1 2
Choreographer Mark Morris has created more works for San Francisco Ballet than for any other ballet company. Ballet Masters and former SF Ballet
Principal Dancers Betsy Erickson and Tina LeBlanc discuss his life, works, and unique relationship to the West Coast.
PROGRAM 03 Dance Innovations February 19
Revered in the ballet world as a tribute to classical ballet training, Harald Lander’s Etudes begins with traditional exercises at the barre and ends with
displays of virtuosity. San Francisco Ballet School Faculty put SF Ballet students through their paces in a demonstration of steps and combinations
from the piece.
PROGRAM 04 A Midsummer Night’s Dream March 11
A Midsummer Night’s Dream is one of George Balanchine’s masterpieces and SF Ballet’s Artistic Director and Principal Choreographer Helgi Tomasson
was one of the most celebrated interpreters of the central role of Oberon, King of the Fairies. Join Tomasson for a discussion of this ballet’s fiendishly difficult
and sublimely beautiful choreography and why he is so excited to see this work back on the Opera House stage for the first time in more than 30 years.
PROGRAM 05 Ballet Accelerator March 25
From Isadora Duncan to Cathy Marston, San Francisco has long been a place where the future of dance has been created. Before an evening of three
ballets created right here in San Francisco, join Wayne Hazzard, Executive Director of Dancers’ Group, and other members of San Francisco’s dance
community for a lively discussion about the legacy of new work in the Bay Area.
PROGRAM 06 Present Perspectives April 1
First created in St. Petersburg, Russia in the early 20th century by Marius Petipa and then reimagined by Alexei Ratmansky in New York where it premiered
at American Ballet Theatre in spring 2019, The Seasons is a ballet that has traveled great distances through both space and time. SF Ballet’s 2020
Scholar in Residence Carrie Gaiser Casey, PhD considers these ideas and others as she gives audiences a sneak peek into her upcoming project on
how ballets are staged, restaged, and recreated.
PROGRAM 07 Jewels April 15
George Balanchine’s iconic Jewels is not only a fan favorite, but an opportunity for a company to explore his many artistic styles. Join Sandra Jennings,
répétiteur for the Balanchine Trust, to learn about how this ballet is staged, taught, and preserved for the next generation of dancers
and audiences.
PROGRAM 08 Romeo & Juliet May 6
Romeo and Juliet is one of composer Sergei Prokofiev’s most iconic scores and one of four Prokofiev scores featured on this San Francisco Ballet
season. SF Ballet Visiting Scholar Simon Morrison, a professor of musicology at Princeton University, discusses this piece and its relationship to
Prokofiev’s life and work.
48 | SAN FRANCISCO BALLET | 2020 SEASON GUIDELooking to deepen your knowledge of San Francisco 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.
Learn more: sfballet.org/events
NEW! CELEBRATING JEWELS OPERA HOUSE TOUR
April 7, 6 pm–7:30 pm March 9, 3:30–5:30 pm and 6:30–8:30 pm
Former New York City Ballet principal dancers Kay Mazzo, Patricia McBride, Go behind the scenes with Dennis Hudson, former SF Ballet master
Mimi Paul, and Edward Villella join SF Ballet Artistic Director and Principal electrician. You’ll learn about the quirky secrets and unique technical
Choreographer Helgi Tomasson to share their memories of and insights into and structural elements of this 1932 Beaux-Arts theater. Cost: $75
George Balanchine’s iconic ballet Jewels. Cost: $25 subscribers /
$20 donors
BALLET BASICS
June 28, 2–5 pm
BALLET BOOK CLUB Curious about life behind the curtain at SF Ballet? This three-hour
January 25, 5–6:30 pm: Cinderella
seminar will give you a deeper understanding of ballet, from its
March 7, 5–6:30 pm: A Midsummer Night’s Dream classical roots to current practice. Take a ballet class, hear from
May 9, 5–6:30 pm: Romeo & Juliet an artist, and learn about the history of classical ballet.
Cost: $50 subscribers / $45 donors
Delve a little deeper into everyone’s favorite story ballets. Join us as we
read the story, compare it to the ballet, and, of course, have a glass of wine.
Cost: $20 subscribers / $25 donors
EXPLORING BALLETS
February 9, 2–5 pm: Exploring Sandpaper Ballet
April 26, 2–5 pm: Exploring Romeo & Juliet
Take a closer look at an iconic ballet from the 2020 Season. In these
intensive one-day courses, you’ll learn more about these fan-favorite
ballets and hear from the artists who perform in them.
Cost: $50 subscribers / $45 donors
BALLET CHAT
February 22, 4:30–6 pm: Classical (Re)Vision
February 23, 4:30–6 pm: Dance Innovations
March 28, 4:30–6 pm: Present Perspectives
March 29, 4:30–6 pm: Ballet Accelerator
April 18, 4:30–6 pm: Jewels
April 19, 4:30–6 pm: Jewels
You’ve just seen an inspiring performance. Now what? Rather than heading
home, channel that insight and creative energy. Have a glass of wine,
mingle with fellow ballet fans, and participate in an informal moderated
conversation. Cost: $12
MASTER CLASSES
February 23, 10 am–12 pm: Master Class with Sandra Jennings
on Balanchine’s Jewels. For ages 10–14.
February 23, 1–3 pm: Master Class with Sandra Jennings
on Balanchine’s A Midsummer Night’s Dream. For ages 14–18.
Learn from the masters of ballet in these single intensive sessions focused Misa Kuranaga rehearsing Ratmansky’s The Seasons // © Erik Tomasson
on exploring the artistry of SF Ballet’s repertory. Classes consist of
a traditional ballet class, then move to repertory. Cost: $50 participants /
$25 observers. For more: sfballet.org/masterclasses
Cinderella© by Christopher Wheeldon
2020 SEASON GUIDE | 41 5-865-2000 | 4901 CINDERELLA
JA N 21 — FE B 02
Frances Chung in Wheeldon’s Cinderella© // © Erik Tomasson
50 | SAN FRANCISCO BALLET | 2020 SEASON GUIDEP R O G R A M N OT E S
by Cheryl A. Ossola
The heart of the old, the spirit of the new. Christopher Wheeldon’s enticed him to create his own. Rudolf Nureyev, in his 1986 production
Cinderella tells the same uplifting story people have heard for centuries, for Paris Opera Ballet, set the ballet in Hollywood and gave the
but is a ballet full of innovations and modern twists. A co-production of beleaguered Cinderella an alcoholic father. And in SF Ballet Choreographer
San Francisco Ballet and Dutch National Ballet, Cinderella premiered in in Residence Yuri Possokhov’s 2006 production for the Bolshoi Ballet,
Amsterdam in 2012, then made its US premiere in San Francisco in 2013. the Storyteller (Prokofiev himself) replaced the Fairy Godmother.
“Each of Christopher’s works has something unique,” says Helgi Tomasson, Christopher Wheeldon’s Cinderella isn’t the first to find a home at
SF Ballet’s artistic director and principal choreographer. Wheeldon is SF Ballet—that honor goes to a 1973 production by then co-artistic
an acclaimed dancemaker, in demand at companies worldwide. Formerly directors Lew Christensen and Michael Smuin. Wheeldon’s version, with
a resident choreographer at New York City Ballet and now an artistic all the technological advantages of the 21st century, began percolating
associate at The Royal Ballet, he caused a sensation on Broadway with the when he and Tomasson discussed ideas for a new full-length ballet to be
musical An American in Paris. And he’s a frequent presence at SF Ballet, co-produced with Dutch National Ballet.
with 13 works in the repertory. Cinderella was his eighth commission and
first full-length story ballet for the Company. As Wheeldon soon found, creating a production on two continents
simultaneously isn’t easy. “It was my crazy idea,” he says. “I said, ‘I’ll do
Tomasson’s words about originality ring true in Wheeldon’s Cinderella. some of it here and some of it there, and we’ll make it work.’” Several Dutch
You’ll find no fairy godmother, no pumpkin coach, no clock striking National Ballet principal dancers rehearsed in San Francisco for a few
midnight—but you won’t miss them a bit when a tree comes alive and weeks in 2012, and several from SF Ballet went to Amsterdam; that way the
“dances,” or when Cinderella shows backbone and her Prince’s charm runs choreography could be created on both companies at once. “It promotes
deep. And you won’t miss them when the dancing and the storytelling a nice cultural exchange,” says Wheeldon, “but it has its pluses and
come from Wheeldon. “What I wanted to do,” the choreographer says, “was minuses. One dancer hasn’t necessarily followed it through from beginning
echo the darkness in the music by taking some of the themes from the to end. On the other hand, more people have had the benefit of being
Brothers Grimm version rather than the [Charles] Perrault version,” with its created on.”
fairy godmother and pumpkin coach. “The Grimm version is more serious
and a bit darker, centered around nature and the spirit of mother.” That’s In creating a world for his characters to inhabit, Wheeldon assembled
where he got the idea of a tree that grows from the grave of Cinderella’s an artistic team with imaginations as big as his own. Step one was
mother, “the deliverer of all things magic, which I think is more poetic [than brainstorming with playwright and librettist Craig Lucas, who describes
a fairy godmother] and quite beautiful,” he says. “There are comic moments the early stages of Cinderella as “a constant back and forth, teasing out
because there’s comedy written into the music, but it’s a more serious a shared understanding of what is exciting about the story. [We wanted]
Cinderella in a way.” to burrow into possibilities we had never seen explored.” These included
a substitute for the Fairy Godmother—an essential element, according to
That music, written by Russian composer Sergei Prokofiev in 1940 but Wheeldon. “We all toy with the idea that loved ones are always watching
shelved for several years during World War II, made its first appearance over us in some way,” he says. He and Lucas settled on the tree that grows
when the Bolshoi Ballet premiered Cinderella in November 1945, when Cinderella cries over her mother’s grave—in effect, a character,
choreographed by Rostislav Zakharov. “I love it,” says Music Director and “a living thing that could embrace the action,” says Lucas—and four Fates
Principal Conductor Martin West about the score. “It’s immediately striking, who offer guidance and protection.
and astonishingly clever the way the themes come around, the way he
could create an atmosphere out of something very simple.” Prokofiev’s Wheeldon also knew he wanted his Cinderella to be in charge of her
Romeo and Juliet, West says, “came from the heart, but Cinderella is more destiny. Yes, she’s a servant in her own home, but “she knows she doesn’t
cerebral. It takes longer to get into, but once you’ve lived with it, it starts to have to be there forever,” he says. “It is good versus evil; it is that if you’re
eat at you. Some of it is so beautiful.” a good person things can come out right. But it’s not saying if you’re meek
or subservient you’ll be rewarded.” Cinderella gains some of her strength
As a ballet, Cinderella has a lengthy pedigree. It debuted in St. Petersburg, from the four Spirits (seasonal fairies in Prokofiev’s score), who, while
Russia in 1893, choreographed by Marius Petipa with Enrico Cecchetti and teaching her to dance, imbue her with such gifts as elegance and lightness
Lev Ivanov, famous “fathers” of classical ballet. (This was when ballerina of being. The steps she learns form the basis of her solo at the Prince’s ball.
Pierina Legnani first whipped out an unheard-of 32 consecutive fouettés—
pirouettes in which one leg repeatedly extends and whips in, foot to knee Cinderella’s Prince, too, is more complex than in traditional versions—more
— a feat that is now a standard of virtuosity.) The West had to wait until 1938 than “just a handsome mug,” Wheeldon says. He and Lucas gave the Prince
to see a Cinderella, and when the chance came, it was Michel Fokine’s a childhood—and a servant who happens to be his best friend. In a classic
one-act version in London, which added the role of Cinderella’s cat. In 1948, mistaken-identity plot device, the Prince masquerades as the servant, so
Sir Frederick Ashton made a Cinderella for Sadler’s Wells Ballet in London, “the Prince sees who Cinderella really is,” says Lucas. “She isn’t reacting
and it was the first English full-length ballet done in the tradition of the to someone’s status; she is treating him [respectfully] as she would the
19th-century classics. He based it on the Perrault fairy tale and used the lowliest person, something he isn’t used to experiencing. He has no idea
Prokofiev score. Ashton revived an old tradition by casting men—including that Cinderella is also hiding her identity.”
himself—as the Ugly Sisters. Margot Fonteyn, his choice for Cinderella, was
injured during rehearsals, and so it was Moira Shearer of The Red Shoes– But what’s a story without a setting? Wheeldon chose Julian Crouch to do
fame who created the title role. the sets and costumes because of his “very fantastical approach to design.
He always seems to embrace the darker side of the fairy tales he’s done,”
Ashton’s Cinderella was followed by an onslaught of productions. he says. Crouch had designed for theater, opera, and musicals, but ballet
Among them, Mikhail Baryshnikov and Peter Anastos made Cinderella for was a new world for him. And he discovered that “it needs to be fluid.
American Ballet Theatre in 1984; like Fokine’s, it included Cinderella’s Cat. I think this Cinderella is more fluid than the traditional. It moves scene to
Baryshnikov had never danced this ballet in Russia; it was the music that scene more rapidly; it has more locations. So for me it’s been an exercise
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