THE SLEEPING BEAUTY 2019 SEASON | PROGRAM 04 - Encore Spotlight
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2019 SEASON | PROGRAM 04 THE SLEEPING BEAUTY
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March 2019 PROGRAM 04 | THE SLEEPING BEAUTY
Volume 96, No. 5
TABLE OF CONTENTS
03 Greetings from the Artistic Director
& Principal Choreographer
Paul Heppner 05 Board of Trustees
President
Endowment Foundation Board
Mike Hathaway
Senior Vice President 06 SF Ballet Leadership
Kajsa Puckett 08 For Your Information
Vice President, Sales & Marketing
09 Timeline: SF Ballet & Story Ballets
03
Genay Genereux
Accounting & Office Manager 10 SF Ballet News
Production 11 Inside SF Ballet School
Susan Peterson
Vice President, Production 12 Explore Ballet
Jennifer Sugden 16 Artists of the Company
Assistant Production Manager
24 PROGRAM 0 4 The Sleeping Beauty
Ana Alvira, Stevie VanBronkhorst
Production Artists and Graphic Designers
32 SF Ballet Orchestra
Sales
34 SF Ballet Staff
Marilyn Kallins, Terri Reed
San Francisco/Bay Area Account Executives 36 Donor Events and News
Devin Bannon, Brieanna Hansen,
Amelia Heppner, Ann Manning
42 SF Ballet Donors
EMG
Seattle Area Account Executives
Carol Yip
62 Thank You to Our Volunteers
64 Last Words on The Sleeping Beauty
MASTHEAD
Sales Coordinator
Marketing
Shaun Swick
Senior Designer & Digital Lead
24
Ciara Caya
Marketing Coordinator
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San Francisco Ballet |Program Book | Vol. 26, No. 5
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: Sasha De Sola and Carlo Di Lanno in
Tomasson’s The Sleeping Beauty // © Erik Tomasson
Above, top to bottom: Helgi Tomasson;
WanTing Zhao in Tomasson's The Sleeping Beauty //
Both © Erik Tomasson
PROGRAM 04 | SFBALLET.ORG | 1
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GREETINGS FROM THE ARTISTIC DIRECTOR
& PRINCIPAL CHOREOGRAPHER
Thank you for joining us at the Opera House for The Sleeping Beauty.
One of the pillars of the classical ballet tradition, The Sleeping Beauty
is also a beloved story of a cursed princess, good and bad fairies,
and the triumph of true love’s kiss.
I staged San Francisco Ballet’s first full-length production of
The Sleeping Beauty in 1990. It was one hundred years after the
original, choreographed by Marius Petipa, premiered at the Mariinsky
Theater in St. Petersburg with Tchaikovsky’s score. There’s a reason
this ballet is an enduring favorite: it has drama and spectacle and also
pure classical ballet technique: precise, specific, regal. I kept much of
Petipa’s exquisite choreography and added a few elements as well.
Performing The Sleeping Beauty requires a shift from our dancers,
from the freer movement of contemporary ballet. Just as orchestras
return to the classical canon for inspiration and to strengthen their
skills, this is an important return to the source for us. Truly mastering
the deceptively difficult classical technique translates into doing
everything else well. Although it’s one of the most challenging ballets
to perform, our dancers make it look wonderful. I look forward to
seeing how our dancers will embody the many different roles in
The Sleeping Beauty.
I appreciate you coming to San Francisco Ballet. Your support enables us to perform the classics and to take
artistic risks—like commissioning new work—that keep the art form vibrant. Our 2019 Season continues through
May with world premieres by Yuri Possokhov and Liam Scarlett; Alexei Ratmansky’s Shostakovich Trilogy,
John Neumeier’s beautiful, haunting version of The Little Mermaid; 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
PROGRAM 04 | 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 Robert G. Shaw Pamela J. Joyner†
Margaret G. Gill, Vice Chair Susan P. Diekman Christine E. Sherry David A. Kaplan
James H. Herbert, II†, Vice Chair Sonia H. Evers Charlotte Mailliard Shultz Mary Jo Kovacevich
Lucy Jewett, Vice Chair Shelby M. Gans Catherine Slavonia James J. Ludwig†
James D. Marver, Vice Chair Joseph C. Geagea David Hooker Spencer Stephanie Marver
Diane B. Wilsey, Vice Chair Richard Gibbs, M.D. Fran A. Streets Nancy H. Mohr
Nancy Kukacka, Treasurer Beth Grossman Judy C. Swanson Marie-Louise Pratt
Jennifer J. McCall, Secretary Matthew T. Hobart Richard J. Thalheimer George R. Roberts
Susan S. Briggs, Assistant Secretary Patrick M. Hogan Miles Archer Woodlief Kathleen Scutchfield
Thomas E. Horn Timothy C. Wu Robert M. Smelick
Helgi Tomasson, Artistic Director Hiro Iwanaga Zhenya Yoder Susan A. Van Wagner
& Principal Choreographer Thomas M. Jackson, M.D. Janice Hansen Zakin Dennis Wu
Glenn McCoy*, Executive Director Elaine Kartalis Akiko Yamazaki
James C. Katzman
Yasunobu Kyogoku
Kelsey Lamond TRUSTEES EMERITI
Jola Anderson Brenda Leff Michael C. Abramson ASSOCIATE TRUSTEES
Kristen A. Avansino Marie O’Gara Lipman Thomas W. Allen Ann Kathryn Baer, President,
Richard C. Barker† Alison Mauzé Marjorie Burnett San Francisco Ballet Auxiliary
Karen S. Bergman Marissa Mayer Charles Dishman Steve Merlo, President, BRAVO
Gary Bridge John T. Palmer Garrettson Dulin, Jr.† Daniel Cassell, President,
Chaomei Chen ENCORE!
Fritz Quattlebaum Millicent Dunham
Hannah Comolli Stewart McDowell Brady,
Kara Roell J. Stuart Francis†
Patrice Lovato,
Christine Leong Connors Christine Russell Sally Hambrecht
Co-Chairs, Allegro Circle
David C. Cox Randee Seiger Ingrid von Mangoldt Hills
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
PROGRAM 04 | SFBALLET.ORG | 5
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
6 | SAN FRANCISCO BALLET | PROGRAM 04
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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 | PROGRAM 04TIMELINE: SF BALLET & STORY BALLETS
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 creation of The Sleeping Beauty and other beloved story ballets are interwoven with important
SF Ballet milestones. For a complete history of San Francisco Ballet, please visit sfballet.org/history.
1890
The Sleeping Beauty premieres at
the Imperial Mariinsky Theater 1933
in St Petersburg.
The San Francisco Opera Ballet is
Carlotta Brianza as Princess Aurora founded to provide dancers for
opera productions. San Francisco
Ballet School is established.
Lew Christensen and Janet Reed
1939
Willam Christensen choreographs
the Company’s first full-length
production, Coppélia.
Program from Coppélia
1940 Willam Christensen stages the first American
full-length production of Swan Lake.
1944
San Francisco Ballet dances the first
complete production of Nutcracker
1958 in the United States.
To celebrate the Company’s 25th Celena Cummings and Joaquim Felsch
anniversary, Lew Christensen creates in Lew Christensen’s Nutcracker
Beauty and the Beast.
Jocelyn Vollmar and Richard Carter in
Lew Christensen’s Beauty and the Beast 1979
SF Ballet establishes Dance in Schools and Communities
(DISC) to offer arts instruction in public schools.
1985
Helgi Tomasson becomes artistic director.
1990
Helgi Tomasson choreographs
Helgi Tomasson choreographs a SF Ballet’s first full-length
new Romeo & Juliet for SF Ballet. production of The Sleeping Beauty.
Sarah Van Patten and Steven Morse Mikko Nissinen and Joanna Berman
in Tomasson’s Romeo & Juliet in Tomasson’s The Sleeping Beauty
1994 2013
Christopher Wheeldon creates a new
Cinderella for SF Ballet and Dutch
2016 National Ballet.
Dores André and Carlo Di Lanno
SF Ballet and the Royal Ballet co-produce in Wheeldon’s Cinderella
Liam Scarlett’s Frankenstein.
Historic photos: Courtesy of the Museum of Performance + Design
2019 The Sleeping Beauty awakens again.
Romeo & Juliet and Cinderella images // © Erik Tomasson
PROGRAM 04 | 41 5 865 2000 | 92019 SEASON NEWS
SF BALLET EXECUTIVE DIRECTOR GLENN MCCOY NAMED
RECIPIENT OF THE 2019 DANCE / USA ‘ERNIE’ AWARD
San Francisco Ballet Executive Director Glenn McCoy was chosen as the recipient
of the 2019 “Ernie” Award from Dance/USA, the national service organization for the
dance field. Since its inception in 1986, the “Ernie” Award, named for dancer Ernie “Ian”
Horvath, has honored individuals working behind the scenes in the dance field who
have demonstrated extraordinary leadership and have significantly advanced the work
of artists and supported their creativity. Recipients are chosen by the Dance/USA Board
of Trustees from nominations made by members of the entire dance field. An Honors
Celebration will take place at the Dance/USA Annual Conference on June 12, 2019 in
Cleveland, Ohio.
This is Glenn’s 31st and final season with SF Ballet before retirement. He joined SF Ballet
in 1987, and served as company manager and general manager before being appointed
executive director in 2002. For more, please see page 6.
SAN FRANCISCO BALLET CELEBRATES WOMEN’S HISTORY MONTH
San Francisco Ballet marked Women’s History Month on March 2 with a breakfast,
book signing, and conversation with Chelsea Clinton about her new book She Persisted
Around the World: 13 Women Who Changed History. Principal Dancer Yuan Yuan Tan,
who is featured in the book, and the book’s illustrator, Alexandra Boiger, also attended.
She Persisted Around the World celebrates 13 women who have used their voices and
determination to create change and shape history through science, the arts, sports,
education and activism. “Inspired by the overwhelming response from young readers
to the stories of the thirteen American women shared in She Persisted, I decided to
write She Persisted Around the World,” says Clinton. “I hope these incredible women’s
stories further empower kids to use their voices and dreams to positively shape the
world around them and our shared future.”
Proceeds from the March 2 event will support girls’ scholarships and financial aid
programs at SF Ballet School, which awards more than $1.2 million in scholarships
and financial aid each year.
SF BALLET CELEBRATES THE LGBTQ COMMUNITY WITH NITE OUT
The first Nite Out of 2019 took place on February 15, hosted by dancers Myles Thatcher
and Solomon Golding, and honored the Transgender Law Center. Two additional
Nite Out evenings are scheduled this spring: March 29, with a performance of Space
Between; and April 19, with a performance of The Little Mermaid. After the performance,
guests are invited to a gathering with specialty cocktails, passed hors d’oeuvres, guest
entertainment, music, and dancing. For more: sfballet.org/niteout
SF BALLET TO PERFORM AT LONDON’S
SADLER’S WELLS THEATRE IN MAY
Soon after the 2019 Season ends in San Francisco, the Company will head to London
for two weeks at London’s Sadler’s Wells Theatre, May 20–June 8. The London
performances will include 10 ballets commissioned by SF Ballet, all of which are
European premieres. Alexei Ratmansky’s Shostakovich Trilogy opens the tour,
followed by three programs featuring works from last year’s Unbound: A Festival
of New Works, and Liam Scarlett’s Hummingbird. Unbound works include those
by David Dawson, Edwaard Liang, Cathy Marston, Trey McIntyre, Justin Peck, Top to bottom, counterclockwise: Chelsea Clinton // Courtesy of the author;
She Persisted Around the World cover illustration // © Alexandra Boiger;
Arthur Pita, Stanton Welch, and Christopher Wheeldon. For more: sfballet.org/tour Laurence Ellis; Glenn McCoy // © Erik Tomasson; Myles Thatcher and
Solomon Golding hosting SF Ballet's 2019 Nite Out // © Nikki Ritcher Photography
10 | SAN FRANCISCO BALLET | PROGRAM 04INSIDE SAN FRANCISCO BALLET SCHOOL
S ECU R I N G BA LLE T ’ S FUTU R E
Throughout the month of January,
San Francisco Ballet School staff round up
snow gear, stacks and stacks of audition
numbers, golf pencils, plane and train
tickets, rental car agreements—and lots
and lots of safety pins. Each weekend,
School Director Patrick Armand, School
Faculty and Trainee Assistant Pascal Molat,
Director of Education and Training Andrea
Yannone, and Associate Director of School
Administration Christina Rutter crisscross
the country holding auditions. From Boca
Raton to Boston, Santa Monica to Seattle,
they seek the most promising young
dancers to invite to the School’s rigorous
year-round and summer programs.
“We’re looking for talent, dedication, and a passion for the art of dance,” says Armand. “We visit so many different
parts of the country because we want to give a wide range of students an opportunity to study here.”
On a wintry Friday in early January, Armand and Rutter managed a packed day of auditions in Chicago. The morning started with a 9:30 master
class at the Chicago Multi-Cultural Dance Center, co-sponsored by the International Association of Blacks in Dance (IABD) and Deeply Rooted
Dance Company. This class is part of an ongoing collaboration with IABD now in its second year; similar master classes have also been held in
Washington DC. The event acts as both a learning opportunity, an informal audition for the School’s summer session, and a way to let students
learn more about SF Ballet School. “Ballet training is the pipeline that connects dancers to companies,” says Yannone, “and we want to play a
positive role in creating an inclusive and equitable dance field.”
By noon in Chicago, Armand and Rutter had arrived at the studios of The Joffrey Ballet to hold an audition for SF Ballet School’s School-Year
Program. This particular audition was part of a new initiative, similar to colleges’ early-admissions programs, to give families more time to plan
for students’ training. “In the past, students had to wait for the summer program to be evaluated for the School-Year Program,” explains Rutter.
“That necessitated last-minute arrangements for a move to San Francisco.” Particularly for students moving away from home for the first time
to a new state—or country—additional time to plan makes the transition easier.
Next up back in Chicago? Four hours of auditions for the School’s Summer Session. Intermediate to advanced dancers ages 14 to 18 are
eligible to attend the School’s two summer programs, and more than 1,800 apply each year. The School offers two separate programs: a three-
week session for intermediate students, followed by a four-week session for advanced students. While being accepted into Summer Session
is a thrill, it’s not the final hurdle—of the 288 students who attended last summer, just 31 made it into the School-Year Program. While the odds
are daunting, School staff make the auditions as stress-free as possible, greeting dancers with a smile, quelling anxieties, and answering
parents’ questions, all while gathering registration materials, handing out audition numbers, and making sure each dancer has plenty of
safety pins to help secure their number—and possibly their future training.
Above: SF Ballet School students // © Chris Hardy
PROGRAM 04 | SFBALLET.ORG | 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 (MTA) interviews feature a conversation with an artist involved with
the performance. Curious about what our artists have to say? An archive of previous interviews 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 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.
Left to right: San Francisco Ballet in Peck’s Rodeo: Four Dance Episodes;
San Francisco Ballet in Neumeier’s The Little Mermaid // Both © Erik Tomasson
12 | SAN FRANCISCO BALLET | PROGRAM 04Looking 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
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) / $60 (package)
B A L LET C H AT
March 31, 4:30–6 pm: Lyric Voices
April 7, 4:30–6 pm: Space Between
May 12, 4:30–6 pm: Shostakovich Trilogy
You’ve just seen an inspiring performance. Now what? Rather than
heading home, channel that insight and creative energy. Have a
1/3V AD
glass of wine, mingle with fellow ballet fans, and participate in an
informal moderated conversation. Cost: $10
E X P LOR I N G BA LLETS
March 24, 2–4 pm: Exploring Rodeo: Four Dance Episodes
Take a closer look at Rodeo: Four Dance Episodes. In this intensive
one-day course, you’ll learn more about this ballet and hear from
the artists who perform it. Cost: $50/$45 (subscribers & donors
B A L LET TA LK
March 19, 6–7:30 pm: Your Flesh Shall Be a Great Poem
and Bound To ©
May 11, 5–6:30 pm: Creating New Work with Marc Brew
These lively events include a 60-minute talk and Q & A,
as well as a wine-and-cheese reception with the speaker.
Cost: $35/$30 (subscribers & donors)
All Audience Engagement Programs are subject to change. The views,
opinions, and information expressed are strictly those of the participants,
and do not necessarily represent or imply any official position of San Francisco
Ballet Association. For more information about these programs, visit
sfballet.org/explore or email audienceengagement@sfballet.org.
PROGRAM 04 | 41 5 865 2000 | 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 March 16. For more information, contact Cecelia Students ages 4–13 welcome. For more:
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 Mar 12–Apr 2 and Apr 9–May 7, and the class fee includes annual Summer Dance Camp. At this free,
a day pass to Fitness SF. NEW: Ballet 201, ongoing Wednesdays 6:00–7:30pm, an open weeklong dance program, BGCSF members
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 | PROGRAM 0410 Presidio Terrace
Experience, Dedication, Results.
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DRE 01484878 DRE 02016667SAN 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 | PROGRAM 04PRINCIPAL 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.
PROGRAM 04 | SFBALLET.ORG | 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 | PROGRAM 04SOLOISTS
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
PROGRAM 04 | 41 5 865 2000 | 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 | PROGRAM 04CORPS 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
PROGRAM 04 | SFBALLET.ORG | 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 | PROGRAM 04CORPS 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
PROGRAM 04 | 41 5 865 2000 | 2304
THE
SLEEPING
BEAUTY MAR 09 —MAR 17
Composer: Peter Ilyich Tchaikovsky
Choreographer: Helgi Tomasson, after Marius Petipa
Scenic and Costume Design: Jens-Jacob Worsaae
Lighting Design: Craig Miller
Additional Coaching on this Production: Lola de Avila and Larisa Lezhnina
World Premiere: January 15, 1890—Mariinsky Theatre; St Petersburg, Russia
San Francisco Ballet Premiere (Centennial Production):
March 13, 1990—War Memorial Opera House; San Francisco, California
The 1990 Centennial Production of The Sleeping Beauty was made
possible by Lucy and Fritz Jewett, and Mr. Kenneth Rainin, with additional
support from Mrs. Alfred S. Wilsey, and The Harkness Foundation for Dance.
The acquisition of new costumes for the 2018 revival of this production was
made possible in part by Ms. Laura Clifford.
These performances of The Sleeping Beauty are made possible by
Lead Sponsors Mr. James D. Marver, Judy C. Swanson, and the SF Ballet
Auxiliary; Major Sponsors Innovation Global Capital, Elaine Kartalis,
Mr. and Mrs. James C. Katzman, and the Richard Thalheimer Family;
and Sponsor Joseph and Marianne Geagea. Additional support is
provided by the Dora Donner Ide Fund of the SF Ballet
Endowment Foundation.
PRODUCTION CREDITS
Additional Children’s Rehearsal Assistants: Patrick Armand and Jeffrey Lyons.
Costumes constructed by Royal Danish Ballet, Copenhagen, Denmark. Scenic
construction and painting by San Francisco Ballet Carpentry and Scenic Departments
at the San Francisco Opera Scenic Studios, and by Royal Danish Ballet.
24 | SAN FRANCISCO BALLET | PROGRAM 04Sasha De Sola in Tomasson’s The Sleeping Beauty // © Erik Tomasson
PROGRAM 04 | SFBALLET.ORG | 25THE STORY OF THE SLEEPING BEAUTY
This production of the timeless fairy tale “The Sleeping Beauty” is set in Russia in the 17th and 18th centuries.
The curtain rises on the Imperial court for the Prologue and Act I, where society is still bound by Byzantine
manners and fashion. Acts II and III take place one hundred years later, after Peter the Great had ruled and
opened the doors to the influence of European styles and cultures.
P R O LO G U E : T H E C H R I S T E N I N G
Once upon a time in a faraway land, a princess named Aurora
was born to a Tsar and Tsarina. A grand celebration is arranged
for her christening. All the fairies of the kingdom are invited and
the Fairies of Tenderness, Playfulness, Generosity, Serenity,
and Courage each bestow their gifts on the princess. At last
it is the Lilac Fairy’s turn. But before she can bestow her gift,
the Fairy of Darkness appears, blazing with anger. She had
been forgotten; no invitation was sent to her. She, too, has
something for the baby: a curse. One day Aurora will prick
her finger on a spindle and die.
The Lilac Fairy has yet to make her offering. The benevolent
Fairy cannot remove the Fairy of Darkness’ curse, but she can
soften it. She promises that Aurora shall not die from the prick
of her finger, but will fall into a deep sleep for one hundred
years and be awakened by a prince’s kiss.
AC T I : T H E S P E LL
Sixteen years have passed, and the kingdom is celebrating
Princess Aurora’s birthday. Four suitors from the North, South,
East and West have come to the Imperial court to seek her
hand in marriage. During the revelry, an old woman approaches
the Princess and offers her a gift such as the girl has never
before seen. It is a spindle! Delighted, Aurora plays with the
curious object and then pricks her finger. She falls to the
ground. The old woman throws off her cape, revealing herself
to be the vengeful Fairy of Darkness. Having fulfilled her curse,
she vanishes in triumph. But the Lilac Fairy returns to mitigate
the curse, as promised. She weaves a spell of sleep over the
entire Imperial court, and creates a forest that grows magically
and covers the palace.
26 | SAN FRANCISCO BALLET | PROGRAM 04AC T I I : T H E V I S I O N AC T I I I : T H E W E D D I N G
One hundred years have passed, and young Prince Desiré is out The entire kingdom joyously celebrates the wedding of Princess
hunting with members of his court. But he grows bored with the hunt Aurora to Prince Desiré. All pay tribute to the bride and groom,
and separates from his companions. He dreams of a love he fears while individual characters dance for the delight of the court. In a
he shall never attain. The Lilac Fairy appears and shows him a vision final apotheosis, the Lilac Fairy appears and blesses the marriage.
of Princess Aurora. Enchanted by what he has seen, Desiré begs
the Fairy to take him to Aurora. The Lilac Fairy takes him through
the magical forest, leading him to the hidden palace where Aurora
sleeps. When the Prince finds the Sleeping Beauty he awakens her
with a kiss. The spell is broken.
Opposite page, top to bottom: SF Ballet in the christening scene in Tomasson’s The Sleeping Beauty;
The Fairy of Darkness rages in SF Ballet's The Sleeping Beauty // © Chris Hardy
Above: Sasha De Sola and Carlo Di Lanno in Tomasson's The Sleeping Beauty // © Erik Tomasson
PROGRAM 04 | 41 5 865 2000 | 27[ I N S TA N T E X P E R T >> W H AT ’ S T H E “ R O S E A D A G I O ” ]
The hops on pointe in Giselle, the 32 fouetté turns in Swan Lake—classical ballets are full of moments that give even the
strongest ballerinas in the world pause. In The Sleeping Beauty that moment comes in Act I with the “Rose Adagio,” one
of the most famous (and perilous) moments in classical ballet. In the “Rose Adagio,” so named because each man hands
her a rose, Aurora dances with four suitors to decide which she might want to marry. The choreography involves her
performing the same steps with each gentleman, as if testing to see which one will be the best dance—and life—partner.
What’s so scary about the “Rose Adagio”? Mainly, a series of balances Aurora performs twice with each of the four
suitors, first at the beginning of the dance and again at the end. These balances are deceptively hard: as she’s standing
on pointe, a suitor turns her in a circle. Then she must let go of his hand, balance on one foot, and take the next suitor’s
hand without ever coming off pointe. It’s a test of classical technique, but also a show of Aurora’s independence—ideally,
it should look like she chooses to take each man’s hand, not like she has to do so. A modified version of these balances
reappears in the third act pas de deux, when Aurora and Prince Desiré dance at their wedding. But this time, instead of
asserting her independence, the balance turns into a moment of courtly embrace, demonstrating that, finally, this man is
her true love. Now that’s happily ever after.
PROGRAM NOTES
by Cheryl A. Ossola
Recipe for a sublime evening: start with one beloved, time-traveling The production was recently revamped with costumes and an Act III
fairy tale. Add a gilded kingdom from long ago, fairytale characters, set designed by Worsaae for Royal Danish Ballet. Although similar to his
opulent and imaginative sets and costumes, and classical ballet, all designs for SF Ballet, these costumes are richer, and the staircase in the
elegance and grace. The result: San Francisco Ballet’s luminous wedding scene is noticeably grander. It’s a subtle facelift, but one that
production of The Sleeping Beauty. Like the slumbering Princess enhances the splendor of the original designs.
Aurora, this ballet dozed in the wings—but for a decade instead of
a century. Now revived, it’s making audiences fall in love with it all As jaw-dropping as the scenic elements are, the real glory of
over again. The Sleeping Beauty is in the dancing. Simple and clean, with graceful
use of the head and neck and softness in the arms, it’s the epitome of
The Sleeping Beauty was born in 1890 at St. Petersburg’s Mariinsky classical technique and style—and difficult to return to when the dancers
Theatre. Choreographed by the grand master of Russian ballet, Marius have spent months learning mostly contemporary ballets. “It’s classical
Petipa, and set to music by Peter Ilyich Tchaikovsky, The Sleeping Beauty technique at its purest and most beautiful,” says Tomasson. “There’s so
brought to life one of Charles Perrault’s fairy tales, “La Belle au Bois much in it that is a huge challenge to not only Aurora and the Prince, but
Dormant” (“The Sleeping Beauty in the Wood”), from his book Stories so many other roles—all the Fairies, Bluebird, the Jewels. Dancers need
or Tales from Times Past, With Morals: Tales of Mother Goose. Perrault to keep up their classical strength and vocabulary. It’s fun to be involved
created a new genre of writing: the fairy tale. Based on age-old folk in new creations, but if you don’t come back to your base, you’re going
stories, his tales made social commentaries, targeting the aristocracy to lose it. That’s why it’s so important to do those ballets.” Dancers can
and controversies of the day. And his stories lived on, as children’s books freeze up when they’re overly concerned about being correct, he says.
and as the basis for movies, operas, plays, musicals—and of course ballets. The technique is exacting, but “you still have to dance it. Like the Fairies’
variations—they’re all choreographically beautiful, brilliant, and they
With its demanding classical roles—for Aurora and Prince Desiré, have to be approached differently. They’re giving gifts to the child.”
a flock of Fairies, a gathering of woodland nymphs, and the Enchanted
Princess and her Bluebird—plus massive sets and spectacular costumes, The style derives from the etiquette and social conventions of the 1 7th-
The Sleeping Beauty is fare for only the top tier of ballet companies. and 18th-century French court of King Louis XIV, the basis for Petipa’s
At San Francisco Ballet, Artistic Director and Principal Choreographer aesthetic for The Sleeping Beauty. “There is a certain style in the
Helgi Tomasson decided his dancers were ready to take on the challenge arms, the position of the head, upper torso, and shoulders,” Tomasson
in 1990. Working with scenic and costume designer Jens-Jacob Worsaae, says. “It has to do with aristocracy—it was very proper, very elegant,
Tomasson created a brand-new production of this beloved classic, setting very courteous. The men don’t just bow from the head; it’s through the
it in Russia in the 1600s and 1700s, before and after the reign of Peter the gesture of the hand, and the body follows.” The low curve of the arms
Great. This imaginative design concept shows the passing of a kingdom’s and open carriage of the upper chest come from French court fashions.
100 years of slumber via dramatic changes in costuming. The style was intended “to show off the beauty in that period,” says
Tomasson, “with those beautiful gowns and the women’s bare
The Prologue and Act I are in the old Russian style, while the rest of the shoulders and gorgeous necklaces.”
ballet reveals the Western influences that Peter the Great brought to the
Russian court—fashions from Italy and France, including powdered wigs.
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