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Piotr Stanczyk. Jillian Vanstone. Fall Season

North American Premiere November 10 – 18, 2018

Tolstoy’s great prose masterwork towers over the western literary canon as one of the most fully imagined and riveting works of fiction ever written. It is no wonder that John Neumeier, one of the most frequent and fearless adapters of literary works into modern choreographic form, should have eventually taken on the challenge of the great Russian novel.

Using the book more as an inspiration than as a strict narrative template, Neumeier chooses to adapt the work freely. He sets the story, for instance, in the present day, rather than the 19th century, and structures his in two acts with numerous scene changes, condensing the material and focusing on its key themes, which he allows to merge through an intuitive and poetic rather than a literal process.

Music by Tchaikovsky provides a link with the Tolstoyan world of the novel, but Neumeier also incorporates modern work by Alfred Schnittke and Cat Stevens/ Yusuf Islam to further underscore the central characters’ conflicts and emotional lives. The work of a great literary artist meeting the imagination of a great interpretive choreographer, Anna Karenina is an unforgettable ballet experience.

Anna Karenina A Ballet by John Neumeier Inspired by Leo Tolstoy Choreography, Sets, Costumes and Lighting Concept: John Neumeier Music: Pyotr Ilyich Tchaikovsky, Alfred Schnittke, Cat Stevens/Yusuf Islam Anna Karenina’s Costumes: AKRIS, Albert Kriemler Scenic Design Collaborator: Heinrich Tröger presents Anna Karenina is a co-production between The National Ballet of Canada, The Hamburg Ballet and The Bolshoi Ballet.

Lead philanthropic support for Anna Karenina is generously provided by The Walter Carsen New Creations Fund, Richard M. Ivey, C.C., Rosamond Ivey and Tim & Frances Price, with additional support from The Volunteer Committee of The Anna Karenina National Ballet of Canada, The Producers’ Circle and Warren Sorensen in memory of Gregory Williams. The Producer’s Circle: Gail & Mark Appel, John & Claudine Bailey, Inger Bartlett & Marshal Stearns, Gail Drummond & Bob Dorrance, The Thor E. and Nicole Eaton Family Charitable Foundation, Sandra Faire & Ivan Fecan, Kevin & Roger Garland, Ira Gluskin & Maxine Granovsky Gluskin, The William & Nona Heaslip Foundation, Anna McCowan-Johnson & Donald K. Johnson, O.C., Judy Korthals & Peter Irwin, Judith & Robert Lawrie, A Ballet by John Neumeier Mona & Harvey Levenstein, Jerry & Joan Lozinski, The Honourable Margaret Norrie McCain, C.C., Julie Medland, Sandra Pitblado & Jim Pitblado, C.M., Lynda & Jonas Prince, Susan Scace & Arthur Scace, C.M., Q.C., Gerald Sheff Inspired by Leo Tolstoy & Shanitha Kachan and Noreen Taylor, C.M. & David Staines, C.M., O.Ont. Heather Ogden. Photo by Kiran West.

6 Fall Season

The Dream November 21 – 25, 2018 Frederick Ashton’s The Dream, based on Shakespeare’s A Midsummer Being and Nothingness Night’s Dream, is one of the most universally admired and artistically satisfying of all ballet adaptations of the playwright’s work. Using Felix Mendelssohn’s beloved music, arranged by John Lanchbery, Ashton’s version of the play is a miracle of dramatic concision, giving us the familiar characters of Titania and Oberon, the four confused lovers, Puck and the rude mechanicals in a taut but lyrical one-act re-imagining of the story set in Victorian times. Ashton’s vibrant, moonlit choreography is seamlessly integrated with every magical shift in the narrative’s mood.

National Ballet Principal Dancer Guillaume Côté has always brought to the many roles he has performed an unstinting spirit of passionate exploration and emotional honesty. As a Choreographic Associate with the company, those same principles apply. In Being and Nothingness from 2015, he finds in his source material, Jean-Paul Sartre’s landmark philosophical work of the same name, questions of freedom, the nature of selfhood and the meaning of existence and illuminates those abstract ideas in his highly expressive, richly physical choreographic style.

Being and Nothingness Choreography: Guillaume Côté Music: Philip Glass Set Design: Michael Levine Costume Design: Krista Dowson Lighting Design: David Finn

The Dream Choreography: Frederick Ashton Staged by: Christopher Carr and Sir Anthony Dowell, CBE Music: Felix Mendelssohn Overture and Incidental Arrangement: John Lanchbery Scenery and Costume Design: David Walker Lighting Design: Thomas Saunders after design

Lead philanthropic support for Being and Nothingness is provided by an anonymous friend of the National Ballet, The Volunteer Committee of The National Ballet of Canada and The Producers’ Circle.

Greta Hodgkinson with Artists of the Ballet in The Dream. Photo by Lydia Pawelak.

8 Holiday Season

December 8 – 30, 2018

James Kudelka’s ravishing and gloriously re-imagined version of the evergreen Christmas spectacular was created for The National Ballet of Canada in 1995 and it remains an unparalleled holiday entertainment for both children and adults. Replete with Kudelka’s signature dynamic and exuberant choreography and gliding with wonderful ease from whimsical and often boisterous comedy to breathtaking spectacle and touching emotion, the ballet is a feast for both the senses and the imagination.

In Kudelka’s adaptation, E.T.A. Hoffmann’s original tale is re-situated in rural 19th-century Russia, a world in which nature and the rituals of farm life are harmoniously and organically entwined. The story centres on a brother and sister, Misha and Marie, and their Christmas Eve dream journey which carries them from their family home through a world of wonders to the glittering winter realm of the Snow Queen and finally to the splendour of the palace of the Sugar Plum Fairy.

Santo Loquasto’s beautifully evocative sets and costumes combine perfectly with the enchantment of Tchaikovsky’s sumptuous score to complete a genuinely magical Christmas experience for ballet lovers of all ages.

The Nutcracker Choreography and Libretto: James Kudelka, O.C. Music: Pyotr Ilyich Tchaikovsky Set and Costume Design: Santo Loquasto Lighting Design: Jennifer Tipton presents The Nutcracker is made possible by generous financial support from production underwriters Sandra Pitblado & Jim Pitblado, C.M., Lawrence & Ann Heisey and an anonymous friend of the National Ballet. The Nutcracker Tanya Howard. Photo by Karolina Kuras.

10 Winter Season Apollo March 1 – 3 & March 20 – 21, 2019 George Balanchine’s Apollo is one of the signal moments in both the choreographer’s Night oeuvre and in the legacy of cultural modernism. The work, set to Igor Stravinsky’s music, almost singlehandedly established a new aesthetic that brought the language of classical ballet into a modern context, merging the past with the future in a way that would alter our The Sea Above, The Sky Below conception of ballet forever. Paquita Canadian-born Julia Adam created Night for San Francisco Ballet in 2000. The work’s rapturous reception led San Francisco Ballet to tour the work to Palais Garnier in Paris, London’s Royal Opera House and City Center in New York, further bolstering Ms. Adam’s reputation as one of North America’s most exciting choreographic voices.

The National Ballet of Canada’s Choreographic Associate Robert Binet has shown himself to be one of Canada’s most inventive and thoughtful dancemakers, an artist of wonderfully original physical imagination and thematic boldness. The Sea Above, The Sky Below is an intricate pas de trois that captivated audiences when it premiered at the MAD HOT BALLET Gala in 2017.

An unabashed celebration of ballet’s virtuosic possibilities, Paquita revels in the dazzling panache, colour and period exoticism of nineteenth-century classicism. Originally created in 1846, but today performed in Marius Petipa’s version from 1881, the ballet—ostensibly a perfunctory story of a young gypsy girl who is really of royal birth—is less about narrative concerns than it is a breathtaking example of technique raised to the level of spectacle.

Apollo The Sea Above, The Sky Below Choreography: George Balanchine Choreography: Robert Binet Music: Igor Stravinsky, Apollon Musagète Music: Gustav Mahler, Symphony No. 5, Lighting Design: Robert Thomson 4th Movement, Adagietto Costume Design: Erdem Moralioglu Canadian Premiere Night Lighting Design: Jeff Logue Choreography: Julia Adam Music: Matthew Pierce Paquita Costume Design: Benjamin Pierce Choreography: Christopher Stowell, Lighting Design: Lisa Pinkham after Marius Petipa Music: Ludwig Minkus and Riccardo Drigo, orchestrated by John Lanchbery Set and Costume Design: José Varona Lighting Design: Robert Thomson

Apollo is a gift from The Volunteer Committee, The National Ballet of Canada.

The Sea Above, The Sky Below costume design by Erdem Moralioglu is generously supported by Suzanne Rogers.

Lead philanthropic support for Night is generously provided by The Producers’ Circle.

Guillaume Côté and Xiao Nan Yu with Artists of the Ballet in Apollo. Photo by Cylla von Tiedemann.

12 Winter Season Winter Season Alice’s Adventures March 7 – 17, 2019

in Wonderland Perfect for March Break!

Few books of any kind are as unique and have left such an imprint on culture as Lewis Carroll’s Alice’s Adventures in Wonderland. Beneath its surface blend of fantasy, nonsense, outlandish characters and a vivid dreamworld—an irresistible blend, especially for children—the book has a subterranean reach extending into the realms of philosophy, language, psychology and even mathematics. This has always made it an attractive text for other creative artists and choreographers are no exception.

The renowned British choreographer Christopher Wheeldon has brought his distinctive and imaginative sensibility to Carroll’s inimitable tale and created a ballet like no other. Merging his trademark neo-classical style with the wild variety of movement afforded by Carroll’s characters, Wheeldon, along with composer Joby Talbot and set and costume wizard Bob Crowley, has shaped a visual and choreographic extravaganza that appeals to both children and adults. Lavish, startling, hilarious and boldly original, Alice’s Adventures in Wonderland is a theatrical celebration of the liberating power of one of the great texts of childhood—and of all time.

Alice’s Adventures in Wonderland Choreography: Christopher Wheeldon Music: Joby Talbot Orchestrated by: Christopher Austin and Joby Talbot Scenario: Nicholas Wright Set and Costume Design: Bob Crowley Lighting Design: Natasha Katz Projection Design: Jon Driscoll and Gemma Carrington Sound Design: Andrew Bruce for Autograph Assistant to the Choreographer: Jacquelin Barrett

A Co-Production of The National Ballet of Canada and The Royal Ballet (UK).

Lead philanthropic support for Alice’s Adventures in Wonderland is provided by an anonymous friend of the National Ballet with additional support generously provided by The Catherine and Maxwell Meighen Foundation, Richard M. Ivey, C.C., Rosamond Ivey, Robert & Judith Lawrie and Wallace McCain & Margaret McCain, C.C.

Jillian Vanstone. Photo by Bruce Zinger.

14 Winter Season

March 23, 2019

Few male dancers in the 20th century had the kind of impact on the art of ballet as did Erik Bruhn. His connection with The National Ballet of Canada was a long and fruitful one, culminating in his Artistic Directorship of the company from 1983 until his death in 1986.

One of his most revered legacies is The Erik Bruhn Prize, which he created to honour two young dancers, one male and one female, who “reflect such technical ability, artistic achievement and dedication as I endeavoured to bring to dance.” In 2009, a Choreographic Prize was added to the event to honour the best piece of new choreography commissioned for the competition.

First held in 1988, The International Competition for The Erik Bruhn Prize has showcased the talents of some of the best young dancers from the finest ballet companies in the world. The competitors from each company are between the ages of 18 and 23 and perform in a classical pas de deux and variations and a new contemporary pas de deux or solo work. The Erik Bruhn Prize gives audiences the chance to see some of the most exceptional young ballet talent in the world on one stage for a glorious and thrilling evening of dance.

The Thirteenth International Competition for The Erik Bruhn Prize is presented by John and Claudine Bailey. The Thirteenth Erik Bruhn (1970). Photo by Michael Avedon. International Competition for The Erik Bruhn Prize

16 Summer Season Physical Thinking June 1 – 8, 2019 However you choose to see William Forsythe—willful provocateur, poet of the anti-ballet, master of anarchic beauty—there is no doubt that he has William Forsythe Programme extended the reach and possibility of modern dance as few other contemporary choreographers have done. The three works that compose this programme exemplify the extraordinary range and flavour of his work.

The Vertiginous Thrill of Exactitude is a short, but fiercely demanding work created by the choreographer in 1996 for his Ballet Frankfurt company. Set to the final movement of Schubert’s Ninth Symphony, it demonstrates, as the title suggests, the bracing excitement of pure classical technique, its rigour, focus and speed, and functions as an homage to traditional classical and neo-classical form as perfected by Petipa and Balanchine. Approximate Sonata 2016 is more subdued Forsythe, a reflective, if no less vigorously athletic, assemblage of intricately shaped and continually surprising pas de deux, set to a hushed, minimalist piano score by Thom Willems. The Second Detail, an astonishing work that was created for The National Ballet of Canada in 1991, is in many ways quintessential Forsythe—slyly mischievous, athletic and, above all, exhilarating in its love of human movement in all its variety.

The Vertiginous Thrill of Exactitude Company Premiere Choreography: William Forsythe Staged by: Kathryn Bennetts Music: Franz Schubert, Allegro Vivace from Symphony No. 9 in C-Major, D944 Set and Lighting Design: William Forsythe Costume Design: Stephen Galloway

Approximate Sonata 2016 Company Premiere Choreography: William Forsythe Staged by: Agnès Noltenius Music: Thom Willems Costume Design: Stephen Galloway

The Second Detail Choreography: William Forsythe Staged by: Noah Gelber Music: Thom Willems Costume, Set and Lighting Design: William Forsythe White Dress: Issey Miyake

The Vertiginous Thrill of Exactitude and Approximate Sonata 2016 are generously supported by The Producers’ Circle. The Second Detail is a gift from The Volunteer Committee, The National Ballet of Canada.

Sonia Rodriguez with Artists of the Ballet in The Second Detail. Photo by Cylla von Tiedemann.

18 Summer Season

The Merry Widow June 19 – 23, 2019

A frothy blend of whimsical comedy, romance and the delights of the Parisian Belle Époque in all its effervescent splendor, The Merry Widow is popular ballet at its finest. Based on the 1905 operetta of the same name by Franz Lehár, The Merry Widow sets out to entertain and amuse at every step and never puts a foot wrong.

The story imagines a fictional Balkan principality, Pontevedro, which is on the brink of economic disaster. In an effort to prevent certain ruin, a charming but raffish Pontevedrian aristocrat, Count Danilo, is persuaded to woo and marry a rich and sophisticated widow, Hanna Glawari, before she can marry a foreigner. Amid the inevitable plot complications and madcap misunderstandings, we learn that Danilo and Hanna had been childhood sweethearts, before Danilo abandoned Hanna, who was then an innocent peasant girl.

Playful and insouciant, comically buoyant and a perennial crowd-pleaser, The Merry Widow was premiered by The Australian Ballet in 1974 with the role of Hanna danced by the great Dame . It entered the repertoire of The National Ballet of Canada in 1986.

The Merry Widow Choreography: Ronald Hynd Staged by: John Meehan and Steven Woodgate Music: Franz Lehár Scenario: Sir Robert Helpmann Musical Adaptation: John Lanchbery Set and Costume Design: Desmond Heeley Lighting Design: Michael J. Whitfield

The Merry Widow entered the repertoire through the generosity of The Volunteer Committee, The National Ballet of Canada, joined by the Rotary Club of Toronto.

Xiao Nan Yu. Photo by Cylla von Teidemann.

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All subscription prices include HST. No additional charges will be added. Savings are calculated from the regular single ticket price. Guillaume Côté. Photo by Karolina Kuras. Choose a Wednesday Thursday Friday Saturday Saturday Sunday Performance Evening Evening Evening Afternoon Evening Afternoon Set Package 7:30 pm 7:30 pm 7:30 pm 2:00 pm 7:30 pm 2:00 pm Anna Karenina Nov 14 Nov 15 Nov 16 Nov 17 Nov 10 Nov 11 1 The Dream Nov 21 Nov 22 Nov 23 Nov 24 Nov 24 Nov 25 The Full Series Apollo Mar 20 Mar 21 Mar 01 Mar 02 Mar 02 Mar 03

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Evan McKie. Photo by Karolina Kuras.

26 2 The Sampler The Weekend 3 Set Packages of 3 or 4 Ballets Saturday Evenings or Curated Just for You Sunday Afternoons Section You Save Three Ballets Price Zone A $717 $78 Choose from five different options Price Zone B $585 $63 ••Enjoy a specially selected package of three or four ballets •• Price Zone C $447 $108 Priority seating before single ticket buyers Saturday Evening Sunday Afternoon Performance Price Zone D $387 $93 ••Free and convenient ticket exchanges 7:30 pm 2:00 pm Price Zone E $342 $60 Anna Karenina Nov 17 Nov 18 ••Advance purchase of The Nutcracker before public on sale Alice Mar 16 Mar 17 Price Zone F $261 $45 ••Exclusive offers from local restaurants and businesses with your Subscriber Discount Card •• The Merry Widow Jun 22 Jun 23  Price Zone G $183 $18  Sold out for Saturday evening. The Weekend 4 The Tuesday 3

Saturday Evenings or Sunday Tuesday Evenings – Best Deal! Section You Save Afternoons Three Ballets Price Zone A $510 $170 Section You Save Four Ballets Price Zone B $438 $129 Price Zone A $956 $104 Price Zone C $363 $122 Price Zone B $780 $84 Saturday Evening Sunday Afternoon Performance Tuesday Price Zone D $315 $105 Performance 7:30 pm 2:00 pm Price Zone C $596 $144 Anna Karenina Nov 13 7:30 pm Price Zone E $276 $82 Anna Karenina Nov 17 Nov 18 Price Zone D $516 $124 The Nutcracker Dec 18 7:00 pm Price Zone F $219 $65 The Dream Nov 24 Nov 25 Price Zone E $456 $80 Alice Mar 12 7:30 pm Price Zone G $156 $48 Alice Mar 16 Mar 17 Price Zone F $348 $60 All subscription prices include HST and service charges. No additional charges will be added. Savings are calculated from the regular single ticket price. The Merry Widow Jun 22 Jun 23 Price Zone G $244 $24

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Price Zone G $168 $41 $135 $74  All dates, programmes, casting and pricing are subject to change without advance notice. Sold out for Family Time A  A child is considered 15 and under and must be accompanied by a paid adult subscriber. Please note that ballet performances are not suitable for most children under five. Babes in arms will not be admitted. Student subscribers must present valid identification and seniors must be 65 or 4 older and provide identification for proof of age. Thursday Afternoon Please note In consideration of patrons with allergies and/or multiple chemical sensitivities, we urge you to refrain from using scented personal products Four Thursday afternoons this package when attending our performances. is almost The National Ballet of Canada respects your privacy. We protect your ••All seats 50% off personal information and adhere to all legislative requirements. To view sold out. the National Ballet’s privacy policy visit national.ballet.ca. ••Same seats for every performance •Call• 416 (1 866) 345 9595 for information. Heather Ogden. Photo by Karolina Kuras. 29 Fall Season November 2018 Winter Season March 2019

Monday Tuesday Wednesday Thursday Friday Saturday Sunday Monday Tuesday Wednesday Thursday Friday Saturday Sunday

5 6 7 8 9 10 Anna Karenina 11 Anna Karenina 1 Apollo 2 Apollo 3 Apollo

7:30 pm 2:00 pm 7:30 pm 2:00 pm 2:00 pm 7:30 pm

12 13 Anna Karenina 14 Anna Karenina 15 Anna Karenina 16 Anna Karenina 17 Anna Karenina 18 Anna Karenina 4 5 6 7 Alice 8 Alice 9 Alice 10 Alice

7:30 pm 7:30 pm 2:00 pm 7:30 pm 2:00 pm 2:00 pm 7:30 pm 7:30 pm 2:00 pm 2:00 pm 7:30 pm 7:30 pm 7:30 pm 7:30 pm

19 20 21 The Dream 22 The Dream 23 The Dream 24 The Dream 25 The Dream 11 12 Alice 13 Alice 14 Alice 15 Alice 16 Alice 17 Alice

7:30 pm 2:00 pm 7:30 pm 2:00 pm 2:00 pm 7:30 pm 7:30 pm 7:30 pm 7:30 pm 2:00 pm 2:00 pm 7:30 pm 7:30 pm 7:30 pm

18 19 20 Apollo 21 Apollo 22 23 Bruhn 24

7:30 pm 2:00 pm 7:30 pm 7:30 pm

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Monday Tuesday Wednesday Thursday Friday Saturday Sunday Monday Tuesday Wednesday Thursday Friday Saturday Sunday

3 4 5 6 7 8 Nutcracker 9 Nutcracker 1 Physical Thinking 2 Physical Thinking

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10 11 12 Nutcracker 13 Nutcracker 14 Nutcracker 15 Nutcracker 16 Nutcracker 3 4 5 Physical Thinking 6 Physical Thinking 7 Physical Thinking 8 Physical Thinking 9

7:00 pm 7:00 pm 7:00 pm 2:00 pm 1:00 pm 7:30 pm 7:30 pm 7:30 pm 2:00 pm 7:00 pm 5:30 pm

17 18 Nutcracker 19 Nutcracker 20 Nutcracker 21 Nutcracker 22 Nutcracker 23 Nutcracker 10 11 12 Gala 13 14 15 16

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24 25 26 27 Nutcracker 28 Nutcracker 29 Nutcracker 30 Nutcracker 17 18 19 Merry Widow 20 Merry Widow 21 Merry Widow 22 Merry Widow 23 Merry Widow

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31 32 Make an Impact

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Siphesihle November. Photo by Karolina Kuras. Thank You!

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35 Svetlana Lunkina. Naoya Ebe. Fall Season North American Premiere Anna Karenina A Ballet by John Neumeier

The Dream & Being and Nothingness

Holiday Season The Nutcracker

Winter Season Apollo & Night & The Sea Above, The Sky Below & Paquita

Alice’s Adventures in Wonderland The Thirteenth International Competition for The Erik Bruhn Prize

Summer Season Physical Thinking William Forsythe Programme

The Merry Widow

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Harrison James. Front Cover: Xiao Nan Yu. Cover photos by Karolina Kuras.