2019 SEASON | PROGRAMS 07 / 08 THE LITTLE MERMAID / SHOSTAKOVICH TRILOGY The people you trust, trust City National. Top Ranked in Client Referrals*

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Paul Heppner & Principal Choreographer President 0 6 Board of Trustees Mike Hathaway Endowment Foundation Board Senior Vice President

Kajsa Puckett 0 8 SF Leadership Vice President, Sales & Marketing 1 0 For Your Information Genay Genereux Accounting & Office Manager 1 2 Timeline: Recognizing Glenn McCoy

Production 1 4 SF Ballet School Spotlight Susan Peterson 05 Vice President, Production 1 6 Explore Ballet

Jennifer Sugden 1 8 Artists of the Company Assistant Production Manager 2 6 PROGRAM 07 The Little Mermaid Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers 3 4 PROGRAM 08 Shostakovich Trilogy Sales Symphony #9 Marilyn Kallins, Terri Reed Chamber Symphony San Francisco/Bay Area Account Executives Piano Concerto #1 Devin Bannon, Brieanna Hansen, Amelia Heppner, Ann Manning 4 0 SF Ballet Orchestra Seattle Area Account Executives 4 2 SF Ballet Staff Carol Yip EMG FP 3 Sales Coordinator 4 4 Donor News MarketingMASTHEAD 4 8 SF Ballet Donors Shaun Swick Senior Designer & Digital Lead 6 2 Thank You to Our Volunteers

Ciara Caya 6 4 Last Words on The Little Mermaid Marketing Coordinator

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Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events facebook.com/sfballet twitter.com/sfballet in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2019 Encore Media Group. Reproduction without youtube.com/sfballet written permission is prohibited. instagram.com/sfballet

San Francisco Ballet | Program Book | Vol. 26, No. 7 2019 Repertory Season All editorial material © , 2019 Chris Hellman Center for 455 Franklin Street, San Francisco, CA 94102 415 861 5600 | sfballet.org Cover: Yuan Yuan Tan // © Erik Tomasson

Above, top to bottom: Helgi Tomasson; Sofiane Sylve and Tiit Helimets in Ratmanksy’s Shostakovich Trilogy // Both © Erik Tomasson

PROGRAMS 07 / 08 | SFBALLET.ORG | 1 compass.com Compass is a real estate broker licensed by the State of California and abides by Equal Housing Opportunity laws. License Number 01527235. All material presented herein is intended for informational purposes only and is compiled from sources deemed reliable but has not been verified. partnering withlong-respected brokerage, AlainPinel Realtors

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San Francisco is known for its rich intellectual and creative culture, progressive spirit, and global outlook — and that’s just what you’ll find at San Francisco Towers, a sophisticated Life Plan Community in the heart of the city.

Everything you love is within walking distance, making it easy to stay connected to the culture and diversity San Francisco is known for plus convenient services, wonderful comforts, and security for the future.

Join the waiting list! For information, or to schedule a visit, call 415.447.5526.

covia.org/san-francisco-towers 1661 Pine St, San Francisco, CA 94109

A not-for-profit community owned and operated by Covia. License No. 380540292 COA# 325 GREETINGS FROM THE ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER

Welcome to The Little Mermaid and Shostakovich Trilogy, the final two programs of our 2019 Season. These deeply engrossing works were created by two of the most talented choreographers working today.

John Neumeier’s The Little Mermaid is a tour de force of theater. John takes the emotional heart of Hans Christian Andersen’s fairy tale and reframes it, incorporating both the artist (the Poet) and the art. He explores the deeper, emotional themes of the original story, dramatically underscoring the sacrifice and unrequited love the title character endures. Beyond the movement itself, John conceived every detail of the scenic, costume, and lighting designs, which along with the score composed by , bring this story to life with a theatrical vibrancy perfectly suited for our Opera House stage. Because the role of the Mermaid is as much of an emotional as a physical challenge, it’s a transformational role— both demanding and deeply gratifying. You’ll have an opportunity to see a different side of our dancers in The Little Mermaid.

The location that connects you to Alexei Ratmansky’s Shostakovich Trilogy is another truly unique work of art. Alexei crafted a cohesive evening-length work from three FP 4 markedly different , all set to music by this singular composer. the best of San Francisco. Shostakovich Trilogy, a co-commission between San Francisco Ballet and Theatre, was an ambitious project that has earned accolades from audiences and critics around the globe. Alexei subtly weaves elements of Shostakovich’s life throughout the ballet, more abstractly in Symphony #9 and San Francisco is known for its rich intellectual and creative culture, progressive Piano Concerto #1 and more overtly in Chamber Symphony. And even if you are unfamiliar with Shostakovich, the themes spirit, and global outlook — and that’s just what you’ll find at San Francisco Towers, a explored in this ballet—love, grief, and fear—are universal. sophisticated Life Plan Community in the heart of the city. If you enjoy Shostakovich Trilogy, I have some good news—we’ll be presenting the SF Ballet premiere of Alexei Ratmansky’s The Seasons, another co-production with , in 2020. Our 2020 Season includes our signature blend Everything you love is within walking distance, making it easy to stay connected to the of new works and beloved classics: world premieres by Cathy Marston and Trey McIntyre, as well as ’s culture and diversity San Francisco is known for plus convenient services, wonderful A Midsummer Night’s Dream, Christopher Wheeldon’s Cinderella©, and my production of Romeo & Juliet. Next Season will comforts, and security for the future. also bring the return of Mark Morris’ Sandpaper Ballet, and three works from our Unbound Festival: David Dawson’s Anima Animus, Edwaard Liang’s The Infinite Ocean, and Stanton Welch’s Bespoke.

Join the waiting list! For information, or to schedule a visit, call 415.447.5526. Thank you for supporting San Francisco Ballet. I hope to see you again in the Opera House soon.

Sincerely,

covia.org/san-francisco-towers Helgi Tomasson 1661 Pine St, San Francisco, CA 94109 Artistic Director & Principal Choreographer

A not-for-profit community owned and operated by Covia. License No. 380540292 COA# 325

PROGRAMS 07 / 08 | 415 865 2000 | 5 SAN FRANCISCO BALLET ASSOCIATION BOARD OF TRUSTEES | 2018–19

Carl F. Pascarella, Chair of the Board and Executive Committee

John S. Osterweis†, Immediate Past Chair Lisa Daniels Robert G. Shaw Sally Hambrecht Margaret G. Gill, Vice Chair Susan P. Diekman Christine E. Sherry Ingrid von Mangoldt Hills James H. Herbert, II†, Vice Chair Sonia H. Evers Charlotte Mailliard Shultz Pamela J. Joyner† Lucy Jewett, Vice Chair Shelby M. Gans Catherine Slavonia David A. Kaplan James D. Marver, Vice Chair Joseph C. Geagea David Hooker Spencer Mary Jo Kovacevich Diane B. Wilsey, Vice Chair Richard Gibbs, M.D. Fran A. Streets James J. Ludwig† Nancy Kukacka, Treasurer Beth Grossman Judy C. Swanson Nancy H. Mohr Jennifer J. McCall, Secretary Matthew T. Hobart Richard J. Thalheimer Marie-Louise Pratt Susan S. Briggs, Assistant Secretary Patrick M. Hogan Miles Archer Woodlief George R. Roberts Thomas E. Horn Timothy C. Wu Kathleen Scutchfield Helgi Tomasson, Artistic Director Hiro Iwanaga Zhenya Yoder Robert M. Smelick & Principal Choreographer Thomas M. Jackson, M.D. Janice Hansen Zakin Susan A. Van Wagner Glenn McCoy*, Executive Director Elaine Kartalis Dennis Wu James C. Katzman Akiko Yamazaki

Yasunobu Kyogoku Kelsey Lamond TRUSTEES EMERITI Jola Anderson Brenda Leff Michael C. Abramson Kristen A. Avansino Marie O’Gara Lipman Thomas W. Allen ASSOCIATE TRUSTEES Richard C. Barker† Alison Mauzé Marjorie Burnett Ann Kathryn Baer, President,

Karen S. Bergman Marissa Mayer Robert Clegg San Francisco Ballet Auxiliary President Gary Bridge John T. Palmer Charles Dishman Steve Merlo, , BRAVO President Chaomei Chen Fritz Quattlebaum Garrettson Dulin, Jr.† Daniel Cassell, , Hannah Comolli ENCORE! FP 5 Kara Roell Millicent Dunham Stewart McDowell Brady, Christine Leong Connors Christine Russell Stephanie Barlage Ejabat Patrice Lovato, David C. Cox J. Stuart Francis† Randee Seiger Co-Chairs, Allegro Circle

SAN FRANCISCO BALLET ENDOWMENT FOUNDATION BOARD OF DIRECTORS | 2018–19

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

6 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 My legacy. My partner.

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Untitled-2 1 12/17/18 4:39 PM 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 . Born for San Francisco Opera and the in Iceland, he danced with Harkness Metropolitan Opera, McCoy joined Ballet, The , 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, , 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 , Helgi Tomasson’s Nutcracker, full-length productions of , The Sleeping Beauty, Romeo & and ’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 , 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. For more on Glenn and the 2018 Unbound: A Festival of New Works. Tomasson has McCoy’s contribution to SF Ballet, please see page 12. FP 6 also connected SF Ballet to the world, through co-commissions with American Ballet Theatre, , and ; and major tours to Paris, London, New York City, , 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, , 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 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 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’ and Coppélia. and 2009, he served as a jury member of the 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

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Untitled-5 1 3/7/19 9:14 AM 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 [email protected], 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. IMPORTANT POLICIES 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. ACCESSIBILITY 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. FP 7 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 [email protected]. 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.

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SF Ballet SFB079 and SFA079.indd 1 3/11/2019 4:31:49 PM Untitled-1 1 3/12/19 9:52 AM TIMELINE: RECOGNIZING GLENN MCCOY

A tradition of innovation flows through the history of San Francisco Ballet. As the oldest professional ballet company in the U.S., SF Ballet builds upon strong classical roots, while continually exploring and redefining where the art form is headed. Executive Director Glenn McCoy retires this summer after 31 seasons with SF Ballet. Because he’s played such an integral role in the past, present, and future of this Company, this Timeline weaves together key moments in his career, important projects and tours he’s overseen alongside Artistic Director Helgi Tomasson, some of his favorite ballets, and important SF Ballet milestones. For a complete history of San Francisco Ballet, please visit sfballet.org/history. For more on Glenn McCoy, see page 7.

The San Francisco Opera Ballet performs the first all-dance performance at the new Opera House. 1933 1985 Helgi Tomasson arrives as artistic director, 1987 beginning a new era for SF Ballet. Glenn McCoy joins SF Ballet. Helgi Tomasson Glenn sitting on the steps of the SF Ballet building. 1991 SF Ballet tours to New York City for the first time in 26 years, performing Forsythe’s 1993 New Sleep, a Glenn McCoy favorite. Glenn McCoy becomes SF Ballet in Forsythe’s New Sleep. General Manager of SF Ballet.

1995 SF Ballet’s Discovery Program features six new works, including Julia Adam’s Night SF Ballet hosts 12 international companies and Yuri Possokhov’s Magrittomania, two in UNited We Dance, celebrating the 50th Glenn McCoy favorites. anniversary of the signing of the UN Charter in FP 8 Matthew Stewart and Joseph Phillips the War Memorial Opera House. Val Caniparoli’s in Adam’s Night. Lambarena, one of Glenn McCoy’s favorites, premieres earlier that season. 2000 Frances Chung in Caniparoli’s Lambarena.

Tomasson’s Nutcracker (also a Glenn McCoy favorite) is recorded 2002 for Great Performances. Glenn McCoy is named Executive San Francisco Ballet in Director of SF Ballet. Tomasson’s Nutcracker. Glenn McCoy 2007

Tomasson’s Romeo & Juliet is featured in Lincoln 2009 Center at the Movies: Great American Dance. SF Ballet makes its first trip to the 2015 People’s Republic of China with Tomasson’s 1998 production of 2018 Swan Lake, a Glenn McCoy favorite. San Francisco Ballet visiting the SF Ballet commissions 12 international Forbidden City while on tour in China. choreographers to create 12 world premieres for Unbound: A Festival of New Works. 2019 Natasha Sheehan Glenn McCoy is awarded the Lew Christensen Medal in honor of his dedication to SF Ballet.

Historic photos: Courtesy of the Museum of Performance + Design. Photo of Adam’s Night Helgi Tomasson and Glenn McCoy watching rehearsal. // © Chris Hardy. Photos of Tomasson’s Nutcracker; Caniparoli’s Lambarena; SF Ballet in China; Natasha Sheehan; Helgi Tomasson and Glenn McCoy // © Erik Tomasson

12 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 CHRISTIAN REIF RAGNAR BOHLIN SF SYMPHONY CHORUS Carmina burana TUE JUN 4 8PM Christian Reif Conductor Nikki Einfeld Soprano Nicholas Phan Hadleigh Adams SF Symphony Chorus Ragnar Bohlin Director SF Symphony

sfsymphony.org 415-864-6000

Box Office Hours Mon–Fri 10am–6pm, Sat noon–6pm, Sun 2 hours prior to concerts. Walk Up Grove Street between Van Ness and Franklin SF BALLET SCHOOL SPOTLIGHT

DEVELOPING THE NEXT GENERATION OF DANCEMAKERS

On a rainy Monday afternoon, a panel of San Francisco Ballet luminaries sat expectantly in a row of folding chairs in a large studio usually used for Company rehearsals. SF Ballet dancers Frances Chung and Sofiane Sylve, dancer and choreographer Myles Thatcher, SF Ballet School Faculty member Pascal Molat, and former Associate Director of SF Ballet School Lola de Avila had gathered to watch created by the School’s advanced students. One by one the students approached the panel to introduce themselves and speak briefly about the short ballets they’d created on their peers. The works were as individual as the dancers—some quirky, some serious, some more classical, others more contemporary. It was the diversity of approach and the depth of talent that revealed an emerging success story:

SF Ballet School has been quietly nurturing the next generation of creative as well as performing artists.

ENCOURAGING CREATIVITY The School’s choreography program has blossomed from early roots as a component of the Trainee program and then a partnership with the Crowden School, an academic and music school in Berkeley. For several years, students from the two arts schools have teamed up, with Crowden students writing music and SF Ballet School students creating choreography. The resulting work was performed in an informal spring performance for fellow students, friends, and family members.

That once informal spring performance has grown into the Helgi Tomasson Choreographic Workshop, an annual spring event. Once SF Ballet students had tried choreography, they wanted more, says Faculty member Dana Genshaft, who oversees the School’s choreography program. So School Director Patrick Armand expanded the program, giving advanced (Level 8) students the opportunity to propose and create their own choreography for the annual workshop. Were they interested? Last spring, “There were so many works that the Choreographic Workshop was more than two hours long,” says Andrea Yannone, director of education and training, with a laugh. Hence the Monday panel: three of the works by Level 8 students would be selected to be performed at this year’s Helgi Tomasson Choreographic Workshop.

MENTORING EMERGING ARTISTIC VOICES The Choreographic Workshop is also where the School’s Choreographic Fellows are identified. Although choreography has always been a part of the Trainee program, Tomasson decided to formalize a Choreographic Fellowship in 2016, with the goal of encouraging and supporting a diverse range of artistic voices. He selected Blake Johnston, then a Trainee, as the first Choreographic Fellow. The program is designed to support one or more students each year. This year there are three: MJ Edwards, Pemberley Ann Olson (at right), and Maya Wheeler. In addition to a scholarship, each Fellow receives mentorship and guidance both artistically and in the less glamorous yet eminently practical matters of budgeting, managing rehearsal time, and working with designers. Each Fellow creates a work for the Choreographic Workshop; the strongest work(s) may be selected to be part of the School’s Spring Festival.

Formalizing the School’s choreographic program has provided structure and encouragement, while including what most students still need— sense of fun and exploration. “What’s really great is that there’s now this really wonderful creative, supportive, curious energy around choreography,” says Genshaft. “Beyond the time we give them for rehearsals, I’ll often see them in the studio just trying movement and playing, which is exactly what you want a creative atmosphere to be.”

A SF BALLET SCHOOL SUCCESS STORY

SF Ballet dancer and choreographer Myles Thatcher choreographed his first work, Timepiece, on his peers while a Trainee at SF Ballet School. It was so successful that it was performed at a festival at Canada’s National Ballet School. While starting his dancing career with SF Ballet, Thatcher returned to the School to choreograph for the students, gaining experience. His first work for SF Ballet, In the Passerine’s Clutch, premiered at SF Ballet’s 2013 Repertory Season Gala, followed by Manifesto (2015), Ghost in the Machine (2017), and Otherness (2018). While still dancing with SF Ballet, Thatcher has also created ballets for The Joffrey Ballet, , , and more.

14 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 A STUDENT’S PERSPECTIVE ON LEARNING CHOREOGRAPHY

Pemberley Ann Olson, a 16-year-old Choreographic Fellow and SF Ballet Student, writes about developing her skills as a dancer and as a dancemaker.

I started at San Francisco Ballet School when I was six years old. I remember my first day like it was yesterday. We started our class with basic ballet steps and learned some new moves that we could show to our parents. I remember vividly when our teacher, Ms. Kristi, had the pianist play music from Nutcracker and let us dance across the floor. She wanted to see how we could use our musicality, artistry, and creativity in our own dancing. At that moment, I knew I wanted to be a ballet dancer. Choreography has been an important part of my journey here at the School. Over the past 11 years, I have watched many ballets performed by the Company, from story ballets to new contemporary works. Watching these inventive and creative pieces has given me ideas and inspiration for my own choreography. What’s fascinating to me is how different choreographers have their own process. Some utilize improvisation and experimentation and others have set ideas, already knowing exactly what they want to see from the dancers. I’m still developing my own process, trying out new things. It’s been amazing to work with some of my closest friends, creating a piece that makes them shine in their own way. I love to see a small idea that might not have started out strong turn into a pivotal point in choreography. I’m extremely excited to present my work at the Helgi Tomasson Choreographic Workshop in April. We’ve all worked very hard to make something, and I can’t wait to show the final result. Being a Choreographic Fellow has been an amazing experience. I’ve discovered how much I love to see my own ideas of movement come to life. Choreographing lets me release all my feelings into movement. I hadn’t realized how much I loved to create until I was given the chance to, and for that, I am so thankful. It’s always been my lifelong dream to be a professional ballet dancer and being a choreographer is now a new ambition. San Francisco Ballet School has given me so many incredible opportunities: from that first experience when I was 6 years old, dancing Nutcracker, it’s been an incredible adventure.

STUDENT CHOREOGRAPHY & THE SPRING FESTIVAL

The annual spring performance of SF Ballet School students has a new format—and will feature student choreography. SF Ballet School Spring Festival (formerly known as SF Ballet School Student Showcase) will include three nights of unique performances, a dinner on opening night, and new interactive activities. Augmenting the repertory will be a new work by AXIS Dance Company Artistic Director Marc Brew created for the Trainees, excerpts from two ballets by Jiří Kylián, and at least one premiere from one of the School’s Choreographic Opposite page: Myles Thatcher rehearsing his Otherness // Fellows (selected after the Helgi Tomasson Choreographic Workshop). Performances will © Erik Tomasson. This page, left to right: Pemberley Ann be held May 22–24 at Yerba Buena Center for the Arts Theater. Following the May 22 Olson as a SF Ballet School pre-ballet student © Courtesy Pemberley Ann Olson; Pemberley Ann Olson in Tomasson’s performance, SF Ballet Auxiliary hosts the SF Ballet School Spring Festival Dinner at // © Erik Tomasson; Pemberley Ann Olson and Four Seasons Hotel San Francisco to benefit the School’s scholarship fund, which gives SF Ballet School students performing a demonstration in more than $1.2 million annually in need- and merit-based grants to students. For more: the 2018 Student Showcase // © Lindsay Thomas sfballet.org/schoolfestival

PROGRAMS 07 / 08 | SFBALLET.ORG | 15 EXPLORE BALLET

MEET THE ARTIST INTERVIEWS (AND PODCASTS) 1–1:30 PM BEFORE SUNDAY MATINEES; 7–7:30 PM BEFORE FRIDAY EVENING PERFORMANCES; APR 27 POST-MATINEE; MAY 7 AT 6:30 PM FREE and open to all ticket holders for selected performances. For details: sfballet.org/mta Meet the Artist Interviews (MTAs) feature a conversation with an artist who worked on the performance. An archive of previous MTAs is available at sfballet.blog.

POINTES OF VIEW LECTURES WEDNESDAYS, 6–6:45 PM FREE and open to the public. For details: sfballet.org/pov 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 analysis of Alexei Ratmansky’s Chamber Symphony, the centerpiece of his Shostakovich Trilogy.

DANCE FOR ALL AGES Let your spirit soar as you experience the joy of dancing.

ADULT BALLET CLASSES Gentle Ballet, True Beginner, Beginner/Intermediate, and Intermediate/Advanced classes are offered. For more: sfballet.org/adultballet

ADULT BALLET WORKSHOP Why do kids always get to have all the fun? SF Ballet School is organizing the third-annual summer dance workshop just for adults, June 10–15.

DANCE SERIES FOR INDIVIDUALS WITH PARKINSON’S DISEASE In partnership with Kaiser Permanente, we offer free dance classes designed for people with Parkinson’s Disease. For more information, contact Cecelia Beam at [email protected].

SF BALLET SCHOOL AT FITNESS SF 1455 Fillmore Street, San Francisco, CA FP 9 SF Ballet School Faculty teach both Ballet 101 (beg.) and Ballet 201 (beg./int.) at FITNESS SF. Class fee includes a day pass to FITNESS SF.

EVENTS Explore the method behind the magic you see onstage. For more: sfballet.org/events

BALLET BOOK CLUB BALLET TALK BALLET CHAT April 20, 5–6:30 pm: The Little Mermaid May 11, 5–6:30 pm: Creating New Work May 12, 4:30–6 pm: Shostakovich Trilogy with Marc Brew Ever wondered about the literature behind You’ve just seen an inspiring performance. the ballets? We’ll read the story, compare it Enjoy a 60-minute talk and Q & A, as well as Now what? Have a glass of wine, mingle to the ballet, and, of course, have a glass of a wine-and-cheese reception. Cost: $35/$30 with fellow ballet fans, and participate in an wine. Cost: $20/$15 (subscribers & donors) (subscribers & donors) informal moderated conversation. Cost: $10

BALLET FOR CHILDREN Share a love of dance with the next generation.

CHILDREN’S AUDITIONS FOR BALLET FOR YOUNG CHILDREN SUMMER DANCE CAMP SF BALLET SCHOOL Fall 2019 Pre-Ballet classes are open for June 10–14 We’re holding auditions for our 2019–20 enrollment. sfballet.org/preballet Boys & Girls Clubs of San Francisco school-year program on June 2, for students (BGCSF) and SF Ballet are partnering for a SUMMER BALLET CLASSES who are ages 8–11 by September 1, 2019. free, weeklong dance program. For more June 8–29 and July 6–27 For more information and to register: information: sfballet.org/dancecamp Students ages 4–13 welcome. For more: sfballet.org/school/audition sfballet.org/school/summer-classes

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 [email protected].

16 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 “First Republic takes extraordinary care of us and provides fl awless service.” HELGI TOMASSON, Artistic Director & Principal Choreographer, San Francisco Ballet MARLENE TOMASSON, Former Dancer, Wife and Mother

(855) 886-4824 | fi rstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER

EAP full-page template.indd 1 10/23/17 2:31 PM SAN FRANCISCO BALLET ARTISTS OF THE COMPANY 2018–19 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 Principal Dancer Sasha De Sola Luke Ingham Diane B. Wilsey Principal Dancer 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† Elizabeth Mateer Emma Rubinowitz† Sean Bennett† Solomon Golding Norika Matsuyama† Skyla Schreter Ludmila Bizalion† Gabriela Gonzalez Carmela Mayo† Natasha Sheehan† Samantha Bristow† Nicolai Gorodiskii Swane Messaoudi† Miranda Silveira† Alexandre Cagnat† Anatalia Hordov† Davide Occhipinti† John-Paul Simoens† Ethan Chudnow† Ellen Rose Hummel† Kimberly Marie Olivier† Myles Thatcher† Thamires Chuvas† Jasmine Jimison† Sean Orza† Mingxuan Wang† Cavan Conley Blake Johnston† Lauren Parrott† Joseph Warton† Diego Cruz† Madison Keesler† Nathaniel Remez† Maggie Weirich† Megan Amanda Ehrlich Shené Lazarus† Alexander Reneff-Olson† Ami Yuki†

APPRENTICES Estéban Cuadrado† Joshua Jack Price† Jacob Seltzer† Max Föllmer† Leili Rackow†

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 18 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 PRINCIPAL 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 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 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, , 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 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 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, , and English dancer in 2013. National Ballet. Robison joined SF Ballet as a principal in 2016 and returned in 2018.

PROGRAMS 07 / 08 | SFBALLET.ORG | 19 PRINCIPAL 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 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

20 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 SOLOISTS

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, Joined in 2015 Joined as a soloist in 2018 Promoted to soloist in 2017

DANIEL DEIVISON-OLIVEIRA† KOTO ISHIHARA† Born in Rio de Janeiro, Brazil Born in Nagoya, Japan Joined in 2005 Joined in 2010 Promoted to soloist in 2011 Promoted to soloist in 2014

BENJAMIN FREEMANTLE† STEVEN MORSE† Born in New Westminster, Canada Born in Harbor City, California Named apprentice in 2014 Joined in 2009 Joined in 2015 Promoted to soloist in 2017 Promoted to soloist in 2018

ISABELLA DEVIVO† Born in Great Neck, New York Joined in 2013 Promoted to soloist in 2017

†Received training at San Francisco Ballet School Dancer head shots // © Chris Hardy and David Allen

PROGRAMS 07 / 08 | 415 865 2000 | 21 SOLOISTS

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

22 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 CORPS DE BALLET

KAMRYN BALDWIN† CAVAN CONLEY Born in Honolulu, Hawai’i Born in Bozeman, Montana Joined in 2015 Joined in 2018

ALEXANDRE CAGNAT† LUCAS ERNI† Born in Cannes, France Born in Santo Tomé, Argentina Named apprentice in 2016 Joined in 2018 Joined in 2017

SEAN BENNETT† DIEGO CRUZ† Born in San Francisco, California Born in Zaragoza, Spain Named apprentice in 2011 Joined in 2006 Joined in 2012

ETHAN CHUDNOW† SOLOMON GOLDING Born in Napa, California Born in London, United Kingdom Named apprentice in 2017 Joined in 2017 Joined in 2018

LUDMILA BIZALION† MEGAN AMANDA EHRLICH Born in Rio de Janeiro, Brazil Born in Charleston, South Carolina Named apprentice in 2006 Named apprentice in 2011 Joined in 2007 Joined in 2012 Returned in 2016 Returned in 2017

THAMIRES CHUVAS† GABRIELA GONZALEZ Born in Rio de Janeiro, Brazil Born in Mérida, Mexico Named apprentice in 2014 Joined in 2017 Joined in 2015

SAMANTHA BRISTOW† †Received training at San Francisco Ballet School Born in Media, Pennsylvania Dancer head shots // © Chris Hardy and David Allen Named apprentice in 2014 Joined in 2015

PROGRAMS 07 / 08 | SFBALLET.ORG | 23 CORPS DE BALLET

NICOLAI GORODISKII ELIZABETH MATEER Born in Lviv, Ukraine Born in Boca Raton, Florida Joined in 2018 Joined in 2016

BLAKE JOHNSTON† DAVIDE OCCHIPINTI† Born in Charlotte, North Carolina Born in Rome, Italy Joined in 2017 Named apprentice in 2016 Joined in 2017

ANATALIA HORDOV† NORIKA MATSUYAMA† Born in Santa Clarita, California Born in Chiba, Japan Named apprentice in 2017 Joined in 2014 Joined in 2018

MADISON KEESLER† KIMBERLY MARIE OLIVIER† Born in Carlsbad, California Born in New York, New York Joined in 2009 Named apprentice in 2009 Returned in 2017 Joined in 2010

ELLEN ROSE HUMMEL† CARMELA MAYO† Born in Greenville, South Carolina Born in Las Vegas, Nevada Named apprentice in 2011 Named apprentice in 2017 Joined in 2012 Joined in 2018

SHENÉ LAZARUS† SEAN ORZA† Born in Durban, South Africa Born in San Francisco, California Named apprentice in 2016 Named apprentice in 2007 Joined in 2017 Joined in 2008

JASMINE JIMISON† SWANE MESSAOUDI† Born in Palo Alto, California Born in Aix-en-Provence, France Named apprentice in 2018 Named apprentice in 2017 Joined in 2019 Joined in 2018 †Received training at San Francisco Ballet School Dancer head shots // © Chris Hardy and David Allen

24 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 CORPS 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 2017

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† JOSHUA JACK PRICE† JACOB SELTZER† MAX FÖLLMER† LEILI RACKOW†

EMMA RUBINOWITZ† Born in San Francisco, California Named apprentice in 2012 Joined in 2013 †Received training at San Francisco Ballet School Dancer head shots // © Chris Hardy and David Allen

PROGRAMS 07 / 08 | 415 865 2000 | 25 07 THE LITTLE MERMAID A ballet by John Neumeier after Hans Christian Andersen

26 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 THE LITTLE MERMAID APR 19—APR 28

Composer: Lera Auerbach Choreographer; Scenic, Costume, and Lighting Designer: John Neumeier Staged by: Leslie McBeth and Niurka Moredo Lighting Realized by: Ralf Merkel

World Premiere: April 15, 2005—The Royal Danish Ballet; Copenhagen, Denmark Version: July 1, 2007—; Hamburg, Germany United States Premiere: March 20, 2010—San Francisco Ballet, War Memorial Opera House; San Francisco, California

The 2010 SF Ballet premiere of The Little Mermaid was made possible in part by Lead Sponsor E. L. Wiegand Foundation. These performances of The Little Mermaid are made possible by Lead Sponsors Ms. Laura Clifford, and Cui Lihong and Wang Wei; Major Sponsors Chaomei Chen and Dr. Yu Wu, In Memory of Carole Demsky, Drs. Richard D. and Patricia Gibbs, Jim and Cecilia Herbert, Marie and Barry Lipman, and Mrs. Henry I. Prien; and Sponsor Brian and Rene Hollins.

PRODUCTION CREDITS Music by Lera Auerbach, used by arrangement with G. Schirmer, Inc., publisher and copyright owner. Hamburg Ballet Lighting Director, Ralf Merkel. Scenery and Costumes courtesy of Hamburg Ballet.

Yuan Yuan Tan in Neumeier’s The Little Mermaid // © Erik Tomasson

PROGRAMS 07 / 08 | SFBALLET.ORG | 27 THE STORY OF THE LITTLE MERMAID

PROLOGUE

During a sea voyage, a Poet remembers the wedding of his dear friend Edvard to Henriette. Mourning his separation from Edvard, a tear rolls slowly down the Poet’s cheek, falling into a sea of memories and fantasies.

PART 1

At the bottom of the sea, the Poet’s longing for Edvard takes the form of a little Mermaid. This lovely sea creature watches a ship pass on the water’s surface, and dreams of the earth world. On board the passing ship, sailors are exercising. Their Captain, a Prince—strongly resembling Edvard—is absurdly playing golf. Accidentally hitting a ball overboard, he dives into the sea to retrieve it. Although the Prince is unable to see the Mermaid, her presence embraces him. When the Sea Witch appears, a terrible storm erupts and the Prince is in danger of drowning; the Poet wills the little Mermaid to rescue him. Holding the Prince’s unconscious body, the Mermaid, whose frolicsome play has now turned to love, cannot resist kissing him.

Bells sound as a group of convent school girls arrive at the seashore. One of the girls, a Princess—looking very much like Henriette— discovers the Prince. She tentatively wakes him. Believing the Princess to be one who saved him, the Prince seems to fall in love with her.

Sad and despondent, the little Mermaid witnesses the developing affection between the Prince and Princess, and mirroring the Poet’s soul, her desire for the Prince turns to desperation. Determined to become human, the little Mermaid searches for the Sea Witch. Love gives the little Mermaid courage to beg for a human body. A terrible ritual follows, and taking her beautiful tail as ransom, the Sea Witch violently transforms her. The little Mermaid now has legs.

Waking naked on the seashore, she finds her first steps unbearably painful. The Prince, passing by, takes pity on this strange creature and carries her on board his ship. It seems her dream has been realized.

As the ship is about to depart, the Prince discovers the Princess among the passengers. As the love between the Prince and Princess intensifies, the little Mermaid suffers the intense pain of human disappointment.

28 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 THE STORY OF THE LITTLE MERMAID

All photos: San Francisco Ballet in Neumeier’s The Little Mermaid // © Erik Tomasson

PART 2 EPILOGUE

The little Mermaid is determined to be a woman, but the closed The little Mermaid is left alone. Her pain reflects the Poet’s own rooms of the earth world stifle her attempts. In spite of her efforts, painful situation. Each seems the shadow of the other—each she is still awkward and clumsy in her human body. Visions of abandoned by the object of their intense love. They are one— the sea cross through her dream. Deeply in love with the Prince, creator and creation. It is the Poet’s love for his Mermaid that gives the little Mermaid’s desire to be loved in return is now clearly in her the soul that will make her immortal, just as she, “The Little vain; today he will marry the Princess. The little Mermaid is to be Mermaid,” will immortalize him. Courageous, they search for a a bridesmaid. new world.

During the celebrations, the Sea Witch appears as part of a strange entertainment. He gives the little Mermaid a lethal knife, promising that if she kills the Prince, her tail will be restored, and she will be able to return home in the deep sea. After all the guests have departed, the little Mermaid encounters the Prince. But it is clear to her that she could never harm him. During their farewell, the little Mermaid wonders whether the Prince feels, just for a moment, the depth of her passion. Did they nearly kiss? Abruptly he departs for his wedding night with the Princess.

PROGRAMS 07 / 08 | 415 865 2000 | 29 PROGRAM NOTES by Cheryl A. Ossola

In The Little Mermaid, Hamburg Ballet Director and Chief Choreographer Given Neumeier’s tendency to couch ballet tradition in a stylized John Neumeier blends dance, dramatic storytelling, and spectacle dramatic format, it’s not surprising to learn that he holds a degree in into a stunning interpretation of Hans Christian Andersen’s fable. With English literature and theater studies (from Marquette University in choreography, sets, and costumes all by Neumeier, this ballet—as Milwaukee). He cites Japan’s Noh theater, a roughly 700-year-old form much theater as it is dance—reveals the depths of the choreographer’s of musical drama with a fixed repertory and masked performers, as a imagination. And it demands the heights of artistry from the dancers, favorite. Cultural influences permeate his ballets as well; for example, who must venture into deeply emotional terrain in order to convey the the Mermaid’s hairstyle, makeup, and costume derive from African, ballet’s full message. Balinese, and Japanese traditional styles. In considering making a ballet about the Mermaid’s story, Neumeier saw the potential for imaginative Neumeier elevates a fantasy into a sophisticated portrayal of richness. Its magical premise, fanciful characters, and worlds gone askew psychological transformation and the resilience of the spirit, human or make it a perfect vehicle for the kind of dance-theater he does so well. otherwise. Neumeier created The Little Mermaid for the Royal Danish Ballet in 2005 to celebrate the 200th anniversary of Andersen’s birth. But Neumeier’s first concern with any ballet is whether its story Of all the famous writer’s stories, the choreographer chose this one translates well into dance. “There are certain beautiful stories that are so because of its “very particular concept of love,” he says. “Love that is dependent on words that even the essential conflict, the internal story, so strong that it can overcome boundaries, that it can transport her to is not really possible to present in a nonverbal form of theater,” he says. new worlds, although it may seem to be self-destructive—because the So first he envisions what is possible to portray onstage. “I always think Mermaid re-creates herself at the cost of extreme personal pain. But the the job of a choreographer is not to put steps together; it is to create story teaches us, at the same time, that no matter how strong our love worlds,” he says. may be, it doesn’t obligate the object of our love to love us in return.” But with this ballet he faced a huge obstacle: finding a way for the “Visually stunning” is how San Francisco Ballet Artistic Director and dancers who portray the Mermaid and her sisters to move as though Principal Choreographer Helgi Tomasson described The Little Mermaid they have tailfins, not legs. “How do you do that in a ballet?” he asks. when he first saw it in Hamburg. “It was a very dramatic piece, very “Because I knew I wanted to do this story, I agreed to do it before I knew emotional,” he says. Always looking for opportunities for his dancers, the answer to that.” Then, while on tour in Japan with his company, Tomasson says he felt this ballet would be “wonderful to bring to he saw a Noh play, and in it was his answer. “There is a medieval kind San Francisco. The role of the Mermaid is fantastic! It’s very difficult, of Japanese trousers, which are very, very long, and watching this man what she has to do.” Tomasson and Neumeier have a long history— moving I thought, ‘That’s it—he has no legs!’ ” For his Mermaid, Neumeier as a member of the Harkness Ballet, Tomasson danced in Stages and designed wide-legged silk pants that add fluidity to her movements, Reflections, one of Neumeier’s earliest ballets. “We’re talking about pooling onto the floor when she stands and fanning out like fins when more than 40 years ago,” says Tomasson. But the experience left a she is held aloft to “swim.” clear memory of what it’s like to work with Neumeier. “He’s very demanding—he reminds me of [Jerome] Robbins in that way—every Helping Neumeier define the distinctions between land, ship, and sea little detail has to be to his liking,” Tomasson says. “I feel that he’s a is Russian composer Lera Auerbach. Like the abstract waves of light major artist, and maybe now the time is right for us to see his work that divide the stage visually, showing us whether we’re above the more in this country.” water’s surface or below it, the music too sets the scene, evoking both atmosphere and emotional tone. Auerbach, a prolific, award-winning Neumeier, a Milwaukee-born American who has spent nearly his entire musician (and a poet to boot), earned two degrees at The Juilliard School career in Europe, trained in Copenhagen and London and began his and completed a piano soloist program at the University of Music and dancing and choreographic careers at . After only six Theater in Hanover, Germany. Her works, performed worldwide, include years there, in 1969 he became director of the Frankfurt Ballet, where ballets, operas, symphonies, concertos, string quartets, and other he caused a stir with his reinventions of classics such as Nutcracker and chamber works. . Four years later he began his tenure as director and chief choreographer of the Hamburg Ballet, and in 1978 he founded a In her score for The Little Mermaid, sweet and haunting melodies for school that now supplies more than 70 percent of the company’s dancers. violin flow into brusque passages of atonality and dissonance, making He has created close to 140 ballets for his own company and as a guest audible the strangeness and discomfort of being out of one’s element. choreographer for American Ballet Theatre, The National Ballet of Canada, Complex and changeable, with few normal harmonic progressions, in and throughout Europe. His extensive list of honors includes dance and early rehearsals the score challenged the dancers, who can’t fully invest arts awards from the United States, Germany, France, Russia, Japan, themselves in their roles until they have integrated movement and music Denmark, and several publications. into an unquestionable whole.

30 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08

But as integral to the story as the Poet and the Prince are, it’s the Mermaid who is at the heart of this ballet. And Principal Dancer Yuan Yuan Tan seems born to the role. She found a strong personal with the Mermaid, she says, in the character’s pursuit of “unconditional love. People dream about it. And [the Mermaid] tries to pursue it, and fails, but still believes in it. I think all of us do things we want to do, and if we try and fail, it’s okay; we keep going.”

Tan says she didn’t expect to experience any monumental transformations as a dancer at this point in her career. But dancing the Mermaid “brought my dance skill up to another level,” she says. “I have to say this role changed my career. I didn’t think I could have grown anymore; I thought, ‘I’m pretty comfortable with where I am.’ And now I express myself more and I have less worries about what I’m doing. I think I’ve come to a stage [where] I just feel happy to dance—not as an obligation, not as a job, but as a joy. The mind and soul—it’s all there. Life goes on, things change, and you grow and you learn. So it’s a combination of the whole. I’m much happier.”

Dancing the Mermaid requires an emotional investment on a level not often found in ballet. The character’s psychological journey is not only searing, it’s an endurance test for the dancer, who remains onstage for long stretches of time. With no chance to stand in the wings and prepare for the next emotionally devastating scene, it requires a mental presence that’s immediate and committed. “John told me, ‘Don’t act,’” Tan says. “He doesn’t want the girls all doing the same stuff, because everybody’s different. Because he’s the creator, he gives you the steps and the music to express yourself.” Within the choreographer’s parameters, the dancers Yuan Yuan Tan in Neumeier’s The Little Mermaid // © Erik Tomasson brought their own feelings and experiences to the role. “One time he said to me, ‘I can see you’re working on it, and I can see a lot of improvement. And now [I want] more. I will tell you if it’s too much.’” In conveying what he wanted, Tan says, Neumeier didn’t need words. “I could see through Beyond its setting, Mermaid offers more riches. Written between his eyes what he wanted. And he saw my expressions in my body and the lines of this fable about personal sacrifice was a far more touching knew what I was trying to say. So it’s communication without speaking.” story—Andersen’s own torment. According to Neumeier, many scholars believe that this story is probably Andersen’s most autobiographical As the Mermaid makes her way through physically and emotionally work. The writer had a history of falling in love with women he could not disturbing terrain, we see the world through her eyes. And so everything have, and a few men as well. This tale of unrequited love could well be underwater is beautiful and serene. “She is in her element [there]— his own; shortly before he wrote it he had suffered greatly at the marriage gorgeously, beautifully, and belonging,” says Neumeier. “She knows of Edvard Collin, a love interest who did not return his affections. “So in a this world, and yet she has a desire to go beyond that.” But what she sense,” Neumeier says, “Andersen’s disappointment [about Collin] is the discovers when she leaves her watery home “is that our dreams, jumping-off point for The Little Mermaid.” our answered prayers are not always what we wanted—not always as we imagined them,” says the choreographer. “The earth world, which Neumeier has played on that fact, expanding the ballet’s story to include she so desires, can have some very sharp edges.” Andersen as the Poet (who is, like the Mermaid, in love with the Prince). Neumeier didn’t intend to depict Collin specifically; instead, he says Those edges become visible in the searing pain she endures as she “the historical facts inspire and help to create a new Prince—through walks on the feet she wanted so much, the bizarre behavior of the ship’s movement—in the necessary present tense of dance. You can do a lot passengers, the nightmarish atmosphere to the Prince’s wedding, and of research for a ballet, but even if your subject is a historical person, the horror of being bound by ceilings and walls instead of free to roam an you cannot use intellectual findings as a recipe book for creation.” endless oceanic paradise. Toward the end of the ballet Neumeier reveals, in his set and in the Mermaid’s actions, the trap she has laid for herself.

PROGRAMS 07 / 08 | SFBALLET.ORG | 31 And yet the Mermaid’s terrible sacrifice leads not to tragedy but to that city. Auerbach has composed music for three ballets by John redemption, and that’s what makes this story compelling. “There is a Neumeier: Tatiana (a reimagining of ), Préludes CV, and The Little sense of transcendence in the last dance [the Mermaid and the Poet] Mermaid. Her composition for dance and ballet also includes works for do together,” says Neumeier. “I think that the story is, in its essence, , The National Ballet of Canada, the Finnish so beautiful. I don’t know of another story in literature with such a National Ballet, and more. Among her many awards, Auerbach received vision of love.” the prestigious Hindemith Prize in 2005, and was named a Young Global Leader by the World Economic Forum in 2007. And that’s the secret to The Little Mermaid’s power. Yes, it offers up stunningly original dancing and high theatricality. But audiences and dancers connect to it because of its story. Tan says she was shocked at JOHN NEUMEIER the impact the ballet had on her. “After the premiere, the bow, I couldn’t Choreographer, Scenic, Costume, and Lighting Design stop crying. And I had to get John onstage, and he was crying, and he gave me a hug and we cried onstage. I would never have thought this John Neumeier was born in Milwaukee, Wisconsin, where he received his would happen, but it was good.” Her face lights up in a huge smile. first dance training. He continued his dance studies in Chicago as well as “Because my heart was out there.” at Marquette University in Milwaukee where he created his first choreographic works. After further ballet study both in Copenhagen and at The Royal Ballet School in London, John Cranko invited him in 1963 to CREATIVE TEAM join Stuttgart Ballet, where he progressed to soloist and continued his choreographic development. LERA AUERBACH Composer In 1969, Ulrich Erfurth appointed Neumeier director of Frankfurt Ballett, where he soon caused a sensation due to his new interpretations of Lera Auerbach is a Russian and American composer, musician, poet, and such well-known ballets as The Nutcracker and Romeo and Juliet. In 1973, visual artist. Auerbach studied at the Juilliard School and Hanover he joined The Hamburg Ballet as director and chief choreographer and, University in Germany, earning degrees in composition and piano. Her under his direction, The Hamburg Ballet became one of the leading genre-defying works have been performed around the world by ballet companies on the German dance scene and soon received orchestras, opera companies, and at festivals, museums, and theaters international recognition. such as Carnegie Hall and the Moscow Conservatory. Her a cappella opera, Gogol, premiered to thrilling success at Theater an der Wien in As a choreographer, Neumeier has continually focused on the in 2011, and was the first major opera by a female composer in preservation of ballet tradition, while giving his works a modern dramatic framework. His ballets range from new versions of full-length story ballets to musicals and to his symphonic ballets, especially those based on ’s compositions, as well as his choreography to sacred music. His latest creations for The Hamburg Ballet are Beethoven Project (2018), Anna Karenina (2017) and Turangalîla (2016). Neumeier holds the Dance Magazine Award (1983), Order of Merit of the Federal Republic of Germany and French Order of Arts and Letters, and the Legion of Honour. In 2006, he was awarded the prestigious Nijinsky Award for Lifetime Achievement. He received the Herbert von Karajan Musikpreis in 2007 and the Deutscher Jubiläums Tanzpreis in 2008. In 2007, he was made an honorary citizen of the city of Hamburg.

In 2015, the Inamori Foundation presented Neumeier with the Kyoto Prize for his contributions to the Arts and Philosophy and in 2016, he received the Lifetime Achievement Awards of the and the Prix de Lausanne.

LESLIE MCBETH Stager

Leslie McBeth is a former ballet dancer, and current ballet mistress at Hamburg Ballet. McBeth was born in California and received training at Sacramento Ballet and the School of American Ballet in New York City. Her career began at Sacramento Ballet and Milwaukee Ballet, and

John Neumeier works with company artists during rehearsal transitioned to Europe where she danced at Stuttgart Ballet, and as a of Neumeier’s The Little Mermaid // © Erik Tomasson principal at Zürich Ballet and Ballet du Nord in France. McBeth joined Hamburg Ballet as a ballet mistress in 2003, and travels around the globe teaching and staging Neumeier ballets.

32 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 [ INSTANT EXPERT >> HANS CHRISTIAN ANDERSEN AND BALLET ] Hans Christian Andersen’s stories have been the basis of many ballets—Balanchine’s The Steadfast Tin Soldier, Bronislava Nijinska’s The Ice Maiden, Arthur Pita’s The Little Match Girl , Justin Peck’s The Most Incredible Thing , John Neumeier’s The Little Mermaid—and of course the most famous ballet movie of all time, The Red Shoes. What is it about Andersen’s work that has inspired these creators? At least in part, it’s the way his fairy tales play with ideas often found in ballets: a man encounters a supernatural creature and they cannot overcome their differences. This theme plays out, in a way, in his life as well: Andersen never married, but fell in love with both men and women throughout his life, none of whom seemed to return his affection. Andersen’s The Ugly Duckling , who discovers he’s a swan; and The Little Mermaid, who transforms herself for love, also seem deeply autobiographical. These stories make rich fodder for an art form which is particularly suited to evoking emotional states and supernatural worlds. Did you know that Andersen was also a fan of the ballet? He briefly attended the Royal Ballet School in Copenhagen and was friends with August Bournonville, the famous choreographer and artistic director. Bournonville even made a ballet out of his The Steadfast Tin Soldier in 1871. Though the ballet was only performed 14 times in Andersen’s life, he wrote in his diary that after its premiere, he “went up to the stage and thanked Bournonville. He, in turn, embraced me and asked if I could see a touch of my spirit in the ballet.” Today we see a touch of his spirit in all the ballets made of or about his work.

NIURKA MOREDO RALF MERKEL Stager Lighting Technician

Niurka Moredo is a former dancer and current ballet mistress with Born in Altenburg, Germany, Ralf Merkel concentrated on the artistic and Hamburg Ballet. Born in Puerto Rico, she trained in Puerto Rico and technical aspects of theatrical lighting after graduating as an electrical Florida and joined the Royal Danish Ballet in 1990. There, she performed engineer. He started his career working for the Landestheater Altenburg soloist roles in Bournonville ballets, as well as SF Ballet artistic director and the Prinzregenten Theatre in Munich, where he also taught at the Helgi Tomasson’s The Sleeping Beauty. In 1995 she joined Hamburg Bavarian Theatre Academy. Since 2002, Merkel has worked at the Ballet and spent most of her dancing career there as a soloist. Since as Lighting Director for the Hamburg Ballet. He has retiring from the stage in 2007, she has worked closely with Hamburg toured with the company to the most prestigious theaters around the Ballet Artistic Director John Neumeier, and stages his ballets around world, including the Bolshoi Theatre in Moscow, the John F. Kennedy the world. Center for the Performing Arts in Washington DC, and the Bunka Kaikan in Tokyo. Working in close partnership with John Neumeier, Merkel has supervised the lighting of creations and revivals of Neumeier’s works with renowned ballet companies worldwide.

Both: San Francisco Ballet in Neumeier’s The Little Mermaid // © Erik Tomasson

PROGRAMS 07 / 08 | 415 865 2000 | 33

PRODUCTION CREDITS Shostakovich Trilogy – Scenic construction by R.A. Reed-USA, Inc., Portland, Oregon, and Scenic Art Studios, Newburgh, New York. Costumes constructed by Artur & Tailors Ltd., New York, New York, and Euro Co. Costumes, Inc., New York, New York. Costume dyeing and digital printing by Dyenamix Inc., and Raylene Marasco, New York, New York. Symphony #9 – Music: Symphony No. 9 in E-flat Major, Op. 70 by Dmitri Shostakovich, used by arrangement with G. Schirmer, Inc., publisher and sole copyright owner. Photo image © Estate of George Platt Lynes. Chamber Symphony – Music: Shostakovich/Barshai: Chamber Symphony (after String Quartet No. 8), Op. 110a used by arrangement with G. Schirmer, Inc., publisher and sole copyright owner. Design based on a painting by Pavel Filonov. Piano Concerto #1 – Music: Concerto No. 1 for Piano, Trumpet, and String Orchestra, Op. 35 by Dmitri Shostakovich, used by arrangement with G. Schirmer, Inc., publisher and sole copyright owner.

34 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 08 SHOSTAKOVICH TRILOGY MAY 07—MAY 12

SHOSTAKOVICH TRILOGY

Composer: Dmitri Shostakovich Choreographer: Alexei Ratmansky Staged by: Nancy Raffa Scenic Designer: George Tsypin Costume Designer: Keso Dekker Lighting: Jennifer Tipton

Shostakovich Trilogy was co-commissioned by San Francisco Ballet and American Ballet Theatre.

SYMPHONY #9

World Premiere: October 18, 2012—American Ballet Theatre, New York City Center; New York, New York San Francisco Ballet Premiere: April 2, 2014—War Memorial Opera House; San Francisco, California

CHAMBER SYMPHONY

World Premiere: May 31, 2013—American Ballet Theatre, Metropolitan Opera House; New York, New York San Francisco Ballet Premiere: April 2, 2014—War Memorial Opera House, San Francisco, California

PIANO CONCERTO #1

World Premiere: May 31, 2013—American Ballet Theatre, Metropolitan Opera House; New York, New York San Francisco Ballet Premiere: April 2, 2014—War Memorial Opera House; San Francisco, California Shostakovich Trilogy © Erik // Tomasson PRODUCTION CREDITS Shostakovich Trilogy – Scenic construction by R.A. Reed-USA, Inc., Portland, Oregon, and Scenic Art Studios, Newburgh, New York. Costumes constructed by Artur & Tailors Ltd., New York, New York, and Euro Co. Costumes, Inc., New York, New York. Costume dyeing and digital printing The 2014 SF Ballet premiere of Alexei Ratmansky’s Shostakovich Trilogy was made possible by New Productions by Dyenamix Inc., and Raylene Marasco, New York, New York. Fund Lead Sponsors Mrs. Jeannik Méquet Littlefield, and Mr. and Mrs. John S. Osterweis; Major Sponsors Symphony #9 – Music: Symphony No. 9 in E-flat Major, Op. 70 by Dmitri Shostakovich, used by arrangement with G. Schirmer, Inc., publisher Rudolf Nureyev Dance Foundation, and Larry and Joyce Stupski; and Sponsors Richard C. Barker, and sole copyright owner. Photo image © Estate of George Platt Lynes. Christine H. Russell Fund of the Columbia Foundation, Suzy Kellems Dominik, Stephanie Barlage Ejabat, Gaia Fund, The William Randolph Hearst Foundation, Cecilia and Jim Herbert, and Diane B. Wilsey. Chamber Symphony – Music: Shostakovich/Barshai: Chamber Symphony (after String Quartet No. 8), Op. 110a used by arrangement with Shostakovich Trilogy G. Schirmer, Inc., publisher and sole copyright owner. Design based on a painting by Pavel Filonov. These performances of are made possible by Lead Sponsors Mr. Richard C. Barker, Teri and Andy Goodman, and Mr. and Mrs. John S. Osterweis, with additional support provided by the Piano Concerto #1 – Music: Concerto No. 1 for Piano, Trumpet, and String Orchestra, Op. 35 by Dmitri Shostakovich, used by arrangement with Phyllis C. Wattis Fund of the SF Ballet Endowment Foundation. G. Schirmer, Inc., publisher and sole copyright owner. Miranda Silveira and Wei Wang in Ratmansky’s

PROGRAMS 07 / 08 | SFBALLET.ORG | 35 Often not particularly melodic, with rapid-fire shifts in tone and tempo, Dmitri Shostakovich’s music seems more suited for concert halls and film scores than for the ballet stage. But in the hands of choreographer Alexei Ratmansky, this music is danceable indeed. Shostakovich Trilogy, a co-production of San Francisco Ballet and American Ballet Theatre (ABT), consists of three discrete ballets conceived to be performed together. Like George Balanchine’s , the three ballets complement one another, producing their full impact when seen together. Yet each multifaceted dance sparkles on its own.

SF Ballet Artistic Director and Principal Choreographer Helgi Tomasson’s first reaction to Ratmansky’s concept was admiration “for going with the same composer for the whole evening,” he says. “Shostakovich is not nearly as familiar to most audiences as other composers. And to use a little bit of his life story—I was very taken by that. If anybody could do it, it would be Alexei.” Certainly no other choreographer has shown as much dedication to Shostakovich as Ratmansky, who has set at least 11 ballets to the composer’s music.

To appreciate any music, it’s best to grasp the context of the times in which the composer worked. That’s particularly true of Shostakovich. Coming of age in Stalinist Russia, he, like all artists, was under scrutiny. He gained celebrity at an early age, and political expectations followed in the form of requests for compositions that exalted the Soviet state. Often he rebelled, and several times he was denounced by the state; he walked a tightrope between survival and artistic choice. “Stalin was interested in music that celebrated everything that was great about Russia, and Shostakovich was at odds with that,” says Music Director and Principal Conductor Martin West. “He was trying to create music for all time, not just for Russia.”

Ratmansky, though, had Russia in mind when he created Shostakovich Trilogy , according to stager and ABT Ballet Master Nancy Raffa. “This is an homage to Shostakovich, because of Alexei’s enormous admiration for his talent and for what he symbolizes for Russian people,” she says. “But it’s also an homage to [Ratmansky’s] heritage. He grew up listening to and loving Shostakovich, so this was like a gift [to the composer]. And a gift to Russia.”

Permeating these ballets are the most fundamental human emotions: love and euphoria, grief and despair, and deeply, pervasively, fear—of being watched or followed, or (we assume) disappeared, as so often happened to those in political disfavor during Shostakovich’s lifetime. The color red is prominent; backdrops offer hints of Stalin-era Russia. Yet all three ballets are markedly different.

36 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 SYMPHONY #9 PROGRAM NOTES by Cheryl A. Ossola CHAMBER SYMPHONY In creating Symphony #9, Raffa says, Ratmansky considered “the time PROGRAM NOTES the piece was written and the emotions behind what was happening in by Cheryl A. Ossola Shostakovich’s life.” The first principal couple represents Shostakovich and his wife, supporting each other in a time of great danger; the other Chamber Symphony is as close to a narrative ballet as the trilogy couple represents “the regime, the communist party, the whole Stalin gets. The lead man is Shostakovich and the three principal women mentality,” Raffa says. “He wanted them to be almost a caricature, are his loves—the girl he was infatuated with but never made time for, expressing the sarcasm in parts of the score. But everything is abstract. the wife (and mother of his children) whose death undid him, and the He kept saying, ‘There’s no story, but there’s a lot of meaning.’” young wife who shared his later years. The ballet takes the form of a retrospective—again with the constancy of fear, this time referencing West calls Shostakovich’s ninth symphony “so much fun—it goes the persecution of the Jews. (Note the Jewish theme in the music, by like the wind.” Fun and flashy it is, but it was also was one of the and the fragments of folk dancing.) Loss weighs heavily in this ballet— composer’s acts of rebellion. West explains: “When the war was of loved ones and what Shostakovich risked to be the artist he finished, it was agreed that he would write a Beethoven’s Ninth type wanted to be. of thing, to celebrate the beating of the Nazis. He started writing it and scrapped it.” What he wrote instead—this funny, acerbic symphony— In making this ballet, Ratmansky was responding to the well- was interpreted as thumbing his nose at Stalin. “He was in big trouble,” documented fact that Shostakovich’s Chamber Symphony, an West says. “They were expecting something triumphal and this is just orchestration of his Quartet No. 8, was intensely personal to the a bit of fun. [In places] it’s like he’s mocking Stalin. I don’t know if he composer. He quotes his own music here more than anywhere else, was, but that’s the feeling you get.” and each movement bears an insistent theme—his signature, “DSCH (D.Sch.),” letters in his name (written in German) that can be played In Ratmansky’s hands, tension underlies the fun, giving the ballet an as musical notes. The piece, which includes part of an old Russian edge of fear. The subtext is clear: no one is safe. Raffa tells one couple, prison song, was Shostakovich’s personal protest (the dedication “You’re running away from something. The arm is like a window—look reads, “In Memory of Victims of Fascism and War”), he said. Various through it.” Yet the ballet is buoyed by hope, manifested by a solo sources claim that he said this music could serve as his epitaph. principal man Ratmansky calls the Angel. “He’s symbolic of something beyond our tangible, physical world,” Raffa says. “He’s a guide. Despite The way Principal Dancer Mathilde Froustey sees it, “we are what the turmoil that somebody could live [through], there’s always a way Shostakovich wanted to create. There is a kind of double sense— through it. That dancer is symbolic of this.” She tells the Angel dancer we are the instruments of Alexei and Shostakovich. There is the to “come out like you’re attacking all the evil. That means you can’t choreography, and there is the music. There is the context of the touch the ground. Come out like fire.” creation of this music.” There’s a moment in this ballet when the Shostakovich character raises a finger in a moment of recognition. There is always, Raffa says, the “guidance of your own integrity, your Raffa says it’s as if he’s thinking, “Everything I’ve lived through had value system. Of hope, where there’s perhaps no hope; light where a purpose, a meaning. I can pass peacefully now because I’ve left there’s only darkness.” something.” In the final tableau, she says, Ratmansky builds an image that pulls the viewers’ eyes up, to a single woman held high, as if to say “what he left is monumental. The scene is like a monument to Both photos: San Francisco Ballet in Ratmansky’s Shostakovich Trilogy // Erik Tomasson Shostakovich’s thoughts and ideas, his humanness.”

PROGRAMS 07 / 08 | 415 865 2000 | 37

PIANO CONCERTO #1 PROGRAM NOTES by Cheryl A. Ossola

Piano Concerto #1 is the most abstract ballet in the trilogy; Ratmansky “The image Alexei wanted is a prisoner in a country,” continues Luiz, is “using the dancers as instruments, creating the music with their “the artists who couldn’t get out. Nancy said, ‘Imagine that you cannot go movement,” Nancy Raffa says. Yet there’s visible emotion. “Shostakovich back to Brazil, and your whole family is there—your daughter, everyone— is extremely emotional,” Raffa says. “You can’t work with his music and and you can’t ever talk to them again.’ And so in this moment that’s what not have that quality in your choreography.” you think. You’re trying to find a solution or a way out, and you can’t. Every movement has a meaning. Maybe that’s why you feel good The music, Concerto No. 1 for Piano, Trumpet, and Strings, is mercurial, afterward—because you feel like you accomplished something whipping from one mood to another. West describes the piece as “a very technically but also artistically.” good example of classic proportions where Shostakovich was able to take off on tangents that only a great comedy genius could do. Especially the last movement—it goes nuts. Suddenly he slams on a chord out of CREATIVE TEAM nowhere, or he’ll make it sound like he’s going to trill into a little Mozart cadenza [embellishment] and then doesn’t.” That frantic quality in the DMITRI SHOSTAKOVICH last movement may have roots in Shostakovich’s youth, when he played Composer piano accompaniment for silent movies. “He was able to make stuff up,” West says. “That’s almost how this concerto is—it’s a ridiculous play Dmitri Shostakovich (1906–75), born in St. Petersburg, Russia, was a on everything.” Yet it has “all styles of music, very deep and serious,” pianist and influential composer. He studied piano with his mother and he says, “and the slow movements are beautiful.” attended Petrograd Conservatory under the direction of Alexander Glazunov. Shostakovich’s 1925 graduation composition, Symphony No. 1, Principal Dancer Vitor Luiz says he loves the contrast in the music, catapulted him to prominence. Influenced by Igor Stravinsky and Sergei especially during a solo he . “The music shifts to this very Prokofiev, Shostakovich developed a unique style of music, favoring energetic movement—it’s like showing off—and then it goes back to stylistic choices that placed him at odds with Stalin’s regime. His huge quiet. It’s theatrical. The image Nancy gave us was of looking out a body of work—more than 40 symphonies, concertos, and chamber window to see your future, but you don’t see any future there. That works, 22 piano works, plus ballets, operas, and film scores— already gives you the idea why you do that solo—because you have is performed widely and frequently throughout the world. nowhere to go,” he says. “If you do this solo right, it will touch people’s souls.” ALEXEI RATMANSKY What’s remarkable about dancing Ratmansky’s ballets, Luiz says, is that Choreographer “they make you feel good.” Ratmansky shared “his knowledge and his deep attention to details. He said, ‘It’s like fine cuisine. You have to put Alexei Ratmansky, currently artist in residence at American Ballet in all these ingredients, and they are all measured in grams. You have Theatre, is an internationally acclaimed Russian choreographer who has to use all that.’ revitalized narrative ballet through his thoughtful remounting of classics and his shorter, more abstract works. Born in St. Petersburg, Russia, he trained at the School in Moscow and performed as a principal dancer with Ukrainian National Ballet, ,

[ INSTANT EXPERT >> SHOSTAKOVICH AND BALLET ] When you think ballet music, you probably think Russian. Tchaikovsky, Glazunov, Stravinsky, Prokofiev: much of the greatest ballet music of the 19th and 20th century came from Russia. Yet we don’t often think of Dmitri Shostakovich in this category, even though he’s known as one of the greatest composers of the 20th century. But Shostakovich did write music for ballets—three, in fact: The Golden Age (1930), The Bolt (1931), and The Bright Stream (1935). All three were censored in Soviet Russia and therefore rarely performed following their premieres. Choreographer Alexei Ratmansky has done much to revive the idea of Shostakovich as a composer well-suited to ballet, choreographing to eleven of his works, including the three ballets that comprise the Shostakovich Trilogy . He’s even made new versions of The Bolt and The Bright Stream for the Bolshoi Ballet, bringing these ballets back to life.

38 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 and Royal Danish Ballet. An invitation to create a work for the Bolshoi Ballet led him to become artistic director of that company in 2004. As Artistic Director, Ratmansky remounted several Soviet-era ballets, most notably The Bright Stream, for which he earned a Critics’ Circle National Dance Award in London. Bolshoi Ballet was also named “Best Foreign Company” by The Critics’ Circle twice under his direction.

San Francisco Ballet commissioned Ratmansky’s first American premiere, Le Carnaval des Animaux in 2003 and has since acquired seven additional works in the repertory. He has also choreographed ballets for the , Paris Opera Ballet, Dutch National Ballet, New York City Ballet, The Australian Ballet, and many others. Ratmansky joined American Ballet Theatre as artist in residence in 2009. Named San Francisco Ballet in Ratmansky’s Shostakovich Trilogy // © Erik Tomasson a 2013 MacArthur Foundation Fellow, Ratmansky has also served as a choreographic mentor to SF Ballet Corps de Ballet member Myles Thatcher through the Rolex Mentor & Protégé Arts Initiative. In 2014, Ratmansky won his second Benois de la Danse award for Shostakovich Trilogy. KESO DEKKER Costume Designer

NANCY RAFFA Dutch artist Keso Dekker’s career has ranged from painting to Stager designing (spaces, graphics, and museum exhibitions) to writing (on art, design, fashion, and dance). His theatrical work encompasses Nancy Raffa, a former dancer and current ballet mistress at American more than 40 years of scenic and costume design, largely for dance, Ballet Theatre (ABT), has worked closely with choreographer Alexei in more than 500 productions. Dekker’s major dance collaborators Ratmansky since he became artist in residence in 2009. Born in Brooklyn, are choreographers Martin Schläpfer (Tanzsuite, Forellenquintett), New York, Raffa trained with Madame Gabriela Darvash. When she was Hans van Manen (Black Cake, Solo, and Variations for Two Couples), 15 years old, she became the youngest and first American female to and Alexei Ratmansky (Souvenir d’un Lieu Cher and Shostakovich Trilogy). win the Gold Medal at the Prix de Lausanne competition in Switzerland. Dekker’s recent projects include an exhibition of 17th-century gold and After joining Makarova and Company on Broadway, Raffa became a silver at Amsterdam’s Rijksmuseum, collaborations with Schläpfer and member of the corps de ballet of ABT. She also danced as a principal van Manen in Düsseldorf and Vienna, and works by Ratmansky with Ballet de Santiago, Ballet National Française de Nancy, and Miami at New York City Ballet and The Royal Ballet in London. City Ballet. She retired from dancing to become a teacher, coach, and ballet mistress. Raffa has worked closely with choreographers and Ratmansky and has set many of Ratmansky’s works for JENNIFER TIPTON ABT on companies around the globe. Lighting Designer

Jennifer Tipton is an internationally known, award-winning lighting GEORGE TSYPIN designer who works in dance, theater, and opera. Born in Columbus, Scenic Designer Ohio, she graduated from Cornell University and learned dance lighting from Thomas Skelton. Her recent work in dance includes Liam Scarlett’s George Tsypin, a sculptor, an architect, and a designer for opera, The Age of Anxiety for The Royal Ballet and Alexei Ratmansky’s film, and video, studied architecture in Moscow and theater design in Shostakovich Trilogy for San Francisco Ballet and American Ballet New York. His designs for opera have been seen at Opéra de Bastille Theatre, as well as Paul Taylor’s American Dreamer. Tipton, who is in Paris, Covent Garden in London, and the Metropolitan Opera in principal lighting designer for the Paul Taylor Dance Company, also New York. He has worked with renowned theatrical directors such as teaches lighting at the Yale School of Drama. She won the 1977 Tony Julie Taymor and Peter Sellars. On Broadway, Tsypin designed The Little Award for Best Lighting Design for The Cherry Orchard, the 1989 Tony Mermaid and Spider-Man: Turn Off the Dark. His work also includes Award for ’ Broadway, and the Drama Desk Award for designs for film, television, concerts, exhibitions, and installations; Outstanding Lighting Design twice. Tipton received the Dorothy and recently, he designed and directed the opening ceremony of the Lillian Gish Prize in 2001, the Jerome Robbins Prize in 2003, and the 2014 Olympic Games in Sochi. Mayor’s Award for Arts and Culture in New York City in April 2004. In 2008 she was made a United States Artists “Gracie” Fellow and a MacArthur Fellow.

PROGRAMS 07 / 08 | SFBALLET.ORG | 39 SAN 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 each SF Ballet Orchestra musicians.

MUSIC DIRECTOR & PRINCIPAL CONDUCTOR Martin West

GUEST CONDUCTOR Ming Luke

VIOLIN I CONTRABASS TRUMPET / CORNET Cordula Merks, Concertmaster Steve D’Amico, Principal Adam Luftman, Principal Heeguen Song, Associate Concertmaster Shinji Eshima, Associate Principal Joseph Brown Beni Shinohara, Assistant Concertmaster Jonathan Lancelle, Assistant Principal John Pearson* Heidi Wilcox Mark Drury Scott Macomber* Robin Hansen FLUTE TROMBONE Brian Lee Barbara Chaffe, Principal Jeffrey Budin, Principal Mariya Borozina Julie McKenzie Gabe Cruz** Wenyi Shih** Stephanie McNab* Maya Cohon* BASS TROMBONE Leslie Chin* Jeremey Preston* Scott Thornton, Principal Jennifer Hsieh* PICCOLO MAY 22–MAY 24, 2019 TUBA Laura Keller* Julie McKenzie Peter Wahrhaftig, Principal On Wednesday, May 22, San Francisco Ballet School launches its first annual Spring Festival. Formerly called VIOLIN II OBOE Student Showcase, the SF Ballet School Spring Festival will include three nights of unique performances, TIMPANI Ani Bukujian, Principal Laura Griffiths, Principal James Gott, Principal demonstrations, and interviews. The performances will feature Helgi Tomasson’s Ballet d’Isoline; a new work Craig Reiss, Associate Principal Marilyn Coyne choreographed by AXIS Dance Company Artistic Director Marc Brew, quicksilver; excerpts from two Jiří Kylián Jeanelle Meyer, Assistant Principal James Moore* PERCUSSION ballets, Sarabande and Falling Angels, as well as premieres by SF Ballet School student choreographers. Marianne Wagner David Rosenthal, Principal ENGLISH HORN Rebecca Jackson** Todd Manley* Marilyn Coyne Proceeds from the opening night dinner will provide support for the School’s scholarship and financial aid programs. Karen Shinozaki Sor** Tyler Mack* Jennifer Cho* CLARINET Tracy Davis* Julie Kim* Natalie Parker, Principal Victor Avdienko* George Hayes* Steve Sanchez** SPRING FESTIVAL PERFORMANCE AND DINNER SF BALLET SCHOOL ON STAGE PERFORMANCE DATES HARP Matthew Boyles* VIOLA Annabelle Taubl, Principal DATE | Wednesday, May 22, 2019 Wednesday, May 22 at 6 pm Yi Zhou, Principal BASS CLARINET TIME Performance at 6 pm, followed by dinner Thursday, May 23 at 7:30 pm PIANO | Anna Kruger, Associate Principal Steve Sanchez Natal’ya Feygina VENUES | Yerba Buena Center for the Arts Theater Friday, May 24 at 7:30 pm Joy Fellows, Assistant Principal ALTO SAXOPHONE and Four Seasons Hotel San Francisco Caroline Lee CELESTE David Henderson EVENT CHAIR Ms. Catherine Bergstrom Paul Ehrlich Mungunchimeg Buriad* | Elizabeth Prior* BASSOON THEREMIN Katherine Johnk* Rufus Olivier, Principal Carolina Eyck Natalia Vershilova* Patrick Johnson-Whitty PERFORMANCE TICKETS START AT $29. Shawn Jones* CELLO ORCHESTRA PERSONNEL MANAGER & MUSIC ADMINISTRATOR Eric Sung, Principal CONTRABASSOON Tracy Davis BUY TICKETS NOW Jonah Kim, Associate Principal Patrick Johnson-Whitty Victor Fierro, Assistant Principal MUSIC LIBRARIAN SFBALLET.ORG/SCHOOLFESTIVAL HORN Thalia Moore Matthew Naughtin 415 865 2000 Principal Ruth Lane** Kevin Rivard, Mark Votapek* Keith Green Brian McCarty, Associate Principal **Seasonal Substitute William Klingelhoffer *Extra Player San Francisco Ballet School Students at 2018 Student Showcase // © Lindsay Thomas. Design by Cheree Berry Paper 40 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 MAY 22–MAY 24, 2019

On Wednesday, May 22, San Francisco Ballet School launches its first annual Spring Festival. Formerly called Student Showcase, the SF Ballet School Spring Festival will include three nights of unique performances, demonstrations, and interviews. The performances will feature Helgi Tomasson’s Ballet d’Isoline; a new work choreographed by AXIS Dance Company Artistic Director Marc Brew, quicksilver; excerpts from two Jiří Kylián ballets, Sarabande and Falling Angels, as well as premieres by SF Ballet School student choreographers.

Proceeds from the opening night dinner will provide support for the School’s scholarship and financial aid programs.

SPRING FESTIVAL PERFORMANCE AND DINNER SF BALLET SCHOOL ON STAGE PERFORMANCE DATES DATE | Wednesday, May 22, 2019 Wednesday, May 22 at 6 pm TIME | Performance at 6 pm, followed by dinner Thursday, May 23 at 7:30 pm VENUES | Yerba Buena Center for the Arts Theater Friday, May 24 at 7:30 pm and Four Seasons Hotel San Francisco EVENT CHAIR | Ms. Catherine Bergstrom

PERFORMANCE TICKETS START AT $29.

BUY TICKETS NOW SFBALLET.ORG/SCHOOLFESTIVAL 415 865 2000

San Francisco Ballet School Students at 2018 Student Showcase // © Lindsay Thomas. Design by Cheree Berry Paper SAN FRANCISCO BALLET STAFF

HELGI TOMASSON ADMINISTRATION MARKETING & COMMUNICATIONS ARTISTIC DIRECTOR DARIN CONLEY-BUCHSIEB, JULIE BEGLEY, Chief Marketing Officer & PRINCIPAL CHOREOGRAPHER Human Resources Director You You Xia, Director of Communications GLENN MCCOY Jennifer French Kovacevich, Mary Goto, Associate Director, EXECUTIVE DIRECTOR Interim Board Relations Manager Analytics & Relationship Marketing Kayla Harris, Human Resources Generalist Valerie Megas, Senior Manager, Katharine Chambers, Assistant to Retail Operations ARTISTIC Senior Executive Staff Monica Cheng, Senior Manager, Ricardo Bustamante, Felipe Diaz, Graphic Design Ballet Masters & Assistants Caitlin Sims, Senior Manager, to the Artistic Director DEVELOPMENT Content & Editorial Betsy Erickson, Anita Paciotti, Katita Waldo, DANIELLE ST.GERMAIN-GORDON, Matthew Donnelly, Video Production Manager Ballet Masters Chief Development Officer Jane Ann Chien, Web & Digital Yuri Possokhov, Choreographer in Residence Elizabeth Lani, Deputy Director Platforms Manager Amelia Bear, Artistic Administrator of Development/Planned Giving Jillian Vasquez, Marketing Alan Takata-Villareal, Logistics Manager & Promotions Manager Mateo Santos Perry, Assistant to the Operations & Membership Abby Masters, Marketing Operations Manager Artistic Staff Laurel Skehen, Senior Manager, Kate McKinney, PR & Communications Membership & Operations Manager Hannah Young, Donor Communications Nannette Mickle, Group Sales Representative OPERATIONS Manager Emily Munoz, Relationship Marketing DEBRA BERNARD, General Manager Ashley Rits, Development Operations Manager Coordinator Juliette LeBlanc, Company Manager Juanita Lam, Development Coordinator Rachel Bauer, Media Asset Administrator Amy Hand, Operations Manager Megan Ohls, Development Operations Francis Zhou, Graphic Design Specialist Assistant

Jim Sohm, Research Manager PRODUCTION TICKET SERVICES CHRISTOPHER DENNIS, Production Director Institutional Giving BETSY LINDSEY, Director of Ticket Daniel Thomas, Technical Manager Elizabeth Luu, Associate Director & Patron Services Kate Share, Manager of Wardrobe, Wig, of Development, Institutional Giving Jennifer Peterian, Senior Manager, Make-up & Costume Construction Colette Whitney, Corporate Giving Manager Ticket & Patron Services Jim French, Lighting Supervisor Stella Ji, Institutional Giving Intern Mark Holleman, Sales & Service Manager Jane Green, Production Stage Manager Elena Ratto, Patron Services Specialist Kathryn Orr, Stage Manager Special Events Megan Quintal, Ticket Services Nixon Bracisco, Master Carpenter Ingrid Roman, Associate Director Database Specialist Kelly Corter Kelly, Master Electrician of Development, Events Arielle Hazan, Jericho Lindsey, Kenneth M. Ryan, Master of Properties Emma Lundberg, Special Events Coordinator Patricia Pearson, Michelle Schafer, Cherryl Usi, Ticket Services Associates Kevin Kirby, Audio Engineer Meg Sullivan, Special Events Coordinator

John O'Donnell, Flyman Niki Naftzger, Events Associate Megan Gulla, Head of Women’s Wardrobe & Auxiliary Liaison FINANCE Paige Howie, Head of Men's Wardrobe KEVIN MOHR, Chief Financial Officer Head of Hair & Make-up Individual Giving Richard Battle, Kristin Klingvall, Controller Assistant Head Sarah Warner, Associate Director Thomas Richards-Keyes, Valerie Ruban, Accounting Supervisor of Hair & Make-up of Development, Individual Giving Payroll Manager Brent Radeke, Major Gifts Officer Evangelina Maravilla, Senior Accountant Ari Lipsky, Senior Manager, Individual Giving Matthew Czarnecki, Jonathan Creecy, Leanna Wright, MUSIC Tilly Chiles, Individual Giving Officer Staff Accountants MARTIN WEST, Music Director Haley O’Neil, Donor Relations Manager & Principal Conductor Aja Lathan, Donor Relations Associate Mungunchimeg Buriad, Natal'ya Feygina, Nina Pinzarrone, Company Pianists Tracy Davis, Orchestra Personnel Manager & Music Administrator Matthew Naughtin, Music Librarian

42 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 FACILITIES Jaime Diaz, Ballet & Boys Strengthening Pamela Clark, Education Assistant NATHAN BRITO, Facilities Manager Karen Gabay Alyssa Puleo, School Assistant Scott Christenson, Facilities Supervisor Jordan Hammond-Tilton Cecelia Beam, Audience Engagement Adrian Rodriguez, Facilities Coordinator Tina LeBlanc Coordinator Todd Martin, Stanley Wong, Jeffrey Lyons Naima McQueen, Residence Manager Facilities Assistants Ilona McHugh Matt McCourt, Kayla Murkison, Resident Assistants Neil Miller, Weekend Facilities Assistant Pascal Molat, Ballet & Trainee Tamara de la Cruz, Nicole Drysdale, Program Assistant Leslie Donohue, Chris Fitzsimons, School Physical Therapists Yana Vincent, Receptionists Anne-Sophie Rodriguez Henry Berg, Conditioning Brian Fisher, Dexandro Montalvo, Dance in Schools & Communities INFORMATION TECHNOLOGY Contemporary Dance Teaching Artists MURRAY BOGNOVITZ, Director of Dana Genshaft, Ballet, Contemporary Alisa Clayton Information Technology Repertoire & Conditioning Sammay Dizon Stacy Desimini, IT Operations Jamie Narushchen, Daniel Sullivan, Cynthia Pepper & Project Manager Music Phoenicia Pettyjohn Karen Irvin, Application Administrator Jennie Scholick, PhD., Dance History Jessica Recinos & Help Desk Coordinator Cecelia Beam, Adult Ballet & Dance for Joti Singh Josh Marshall, Web Administrator Individuals with Parkinson’s Disease Genoa Sperske Jiapeng Jiang, IT Specialist Lisa Giannone, Maura Whelehan Conditioning Class Consultant Sofiane Sylve, Principal Guest Faculty Dance in Schools & Communities FRONT OF HOUSE Julio Bocca, Monique Loudieres, Accompanists JAMYE DIVILA, House Manager 2018–19 Guest Faculty David Frazier Marialice Dockus, Head Usher Omar Ledezma Rodney Anderson, Danica Burt, School Pianists Zeke Nealy Frank Chow, Laurent De La Cruz, Jamie Narushchen, School Pianist Supervisor, Wade Peterson Martin Dias, Jonathan S. Drogin, Lee R. Crews Endowed Pianist Chip Heath, Elaine Kawasaki, Bongo Sidibe Ella Belilovskaya, Julia Ganina, Eileen Keremitsis, Ryszard Koprowski, Ritsuko Micky Kubo, Daniel Sullivan, Bill Laschuk, Sharon Lee, Katelyn Tan, Sky Tan, Galina Umanskaya, Marilyn Leong, Lenore Long, COMPANY PHYSICIANS Linli Wang, Billy Wolfe, School Pianists Doug Luyendyk, Leontyne Mbele-Mbong, Richard Gibbs, M.D. & Rowan Paul, M.D., Sam Mesinger, Dale Nedelco, Wayne Noel, Supervising Physicians Beth Norris, Jan Padover, Julie Peck, Education & Training Administration Michael Leslie, PT, Robbie Remple, Bill Repp, Rilla Reynolds, Director of Education ANDREA YANNONE, Director, Dancer Wellness Center Robyn Sandberg, Kelly Ann Smith, & Training Kristin Wingfield, M.D., Melissa Stern, Theresa Sun, Associate Director Jennie Scholick, PhD., Primary Care Sports Medicine Claire Tremblay, , of Audience Engagement Steve Weiss, Elaine Yee, Ushers Frederic Bost, M.D., On-site Orthopedist Christina Gray Rutter, Associate Director Peter Callander, M.D., Keith Donatto, M.D., of School Administration Jon Dickinson, M.D., Orthopedic Advisors Jasmine Yep Huynh, Associate Director EDUCATION & TRAINING to the Company of Youth and Community Programs San Francisco Ballet School Karl Schmetz, Consulting Physical Therapist Tai Vogel, School Registrar and Active Care, Lisa Giannone, HELGI TOMASSON, Artistic Director Summer Session Coordinator Director, Off-site Physical Therapy PATRICK ARMAND, Director Karen Maloney, School Programs Coordinator & Conditioning Classes

Aurelia Moulin, School Logistics Coordinator School Faculty Leonard Stein, D.C., Chiropractic Care Amanda Alef, Education Coordinator Patrick Armand Henry Berg, Rehabilitation Class Instructor Miles Petty, Administrative Assistant, Kristi DeCaminada Gabrielle Shuman, Wellness Program Manager Education & Training

The artists employed by San Francisco Ballet are members of the American Guild of Musical Artists, AFL-CIO, the Union of professional dancers, singers, and staging personnel in the United States. The San Francisco Ballet Association is a member of Dance/USA; American Arts Alliance; the Greater San Francisco Chamber of Commerce; and the San Francisco Convention and Visitors Bureau. Legal Services provided by Adler & Colvin; Fallon Bixby Cheng & Lee; Fettmann Ginsburg, PC; Blue Skies Immigration Services; Epstein Becker & Green, PC; Littler Mendelson, PC; Miller Law Group; and Pillsbury Winthrop Shaw Pittman LLP. Audit services provided by Grant Thornton LLP. Insurance brokerage services provided by DeWitt Stern Group.

The Centers for Sports and Dance Medicine at Saint Francis Memorial Hospital are the official health care providers for San Francisco Ballet School. Special thanks to Dr. Susan Lewis, Dr. Jane Denton, Dr. Rémy Aridizzone, Christine Corpus, and the Physical Therapy Department for generously providing their services. DONOR NEWS

THE BERNARD OSHER FOUNDATION – SPONSORING PROGRAM 06: SPACE BETWEEN For more than 35 years, The Bernard Osher Foundation has been vital to San Francisco Ballet’s growth into one of the world’s leading ballet companies. The Foundation’s sponsorship of Program 06: Space Between allows us to present a glimpse into the future of ballet with Justin Peck’s Rodeo: Four Dance Episodes, a modern take on Aaron Copland’s famous score; Arthur Pita’s Björk Ballet, an encore from 2018’s Unbound Festival; and the world premiere of Liam Scarlett’s Die Toteninsel . The Osher Foundation has generously supported SF Ballet’s new work and touring initiatives through endowed funds. Established in 2006, The Bernard Osher Foundation Touring Fund helps SF Ballet to present celebrated works around the world. Created in 2015, Osher New Work Fund ensures SF Ballet’s ability to commission, acquire, and perform vibrant ballets that expand and invigorate the art form of classical dance. “The Bernard Osher Foundation is enthusiastic in its support of SF Ballet,” notes Mary Bitterman, Foundation president. “It has committed significant resources over many years to the Company’s growth through support for ongoing season programs, new work, and presentations in other US cities and abroad.” SF Ballet is grateful for The Bernard Osher Foundation’s multifaceted support. We are fortunate to call Barbro and Bernard Osher long-standing patrons and dedicated friends and we thank them for their commitment to SF Ballet and the arts.

RECOGNIZING HEWLETT FOUNDATION For decades, The William and Flora Hewlett Foundation has been an integral part of the San Francisco Ballet. Their enduring sponsorship has supported the expansion of SF Ballet School’s Education programs, the development of diverse audiences, and the creation of new works through The William and Flora Hewlett Foundation New Works Fund. The William and Flora Hewlett Foundation is a nonpartisan, private charitable foundation that advances ideas and supports institutions to promote a better world. The Foundation’s Performing Arts Program makes grants to sustain artistic expression and encourage public engagement in the arts in the San Francisco Bay Area; to give California students equitable access to high-quality, sequential arts education opportunities; and to provide necessary resources to help organizations and artists be effective in their work. Its Hewlett 50 Arts Commissions supports the creation and premiere of 50 new works of exceptional quality and enduring value in communities across the Bay Area. Each year the foundation awards more than $20 million in grants to more than 200 performing arts grantees. As a Great Benefactor of San Francisco Ballet, the Foundation’s continued commitment to the performing arts helps make our numerous artistic programs possible.

SF BALLET AUXILIARY FASHION SHOW FEATURED JASON WU This year, the San Francisco Ballet Auxiliary made a huge splash with the long-awaited return of the Fashion Show fundraising event. We were thrilled to partner with Sam Malouf Authentic Luxury, with UBS as a sponsor, on this very special event that featured acclaimed designer Jason Wu against the stunning backdrop of the Bently Reserve. With a fresh, new format, guests with VIP tickets joined Jason Wu for an intimate dinner the night before the show and, along with Grand Benefactor and Patron supporters, attended the Runway Show on March 20. The event grossed $350,000 to benefit a wide-range of San Francisco Ballet initiatives, including new works, scholarships for San Francisco Ballet School students, and community outreach programs.

Runway during 2019 San Francisco Ballet Auxiliary Fashion Show // © Drew Altizer

44 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 CHELSEA CLINTON CELEBRATES HER BOOK SHE PERSISTED AROUND THE WORLD, WHICH FEATURES YUAN YUAN TAN, WITH SF BALLET In an intimate brunch and discussion on March 2 with Chelsea Clinton, author of the children’s book She Persisted Around the World, a clear theme emerged: the importance of women’s voices and women’s stories to young women. Joined by book illustrator Alexandra Boiger and SF Ballet Principal Dancer Yuan Yuan Tan (featured in the book), Clinton covered a wide range of topics, from immigration to bullying. Proceeds from the event, moderated by Marisa Lagos of KQED and held at the Fairmont Hotel San Francisco, will fund five scholarships for girls to attend SF Ballet School. “We have to do more,” said Clinton, “to tell more stories and center more stories around women.” She recalled being inspired as a teenager by the accomplishments of Sally Ride and Helen Keller. When it came to finding books for her own children, however, she noticed a lack of stories about women told from a female perspective. This realization spurred her to write the children’s book She Persisted, in which she profiled 13 tenacious and accomplished American women. The success of this book led to the second book, She Persisted Around the World, in which Tan is profiled. “It’s really important that we share stories of inspiring women with our daughters and our sons,” said Clinton. Boiger and Tan also shared their experiences at the brunch, including the barriers they felt as immigrants. Tan recounted noticing her physical differences from other dancers and learning to embrace how these differences made her dancing unique. All three women spoke candidly and, despite the weight of the topics, the mood in the room felt inspired She Persisted: SF Ballet Breakfast Celebrating Women’s History and invigorated. By supporting SF Ballet, attendees were directly Month 2019 // © Arthur Kobin for Drew Altizer Photography contributing to developing the artistic voices of young women.

Chelsea Clinton, Alexandra Boiger, Yuan Yuan Tan with SF Ballet School student guests // © Arthur Kobin for Drew Altizer Photography

PROGRAMS 07 / 08 | 415 865 2000 | 45 DONOR NEWS CONTINUED

ARLENE SULLIVAN BEQUEST Arlene Sullivan understood the revolutionary way dance education can transform young lives, an awareness illustrated through her support and leadership as a Trustee of SF Ballet. Though she passed away last fall, her commitment to SF Ballet continues to impact our students and community members. We are deeply privileged to now call Sullivan a Great Benefactor through her generous bequest of $1 million. This gift, in accordance with her desires, will equally further three causes–San Francisco Ballet School, the Center for Dance Education, and the SF Ballet Annual Fund. The designations of her gift reflect Sullivan’s love for this organization alongside her commitment to breaking down socioeconomic and cultural barriers to ballet. In addition to her work as a Trustee, she served on both the School and Education committees. Her support of the SF Ballet School helped advance its work as a pipeline of talent for the Company, and her advocacy for the Dance in Schools and Communities program recognized that bringing ballet directly to the public schools enriches education for all. She also understood the importance of flexible, unrestricted funds for SF Ballet, which she acknowledged through her thoughtful gift to the annual fund. Artistic Director and Principal Choreographer Helgi Tomasson remembers Sullivan as “a compassionate human and incredible advocate for the art and impact of SF Ballet.” While all here miss her passion and dedication, we are honored that her legacy lives on through the lives her gift will impact. We invite you to join Sullivan in choosing SF Ballet as a home for your legacy through a planned gift. Sullivan’s memory as an advocate for the SF Ballet community is one that we are honored to uphold; let your memory live on in this way as well. Arlene Sullivan and Jim Sullivan FP 9

SAN FRANCISCO BALLET SCHOOL 2019 SPRING FESTIVAL: MAY 22– 24, 2019 Did you know that San Francisco Ballet School provides $1.2 million in scholarships each year to deserving young artists? Not only does the School provide formative experiences through quality ballet training, but it provides a critical pipeline of talent for the Company. Nearly 65 percent of Company members received training at SF Ballet School. The largest single source of support for these efforts is the annual Student Showcase, which has an exciting new format and name this year: Spring Festival. On Wednesday, May 22, 2019, San Francisco Ballet School’s first annual Spring Festival will launch, including three unique evenings of performances, a dinner on opening night, and new interactive activities with opportunities to learn about ballet. Pre-performance, there will be ballet demonstrations by the School’s Parkinson’s Dance Class and Pre-Ballet students. During intermission, you will have the opportunity to hear from student choreographers and School Faculty in onstage meet-the-artist interviews. In the lobby, educational pop-ups will provide you with the chance to learn more about School history, tutus, pointe shoes, and more. The May 22 dinner will be held at the Four Seasons Hotel San Francisco, following the first performance at Yerba Buena Center for the Arts Theater. SF Ballet is grateful to Bingham, Osborn & Scarborough LLC, Dodge & Cox, and KPMG for their support of this event. Proceeds will provide support for the School’s scholarship and financial aid programs.

Event Chair: Ms. Catherine Bergstrom

SF Ballet School ON STAGE Performance Dates BUY TICKETS NOW Wednesday, May 22 at 6 pm Spring Festival Performance and Dinner Tickets: Thursday, May 23 at 7:30 pm sfballet.org/schoolfestival Friday, May 24 at 7:30 pm Performance-only tickets for SF Ballet School ON STAGE: 415 865 2000

46 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 Ballet and Opera Paintings by BARBARA FRACCHIA

Painting #1 (left) and Painting #2 (right) from The Realm of The Little Mermaid, 12 × 24, oil on canvas [email protected] • 510-525-7057 • www.barbarafracchia.com SAN FRANCISCO BALLET SEASON SPONSORS 2019 REPERTORY SEASON

PROGRAM O1 Etudes PROGRAM O6

Don Quixote SPONSOR PROGRAM SPONSOR John G. Capo and Orlando Diaz-Azcuy The Bernard Osher Foundation LEAD SPONSORS Margaret and Will Hearst Rodeo: Four Dance Episodes Diane B. Wilsey PROGRAM O4 MAJOR SPONSOR MAJOR SPONSOR Kara and Charles Roell The Sleeping Beauty Anonymous SPONSORS LEAD SPONSORS SPONSOR Almaden Mr. James D. Marver James C. Gries BRAVO Judy C. Swanson SF Ballet Auxiliary Die Toteninsel

PROGRAM O2 MAJOR SPONSORS LEAD SPONSORS Innovation Global Capital Ms. Laura Clifford Divertimento No. 15 Elaine Kartalis Shelby and Frederick Gans MAJOR SPONSOR Mr. and Mrs. James C. Katzman Beth and Brian Grossman Catherine and Mark Slavonia Richard Thalheimer Family Mary Jo and Dick Kovacevich Christine Russell and Mark Schlesinger SPONSOR SPONSOR ENCORE! Joseph and Marianne Geagea Björk Ballet

Appassionata MAJOR SPONSORS Hannah and Kevin Comolli LEAD SPONSOR PROGRAM O5 Kelsey and David Lamond Kathleen Scutchfield Your Flesh Shall Be a Great Poem

MAJOR SPONSORS MAJOR SPONSOR Kathleen Grant, M.D. and PROGRAM O7 Brenda and Alexander Leff Thomas Jackson, M.D. The Little Mermaid Mrs. Joyce L. Stupski SPONSORS Kacie and Michael Renc LEAD SPONSORS SPONSOR O.J. and Gary Shansby Ms. Laura Clifford Karen S. Bergman Cui Lihong and Wang Wei Bound To Hurry Up, We're Dreaming MAJOR SPONSORS LEAD SPONSORS MAJOR SPONSOR Chaomei Chen and Dr. Yu Wu Sonia H. Evers Anonymous In Memory of Carole Demsky Alison and Michael Mauzé Drs. Richard D. and Patricia Gibbs Denise Littlefield Sobel Jim and Cecilia Herbert PROGRAM O3 MAJOR SPONSOR Marie and Barry Lipman The Fifth Season David and Vicki Cox Mrs. Henry I. Prien John and Amy Palmer LEAD SPONSOR SPONSOR Fang and Gary Bridge SPONSOR Brian and Rene Hollins Alex and Carolyn Mehran MAJOR SPONSOR Sue and John Diekman “. . . two united in a single soul . . .” PROGRAM O8 LEAD SPONSORS SPONSOR Shostakovich Trilogy H. B. and Lucille Horn Foundation Athena and Timothy Blackburn Yurie and Carl Pascarella LEAD SPONSORS Snowblind Mr. Richard C. Barker LEAD SPONSOR Teri and Andy Goodman Randee Seiger Mr. and Mrs. John S. Osterweis

MAJOR SPONSOR Nancy A. Kukacka SATURDAY NIGHT SPONSORS SUBSCRIPTION SERIES Larissa Roesch and Calder Roesch Lucy and Fritz Jewett Saturday Night Series SF Ballet Allegro Circle Bound To© by Christopher Wheeldon

THIS IS PASSION GENERAL 2019 Opening Night Gala

PRESENTING SPONSOR Osterweis Capital Management

PERFORMANCE SPONSOR San Francisco Ballet gratefully acknowledges San Francisco Grants for the Arts, Laura Clifford, in memory of Erna Clifford The William and Flora Hewlett Foundation, and the National Endowment for the Arts for their support.

BENEFACTOR DINNER SPONSOR KPMG Official Gym of San Francisco Ballet Media Sponsor PATRON DINNER SPONSOR JPMorgan Chase & Co.

GRAND BENEFACTOR RECEPTION SPONSOR Shreve & Co. EDUCATION & TRAINING SPARKLING STROLL SPONSOR Brooks Brothers

WINE AND SPARKLING WINE SPONSOR Gloria Ferrer Caves & Vineyards

APÉRITIF SPONSOR Lillet

BEER SPONSOR Lead Sponsors of San Francisco Ballet’s Education Programs Fort Point Beer Company

Additional support is provided by Gap Foundation, U.S. Bank Foundation, and the Zellerbach Family Foundation.

SENSORIUM The Dance in Schools and Communities program is supported by The Charles Henry Leach, II Fund, an advised fund of the Silicon Valley Community Foundation. SPONSOR The Student Matinee Series is supported by the Gaia Fund of the San Francisco Ballet ballerina.io Endowment Foundation.

LEARN. DANCE. GROW. SAN FRANCISCO BALLET SCHOOL

Classes at San Francisco Ballet School are serious fun, where children are introduced to the fundamentals of classical ballet. Exposure to ballet training reinforces important life skills like creativity, discipline, and team participation— all in a safe, fun, nurturing environment. San Francisco Ballet School faculty member San Francisco Ballet School faculty member teaching // © Alexander Reneff-Olson Anne-Sophie Rodriguez

Summer 2019 2019–20 School Year Ballet Classes Ballet Training Pre-Ballet Ages 4–13 Ages 8 and up Ages 4–7 More Information SFBALLET.ORG/SCHOOL

PROGRAMS 07 / 08 | SFBALLET.ORG | 49 GREAT BENEFACTORS

Our most loyal donors are dedicated to supporting exquisite art and understand that a contribution to San Francisco Ballet is an investment in the cultural life of the Bay Area. Our growth and evolution as a company and school is due in large part to the steadfast and generous support of patrons in the Bay Area and beyond. In 2005, we created the honor of Great Benefactor to recognize donors whose cumulative giving to SF Ballet is $1 million or more.

$10,000,000 AND ABOVE $1,000,000–$2,499,999 Grants for the Arts American Airlines Mary Jo and Dick Kovacevich The Hellman Family Estate of Helen Anderton Kelsey and David Lamond William and Flora Hewlett Foundation AT&T The Charles Henry Leach, II Foundation, Lucy and Fritz Jewett Bank of America Foundation Jennifer Jordan McCall, Foundation Trustee Bingham McCutchen LLP Catherine Lego Athena and Timothy Blackburn Paul Lego $5,000,000–$9,999,999 BRAVO Marie and Barry Lipman Estate of Dora Donner Ide Fang and Gary Bridge The Marver Family The James Irvine Foundation Jennifer Caldwell and John H. N. Fisher Stephanie and James Marver Mrs. Jeannik Méquet Littlefield The State of California Alison and Michael Mauzé National Endowment for the Arts Estate of Lewis and Emily Callaghan Andrew W. Mellon Foundation The Bernard Osher Foundation Mrs. Daniel H. Case III Nicola Miner and Robert Mailer Anderson John Osterweis and Barbara Ravizza Chevron Corporation Pacific Gas and Electric Company Diane B. Wilsey Estate of Barbara A. Daily The Thomas J. and Gerd Perkins Foundation Deloitte Pillsbury Winthrop Shaw Pittman LLP Susan and John Diekman Arthur and Toni Rembe Rock $2,500,000–$4,999,999 Suzy Kellems Dominik Bob Ross Richard C. Barker Rudolph W. Driscoll Gordon Russell California Arts Council Kate and Bill Duhamel San Francisco Ballet Auxiliary First Republic Bank Sonia H. Evers The San Francisco Foundation Ford Foundation Ann and Robert S. Fisher Randee Seiger Diana Stark and J. Stuart Francis Estate of Georg L. Frierson O.J. and Gary Shansby Gaia Fund Stephen and Margaret Gill Family Foundation Shubert Foundation, Inc. Richard and Rhoda Goldman Fund Evelyn & Walter Haas, Jr. Fund The Smelick Family Estate of Richard B. Gump Colleen and Robert D. Haas Denise Littlefield Sobel Mimi Haas Walter & Elise Haas Fund Estate of Stanberry Estate of Katharine Hanrahan Dr. and Mrs. Jeffrey P. Hays Estate of Natalie H. Stotz Hellman Foundation William Randolph Hearst Foundation Joyce Stupski The Herbert Family The Edward E. Hills Fund Estate of Arlene H. Sullivan Donald F. Houghton James C. Hormel and Michael P. Nguyen Richard J. Thalheimer G. William Jewell The William G. Irwin Charity Foundation Ms. Susan A. Van Wagner Koret Foundation George F. Jewett Foundation Visa Inc. Yurie and Carl Pascarella George F. Jewett, Jr. 1965 Trust Wallis Foundation Kenneth Rainin Estate of Mildred Johnson The E. L. Wiegand Foundation Mr. George R. Roberts JPMorgan Chase & Co. Akiko Yamazaki and Jerry Yang Kathleen Scutchfield Maurice Kanbar The Zellerbach Family The Swanson Foundation Dr. and Mrs. Jerome Ormond Kirschbaum Phyllis C. Wattis Diana Dollar Knowles Wells Fargo Estate of Diana Dollar Knowles

50 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 ARTISTIC DIRECTOR'S music dance theater 2018/19 COUNCIL Cal Perform ances SEASON UNIVERSITY OF CALIFORNIA, BERKELEY San Francisco Ballet gratefully acknowledges the members of the Artistic Director’s Council. Their generous Los Angeles Master Chorale support of $100,000 or more to the annual Lagrime di San Pietro (Tears of Saint Peter) Orlando di Lasso, composer fund is instrumental to the success of Grant Gershon, conductor SF Ballet, SF Ballet School, and SF Ballet’s Peter Sellars, director education programs. This list does not Visionary director Peter Sellars include gifts made in support of special returns to Cal Performances with projects or special events, as they are a profound and stirring a cappella recognized separately. work by one of the Renaissance’s most revered composers. Council members receive concierge Performed in Italian, with English supertitles. service and special access to performances, exclusive events, and “A major accomplishment for rehearsals. To learn more about the the Master Chorale, which Artistic Director’s Council, please contact sang and acted brilliantly. It is Sarah Warner, Associate Director of also a major accomplishment for music history.” Development, Individual Giving at —Los Angeles Times [email protected] or 415 865 6634.

GRAND BENEFACTORS $250,000 and above May 17 ZELLERBACH HALL The Hellman Family Diane B. Wilsey ARTISTIC DIRECTOR’S COUNCIL Eifman Ballet1/2V $100,000–$249,999 The Pygmalion Effect (US Premiere) Anonymous A ballet by Mr. Richard C. Barker Johann Strauss, Jr., music Anne T. and Robert M. Bass Zinovy Margolin, set design Olga Shaishmelashvili, costume design Fang and Gary Bridge Alexander Sivaev and Boris Eifman, lighting design Ms. Laura Clifford Cui Lihong and Wang Wei For 40 years, the defiantly controversial choreographer Boris Eifman has Sonia H. Evers created productions punctuated by sumptuous costumes, exquisite Shelby and Frederick Gans dancing, and riveting drama. Here, the Teri and Andy Goodman company presents the United States premiere of his brand new ballet, set Beth and Brian Grossman to a score by Johann Strauss Jr. Margaret and Will Hearst Lucy Jewett “This Russian dancemaker Mary Jo and Dick Kovacevich and his dancers are among the most fascinating artists Kelsey and David Lamond before the public today.” Brenda and Alexander Leff —San Francisco Chronicle Mr. James D. Marver Alison and Michael Mauzé BY POPULAR DEMAND! Mr. and Mrs. John S. Osterweis Added performance – Yurie and Carl Pascarella Saturday, June 1, 2pm Arthur and Toni Rembe Rock May 31–Jun 2 ZELLERBACH HALL Christine Russell and Mark Schlesinger Randee Seiger Season Catherine and Mark Slavonia calperformances.org/tickets Sponsor: Denise Littlefield Sobel Judy C. Swanson

PROGRAMS 07 / 08 | 415 865 2000 | 51 CHAIRMAN'S COUNCIL

The Chairman’s Council brings together a like-minded community of business leaders and philanthropists who share the goal of bringing world-class ballet to a world-class city. San Francisco Ballet gratefully acknowledges the generous support of Chairman’s Council members, who contributed gifts of $15,000 or more to the annual fund as of March 10, 2019. This list does not include gifts made in support of special projects or special events, as they are recognized separately. In addition to receiving Christensen Society benefits, members of the Chairman’s Council receive benefits tailored to their individual interests, such as the opportunity to sponsor a ballet or enjoy an exclusive viewing of a ballet rehearsal. If you would like more information about the Chairman’s Council, please contact Danielle St.Germain-Gordon, Chief Development Officer at [email protected] or 415 865 6615. The names of donors who have been honored as ten-year members of the Chairman’s Council or Christensen Society are followed by a plus sign (+). Former SF Ballet Trustees and Associate Trustees are noted with an asterisk (*).

PRESENTER’S COUNCIL $50,000–$74,999 Athena and Timothy Blackburn+ James C. Hormel and Mr. and Mrs. Scott Connors The Honorable and Chaomei Chen and Dr. Yu Wu Michael P. Nguyen+ Ms. Phoebe Cowles+ Mrs. George P. Shultz+ Hannah and Kevin Comolli Thomas E. Horn+ Mrs. Courtney C. Dallaire Mr. and Mrs. George H. Sollman David and Vicki Cox+ Ms. Jeri Lynn Johnson+ Jill Daly The Spero Family In Memory of Carole Demsky Christine and Pierre Lamond+ Dr. and Mrs. Jordan Deschamps-Braly Michael and Susanna Steinberg Sue and John Diekman+ Dr. and Mrs. Stephen Leavitt Mr. Josh Elkes and Ms. Rachel Happ Alan and Patricia Tai+ Drs. Richard D. and Patricia Gibbs Dr. Timothy Marten, M.D. and Paula M. Elmore* Adam J. Thaler Ms. Mary Heylin+ Margaret and Stephen Gill+ Douglas and Barbara* Engmann+ Mr. and Mrs. Charles V. Thornton+ Nion McEvoy and Leslie Berriman Kathleen Grant, M.D. and Mr. Frank J. Espina and Mr. and Mrs. William R. Timken+ Thomas Jackson, M.D.+ Alexander R. Mehran*+ Mrs. Andrea Valo-Espina Mr. and Mrs. Alan B. Vidinsky Jim and Cecilia Herbert+ Michael Moritz and Harriet Heyman Lynn Feintech and Tony Bernhardt+ Paul A. Violich+ Matthew & Siska Hobart Roland G. Ortgies and Mr. Edward G. Fernandez Daniel and Marie Welch Carmela C. Anderson-Ortgies+ Elaine Kartalis Randi and Bob Fisher Cynthia and Edgar Whipple+ Mr. and Mrs. Norman C. Pease Mr. and Mrs. James C. Katzman+ Mrs. Mortimer Fleishhacker+ The Whitman Family Foundation Wylie Peterson and Nancy A. Kukacka Patty Garbarino Ms. Patricia Wyrod Anne-Marie Peterson Marie and Barry Lipman+ James K. and Helen L. Goodwine+ Diane and Howard Zack+ Kacie and Michael Renc+ Marissa Mayer and Zachary Bogue+ Brian and Elizaveta Gustafson Mr. and Mrs. Edward Roach+ John and Amy Palmer Mr. Isaac Hall Mr. George R. Roberts+ Mrs. Henry I. Prien+ Mr. and Mrs. Terry Houlihan Larissa Roesch and Calder Roesch+ Kara and Charles Roell Fred Isaac and Robin Reiner Michael and Mary Schuh+ Kathleen Scutchfield+ John G. Kerns*+ O.J.* and Gary Shansby+ David H. Spencer William and Gretchen Kimball Fund+ Marc Sinykin and Kevin Osinski Mrs. Joyce L. Stupski+ Arlene and Steve Krieger+ Mr. and Mrs. Robert M. Smelick+ Mr. Richard J. Thalheimer+ Patrice and Walther Lovato Tom Steyer and Kat Taylor+ Ms. Zhenya Yoder Peter and Melanie Maier Mr. and Mrs. William Truscott Ms. Susan Marsch Barbara and Stephan Vermut SPONSOR’S COUNCIL Mr. Gregg Mattner+ Beatrice Wood $25,000–$49,999 Justin T. McBaine Anonymous (2) Jane and Roger McCarthy+ CHAIRMAN’S COUNCIL Gioia and John Arrillaga+ Stewart McDowell Brady and $15,000–$24,999 Eleonore Aslanian+ Philip Brady Anonymous (3) in memory of Edward Aslanian Dr. Maya Meux Joseph and Brooke Karen S. Bergman+ Mr. Ronald W. Miller+ Brenton and Ms. Eliza M. Brown+ Mr. James E. Milligan*+ Lysbeth Warren Anderson+ John G. Capo and Orlando Diaz-Azcuy+ Mrs. Stuart G. Moldaw+ Kristen A. Avansino+ Robert and Laura Cory Mr. and Mrs. Robert L. Newman+ Mr. and Mrs. Bartley B. Baer Katherine and Gregg Crawford+ Michel and Mekhala Oltramare Rosemary B. Baker*+ Dana and Robert Emery+ Mr. James Parsons and Courtney Benoist and Jason M. Fish*+ Carol Emory and Ms. Andrea Hong Ms. Susan Blake+ The Wingate Foundation+ Dave and Judy Redo+ Bruce Braden+ Mr. Robert S. Fisher*+ Glenn H. Reid+ Rachel Brass and Richard Foster Mr. David Galloreese Mr. Jeremy Rishel Ron and Susan Briggs+ Joseph and Marianne Geagea Mr. and Mrs. Robert Shaw Paula and Bandel Carano James C. Gries+ Christine Sherry and Lawson Fisher+ Rosalyn Chen Chavez Brian and Rene Hollins+

52 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 CHRISTENSEN SOCIETY

The Christensen Society, named for the three brothers whose artistic vision pioneered SF Ballet, offers a foundational connection to the heritage of the Company. Christensen Society member donations enable SF Ballet to underwrite season productions, acquire contemporary and classical works for our repertory, conduct national and international tours, train hundreds of young dancers at San Francisco Ballet School, and share the love of dance with underserved children and families throughout the Bay Area. San Francisco Ballet gratefully acknowledges the generous support of Christensen Society members, who contributed gifts of $2,500 to $14,999 to the annual fund as of March 10, 2019. This list does not include gifts made in support of special projects or special events, as they are recognized separately. For more information about the Christensen Society, please contact Ari Lipsky, Senior Manager, Individual Giving at [email protected] or 415 865 6635. The names of donors who have been honored as ten-year members of the Christensen Society are followed by a plus sign (+) in this section. Former SF Ballet Trustees and Associate Trustees are noted with an asterisk (*).

The Honorable and CHOREOGRAPHER'S COUNCIL Mrs. George P. Shultz+ $7,500–$14,999 Mr. and Mrs. John S. Hoch Mr. and Mrs. Roderick W. Shepard Jack and Gloria Clumeck Mr. and Mrs. George H. Sollman Anonymous (5) Ms. Kathryn Huber and Dr. and Mrs. Stephen Sherwin+ Ms. Sandi Covell+ The Spero Family Sig Anderman Mr. William Larry Binkley Anne and Michelle Shonk+ Mary B. Cranston*+ Michael and Susanna Steinberg Norby Anderson Mr. Hiro Iwanaga Ms. Cherida Collins Smith+ Ms. Nancy Curtiss Alan and Patricia Tai+ Ms. Maren Armour Arnold and Laurel Jacobson Susanne Stevens+ Ms. Lisa Daniels Adam J. Thaler Drue and Jerry Ashford+ Mr. and Mrs. Richard Jasen The Streets Family+ Mr. and Mrs. James A. Davidson Mr. and Mrs. Charles V. Thornton+ Mr. and Ms. Bartley B. Baer Guyton Jinkerson+ Ms. Nadine Tang and Mr. Bruce Smith Ms. Bonnie De Clark Mr. and Mrs. William R. Timken+ Jeanne and William Barulich Mrs. Barbara L. Johnson Helgi and Marlene Tomasson Jacqueline* and Christian P. Erdman+ Mr. and Mrs. Alan B. Vidinsky Dr. Margaret Bates and Scott Johnson+ Jim and Barbara Kautz The Watkins Family+ Tawna and John Farmer+ Paul A. Violich+ Mr.* and Mrs. Joachim Bechtle+ Ms. Lisa A. Keith+ Helena and William Wheeler Mr.* and Mrs. Irwin Federman+ Daniel and Marie Welch Lydia and Steven Bergman Ms. Micki Klearman Ms. Leslie Wilson Brent and Sandra Fery Cynthia and Edgar Whipple+ Davidson Bidwell-Waite and Linda and Robert Klett+ Mr. Tim C. Wu and Mr. Eric Murphy+ Ms. Linda Jo Fitz+ The Whitman Family Foundation Edwin A. Waite+ Mr. and Mrs. Mark Kostic Sharon and Robert Yoerg Mr. and Mrs. David Fleishhacker+ Ms. Patricia Wyrod Claire and Jared Bobrow+ Mrs. Maja Kristin Dr. Janice and Mr. Jonathan Zakin+ Ms. Sonia Florian Diane and Howard Zack+ Mr. and Mrs.* William S. Brandenburg Ms. Linda Kurtz Kenneth and Anna Zankel, The Grove Mr. Dennis N. Fluet+ Kelly and Samuel* Bronfman II+ Captain Witold Klimenko and Camille and Sean Flynn+ Dr. Darlene Lanka-Klimenko+ The Robinson Family - DANCER’S COUNCIL John and Kelly Foley AB Butler Family Laube Family Foundation $5,000–$7,499 Mr. and Ms. Donald D. Fortune Jr. Damian S. Carmichael Mark and Debra Leslie+ Anonymous (4) Ms. Mayhill Fowler Jon B. Chaney+ Ms. Betsy A. Linder+ Ms. Diane K. Aaron Mr. David B. Franklin and Antoinette Chatton+ Mark and Lori Litwin+ Andrew and Linda Rosenberg Ach Mr. Ruedi F. Thoeni Ms. Karen K. Christensen+ Ms. Tiffany Lockridge Judy and David Anderson Mrs. Phyllis K. Friedman+ Robert Clegg*+ Carol and Hal Louchheim+ Mr. and Mrs. Greer Arthur+ Marilyn & Robert Funari Mr. and Mrs. Sol Coffino Mr. and Mrs. Allen Luniewski Family Foundation Ms. Corine Assouline Ms. Katie Colendich Lori and David F. Marquardt+ Ms. Jane Gazzola Mr. John Atwater and Dr. Charles Connor+ Ms. Suzanne M. Miller Ms. Diana L. Nelson Ms. Malin Giddings and Mr. Richard Hechler Ms. Phyllis Cook+ Mr. David Morandi Ms. Donna Bachle Sally L. Glaser and David Bower+ Michele Beigel Corash and Marta L. Morando+ Dr. Thomas and Julie Ballard Laurence Corash+ Mary and Nicholas Graves+ Mrs. Janet Morris+ Ms. Deborah Taylor Barrera Peter and Quin Curran Donald W. and Patricia L. Green Manfred K. Mundelius+ Mr. Charles Barrett Mr. and Mrs. Angelos Dassios Claude and Nina Gruen+ Miriam Sedman and Mr. and Mrs. Gene Becker Juanita and Manuel Del Arroz+ Ralph Nyffenegger+ John and Lucie Hall Valli Benesch and Bob Tandler Mrs. Suzy Kellems Dominik*+ Ms. Carla Oakley and Michael and Julie Hawkins Curtis Grisham and Charles Black, Jr. Ms. Paulette Doudell+ Mr. Kevin McCarthy+ Miranda Heller and Mark Salkind+ Mr. William Bonville and Mr. David Oldroyd and Robert and Judith Duffy+ Ms. Virginia Jordan Mindy Henderson Mr. Ronnie Genotti Ms. Katherine M. Fines and Mr. and Ms. Ron Borelli Joan and Alan Henricks Mr. Henry Heines+ Ms. Mindy Owen+ Dr. Thomas and Janice Boyce+ The Henrikson Family Foundation Doris Fisher+ Ms. Elizabeth A. Peace Dr. Odelia Braun Ms. Mary Herman J. Stuart Francis and Diana Stark+ Beth Price+ Cynthia and Frederick Brinkmann+ Cynthia Hersey John and Marcia Goldman+ Leslie and Nick Podell+ Mr. and Mrs. Kent F. Brooks Mr. Patrick M. Hogan William J. Gregory Mr. and Mrs. Neal I. Powers James R. and Melinda M. Brown Hank J. Holland* Ann M. Griffiths+ Mr. Gordon L. Radley+ Kelli and Steve Burrill+ Ms. Kimberly M. Hughes+ Linda Groah Ms. Patricia Rock and Mr. John Fetzer Dr. Heidi H. Cary Ms. Giovanna Jackson* Mr. Gordon Russell and Dr. Elizabeth A. Harrison Ms. Andrea Jacoby+ Dr. Bettina McAdoo+ Mr. and Mrs. Robert Cauthorn Dr. Birt Harvey Mr. Peter Joshua Dorothy Saxe+ Mr. and Mrs. Donald Chaiken+ Mr. and Mrs. A. Grant Heidrich III+ Kamran and Helena Shamsavari+ Drs. Valerie and Devron Char+ Dr. and Mrs. I. C. Henderson+ PROGRAMS 07 / 08 | SFBALLET.ORG | 53 CHRISTENSEN SOCIETY CONTINUED

Mr. David A. Kaplan and Mr. and Mrs. Mathew Spolin+ Ms. Cameron L. Best Mr. and Mrs. Robert Dickson Mr. Glenn Ostergaard+ Ms. Tricia Stephens Philip Bettens Mr. and Mrs. Theodore S. Dobos+ Ms. Dorothy Kaplan Mr. Matthew Stepka RADM and Mrs. John W. Bitoff+ Alicia Dougherty-Wold and Mr. Loren B. Kayfetz Ms. Catherine Stout Amos and Carla Blackmon Thomas Wold Mr. and Mrs. Jascha Kaykas-Wolff Ms. Fran A. Streets+ Ms. Martha E. Blackwell Mr. and Mrs. William H. Draper III Kristen Kelly Mrs. Dwight V. Strong+ Dr. Phyllis B. Blair Michael E. Dreyer and Harry B. Ugol+ Rev. Keenan C. Kelsey Maureen and Craig Sullivan Mr. Noel T. Blos+ Mrs. Jennifer M. Duarte Mr. and Mrs. John D. and Mr. and Mrs. Jim Swartz+ Ms. Janet M. Bollier Mr. Garrettson Dulin, Jr. Paulette Kempfer Ms. Jody K. Thelander Bon Air Center Ms. Jane Durie Mr. and Mrs. Alan F. Klein+ Mr. and Mrs. William L. Thornton+ Rebecca and Michael Bradley Mr. Fritz Eberly Ms. Patricia D. Knight Mr. Harry Tierney+ Ms. Carolyn J. and Ms. Freya Eduarte and Mr. and Mrs. James Knoll Mr. Philippe Courtot Mr. Dana Tom Mr. David W. Brady Ms. Suzanne Knott and Mr. Tom Rose Diane and Joseph Ehrman III+ Mr. and Mrs. Edward Tortorici Germaine Brennan Foundation+ Sharon Lambert and Charles Cohen+ Dr. Robert Elfont and Ms. Lida Urbanek Julie Brown-Modenos Mr. and Mrs. Jude Laspa+ Ms. V’Anne Singleton Drs. Oldrich and Silva Vasicek+ Ms. Barbara Brown+ Jeff and Melissa Li Kirsty Ellis Ms. Adrian Walker+ Catherine Brown and Ms. Judy Lichterman Mr. and Mrs. Lionel Engelman Jennifer* and Steven Walske+ Gerald Gwathney Christa and Mark* Lopez Mr. Stephen W. Etter Ms. Susan Warble Josephine Brownback+ John and Kate Lord+ Mr. Greg Evans Daphne and Stuart Wells Katie Budge Dr. and Mrs. G. Karl Ludwig, Jr.+ Mrs. Mickey Evans Mr. and Mrs. Wallace Wertsch+ Betty C. Bullock and Robert Murray Mr. and Mrs. Laurence R. Lyons Rev. Richard Fabian Karen and Stephen Wiel+ Julie and David Burns Mr. Michael Manning Buck Farmer and Leida Schoggen Mr. and Mrs. David Wilner Peggy and Donald Burns+ Ms. Dosia Matthews Mr. Zé Figueirinhas Mr. Paul Wilson Mrs. Leah Busque Mr. Patrick McCabe Mr. William E. Fisher+ Mr. and Mrs. Michael Woodall Adrian and Carol Byram Jennifer J. McCall+ Dr. and Mrs. Keith Flachsbart Dr. Keith R. Yamamoto+ Mr. and Mrs. Anthony Calabrese Dr. Jack M. McElroy and Mrs. John Callander+ Shelley Floyd and Albert Loshkajian Dr. Mary Ann Skidmore+ Dr. Paula Campbell Mr. and Mrs. Roy A. Francies Jr. ASSOCIATE'S COUNCIL Joan and Robert McGrath+ Libi Cape+ Mr. and Mrs. Thomas Frankel+ $2,500–$4,999 Mr. and Mrs. John A. McQuown Nina Cardoza and John Krowas Mr. Douglas Frantz Anonymous (5) Mr. Steve Merlo Nina Carroll+ Mr. Ernest Freeman Ms. Marcia Abrams Mary Mewha* Ms. Linda Carson+ Ms. Baerbel Freytag Michael C Abramson+ Carole Middleton Michaela Cassidy* and Dr. and Mrs. A. W. Fricke Norman Abramson and David Beery Mr. Ted E. Mitchell+ Terry Whitney+ Mr. Ian Friedland Molly and Stewart Agras+ Kathleen Much and Stanley Peters Charles R. Castellano and Ms. Joyce Friedman Mr. Bruce Albert and Ms. Donna Neff Deryl Castellano Ellen Fujikawa Dr. Chady F. Wonson+ Mr. Paul Nordine Mr. Benedick Chai Dr. Kim Fullerton-Nelson Ms. Melissa Allen Mr. and Mrs. Michael O’Sullivan Mr. Marvin Charney Ms. Ayumi Funaki Lisa and Maria Alvarez Mr. Richard Oppenheimer Mr. Paul Clifford Penny and Gregory Gallo+ Jola and John M. Anderson+ Sandy Otellini+ Douglas Clough and Erin Uesugi Mr. John Garfinkle Mr. Zachery Anderson Mrs. Alexandra Ottesen Ms. Margaret Coblentz David Getchell and Allison Gonzalez Dr. and Mrs. Joseph S. Andresen+ Mr. Dennis Otto & Mr. Robert Meadows Mitchell and Susan Cohen+ Nora L. Gibson and William L. Hudson Ms. Christine DeSanze and Ms. Claudia Coleman+ Mr. William D. Parent+ Mr. Scott Anthony Joy Gim Richard and Sylvia Condon+ Patricia Sanderson Port Mr. and Mrs. Robert Benton Armstrong Mr. Brendan Glackin Sandi Conniff Ms. Ruth Quigley Mr. and Mrs. Hiroki Asai Glaucoma Center of San Francisco Mrs. Glenna Cook Ursula Elisabeth Ralph Asmus Family Ms. Georgie Gleim Jane A. Cook+ Ms. Teresa Remillard Ms. Mary Atwater Ms. Barbara Glynn Alice M. Corning+ Dr. and Mrs. Robert E. Richardson+ Ms. Nancy R. Axelrod+ Mr. Alberto Gobbi Joan and Victor Corsiglia Mr. and Mrs. Fredric H. Roberts Chris and Janet Bajorek Jennie Golde Ms. Côté De Vaughn Mr. Sanford R. Robertson+ Mr. Stephen A. Bansak III Nora Goldschlager Ms. Lilly Creighton Ms. Marianne B. Robison+ Ms. Olivia Barbee Drs. Meryl Gordon and Ms. Jennifer Crutchfield Robert Schermer Ms. Susan Rosin and Mr. Brian Bock Karen Bartholomew Dr. Stephen J. Danko Phillip and Philippa Newfield Gordon+ Mr. and Mrs. Mark J. Ryan+ Marie-José and Kent Baum+ Ms. Susan J. Davenport Shelley Gordon Paul Sack and Shirley Davis+ Mr. and Mrs. David W. Beach+ Mr. Dan Davies Mr. James Gosling+ William and Linda Schieber Ms. Lydia Beebe Dr. and Mrs. R.L. Davis+ Mr. Michael Grady Carolynne Schloeder Mr. Daniel C. Belik Ms. Joan Dea and Richard L. Grant and James L. Miller+ Dr. David Tai-Man Shen and Ms. Desa C. Belyea Mrs. Elaine Shen+ Mr. Lionel Conacher Ms. Joan Green Dr. and Dr. Anne Leland Benham Dr. Dale Skeen+ Mr. Keith Dehoff Judy and Josh Green Mr. Robert G. Benson Ms. H. Marcia Smolens+ Dr. Richard M. Delfs+ Mr. and Mrs. Lawrence Green Mr. and Mrs. William H. Bentley Mrs. Linda Snyder Marvin Dennis+ Nonie H. Greene and Todd Werby+ Ms. Carol Benz James Sokol Mr. Curtis E. Dennison Mr. Roger D. Greer Mrs. LaVerne Beres Ms. Ellice Sperber and Ms. Simone Derayeh Sara G. Griffith Diana Bersohn Ms. Emma Elizalde Julie Desloge and Duncan and Jeanie Gurley George A. Newhall+ 54 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 Mimi Haas+ Robert Levenson and Michelle Shiota Patricia and Hayes Noel Earl Singer Stephen Halprin+ Mr. Fred M. Levin and Mrs. Wilma J. Nurenberg Mr. Paul Skan Alexander and Catherine Hargrave+ Ms. Nancy Livingston Ms. Linda L. Olson and Mr. Jeffrey Sloan Sara and Catherine Harkins+ Mr. Roy Levin and Mrs. Jan Thomson Mr. David Polnaszek Mrs. Paula Anne Smith Mr. and Mrs.* Kenneth Hecht Ms. Allison Jacobs Mr. and Mrs. Philip Ouyang+ Mr. Stephen R. Smith and Mr. and Mrs. Ronald Heckmann Pam G. Lewis+ Mr. and Mrs. Will Parker Ms. Theresa E. Lahey John F. Heil+ Ms. Debra A. Leylegian+ Dr. Eugene H. Peck Mr. Scott C. Sollers Martha and Michael Helms Claire and Herbert Lindenberger+ Hon. Nancy Pelosi & Mr. Paul Pelosi Mary Ann Somerville+ Mr. and Mrs. Christopher Hemphill Dr. Mary Jane W. Loda Dr. Barbara A. Peters Lisa J. Stern-Hazlewood+ Ms. Kristine T. Hernandez and Carol and Bill Lokke Mrs. Lois M Peterson Mr. Paul Stone Mr. Michael R. Glaser Mr. and Mrs. Steve Love Ms. Patricia Peterson Mrs. Mary Stuard Ms. Shelly Hernandez Dan Lowenstein & Mylo Schaaf The Phillips Family+ Jonathan Feinstein and Erika Stuart Virginia Hind Hodgson Ms. Pirkko Lucchesi Dr. Ben M. Picetti Joseph J. Sturkey+ Susan and Russell Holdstein Mr. and Mrs. Lawrence Ludgus+ Hilary C. Pierce and Keir J. Beadling Kimberly and Philip Summe Philanthropic Fund Mr. Harvey Lynch Edward and Linda Plant+ Darian and Rick Swig+ Sunny Holland and Alan Pryor+ Leslie MacDonald Melissa and Ritchie Post+ Roselyne C. Swig*+ Mr. and Mrs. Christopher Hollenbeck Mrs. Rhondalee Mahendroo Mrs. and Mr. Patrick V. Powers Ms. Lita Swiryn Ms. Carol Ann Holley Howard and Siesel Maibach+ Burr Preston Jane and Jay Taber Amal and Denis Hommais Dr. Aditi Mandpe Ms. Sandra Price+ Teresa Tang Ms. Billye Howard Mr. Richard Martin Virginia Leung Price and Ms. Trecia Knapp and Dr. Serena Hu Ms. Virginia Martin Walter C. Price, Jr. Mr. Bruno Tapolsky Cordell and Susan Hull Mr. Adolph V. Martinelli Mr. John Pringle+ Mrs. Bente Tellefsen+ Ms. Marie L. Hurabiell Ms. Connie V. Martinez Louis Ptacek and Ying-Hui Fu+ Mr. James Teter Susan and Lyman Hurd Ms. Mary E. Massee Mr. Fritz Quattlebaum+ Ms. Holli P. Thier, J.D. Ms. Margaret C. Hutchins Holly and Stephen Massey Mr. and Mrs. Jeffrey Ralph Judy and Harold Ticktin Carolyn T. Hutton Niko and Steven Mayer+ Barbara Rambo* and Mr. Ronald R. Titus Thomas A. Goossens+ Mr. Churn Hwang Dr. and Mrs. W. D. McCallum+ Mr. and Mrs. Vincent Tobkin James Deveney and Steve Rausch Ms. Corey Hyde Mr. and Mrs. George McCown+ Lowell Tong and Alasdair Neale Drs. Garry and Kathy Rayant+ Ms. Meghan Imrie Mr. Glenn McCoy+ Ms. Amanda Topper+ Judge and Mrs. Charles B. Renfrew Ms. Karen J. Irvin+ Dan McDaniel, M.D. Lee Travers Louise and Paul Renne Ms. Anne Irwin Ms. Kathleen McEligot+ Mr. John Tusch Ann and Jon Reynolds+ Jackson Family+ Ms. Jean A. McIntyre Charles W. Tuttle, Jr. Prof. and Ms. Paul L. Richards Dennis and Paula Jaffe Lisa and Jason McPhate Ms. Helen Tyree Thomas C. Rindfleisch and Ms. Lili Jensen Dr. and Mrs. Bruce Mebine Mr. Herbert Uetz A. Carlisle Scott+ Ms. Berdine Jernigan Mr. David E. Meders Patricia Unterman and Tim Savinar Mr. Chip Roame Ms. Jane L. Johnson Ms. Alena Meeker Janet Sassoon-Upton and L.L. Roberts and A.R. Wilbanks+ John R. Upton, Jr.+ Todd Jolly and Judith Murio Mr. Martin Melia Jack and Fran Rominger Dr. Conrad Vial Debra and Blake Jorgensen Dr. Beryl Mell and Renee Mell+ Ms. Patricia Rosenberg Mrs. Virginia Wade Ms. Roberta Kameda Mr. Wallace Mersereau Kate Rowe+ Mr. and Mrs. Mark Wallace Bruce and Dasa Katz+ Byron R. Meyer*+ Mr. Paul L. Rowe and Tom Kennedy Mr. Richard Walsh Mr. and Mrs. Lou Meylan Mr. Michael Sereno Drs. Douglas and Carol Kerr Emily and Bob Warden Fred A. Middleton+ Tiffany Loren Rowe Ms. Kathryn Kersey Rosalie V. Weaver Richard Miller and John Vinton+ Mr. Roberto Ruiz and Mr. Kevin Lee Mehrzad Khajenoori Eitan Fenson and Barbara Weinstein Ms. Elizabeth Mitchell Nicholas Heldt and Elizabeth Salveson Ms. Jennifer H. Kilpatrick Mr. and Mrs. Otto Weiss+ Susan and Jack Molinari+ Louise Adler Sampson Kevin King and Meridee Moore+ Ms. Carol A. Weitz Mr. and Mrs. Ken Moonie+ Ms. Letitia Sanders Mrs. Jerome Ormond Kirschbaum+ Melanie and Ronald Wilensky Gary and Eileen Morgenthaler Donald and Terry Sarver+ Mr. and Mrs. Mark S. Koenig Ms. Faye Wilson Dianne and Brian Morton Mr. Michael Scagliotti and Mr. and Mrs. Terry Winograd Mr. and Mrs. Martin M. Koffel Ms. Alexandra Moses+ Mrs. Miya R. Peard Ms. Muriel Wolverton Mr. Abner Korn Mr. Milton J. Mosk and Gwendy and Anthony Scampavia+ Sharon* and Dr. Russell Woo+ Ms. Gladys Kwong Mr. Thomas Foutch+ Warren A. Schneider Laureen Woodruff+ Reiko and Yasunobu Kyogoku Chris Motley & Neil O’Donnell Mr. and Mrs. Paul A. Schroeder Ms. Daphne Wray Ms. Nicole LaFlamme Ms. Sharon S. Muir Ms. Deborah Schultz and Mrs. Brigitte Laier Mr. John Murphy Mr. Gary Cohen Ms. Margaret Wrensch Mr. Bryan Lamkin and Mr. Roger Murray Mrs. Avé M. Seltsam and Ms. Kelly Wulff Ms. Arianna Carughi Ms. Vija Hovgard Nadai Mr. James D. Seltsam, Jr. Mr. Babak Yazdani Ms. Sandy S. Lee Mrs. Shirley Negrin+ Joan and Lynn Seppala Jacqueline Young Patricia W. Leicher Dr. Alex Nellas Ms. Teresa Serata Mr. and Mrs. Ronald Zaragoza Julius Leiman-Carbia & Drs. Andrew and Lynn Newman+ Mr. and Mrs. Gary J. Shapiro+ Mr. James Zawada Kyle Thomas Smith Jeanne Newman Yuqiao Shen Catherine Zimmerman Patricia Lekas and John Wentz+ Cathy and Raul Nicho Mr. and Mrs. Drew Sievers Mr. and Mrs. Harold Zlot Mr. and Mrs. Edward M. Leonard+ Tom Nicoll+ Mr. Lawrence J. Simi and Mrs. Sandra J. Zrnic Mr. and Mrs. Mark R. Lepper+ Ms. Allison Nielsen Mrs. Janet Rogers PROGRAMS 07 / 08 | 415 865 2000 | 55 INSTITUTIONAL SUPPORT

Forward-thinking organizations understand the need to create a vibrant civic life in the places they do business. Giving from private, family, and community foundations helps us commission new works; design and build sets and costumes; take the Company on tour; and engage our communities. Leading corporations—local, national, and international—enhance their reputations by supporting SF Ballet performances, touring, special events, and our community engagement programs. And when they do, they are able to promote their brand to an audience of opinion makers, entertain clients at performances, and receive other special benefits as part of a customized benefits package. 1/6H

To learn more about Foundation giving, contact Elizabeth Luu, Associate Director of Development, Institutional Giving, at [email protected] or 415 865 6616. To learn more about Corporate giving, contact Colette Whitney, Corporate Giving Manager, at [email protected] or 415 865 6651.

FOUNDATION & GOVERNMENT SUPPORT IN-KIND SUPPORT

GRAND BENEFACTORS DANCER’S COUNCIL SPONSOR’S COUNCIL ARTISTIC DIRECTOR’S COUNCIL $250,000 and above $5,000–$9,999 $25,000–$49,999 $100,000–$249,999 San Francisco Grants for the Arts Mervyn L. Brenner Foundation, Inc. First Republic Bank Bay Area Rapid Transit Koret Foundation Lisa and Douglas Goldman Fund Tiffany & Co. J Riccardo Benavides The Hope and Norman Hope Foundation Visa FITNESS SF ARTISTIC DIRECTOR’S COUNCIL Walter S. Johnson Foundation $100,000–$249,999 Marin Community Foundation CHAIRMAN’S COUNCIL PRESENTER’S COUNCIL Hellman Foundation $15,000–$24,999 $50,000–$99,999 The William and Flora Hewlett Foundation ASSOCIATE’S COUNCIL Almaden Immersive Productions George F. Jewett Foundation $2,500–$4,999 Charles Schwab & Co., Inc. McCalls Catering & Events The Bernard Osher Foundation Lakeside Foundation Freed of London SmashMallow Shreve & Co.

PRESENTER’S COUNCIL UBS SPONSOR’S COUNCIL by Christopher Wheeldon // © Erik Tomasson

CORPORATE SUPPORT © $50,000–$99,999 U.S. Bank Foundation $25,000–$49,999 Flora Family Foundation ARTISTIC DIRECTOR’S COUNCIL Gloria Ferrer Caves & Vineyards Stephen and Margaret Gill Family Foundation $100,000–$249,999 CHOREOGRAPHER’S COUNCIL Nob Hill Gazette Bound To The Diana Dollar Knowles Foundation Osterweis Capital Management $10,000–$14,999 Pillsbury Winthrop Shaw Pittman LLP National Endowment for the Arts B | O| S (Bingham, Osborn & Scarborough, LLC) The Shubert Foundation, Inc. PRODUCER’S COUNCIL CHAIRMAN’S COUNCIL in Weeks Lonnie $75,000–$99,999 Brooks Brothers $15,000–$24,999 SPONSOR’S COUNCIL Bank of America Dodge & Cox Allegra Entertainment & Events $25,000–$49,999 WSO2 Inc. Gap Foundation Ernest Vineyards Mimi and Peter Haas Fund Lillet Piedmont Piano LOOKING FOR MORE OUT OF YOUR Heising-Simons Foundation PRESENTER’S COUNCIL Mechanics Bank Wealth Management H. B. and Lucille Horn Foundation $50,000–$74,999 Willis Towers Watson CHOREOGRAPHER’S COUNCIL SF BALLET EXPERIENCE? Jerome Robbins Foundation Chevron $10,000–$14,999 Join Friends of San Francisco Ballet and ensure that we are The Charles Henry Leach, II Fund Innovation Global Capital DANCER’S COUNCIL Almaden around for future generations to enjoy. As our way of saying E. L. Wiegand Foundation JPMorgan Chase & Co. $5,000–$9,999 Miette thanks, you’ll get special benefits designed specifically to Kaiser Permanente Athleta Ordaz Family Wines enhance your SF Ballet experience. CHOREOGRAPHER’S COUNCIL KPMG Denning and Company Sbragia Family Vineyards $10,000–$14,999 Pacific Gas and Electric Company Ted Baker The Guzik Foundation DANCER’S COUNCIL JOIN US, WON’T YOU? Walter & Elise Haas Fund ASSOCIATE’S COUNCIL $5,000–$9,999 Visit our website at sfballet.org/donate $2,500–$4,999 John Brockway Huntington Foundation Etude Wines or call 415 865 6628. Taube Philanthropies Fort Point Beer Company Fort Point Beer Company Zellerbach Family Foundation GI Partners SpotHero ASSOCIATE’S COUNCIL $2,500–$4,999 Diptyque Lillet 56 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 PROGRAMS 07 / 08 | SFBALLET.ORG | 57 1/6H

IN-KIND SUPPORT

SPONSOR’S COUNCIL ARTISTIC DIRECTOR’S COUNCIL $25,000–$49,999 $100,000–$249,999 First Republic Bank Bay Area Rapid Transit Tiffany & Co. J Riccardo Benavides Visa FITNESS SF

CHAIRMAN’S COUNCIL PRESENTER’S COUNCIL $15,000–$24,999 $50,000–$99,999 Almaden Immersive Productions Charles Schwab & Co., Inc. McCalls Catering & Events Freed of London SmashMallow Shreve & Co. UBS SPONSOR’S COUNCIL by Christopher Wheeldon // © Erik Tomasson U.S. Bank Foundation $25,000–$49,999 © Gloria Ferrer Caves & Vineyards CHOREOGRAPHER’S COUNCIL Nob Hill Gazette Bound To $10,000–$14,999 Pillsbury Winthrop Shaw Pittman LLP B | O| S (Bingham, Osborn & Scarborough, LLC) CHAIRMAN’S COUNCIL in Weeks Lonnie Brooks Brothers $15,000–$24,999 Dodge & Cox Allegra Entertainment & Events Gap Foundation Ernest Vineyards Lillet Piedmont Piano LOOKING FOR MORE OUT OF YOUR Mechanics Bank Wealth Management Willis Towers Watson CHOREOGRAPHER’S COUNCIL SF BALLET EXPERIENCE? $10,000–$14,999 Join Friends of San Francisco Ballet and ensure that we are DANCER’S COUNCIL Almaden around for future generations to enjoy. As our way of saying $5,000–$9,999 Miette thanks, you’ll get special benefits designed specifically to Athleta Ordaz Family Wines enhance your SF Ballet experience. Denning and Company Sbragia Family Vineyards Ted Baker DANCER’S COUNCIL JOIN US, WON’T YOU? ASSOCIATE’S COUNCIL $5,000–$9,999 Visit our website at sfballet.org/donate $2,500–$4,999 Etude Wines or call 415 865 6628. Fort Point Beer Company Fort Point Beer Company GI Partners SpotHero ASSOCIATE’S COUNCIL $2,500–$4,999 Diptyque Lillet PROGRAMS 07 / 08 | SFBALLET.ORG | 57 JOCELYN VOLLMAR LEGACY CIRCLE

Your estate gift to SF Ballet puts you in very special company: the Jocelyn Vollmar Legacy Circle. Jocelyn Vollmar’s career extended from performing roles in SF Ballet’s first Nutcracker and Swan Lake to training generations of dancers in SF Ballet School. We created the Jocelyn Vollmar Legacy Circle to recognize and thank those individuals who, as a part of their own legacy, make an investment in the future of SF Ballet. Members gain special insight into SF Ballet and the creative process of dance through an annual celebratory luncheon and other behind-the-scenes events. Legacy gifts come in all sizes and include gifts from wills and living trusts; gifts that return lifetime income, such as charitable gift annuities; our pooled income fund; and other planned gifts. For information about Legacy Circle membership and estate gift options, please contact Elizabeth Lani, Deputy Director of Development/ Planned Giving, at [email protected] or 415 865 6623.

Anonymous (68) Michael Q. Cohen and Terry Hynes Helm Betsy and Ed McGuigan Michael C. Abramson Carol Berman Cohen Cecilia and Jim Herbert Edward M. Silva and Norman Abramson and David Beery Maggie Collins Jerry Hill James H. McMurray Sophie and Ted Aldrich Jane A. Cook Linda K. Hmelo Susan J. Meadows Anthony J. Alfidi Mary Ellen Copner Betty Hoener Robert L. Merjano Cal Anderson Colette V.A. Cornish Holly and Chris Hollenbeck Steve Merlo Jola and John M. Anderson Sandi Covell Thomas E. Horn Karl Meyer and Kelly Hails David and Judith Preves Anderson Deborah Pearson Cowley Mr. and Mrs. Terry Houlihan J. Sanford Miller Steven D. Arias Kenneth and Diane Cox Vija M. Hovgard Ms. Joyce E. Miller Roulhac and Tom Austin Lynda Meyer Cronin Harold D. and Jocelyn P. Hughes Sandra M. Miraglia Nancy R. Axelrod Gerald Currier Marie Louise Hurabiell Mr. Sidney F. Mobell ML Baird, in memory of Ramona Manke Davis Gary Isoardi Nancy and Larry Mohr Travis & Marion Baird Cornelia Y. de Schepper Dorothy and Bradford Jeffries Patricia Mok Rosemary B. Baker Martha Debs Berdine Jernigan Milton J. Mosk Richard C. Barker David and Alaina DeMartini Mrs. Barbara Johnson Elise Mosse Valera Ferrea Barnhart Karel and Mark Detterman Susan E. and John E. Johnson Jr. Kathleen Much Marie Schoppe Bartee Charles Dishman Mark G. Jones Tom and Anne Muller Margaret Bates, M.D. Christine H. Dohrmann Mrs. René Jopé Manfred K. Mundelius Richard and Kathy Beal Sam Alicia Duke Dr. Devorah Joseph, Peter Johnson Musto Cecelia Beam Peter and Ludmila Eggleton in memory of Nerrissa Joseph Virginia Mylenki and Dr. and Mrs. Walter E. Berger Joseph Ehrman III David A. Kaplan James J. Pidgeon Karen S. Bergman Carol Emory Rose Adams Kelly Mr. and Mrs. Robert L. Newman Ms. Catherine Bergstrom Ms. Frances Eubanks John Kerns Tom Nicoll Shannyn Bessoni Joan Falender Mrs. Jerome Ormond Kirschbaum Jeffrey A. Nigh Davidson Bidwell-Waite and Merritt and Mary Lou Fink Linda and Robert Klett Norman and Hillevi Null Edwin A. Waite C. Candace Fitzgerald Suzanne Knott and Tom Rose Peter Nye and James Marks Arthur Bienenstock Richard Fitzgerald Carole Dillon Knutson John S. Osterweis Patricia Ellis Bixby Victoria Flavell Ms. June Kronberg John and Amy Palmer Phyllis B. Blair Frannie Fleishhacker Joan Shelbourne Kwansa James O. Pearson, Jr. Aviva Shiff Boedecker John and Kelly Foley Sharon Lampton Laura Holmes Peters Jon Borset Mr. and Mrs. Thomas W. Foote Mr. and Mrs. Norman Graham Leaper Rudy Picarelli Dr. Carol Bowden Mary Jo Francis Kimun Lee Michael C. Pirrung Bruce Braden Douglas Frantz Marcia Lowell Leonhardt Karen Posner Lisa K. Breakey Sandra and Alfred Fricke Irv Lichtenwald and Steve and Cleo Postle Ron and Susan Briggs Joseph and Antonia Friedman Stephen R. Ripple Roger and Deborah Potash Leonard Brill and Richard Sanjour Connie Marie Gaglio Betsy Lim Mr. and Mrs. Albert M. Price Cynthia and Frederick Brinkmann Shelby and Frederick Gans Susan R. Lin Jane Radcliffe Agnes Chen Brown, in memory of John Garfinkle Carol and Hal Louchheim Dave and Judy Redo Robert Elliott Brown Jacqueline Ghosin Barbara Lowe Glenn H. Reid James R. and Melinda M. Brown Stephen and Margaret Gill James J. Ludwig M.A. Rey-Bear Trust William C. Bullock S. Bradley Gillaugh Mr. and Mrs. Laurence R. Lyons Mr. and Mrs. Richard D. Ringe Marjorie and Gerald Burnett Jane Gitschier Susan Adair Malecki Pat Roberts Julie and David Burns Teri and Andy Goodman Jo Markovich Elsie Robertson Patricia Butler Meryl Gordon, M.D. John Robert Martin Pauline and Richard Roothman Adrian and Carol Byram Michael W. Grady Connie V. Martinez Renee and Dennis Ross Patricia J. Campbell Jeneal Granieri Mr. James D. Marver Renee Rubin Jack Capito Lawrence Grauman, Jr. Dosia Matthews Karl Ruppenthal and Jo Maxon Linda Parker Cassady Joan and Michael Green Gwen and Hamp Mauvais Pat Sanderson Michaela Cassidy Patricia Lindsay and Steven and Niko Mayer Dorothy Saxe Annag Rose Chandler Donald W. Green Ms. Shawna Marie McDonald Norman Schlossberg Antoinette Chatton Roger W. Green Kathlyn McDonough and Ms. Catherine Schmidt Larry Chow and Ralph Wolf Need to Confirm Dennis Yamamoto Walter and Sharon Schneider Diane and William Clarke James Gries Donald L. McGee Al Schroeder Robert Clegg Martin C. Hamilton Mrs. William L. McGee Leonard C. Schwab Bette Jean Clute Rosemary (Rosie) Hayes Dr. Terri McGinnis Harold E. Segelstad

58 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 ESTATE GIFTS San Francisco Ballet gratefully recognizes the following patrons whose contributions to SF Ballet through their estates have provided meaningful support since July 1, 2015. The Ballet is honored by their generosity and vision for the future of the institution. Bequests and other estate gifts, Mr. and Mrs. Jack Self both large and small, are an integral part of the Ballet’s financial well-being. Christine Selle Michael and Daryl Shafran $1,000,000 and Above $50,000 to $99,999 J. Gary and O.J. Shansby Foundation Barbara A. Daily Ms. Edith Hammerslough John-Luke Sheridan Chris Hellman Mason B. Wells Mrs. Carter Parrish Sherlin Donald F. Houghton Carol R. Sholin James H. McMurray Norma Stanberry Up to $50,000 Marc Sinykin and Kevin Osinski Natalie H. Stotz Anonymous (8) Charles G. Smith Arlene H. Sullivan Carol S. Arnold Cleveland M. Smith Eileen Bobrow Dr. W. Byron Smith $500,000–$999,999 Barbara Deepe M. Eileen Soden, Ph.D. Milan Milton Holdor Mr. and Mrs. Rudolf Glauser Scott C. Sollers Arnold A. Grossman Sue Sommer Sharon St. James $250,000–$499,000 John E. Leveen Stephen B. Steczynski Anonymous Ruth Morse Nancy Stern Ruth A. Copley Julia Nash Barbara and Charles Stevens Rachel H. Norman Susanne Stevens $100,000–$249,999 Jessica M. Putney Mrs. Dwight V. Strong Earl Diskin Michelle Scholz Jane and Jay Taber Gloria R. Hendricks Betty S. Thal Mr. and Mrs. Alan Tai Jack Eugene Teeters Bernice Itkin Sam Thal, M.D. George W. Lord Richard J. Thalheimer Dr. Florence R. Oaks Suzanne and Charles Thornton Jazz Tigan Mr. and Mrs. Howard Timoney Michael E. Tully Janet Sassoon-Upton and John R. Upton, Jr. Carolyn and Terry Voet Mrs. Katherine Wallin Mrs. Barbara W. Wanvig Rosalie V. Weaver Dr. Frieda Weiner Daphne and Stuart Wells Benjamin and Mary Ann Whitten Karen and Stephen Wiel Mr. Burlington Willes Michael Williams Miles Archer Woodlief Laureen Woodruff Dr. Robert and Sharon Yoerg Janice Hansen Zakin Kristine A. Zeigler Mrs. Stephen A. Zellerbach

San Francisco Ballet in Ratmansky's Shostakovich Trilogy // © Erik Tomasson

PROGRAMS 07 / 08 | 415 865 2000 | 59 ENDOWMENT FOUNDATION

The San Francisco Ballet Endowment Foundation is a separate nonprofit public benefit corporation that holds and manages endowment funds. It is now the third largest source of revenue for SF Ballet after ticket sales and contributions and supports creating new ballets, touring, scholarships and financial aid for SF Ballet School students, and community education and outreach programs. Donors who make gifts of $25,000 or more to the endowment have a fund created in their name that can provide general support or support designated for specific uses at SF Ballet, SF Ballet School, and SF Ballet’s education programs. For more information, please contact Elizabeth Lani, Deputy Director of Development/Planned Giving, at [email protected] or 415 865 6623. SF Ballet is honored to list the following named funds that contribute support for the creation, acquisition, and performance of new works. Those highlighted with an asterisk (*) were fully or primarily funded through bequests and other planned gifts.

ENDOWED FUNDS FOR EDUCATION PROGRAMS

Suzy Kellems Dominik School and Education Fund Gaia Fund YOUR LEGACY, OUR FUTURE Walter & Elise Haas Education Fund William S. Howe, Jr. Fund* Mark and Debra Leslie Education and Outreach Fund Randee and Joseph Seiger Education and Outreach Fund Jocelyn Vollmar dedicated her life to dance and to Joyce Taylor Education Fund San Francisco Ballet. A San Francisco native, she received her training at SF Ballet School and was a distinguished Libby and Craig Heimark Fund principal dancer with the Company. Her extraordinary The Marie O’Gara Lipman Endowment for Dance Education career included important milestones for the organization: in the Public Schools she performed in the American premieres of the now- universally loved ballets Swan Lake and Nutcracker, in which she was our first Snow Queen.

In 1948, she was invited by George Balanchine to dance with New York City Ballet in its inaugural year and then performed internationally before returning to complete her performing career here at SF Ballet. After leaving the stage, Jocelyn was a teacher at the SF Ballet School from 1985 to 2005, training San Francisco Ballet School Trainees // © Erik Tomasson generations of dancers. Her contributions have been many in shaping the institution, including her devotion to the art ENDOWED FUNDS FOR SAN FRANCISCO BALLET SCHOOL form at the highest standards of excellence.

Philip P. Berelson Scholarship Fund* The James Family Endowed Scholarship Fund The Jocelyn Vollmar Legacy Circle is comprised of thoughtful The Bertelsen Family Fund Dorothy and Bradford Jeffries Scholarship Fund individuals who have made a commitment to our work Christopher Boatwright Memorial Endowed Scholarship Fund G. William Jewell Dance in Schools Endowed Scholarship Fund* by including SF Ballet in their will or other estate plans. S. E. Bush, Jr. School Fund* Dr. and Mrs. Jerome Ormond Kirschbaum Trainee Fellowship Fund For information about bequests and other legacy gifts, Dr. and Mrs. George Cassady Student Scholarship Fund The Charles Henry Leach, II Fund for DISC Scholarships contact Deputy Director of Development Elizabeth Lani Harold and Ruby Christensen Scholarship Fund The Charles Henry Leach, II Fund for School Scholarships at 415 865 6623 or [email protected]. Ruth A. Copley Endowed Scholarship Fund* Natalie Lauterstein Miller Memorial Fund Lee R. Crews School Fund* Phyllis W. Nelson Scholarship Fund* Barbara A. Daily Scholarship Fund* Shirley Black Palmer Scholarship Fund Sonia H. Evers School Fund Yurie and Carl Pascarella Fund The Fifth Age of Man Foundation Scholarship Fund Bob Ross Scholarship Fund Rita A. Gustafson Scholarship Fund* Delores M. Schweizer Fund* Philip and Alicia Hammarskjold Fund K. Hart Smith Fund* The William Randolph Hearst Foundation Scholarship Fund Natalie H. Stotz Fund* Eric Hellman Scholarship Fund Helgi Tomasson School Fund for New Work Chris and Warren Hellman Endowed Scholarship Fund Charlotte and Harry A. Turner DISC Family Fund Rosalie G. Hellman Memorial Scholarship Fund Marion Ury Fund* Hurlbut-Johnson Charitable Trusts Introduction to Ballet Scholarship Fund* Keith White Scholarship Fund

Jocelyn Vollmar in ’s , circa 1948–1950s 60 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 YOURYOUR LEGACY, LEGACY, OUR OUR FUTURE FUTURE

JocelynJocelyn Vollmar Vollmar dedicated dedicated her her life life to to dance dance and and to to SanSan Francisco Francisco Ballet. Ballet. A A San San Francisco Francisco native, native, she she received received herher training training at at SF SF Ballet Ballet School School and and was was a adistinguished distinguished principalprincipal dancer dancer with with the the Company. Company. Her Her extraordinary extraordinary careercareer included included important important milestones milestones for for the the organization: organization: sheshe performed performed in in the the American American premieres premieres of of the the now- now- universallyuniversally loved loved ballets ballets Swan Swan Lake Lake and and Nutcracker, Nutcracker, inin which which she she was was our our first first Snow Snow Queen.Queen.

InIn 1948, 1948, she she was was invited invited by by George George Balanchine Balanchine to to dance dance with with NewNew York York City City Ballet Ballet in in its its inaugural inaugural year year and and then then performed performed internationallyinternationally before before returning returning to to complete complete her her performing performing careercareer here here at at SF SF Ballet. Ballet. After After leaving leaving the the stage, stage, Jocelyn Jocelyn was was a ateacher teacher at at the the SF SF Ballet Ballet School School from from 1985 1985 to to 2005, 2005, training training generationsgenerations of of dancers. dancers. Her Her contributions contributions have have been been many many inin shaping shaping the the institution, institution, including including her her devotion devotion to to the the art art formform at at the the highest highest standards standards of of excellence. excellence.

The James Family Endowed Scholarship Fund TheThe Jocelyn Jocelyn Vollmar Vollmar Legacy Legacy Circle Circle is is comprised comprised of of thoughtful thoughtful Dorothy and Bradford Jeffries Scholarship Fund individualsindividuals who who have have made made a acommitment commitment to to our our work work G. William Jewell Dance in Schools Endowed Scholarship Fund* byby including including SF SF Ballet Ballet in in their their will will or or other other estate estate plans. plans. Dr. and Mrs. Jerome Ormond Kirschbaum Trainee Fellowship Fund ForFor information information about about bequests bequests and and other other legacy legacy gifts, gifts, The Charles Henry Leach, II Fund for DISC Scholarships contactcontact Deputy Deputy Director Director of of Development Development Elizabeth Elizabeth Lani Lani The Charles Henry Leach, II Fund for School Scholarships atat 415 415 865 865 6623 6623 or or [email protected] [email protected]. . Natalie Lauterstein Miller Memorial Fund Phyllis W. Nelson Scholarship Fund* Shirley Black Palmer Scholarship Fund Yurie and Carl Pascarella Fund Bob Ross Scholarship Fund Delores M. Schweizer Fund* K. Hart Smith Fund* Natalie H. Stotz Fund* Helgi Tomasson School Fund for New Work Charlotte and Harry A. Turner DISC Family Fund Marion Ury Fund* Keith White Scholarship Fund

JocelynJocelyn Vollmar Vollmar in inMarius Marius Petipa’s Petipa’s Don Don Quixote, Quixote, circa circa 1948–1950s 1948–1950s

EAP full-page template.indd 1 2/22/19 10:50 AM THANK YOU TO OUR VOLUNTEERS

The San Francisco Ballet “family” extends beyond the stage to include a large community of dedicated and generous volunteers who are personally involved in the Company’s success. The tireless efforts of these volunteers contribute greatly to SF Ballet’s accomplishments.

AUXILIARY Vibrant, energetic, and passionately committed to the success of each ballet season, SF Ballet Auxiliary members comprise an exclusive group of women who leverage their talents in fundraising events that raise more than $4 million for SF Ballet each year.

LEADERSHIP Ms. Ann Kathryn Baer, President Mrs. Ally Sievers, Recording Secretary Ms. Beverley Siri Borelli, Treasurer Mrs. Michelle Gilman Jasen, Vice President Miss Carla Wytmar, Corresponding Secretary Mrs. Robert W. Wood, Events Treasurer

ACTIVE MEMBERS Ms. Donna Bachle Ms. Brenda Leff Mrs. James P. Anthony* Mrs. John P. Grotts* Mrs. Peggy L. Newton* Ms. Deborah Taylor Barrera Ms. Betsy A. Linder Mrs. Thomas G. Austin* Ms. Barbara S. Hager Ms. Carole A. Obley* Mrs. Kevin W. Bartlett Mrs. Carol Louie Ms. Rosemary B. Baker* Ms. Catherine D. Hargrave* Ms. Margrit Paul Ms. Louisa Basarrate Mrs. Rhonda Mahendroo Ms. Katherine Banks* Ms. Constance Harvey Mrs. Edward Plant* Ms. Carol Benz Mrs. Heather Cassady Martin Mrs. Patrick V. Barber* Mrs. Michael R. Haswell* Mrs. Nick Podell* Mrs. Steven Bergman Mrs. Emily Millman Mrs. Kent T. Baum* Ms. Terry Hynes Helm* Dame Tanya Marietta Powell* Ms. Catherine Bergstrom Dr. Shokooh Miry Ms. Alletta Bayer Ms. Mindy Henderson* Ms. Maria K. Ralph* Mrs. William S. Brandenburg Mrs. Elizabeth Robinson Mitchell Mrs. Barbara Bechelli* Ms. Kelli Hill* Mrs. Todd G. Regenold* Mrs. Rada Brooks Ms. Monika Moscoso-Riddle Mrs. Peter Berliner* Mrs. Kurt Hoefer Ms. Katherine Robertson* Mrs. G. Steven Burrill Mrs. Sarah Newmarker Ms. L’Ann Bingham Mrs. Mavin Howley Ms. Lorrae Rominger* Mrs. David John Byers Mrs. Michael O’Sullivan Mrs. John W. Bitoff* Ms. Marie Louise Hurabiell* Ms. Stephanie B. Russell Mrs. Alston Calabrese Ms. Hemalee K. Patel Mrs. Athena Blackburn* Mrs. Michael F. Jackson* Mrs. Jay Ryder* Mrs. Kathleen Coffino Mrs. Jack Preston Mrs. Richard A. Bocci* Ms. Daru H. Kawalkowski* Ms. Isabel M. Sam-Vargas* Ms. Katie Colendich Ms. Virginia Leung Price Ms. Giselle Bosc* Ms. Lisa A. Keith* Ms. Ellen Sandler* Ms. Rebecca Cooper Ms. Kacie Renc Ms. Caroline Krawiec Brownstone* Mrs. James C. Kelly Mrs. Elaine Wong Shen* Mrs. Courtney Dallaire Mrs. Patricia D. Roberts Ms. Alison Fogg Carlson* Mrs. Robert D. Kroll* Ms. Merrill Randol* Mrs. Patricia I. Dassios Ms. René Rodman Mrs. Walter Carpeneti* Mrs. William D. Lamm Mrs. John P. Shuhda Ms. Melissa del Sol Ms. Tiffany Loren Rowe Dr. Carolyn C. Chang Ms. Jean Larette Ms. V’Anne Singleton* Mrs. John E. Fetzer Ms. Dylan Rumley Mrs. Allen Chozen Miss Elizabeth Leep* Ms. Karen L. Skidmore* Ms. Jane Gazzola Ms. Meg Ruxton Mrs. Charles E. Clemens* Mrs. Christopher E. Lenzo Mrs. Susan Solinsky* Ms. Diane Goetz Mrs. James D. Seltsam, Jr. Miss Robin Collins* Ms. Debra A. Leylegian* Mrs. Mathew Spolin* Mrs. Vincent Golde Ms. Grace Nicolson Sorg Ms. Christine Leong Connors* Mrs. Barry R. Lipman* Mrs. Terrence M. Hazlewood* Ms. Shelley Gordon Mrs. Christy Swartz Mrs. Daniel P. Cronan* Ms. Sheila M. Lippman* Mrs. Jerome J. Suich II Mrs. Colin Greenspon Ms. Holli P. Thier Ms. Gail De Martini* Mrs. John C. Lund* Mrs. Judy Swanson* Mrs. David Grove Mrs. Andrea Valo-Espina Ms. Carleen Hawn DeLay Mrs. Robert W. Maier* Ms. Jody K. Thelander* Ms. Lori Harmon Mrs. Patrick Walravens Ms. Christine DeSanze* Ms. Susan A. Malecki* Mrs. Charles V. Thornton* Mrs. Joseph Harris, Jr. Ms. Amy Wender-Hoch Mrs. Theodore S. Dobos* Ms. Sandra Mandel* Ms. Valerie D. Toler Mrs. Ronald R. Heckmann Mrs. Freddi Wilkinson Mrs. David Dossetter* Mrs. Michael L. Mauzé* Ms. Elizabeth W. Vobach* Mrs. Christopher Hemphill Mrs. Eric Wold Mrs. Happy Dumas* Mrs. Lynn McGowin Mrs. Gregg von Thaden* Ms. Kathryn A. Huber Mrs. Ronald Zaragoza Dr. DiAnn Ellis* Mrs. Mark A. Medearis* Ms. Barbara Waldman* Ms. Corey Hyde Mrs. Douglas J. Engmann* Mrs. James J. Messemer Mrs. Wallace Wertsch* Mrs. Jonathan Kaufman Mrs. Helgi Tomasson, Mrs. Christian P. Erdman* Ms. Laura V. Miller* Mrs. Aimee West* Mrs. Rebecca Kaykas-Wolff Honorary Member Ms. Patricia Ferrin* Ms. Margaret Mitchell Ms. Patricia Wyrod* Mrs. Trecia Knapp Ms. Dixie D. Furlong* Mrs. Timothy Ms. Maureen Knoll SUSTAINING MEMBERS Mrs. Alison Morr Gemperle* Michael Monahan *Denotes 2019 subscriber Mrs. Carolyn Koenig Ms. Blanca Aguirre Ms. Layne Gray* Mrs. Dennis Mooradian Listing correct as of February 14, 2019 Ms. Claire Stewart Kostic Jola Anderson* Mrs. William E. Grayson Mrs. Jane S. Mudge Ms. Rochelle Lacey Mrs. Judy Anderson* Ms. Nonie H. Greene* Ms. Vickie Nelson* Mrs. Robert L. Newman*

ALLEGRO CIRCLE Allegro Circle is one of our newest organizations—a small and mighty group of donors who also volunteer their networks and their professional expertise to SF Ballet. Learn more at sfballet.org/allegrocircle.

LEADERSHIP Patrice Lovato and Stewart McDowell Brady Rosalyn Chen Isaac Hall Gregg Mattner Co-Chairs Paula Elmore Susan Marsch

62 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 The San Francisco Ballet “family” extends beyond the stage to include a large community of dedicated and generous ENCORE! volunteers who are personally involved in the Company’s success. The tireless efforts of these volunteers contribute If you’re a young professional who loves dance and a great party, join our 300 plus ENCORE! members at a wide variety of social, educational, greatly to SF Ballet’s accomplishments. and networking events. Learn more at sfballet.org/encore. LEADERSHIP AUXILIARY Daniel Cassell, President Christopher Correa, Immediate Past President Gary Williams Vibrant, energetic, and passionately committed to the success of each ballet season, SF Ballet Auxiliary members comprise an exclusive group Elizabeth Sgarrella, Vice President Jacqueline Barrett Maggie Winterfeldt Clark of women who leverage their talents in fundraising events that raise more than $4 million for SF Ballet each year. Jamie Lee Taylor, Secretary and Gala Chair Jeannie Gill Angela Zhang Susan Lin, Treasurer Alana Naber

Ms. Beverley Siri Borelli, Treasurer BRAVO Mrs. Robert W. Wood, Events Treasurer Each year BRAVO members contribute a collective total of more than 14,000 hours of volunteer assistance to SF Ballet. In the process they get a personal close encounter with the inner workings of the world of SF Ballet. Learn more at sfballet.org/bravo.

LEADERSHIP Steve Merlo, President Paulette Cauthorn Julie Hawkins Kathryn Roberts, Vice President Martha Debs Giovanna Jackson Patricia Knight, Secretary Joan Green Pirkko Lucchesi

We are pleased to recognize BRAVO members who contributed 40 hours or more during the 2017–18 Season.

250+ HOURS 55-99 HOURS Corine Assouline* Susanne Johnson Marilyn Breen Cyndy Lee* Daphne Wray Betsy Lim Paulette Cauthorn Kathy Judd Jenny Au-Yeung Lucy Lo Eve Zhang John Maher Martha Debs Elmira Lagundi* Jenya Bordas Margaret McCormack Linda Miyagawa* Julie Hawkins Sabrina Leong Jon Borset Wilcox 40-54 HOURS Sara Osaba Giovanna Jackson* John Mazurski Monique Bouskos Keiko Moore* Edie Bazjanac Elizabeth Price Patricia Knight Roberta McMullan Julie Brown-Modenos* Gale Niess Justin Chew Susan Sakai-McClure Suzanne Knott* Patricia Nelson Klara Cheung Deborrah Ortego Jeanette Chudnow Anne Snowball* Pirkko Lucchesi Deric Patrick Hao Do Johanna Payne Pamela Clark Erika Stuart Dosia Matthews Sherri Relerford Doris Duncan Sue Plasai Donna Diseroad Joshua Theaker Steve Merlo Kathryn Roberts Vicente Garcia Sara Pope Linda Drake Steve Trenam Twyla Powers Pauline Roothman Keiko Golden Mercedes Rodriguez Inna Edwards Audrey Tse Treanor Herm Sinoy Roger Green Blaine Shirk Janet Gamble Sylvia Walker* 100-249 HOURS Lacy Steffens Lydie Hammack Eileen Soden Piers Greenhill Stephen Wiel* Margaret Anderson Karen Wiel* Carolyn Hutchinson Stephanie Somersille Cindy James Stas Yurkevich Carolyn Balsley Michael Williams Robin Kinoshita Tracy Stoehr Susan Kalian Philip Fukuda* Steve Wong Carrie Kost Elena Sukhovnina Kiyoshi Kimura Joan Green May Yasui Christine Lasher Sherrie Szalay* Kenneth Kitch *Denotes 25 or more years James Gries* Maria Lawrence Susan Warble Aldona Lidji of BRAVO membership SAN FRANCISCO WAR MEMORIAL & PERFORMING ARTS CENTER

The War Memorial Opera House is owned and operated by the City and County of San Francisco through

*Denotes 2019 subscriber the Board of Trustees of the War Memorial of San Francisco. Listing correct as of February 14, 2019 The Honorable London N. Breed, Mayor TRUSTEES Nancy H. Bechtle, President Vaughn R. Walker, Vice President ALLEGRO CIRCLE Allegro Circle is one of our newest organizations—a small and mighty group of donors who also volunteer their networks and their professional Belva Davis Mrs. George R. Moscone expertise to SF Ballet. Learn more at sfballet.org/allegrocircle. Thomas E. Horn MajGen J. Michael Myatt, USMC (Ret.) Lt. Col. Wallace I. Levin, CSMR (Ret.) Paul F. Pelosi Gorretti Lo Lui Charlotte Mailliard Shultz Diane B. Wilsey Elizabeth Murray, Managing Director Jennifer E. Norris, Assistant Managing Director PROGRAMS 07 / 08 | SFBALLET.ORG | 63 LAST WORDS ON THE LITTLE MERMAID

“Then she dived deeply under the dark waters, rising and falling with the waves, JAN 21—MAY 07 till at length she managed to reach the young prince, who was fast losing 1 CINDERELLA the power of swimming in that stormy sea. His limbs were failing him, his beautiful eyes JAN 21 – JAN 26 were closed, and he would have died had not the little mermaid come to his assistance. 2 CLASSICAL (RE)VISION She held his head above the water, and let the waves drift them where they would.” FEB 11 – FEB 22 Bespoke Hummingbird —“The Little Mermaid” by Hans Christian Andersen Sandpaper Ballet

3 DANCE INNOVATIONS FEB 13 – FEB 23 The Infinite Ocean Trey Mclntyre World Premiere Etudes

4 A MIDSUMMER NIGHT’S DREAM MAR 06 – MAR 12

5 BALLET ACCELERATOR MAR 24 – APR 04 7 for Eight Cathy Marston World Premiere Anima Animus

6 PRESENT PERSPECTIVES MAR 26 – APR 05 Appassionata The Seasons SF Ballet Premiere In the Countenance of Kings

7 JEWELS APR 15 – APR 21 Emeralds Rubies Diamonds

8 ROMEO & JULIET MAY 01 – MAY 07

Yuan Yuan Tan and Tiit Helimets in Neumeier’s The Little Mermaid // © Erik Tomasson SF BALLET SCHOOL 2020 SPRING FESTIVAL MAY 20–22 Yerba Buena Center for the Arts THIS IS BALLET

Programming subject to change San Francisco Ballet School Students at 2018 Student Showcase // San Francisco Ballet in Liang’s The Infinite Ocean // © Erik Tomasson © Lindsay Thomas.SFBALLET.ORG Design by Cheree Berry Paper

64 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08 JAN 21—MAY 07 1 CINDERELLA JAN 21 – JAN 26

2 CLASSICAL (RE)VISION FEB 11 – FEB 22 Bespoke Hummingbird Sandpaper Ballet

3 DANCE INNOVATIONS FEB 13 – FEB 23 The Infinite Ocean Trey Mclntyre World Premiere Etudes

4 A MIDSUMMER NIGHT’S DREAM MAR 06 – MAR 12

5 BALLET ACCELERATOR MAR 24 – APR 04 7 for Eight Cathy Marston World Premiere Anima Animus

6 PRESENT PERSPECTIVES MAR 26 – APR 05 Appassionata The Seasons SF Ballet Premiere To be announced

7 JEWELS APR 15 – APR 21 Emeralds Rubies Diamonds

8 ROMEO & JULIET MAY 01 – MAY 07

SF BALLET SCHOOL 2020 SPRING FESTIVAL MAY 20–22 Yerba Buena Center for the Arts THIS IS BALLET

Programming subject to change San Francisco Ballet School Students at 2018 Student Showcase // San Francisco Ballet in Liang’s The Infinite Ocean // © Erik Tomasson © Lindsay Thomas.SFBALLET.ORG Design by Cheree Berry Paper Untitled-2 1 3/5/19 2:41 PM