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Home , AXIS Dance Company, Ballet Memphis, Ballet West, Black and Blue (musical), Brandon Stirling Baker, Craig Hall (dancer)

2018 SEASON PROGRAM 02 BRIGHT FAST COOL BLUE PROGRAM 03 DISTINCTLY SF LOVING HOW YOU LIVE.

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CA177_EncoreMedia_Kim_8.3x10.8_0118.indd 1 12/14/17 11:32 AM EAP full-page template.indd 1 12/14/17 1:54 PM February 2018 Volume 95, No. 4

Paul Heppner Publisher 24 32 Susan Peterson Design & Production Director

Ana Alvira, Robin Kessler, Stevie VanBronkhorst Production Artists and Graphic Design TABLE OF CONTENTS

Mike Hathaway 5 Greetings from the Artistic Director 40 Ballet Orchestra Sales Director & Principal Choreographer Amelia Heppner, Marilyn Kallins, 42 Staff Terri Reed 7 Board of Trustees San Francisco/Bay Area Account Executives Endowment Foundation Board 44 Donor Events and News

Brieanna Bright, Joey Chapman, Ann Manning 8 San Francisco Ballet Leadership 50 Season Sponsors Area Account Executives 1 0 For Your Information 52 Great Benefactors Carol Yip Sales Coordinator 1 1 History of San Francisco Ballet 53 Artistic Director's Council

1 2 Explore Ballet 54 The Chairman's Council EMG 16 Artists of the Company 55 The Christensen Society CAL CLOSET 24 Program 02 58 Corporate and Foundation Support MASTHEAD Bright Fast Cool Blue Paul Heppner 60 The Legacy Circle President The Chairman —Quartet for Two Mike Hathaway Rodeo: Four 62 San Francisco Ballet Vice President Endowment Foundation 32 Program 03 Genay Genereux Accounting & Office Manager Distinctly SF Ballet 65 Thank You to Our Volunteers On a Theme of Paganini Sara Keats Ibsen's House 66 San Francisco War Memorial Marketing Manager Ghost in the Machine and Performing Arts Center Shaun Swick Senior Designer & Digital Lead San Francisco Ballet | Vol. 25, No. 4 Barry Johnson 2018 Repertory Season Digital Engagement Specialist All editorial material © San Francisco Ballet, 2018 Ciara Caya Chris Hellman Center for Dance Customer Service Representative & 455 Franklin Street, San Francisco, CA 94102 415 861 5600 sfballet.org Administrative Assistant | Cover: Dores André and Carlo Di Lanno in Thatcher's Ghost in the Machine // © Erik Tomasson

Corporate Office Above, left to right: San Francisco Ballet in Balanchine's Serenade 425 North 85th Street Seattle, WA 98103 // by © The Balanchine Trust; San Francisco Ballet in Thatcher's Ghost in The Machine // Photos © Erik Tomasson p 206.443.0445 f 206.443.1246 [email protected] 800.308.2898 x105 www.encoremediagroup.com FOLLOW US BEFORE AND AFTER THE PERFORMANCE!

facebook.com/sfballet twitter.com/sfballet Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget youtube.com/sfballet instagram.com/sfballet Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited.

PROGRAMS 02 & 03 | SFBALLET.ORG | 3 “My bankers at First Republic are the best: thoughtful, thorough and proactive. Th ey don’t miss a beat.” MAX WEINBERG Rock & Roll Hall of Fame Drummer and Real Estate Investor

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EAP full-page template.indd 1 7/25/17 9:12 AM GREETINGS FROM THE ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER Welcome to Bright Fast Cool Blue and Distinctly SF Ballet, the second and third programs of our 2018 Repertory Season. I’m delighted you have joined us at the Opera House.

Here at San Francisco Ballet, the we perform range from 19th-century classics like and Nutcracker to more recent neoclassical and contemporary ballets, as well as newly created works. In this way, we nurture our art form: tending our storied roots while encouraging the nascent bloom of new ideas. We’ve just wrapped up a successful run of The Sleeping Beauty—these next two programs focus on more recent classics.

Program 02, Bright Fast Cool Blue, features works by three choreographers closely associated with my alma mater, Ballet. NYC Ballet founder George Balanchine created Serenade in 1934 but it feels timeless; it’s a hauntingly beautiful ballet that the dancers love to perform. Although both and danced with long after George Balanchine passed away, they experienced his genius through dancing his ballets. Both have gone on to develop and hone their own artistic voices. Millepied has built upon the imaginative work he created for our 2017 Opening Night Gala to make The Chairman Dances—Quartet for Two. Justin FIRST REPUBLIC BANK Peck’s Rodeo: Four Dance Episodes harnesses the tremendous male talent in our Company in an inventive ballet that will let you see Aaron Copland’s iconic score in a whole new way.

If Program 02 has a hint of New York flavor, Program 03 is entirely San Francisco born and bred (and aptly named Distinctly SF Ballet). This program has three ballets made for this Company by artists within the Company. In addition to my ballet On a Theme of Paganini, the program includes Ibsen’s House, created for our 2008 New Works Festival by . Val, currently a principal character dancer, has a long and illustrious history creating ballets here and for companies around the world. The dramatic Ibsen’s House illuminates this talented artist’s range. Also on this program is Myles Thatcher’s Ghost in the Machine. Myles is a dancer with SF Ballet and a rapidly emerging choreographic talent: I think you’ll agree that he draws out the best in his fellow dancers in creating dynamic ballets that resonate on an emotional level.

Both Justin Peck and Myles Thatcher have also created ballets for our Unbound festival, which takes place April 20 to May 6. They are two of 12 choreographers contributing to this groundbreaking festival. Unbound will feature an unprecedented amount of new work, with four distinct programs of three ballets each. I hope you’ll join us once again this spring as we cultivate this new bloom of ideas, from a talented group of international artists.

Sincerely,

Helgi Tomasson Artistic Director & Principal Choreographer

PROGRAMS 02 & 03 | 415 865 2000 | 5 Barbara Bream, joined in 2011

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EAP full-page template.indd 1 10/3/17 3:28 PM SAN FRANCISCO BALLET ASSOCIATION Board of Trustees 2017–18

CARL F. PASCARELLA, Chair of the Board and Executive Committee

Chris Hellman† (1933–2017) Jola Anderson Christine Russell Stephanie Marver Chair Emerita Kristen A. Avansino Randee Seiger Nancy H. Mohr Richard C. Barker Robert G. Shaw Marie-Louise Pratt John S. Osterweis† Karen S. Bergman Christine E. Sherry George R. Roberts Immediate Past Chair Gary Bridge Charlotte Mailliard Shultz Kathleen Scutchfield Margaret G. Gill Chaomei Chen Catherine Slavonia Robert M. Smelick Vice Chair Hannah Comolli David Hooker Spencer Susan A. Van Wagner James H. Herbert II† Christine Leong Connors Fran A. Streets Dennis Wu Vice Chair David C. Cox Judy C. Swanson Akiko Yamazaki Susan P. Diekman Richard J. Thalheimer Lucy Jewett Kate Duhamel Jennifer M. Walske Vice Chair Sonia H. Evers Miles Archer Woodlief ASSOCIATE TRUSTEES James D. Marver Shelby M. Gans Timothy C. Wu Brenda Leff Vice Chair Joseph C. Geagea Janice Hansen Zakin President, Richard Gibbs, M.D. San Francisco Ballet Auxiliary Diane B. Wilsey Beth Grossman Vice Chair Patricia D. Knight Matthew T. Hobart TRUSTEES EMERITI President, BRAVO Nancy Kukacka Patrick M. Hogan Michael C. Abramson Treasurer Thomas E. Horn Thomas W. Allen Christopher Correa Jennifer J. McCall Donald F. Houghton (1929–2017) Marjorie Burnett President, ENCORE! Hiro Iwanaga Charles Dishman Secretary Stewart McDowell Brady, Elaine Kartalis Garrettson Dulin, Jr.† Susan S. Briggs Patrice Lovato James C. Katzman Millicent Dunham Assistant Secretary Co-Chairs, Allegro Circle Yasunobu Kyogoku J. Stuart Francis† Helgi Tomasson Kelsey Lamond Sally Hambrecht ST PAUL TOWERS Artistic Director & Marie O’Gara Lipman Ingrid Von Mangoldt Hills Principal Choreographer Mark G. Lopez George B. James II† (1937–2017) Glenn McCoy* Alison Mauzé Pamela J. Joyner† Executive Director David A. Kaplan Kurt C. Mobley Mary Jo Kovacevich Kara Roell James J. Ludwig†

SAN FRANCISCO BALLET ENDOWMENT FOUNDATION Board of Directors 2017–18

JAMES D. MARVER, President

John S. Osterweis Kevin Mohr‡ Richard C. Barker Chris Hellman (1933–2017) President Emeritus Chief Financial Officer Susan S. Briggs Director Emerita J. Stuart Francis Hank J. Holland Laura Simpson‡ George B. James II (1937–2017) Nancy Kukacka Vice President Secretary Director Emeritus Hilary C. Pierce Thomas E. Horn Elizabeth Lani‡ Larissa K. Roesch Treasurer Assistant Secretary

†Past Chair *Non-Trustee ‡Non-Director

PROGRAMS 02 & 03 | SFBALLET.ORG | 7 SAN FRANCISCO BALLET LEADERSHIP

HELGI TOMASSON GLENN MCCOY ARTISTIC DIRECTOR & EXECUTIVE DIRECTOR PRINCIPAL CHOREOGRAPHER

Helgi Tomasson, one of the supreme Glenn McCoy’s career in the classical dancers of his generation, has performing arts spans more led San Francisco Ballet for 33 years than 30 years of operations and is the longest-serving sole artistic management and marketing. director of a major . Born in After working for San Francisco Iceland, he danced with Harkness Ballet, Opera and the , The , and New York City Ballet, where he distinguished he joined San Francisco Ballet in 1987. He served as company himself as a dancer of technical purity, , and intelligence. manager and general manager before being appointed executive Tomasson assumed leadership of SF Ballet in 1985. Under his guidance, director in April 2002. McCoy has overseen the production of SF Ballet has developed into a company widely recognized as one of more than 60 new repertory and full-length ballets and more than the finest in the world. Tomasson has balanced devotion to the classics 45 domestic and international tours, including engagements in with an emphasis on new work, cultivating frequent collaborations and , , New York, Beijing, and Washington, DC. He commissions with renowned choreographers such as William Forsythe, supervised SF Ballet’s operations for the critically acclaimed , , and Mark Morris, among international dance festival, UNited We Dance, in 1995 and others. Tomasson has choreographed more than 50 works for SF Ballet, SF Ballet’s 75th Anniversary Season in 2008. He has overseen including full-length productions of Swan Lake, The Sleeping Beauty, tapings of Lubovitch’s Othello, Tomasson’s Nutcracker, and Romeo & Juliet (taped for at the Movies’ Great American Neumeier’s The Little Mermaid, which have been broadcast on Dance), , and Nutcracker (taped for PBS’s Great Performances). PBS by Thirteen/WNET New York’s performing arts series He conceptualized the 1995 UNited We Dance festival, in which Great Performances, as well as Tomasson’s Romeo & Juliet, SF Ballet hosted 12 international companies; the 2008 New Works which premiered in Lincoln Center at the Movies’ Great American My legacy. My partner. Festival, which included 10 world premieres by 10 acclaimed Dance series in 2015. choreographers; and this season’s Unbound: A Festival of New Works. Tomasson has also connected SF Ballet to the world, through co-commissions with Theatre, , and ; and major tours to Paris, London, New York City, You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leaveUNION behind. The Private BANK Bank can help. Our highly specialized and , and his native Iceland. experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. MARTIN WEST PATRICK ARMAND MUSIC DIRECTOR & DIRECTOR, PRINCIPAL CONDUCTOR SAN FRANCISCO BALLET SCHOOL Take the first step in ensuring the preservation of your wealth for your lifetime and future generations. Martin West leads an Orchestra that is as Born in Marseille, , Patrick musically excellent as it is adventurous. Armand studied with Rudy Bryans, Under his direction the Orchestra has his mother Colette Armand, and at To learn more, please visit unionbank.com/theprivatebank or contact: greatly expanded its catalog of recordings. the École de Danse de Marseille. Vartan Shahijanian Born in Bolton, , he studied math He won the Prix de in Private Wealth Advisor at Cambridge. After studying music at the 1980 and continued his studies [email protected] Royal Academy of Music in London and St. Petersburg Conservatory at the School of American Ballet. In 1981, he joined the Ballet of Music, he made his debut with and was Théâtre Français de Nancy and was promoted to 415-705-7258 appointed resident conductor. As a guest conductor, he has worked in 1983. The following year he joined English National Ballet, with New York City Ballet, The National Ballet of , and where he danced for six years before joining Ballet in The Royal Ballet. He was named music director of SF Ballet in 2005. 1990. A frequent guest teacher for schools and companies in West’s recordings with SF Ballet Orchestra include the complete , Florence, London, Naples, , and , score of Tchaikovsky’s Nutcracker and an album of suites from Delibes’ Armand was appointed teacher and of the Teatro and Coppélia. He also conducted for the award-winning DVD of alla Scala in Milan in 2006. In 1998 and 2009, he served as a jury Neumeier’s The Little Mermaid as well as SF Ballet’s televised recording member of the and since 2010 has been the of Nutcracker for PBS and the 2015 in-cinema release of Romeo & Juliet competition’s official male coach and teacher. He was appointed for Lincoln Center at the Movies’ Great American Dance. principal of the SF Ballet School Trainee Program in 2010, SF Ballet School associate director in 2012, and director of SF Ballet School in 2017.

Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. Headshots: Tomasson, West, and Armand // © Erik Tomasson; McCoy // © Chris Hardy ©2018 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A.

8 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03

EAP full-page template.indd 1 12/12/17 9:50 AM My legacy. My partner.

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Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2018 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A.

EAP full-page template.indd 1 12/12/17 9:50 AM FOR YOUR INFORMATION

IN THE OPERA HOUSE PLEASE NOTE Beverages in the auditorium are allowed if they are purchased in the Opera Late seating isn’t allowed while a performance is in progress. House and are in the approved compostable cup with a lid. You’ll be asked to stand until a break in the action, which might be at intermission. The Café at the Opera House on the Lower Lounge level opens two hours prior to curtain time—and is also open during intermission. Call Audio/visual recordings of any kind of the performance are strictly 415 861 8150 for reservations. forbidden.

Refreshments are available on the lower level as well as the Box, Orchestra, Mobile devices should be turned off and put away before the and Dress Circle levels. There are drinking fountains on all levels near performance; the lights and sounds are a distraction. the elevators. Children attending a performance must have a ticket and occupy that The Shop at SF Ballet is open one hour before each performance, during seat; no infants or lap sitting, please. Children need to be at least five intermissions, and after weekend matinees, even if you’re not attending the years old to attend Repertory Season performances. performance itself (visit the Box Office for a special pass). The Shop is also Smoking is not permitted in the Opera House. online at sfballet.org/shop. Opera House management reserves the right to remove any patron who Restrooms are located on all floors except Main Lobby level (first floor). is creating a disturbance. Coat and parcel check rooms are located on the north and south side of Emergency services are available in the Opera House Lower Lounge the Main Lobby. All parcels, backpacks, and luggage must be checked. level, where an EMT is on duty. Opera glasses are available for $5 rental at the north lobby coat check Walking tours of the San Francisco War Memorial and Performing Arts room and require a valid ID as a deposit. Center are available most Mondays at select hours. For information, Lost & Found is located at the north coat check room. Call 415 621 6600, call 415 552 8338. Mon–Fri, 8:30–11:30 am, or email [email protected]. ACCESSIBILITY Courtesy telephones, for local calls only, are on the Main Lobby level, SF Ballet is committed to providing access for all of our patrons. across from the elevators. Please contact Ticket Services at 415 865 2000 prior to the Chariot shuttles are available from the Civic Center/UN Plaza BART Station performance with questions so that we can ensure your comfort. at Grove Street and Hyde Street to the War Memorial Opera House Wheelchair-accessible entrances are available on the north, east, (301 Van Ness Avenue) one hour before and one hour after performances. and south sides of the Opera House. This complimentary shuttle service will be available for all 2018 Repertory Season performances, unless otherwise noted. Wheelchair seating positions are on the Orchestra and Dress Circle levels. Taxis line up after performances at the Grove Street Taxi Ramp on the south side of the Opera House. Taxis are provided on a first-come, Wheelchair accessible stalls in restrooms can be found on all floors first-served basis and we cannot guarantee availability. Our staff will except the Main Lobby and fifth floor Balcony level. A lockable assist you. single-user, special-needs restroom is located on Floor 3. Please see the usher closest to this location for access. Accessible drinking Reducing waste is important to us. We’re using recyclable and compostable fountains are located on all floors except the Balcony level. materials for food service. Please help our efforts by sorting items into our recycling bins (hard plastic wine glasses, bottles, cans, and paper Assistive listening devices (Sennheiser model infrared sound programs), compost bins (lidded cups, disposable cutlery, napkins, and most amplification headsets) are available at both coat check locations food containers), and landfill (potato chip bags). 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, Mon–Fri, 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: Tues–Fri, noon through the first intermission; Sat and Sun, 10 am through the first intermission. 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.

10 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 TIMELINE: SAN FRANCISCO BALLET

A tradition of innovation flows through the history of San Francisco Ballet. As America’s oldest professional ballet company, SF Ballet builds upon strong classical roots, while continually exploring and redefining where the art form is headed. Interwoven with SF Ballet's milestones are key career moments of the six choreographers whose works appear in Bright Fast Cool Blue and Distinctly SF Ballet.

1924 1933 1934 George Balanchine flees The San Francisco Opera Ballet The earliest version of and joins the Ballets is founded to provide dancers George Balanchine's Serenade Russes in Paris as a dancer for opera productions. is first danced in White Plains, and choreographer, San Francisco Ballet School New York, by students of the then ballet master. is established. School of American Ballet. in George Balanchine's Serenade, April 18, 1952

1952 becomes 1944 1942 director of SF Ballet. San Francisco Ballet The newly named Lew Christensen, dances the first complete San Francisco Ballet , production of Nutcracker splits from the opera with and Harold Christensen in the . Willam Christensen as artistic Celena Cummings director. His brother Harold is and Joaquim Felsch in director of the School. 1970 Lew Christensen's Helgi Tomasson joins Nutcracker New York City Ballet as a principal dancer.

1973 1982 is appointed Firsts: Helgi Tomasson 1985 associate artistic director of choreographs for the Helgi Tomasson becomes SF Ballet. Val Caniparoli joins School of American artistic director, starting a SF Ballet as a dancer. Ballet in New York new era for SF Ballet. Betsy Erickson and Val Caniparoli and Val Caniparoli for Helgi Tomasson in Christensen's Vivaldi Concerto SF Ballet. Grosso.

2008 The New Works Festival marks the Company’s 75th anniversary, with 1995 10 premieres by 10 choreographers, SF Ballet hosts 12 including Val Caniparoli's Ibsen's House. international ballet Helgi Tomasson's On a Theme of Paganini companies for premieres this year as well. UNited We Dance: An International Festival. Benjamin Millepied joins New York City Ballet. 2010 2009 Myles Thatcher joins Benjamin Millepied's Quasi SF Ballet as a dancer. Una Fantasia, his first work 2018 for New York City Ballet, Unbound: A Festival of New Works premieres, and both Justin premieres 12 ballets by 12 Peck and Myles Thatcher international choreographers. create their first ballets for student groups.

For a complete history of San Francisco Ballet, visit sfballet.org/history. Historic photos courtesy of the Museum of Performance and Design. 2009 photo of SF Ballet in Morris' Joyride; 2010 photo of Dores André and Myles Thatcher rehearsing Wheeldon's Number Nine©; 2018 photo of Wei Wang // © Erik Tomasson.

PROGRAMS 02 & 03 | 415 865 2000 | 11 EXPLORE BALLET CURTAIN TALKS AND PODCASTS For an inside look at the performance you’re about to see, come to the Opera House a bit early for a Meet the Artist interview or a Pointes of View lecture. You can also listen to our two new podcasts: To the Pointe, for an in-depth exploration of the upcoming performance, and Demi-Pointe, for a quick overview. All SF Ballet podcasts, including recordings of our Meet the Artist interviews and Pointes of View lectures, are available on our website and on all podcast players, including Apple Podcasts. For more information: sfballet.org/explore/podcasts

MEET THE ARTIST (MTA) INTERVIEWS Fridays, 7–7:30 pm and Sundays, 1–1:30 pm, Free and open to all ticket holders one hour before selected performances. Check sfballet.org/explore/curtain-talks for additional MTA dates during Unbound: A Festival of New Works. Meet the Artist interviews feature an artist who worked on the performance.

POINTES OF VIEW (POV) LECTURES Wednesdays, 6–6:45 pm, Free and open to the public Company artists, visiting scholars, and others offer key insights into the performance. All are welcome—you don't even need a ticket.

Program 02 | Bright Fast Cool Blue Program 05 | Robbins: Ballet & Broadway Programs 07 & 08 | Unbound: A Festival of February 14 March 21 New Works Was Serenade really Balanchine’s In honor of the April 25 first piece in America? And if not, how Centennial, Associate Director of What does it take to put on a festival like did that myth come to be? SF Ballet Audience Engagement Jennie Scholick, Unbound? SF Ballet writer Cheryl A. Ossola Visiting Scholar James Steichen discusses PhD will briefly discuss the many facets hosts a panel discussion on the creation of Balanchine’s early work and the pieces of Jerome Robbins’ talents, including his new work at San Francisco Ballet and why that preceded Serenade. successes on Broadway and as a ballet SF Ballet has made new choreography a choreographer, followed by a discussion guiding principle. General Manager Debra Program 03 | Distinctly SF Ballet with SF Ballet dancers about performing Bernard, Production Director Christopher February 21 Robbins’ ballets and his impact on other Dennis, and Ballet Master and Assistant to SF Ballet James Sofranko leads contemporary choreographers. the Artistic Director Ricardo Bustamante SF Ballet School students in choreographic discuss how Unbound came together and explorations, followed by a panel discussion Program 06 | Nijinsky: A Ballet by the stories behind the festival. with Associate Director of Audience , danced by Engagement Jennie Scholick, PhD; Sofranko; The National Ballet of Canada May 2 SF Ballet School Director Patrick Armand; April 4 Principal Dancer Tiit Helimets demonstrates and SF Ballet School alums. SF Ballet’s Scholar-in-Residence, the differences between classical, Carrie Gaiser Casey, PhD, will lead a neoclassical, and with Program 04 | Frankenstein discussion of the dramatic life and SF Ballet School students, followed by a March 7 career of , with a focus discussion with Dance Educator Mary Wood. Dance Educator Mary Wood discusses the on John Neumeier’s provocative ballet intricacies of the makeup and costumes in and the many historical figures who Liam Scarlett’s Frankenstein with SF Ballet appear within it. production staff.

Above, left to right: Max Cauthorn in Scarlett's Frankenstein; The National Ballet of Canada's Heather Ogden and Guillaume Côté in Neumeier's Nijinsky Opposite page: Vitor Luiz and Yuan Yuan Tan // All Photos © Erik Tomasson

12 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 SEMINARS, WORKSHOPS, MASTER CLASSES, AND MORE From lectures to social events, we offer opportunities to explore the method behind the magic you see onstage.

BALLET TALK BALLET BASICS AMERICAN BALLET 1900–1983 Join us for a 60-minute talk and Q & A, A Beginner’s Guide to SF Ballet August 2018 (dates to be announced) followed by a wine-and-cheese reception March 18, 1–4 pm How did American ballet get its start? with the speaker. This three-hour seminar will give you Join us for an interactive three-session Distinctly SF Ballet: A Panel Discussion a deeper understanding of ballet, from its seminar that will look from Anna Pavlova of New Work in San Francisco classical roots to current practice. Take to Lew Christensen to George Balanchine. February 17, 5–6:30 pm a ballet class, hear from a dancer, and learn about the history of . WANT TO LEARN MORE ABOUT Breaking Bounds: Annabelle Lopez Ochoa, UPCOMING PERFORMANCES? Cathy Marston, and New Perspectives in CELEBRATING JEROME ROBBINS Meet Aurora, SF Ballet’s new chatbot Ballet Choreography March 20, 5:30–6:30 pm and resident expert on all things ballet. April 7, 5–6:30 pm Atrium Theater at the To engage with her, just start a conversation Led by Carrie Gaiser Casey, PhD Wilsey Center for Opera with SF Ballet on Facebook Messenger and say “Hi Aurora.” Learn about the production, MASTER CLASS The year-long celebration of Jerome the Opera House, and our dancers—and you Register to Dance or Observe Robbins comes to San Francisco with may even get to hear from a dancer or two! Master Classes provide an in-depth look SF Ballet’s Program 05: Robbins: Ballet You can meet her by opening the Messenger at one particular ballet or choreographer. and Broadway (March 20–25). Before the app on your phone, clicking “Scan Code,” Designed for advanced-level dancers first performance, join Helgi Tomasson, and scanning this QR code; or by going to ages 15 to 20, Master Classes also welcome Patricia McBride, and Jean-Pierre Frohlich http://m.me/sfballet up to 75 observers, and offer an intimate, as they share their memories and discuss behind-the-scenes look at the rigor and Robbins’ work on the centennial craft of ballet. For more information: anniversary of his birth. sfballet.org/masterclasses

BOUNDLESS: A SYMPOSIUM Jerome Robbins’ Ballets ON BALLET’S FUTURE February 25, 10 am–12 pm April 27–29 Prepare for the Jerome Robbins Three days of discussions among centennial by exploring the repertory LOVED THE MUSIC AT THE artists, scholars, and critics will explore of this choreographic genius. PERFORMANCE? how issues around choreography, Listen to it when you get home by checking diversity, and technology are shaping out SF Ballet’s Spotify playlists. You’ll find ballet’s future. For more information: recordings of the music played tonight— sfballet.org/boundless and get the opportunity to prep for upcoming programs.

PROGRAMS 02 & 03 | SFBALLET.ORG | 13 EXPLORE BALLET CONTINUED

DANCE FOR ALL AGES Let your spirit soar as you experience the joy of moving in our beautiful studios.

ADULT BALLET CLASSES ADULT BALLET WORKSHOP Our open classes are inclusive and fun, a good workout that stretches June 11–16 your artistry as well as your muscles. Open to adults and teens over Why do kids always get to have all the fun? SF Ballet School is the age of 16 with basic ballet experience, classes start at the , organizing the second-annual summer dance workshop just for then move to the center through traditional ballet exercises and adults. Join acclaimed faculty and special guests in daily ballet combinations. Be prepared to sweat (at least a little) and to have a technique and repertory classes in our beautiful studios with live good time. It is recommended that true ballet beginners start with accompaniment. Dance lovers from across the country will unite our Beginner Ballet series. We want to make sure you get the full in San Francisco this summer to share in a one-week experience attention of our teachers, so we limit enrollment to 30 students of a dancer’s life at SF Ballet. For more information: per class. Classes fill quickly—reserve your spot today. For more sfballet.org/adultballetworkshop information: sfballet.org/adultballet DANCE SERIES FOR INDIVIDUALS WITH PARKINSON’S DISEASE ADULT BEGINNER BALLET SERIES In partnership with Kaiser Permanente, we're offering free dance April 7–May 19 classes designed for people with Parkinson’s Disease. Classes Saturdays, 2:30–4 pm develop individual artistic expression while honoring PD concerns Taught by Cecelia Beam such as balance, flexibility, coordination, isolation, and depression. It’s never too late to start taking ballet. This eight-session beginner The next 8-week session begins Saturday, April 7. For more information, series is for those who are new to ballet and those who feel like they contact Cecelia Beam at [email protected]. would like to get a handle on the basics. Instruction will be broken down to the core elements and then built each week so that you’ll finish feeling confident and excited to continue your training. For more information: sfballet.org/adultballet

Whether over a glass of champagne at intermission or on the car ride back home, part of the fun of seeing live DISCUSS & performance is discussing it with your date, your best friend, or your new friend sitting next to you in the audience. EXPLORE A few questions about tonight’s performance to get your discussion started:

BRIGHT FAST COOL BLUE 1. One of the ballets on the program tonight, Serenade, was choreographed in 1934, while the other two were created within the last year. Were you aware of this as you watched them? Did one feel more “old-fashioned” than the others, or did they all feel modern? 2. Justin Peck and Benjamin Millepied have both danced with New York City Ballet and performed in many of George Balanchine’s works. In addition, Peck has danced in one of Millepied’s ballets. Did you notice more similarities or differences in their three pieces tonight? 3. One ballet on the program tonight features an almost-all-female cast; another features an almost-all-male cast. How did that affect how you perceived each work? 4. None of these ballets has a narrative, and yet many people see small stories emerge in Serenade, the music for The Chairman Dances was created with a story in mind, and Rodeo: Four Dance Episodes is choreographed to music first used for a by early 20th-century choreographer . Did you see plots emerge in these plotless ballets? And if so, what were they?

DISTINCTLY SF BALLET 1. On a Theme of Paganini, Ibsen’s House, and Ghost in the Machine each represent a different style of ballet: abstract neoclassicism, dance-drama, and contemporary ballet. Did one of them appeal to you more than the others? If so, can you put your finger on why? 2. All three choreographers in the performance are based here in San Francisco. Is there anything about these works that seemed influenced by the city? Or by the other works on the program? 3. Both Ibsen’s House, which is inspired by Henrik Ibsen’s plays about Victorian society, and Ghost in the Machine, choreographed just after the 2016 election, ask questions about what happens to people in repressive or divisive societies. How did you respond to this element in these works? Was it something you noticed, or did you see other themes in the ballets? 14 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 CHILDREN’S AUDITIONS FOR SUMMER DANCE CAMP SAN FRANCISCO BALLET SCHOOL June 11–15 Pursue a love of dance. For children with an Boys & Girls Clubs of San Francisco (BGCSF) and San Francisco Ballet are partnering interest in dance or the dream of becoming a to offer the fourth-annual Summer Dance Camp. This free, week-long dance program is , San Francisco Ballet School open to BGCSF members and promotes creative expression while encouraging education offers a training program of unqualified through the performing arts. BGCSF members will have the opportunity to take a range of excellence. We’re holding auditions for our classes in ballet, hip hop, world dance, and music from professional teaching artists onsite 2018–19 School-Year program on June 2. To be at San Francisco Ballet School. Summer Dance Camp will be open for enrollment beginning eligible to audition, students must be age 8–11 in April. For more information: sfballet.org/dancecamp by September 1, 2018. For more information and to register: sfballet.org/school/audition

BARBARA FRACCHIA ART STUDIO operatic and ballet paintings

BALLET FOR YOUNG CHILDREN Give your child the gift of dance! Learning the joy of movement begins with Pre-Ballet classes at San Francisco Ballet School. We introduce young children ages 4–7 to the fundamentals of classical ballet, focusing on proper body BARBARA FRACCHIA alignment, basic and terminology, and musicality. Audition not required. Fall 2018 classes will be open for enrollment beginning 1/2V in April. For more information about free trial classes: sfballet.org/preballet

SUMMER BALLET CAMP July 9–Aug 3 The second year of our popular Summer Ballet Camp, taught by SF Ballet School Faculty, will take place in July. In addition to four different one-week ballet camps for children ages 8–12 years old, Pre-Ballet classes will be offered for children ages 4–7. No audition is required. For more information: sfballet.org/school/summer-sessions Bright Fast Cool Blue oil on canvas, 16 x 12 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. For more information about these programs, visit sfballet.org/explore or email [email protected].

Above: San Francisco Ballet School students // © Chris Hardy

PROGRAMS 02 & 03 | 415 865 2000 | 15 ARTISTS OF THE COMPANY

ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER HELGI TOMASSON

PRINCIPAL DANCERS Dores André Jaime Garcia Castilla Vitor Luiz Yuan Yuan Tan Ulrik Birkkjaer Angelo Greco Ana Sophia Scheller Richard C. Barker Principal Dancer Frances Chung Tiit Helimets Jennifer Stahl† Diana Dollar Knowles Principal Dancer Sasha De Sola Luke Ingham Sofiane Sylve Joseph Walsh Carlo Di Lanno Maria Kochetkova Diane B. Wilsey Principal Dancer John and Barbara Osterweis Mathilde Froustey Herbert Family Principal Dancer Principal Dancer

PRINCIPAL CHARACTER DANCERS Ricardo Bustamante† Val Caniparoli† Rubén Martín Cintas Anita Paciotti†

SOLOISTS Max Cauthorn† Jahna Frantziskonis Steven Morse† Lauren Strongin Isabella DeVivo† Esteban Hernandez Julia Rowe† Wei Wang† Daniel Deivison-Oliveira† Koto Ishihara† James Sofranko Hansuke Yamamoto WanTing Zhao†

CORPS DE BALLET Kamryn Baldwin† Gabriela Gonzalez Kimberly Marie Olivier† Natasha Sheehan† Sean Bennett† Jillian Harvey Sean Orza† Henry Sidford† Ludmila Bizalion† Ellen Rose Hummel† Wona Park† Miranda Silveira† Samantha Bristow† Blake Johnston† Lauren Parrott† John-Paul Simoens† Alexandre Cagnat† Madison Keesler† Elizabeth Powell† Myles Thatcher† Thamires Chuvas† Blake Kessler† Nathaniel Remez† Isabella Walsh† Diego Cruz† Shené Lazarus† Alexander Reneff-Olson† Mingxuan Wang† Megan Amanda Ehrlich Elizabeth Mateer Rebecca Rhodes† Joseph Warton† Benjamin Freemantle† Norika Matsuyama† Emma Rubinowitz† Lonnie Weeks Solomon Golding Davide Occhipinti† Skyla Schreter Maggie Weirich† Ami Yuki†

APPRENTICES Ethan Chudnow† Anatalia Hordov† Carmela Mayo† Swane Messaoudi† Larisa Nugent† Benji Pearson†

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 MUSIC DIRECTOR & PRINCIPAL CONDUCTOR Yuri Possokhov Martin West

†Received training at San Francisco Ballet School

16 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 PRINCIPAL DANCERS

Yuan Yuan Tan Richard C. Barker Principal Dancer Sarah Van Patten Diana Dollar Knowles Principal Dancer Joseph Walsh DORES ANDRÉ FRANCES CHUNG John and Barbara Osterweis Born in Vigo, , Dores André Born in , Canada, Principal Dancer trained with Antonio Almenara and at Frances Chung trained at Estudio de Danza de Maria de Avila. before joining She joined the Company in 2004, SF Ballet in 2001. She was was promoted to soloist in 2012, and promoted to soloist in 2005 and to principal dancer in 2015. principal dancer in 2009. ULRIK BIRKKJAER SASHA DE SOLA Anita Paciotti† Born in , , Born in Winter Park, , Ulrik Birkkjaer trained at the Sasha De Sola trained at School. He the Kirov Academy of Ballet. She was danced with the Royal Danish Ballet named an SF Ballet apprentice in 2006 before joining San Francisco Ballet and joined the Company in 2007. Lauren Strongin as a principal dancer in 2017. She was promoted to soloist in 2012 and principal dancer in 2017. Wei Wang† Hansuke Yamamoto WanTing Zhao†

Natasha Sheehan† Henry Sidford† CARLO DI LANNO JAIME GARCIA CASTILLA Miranda Silveira† Carlo Di Lanno was born in Naples, Jaime Garcia Castilla was born in John-Paul Simoens† Italy, and trained at La Scala Ballet Madrid, Spain, and studied at Myles Thatcher† School in Milan. He danced with the Royal Conservatory of Professional La Scala Ballet and Staatsballett Dance. He was named an SF Ballet Isabella Walsh† before joining San Francisco Ballet apprentice in 2001 and joined the as a soloist in 2014. He was promoted Company the following year. He was Mingxuan Wang† to principal dancer in 2016. MATHILDE FROUSTEY promoted to soloist in 2006 and to ANGELO GRECO Joseph Warton† Mathilde Froustey was born in principal dancer in 2008. Born in Nuoro, Italy, Angelo Greco Bordeaux, France, and trained at the trained at La Scala Ballet School Lonnie Weeks Marseille National School of Ballet in Milan. He danced with Maggie Weirich† and School. She La Scala Ballet before joining SF Ballet danced with Paris Opera Ballet as a soloist in 2016. He was promoted Ami Yuki† before joining SF Ballet as a principal to principal dancer in 2017. dancer in 2013.

TIIT HELIMETS MARIA KOCHETKOVA Born in Viljandi, Estonia, Tiit Helimets Born in , Russia, trained at Tallinn Ballet School. He Maria Kochetkova trained at the danced with Estonian National Ballet School in Moscow and and Royal Ballet before danced with The Royal Ballet and joining San Francisco Ballet English National Ballet before joining as a principal dancer in 2005. SF Ballet as a principal dancer in LUKE INGHAM VITOR LUIZ 2007. She was appointed Herbert From Mount Gambier, South Australia, Family Principal Dancer in 2012. Born in Juiz de Fora, , Vitor Luiz Felipe Diaz† Luke Ingham trained at the Australian trained at The Royal Ballet School. He Ballet School. He danced with danced with and and Ballet do Theatro Municipal do Ballet before joining SF Ballet as a Rio de Janeiro prior to joining SF Ballet soloist in 2012. He was promoted as a principal dancer in 2009. to principal dancer in 2014.

†Received training at San Francisco Ballet School Dancer headshots // © Chris Hardy and David Allen PROGRAMS 02 & 03 | SFBALLET.ORG | 17 PRINCIPAL DANCERS

PRINCIPAL CHARACTER DANCERS

ANA SOPHIA SCHELLER Born in , , Ana Sophia Scheller trained at the Instituto Superior de Arte del Teatro Colon and the School of American Ballet. She danced with New York City Ballet before joining SF Ballet as a YUAN YUAN TAN principal dancer in 2017. Yuan Yuan Tan was born in , China, and trained at Shanghai Dancing School and ’s School. She joined SF Ballet as soloist in 1995 and was promoted to principal RICARDO BUSTAMANTE† dancer in 1997. She was appointed Richard C. Barker Principal Dancer Born in Medellín, Colombia in 2012. Joined in 1980 Named principal character dancer in 2007 VAL CANIPAROLI† Born in Renton, Washington Joined in 1973 Named principal character dancer in 1987

JENNIFER STAHL† Born in Dana Point, California, Jennifer Stahl trained at Maria Lazar’s Classical Ballet Academy and SF Ballet School. She was named an SF Ballet apprentice in 2005 and joined the in 2006. She was promoted to soloist in SARAH VAN PATTEN 2013 and principal dancer in 2017. Sarah Van Patten, born in Boston, , danced with Massachusetts Youth Ballet and the Royal Danish Ballet before joining SF Ballet as a soloist in 2002. She was RUBÉN MARTÍN CINTAS promoted to principal dancer in 2007. She was appointed Diana Dollar Born in Reus, Spain Knowles Principal Dancer in 2013. Joined in 2000 Named principal character dancer in 2014 ANITA PACIOTTI† Born in Oakland, California Joined in 1968 Named principal character dancer in 1987

SOFIANE SYLVE Sofiane Sylve was born in Nice, France, where she studied at the Académie de Danse. She danced with ’s Stadttheater, Dutch National Ballet, and New York City Ballet prior to joining SF Ballet as a principal dancer in 2008. She was appointed Diane B. Wilsey JOSEPH WALSH Principal Dancer in 2017. Born in Doylestown, , Joseph Walsh trained at Walnut Hill School of the Arts and II. He danced with Houston Ballet before joining SF Ballet as a soloist in 2014. He was promoted to principal dancer that same year. He was appointed John and Barbara Osterweis Principal Dancer in 2017.

18 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 SOLOISTS

MAX CAUTHORN† STEVEN MORSE† Born in San Francisco, California Born in Harbor City, California Named apprentice in 2013 Joined in 2009 Joined in 2014 Promoted to soloist in 2017 Promoted to soloist in 2017

JAHNA FRANTZISKONIS WEI WANG† Born in Tucson, Arizona Born in Anshan, Liaoning, China Joined in 2015 Named apprentice in 2012 Promoted to soloist in 2017 Joined in 2013 Promoted to soloist in 2016

ISABELLA DEVIVO† JULIA ROWE† Born in Great Neck, New York Born in Elizabethtown, Pennsylvania Joined in 2013 Joined in 2013 Promoted to soloist in 2017 Promoted to soloist in 2016

ESTEBAN HERNANDEZ HANSUKE YAMAMOTO Born in Guadalajara, Born in Chiba, Joined in 2013 Joined in 2001 Promoted to soloist in 2017 Promoted to soloist in 2005

DANIEL DEIVISON-OLIVEIRA† JAMES SOFRANKO Born in Rio de Janeiro, Brazil Born in Marion, Indiana Joined in 2005 Joined in 2000 Promoted to soloist in 2011 Promoted to soloist in 2007

KOTO ISHIHARA† WANTING ZHAO† Born in Nagoya, Japan Born in Anshan, Liaoning, China Joined in 2010 Joined in 2011 Promoted to soloist in 2014 Promoted to soloist in 2016

LAUREN STRONGIN Born in Los Gatos, California Joined as a soloist in 2015 †Received training at San Francisco Ballet School Dancer headshots // © Chris Hardy and David Allen PROGRAMS 02 & 03 | 415 865 2000 | 19 CORPS DE BALLET

KAMRYN BALDWIN† MEGAN AMANDA EHRLICH Born in Honolulu, Hawai’i Born in Charleston, South Carolina Joined in 2015 Named apprentice in 2011 Joined in 2012 Returned in 2017

ALEXANDRE CAGNAT† JILLIAN HARVEY Born in Cannes, France Born in Hollidaysburg, Pennsylvania Named apprentice in 2016 Named apprentice in 2012 Joined in 2017 Joined in 2012

SEAN BENNETT† BENJAMIN FREEMANTLE† Born in San Francisco, California Born in New Westminster, Named apprentice in 2011 British Columbia, Canada Joined in 2012 Named apprentice in 2014 Joined in 2015

THAMIRES CHUVAS† ELLEN ROSE HUMMEL† Born in Rio de Janeiro, Brazil Born in Greenville, South Carolina Named apprentice in 2014 Named apprentice in 2011 Joined in 2015 Joined in 2012

LUDMILA BIZALION† SOLOMON GOLDING Born in Rio de Janeiro, Brazil Born in London, Named apprentice in 2006 Joined in 2017 Joined in 2007 Returned in 2016

DIEGO CRUZ† BLAKE JOHNSTON† Born in Zaragoza, Spain Born in Charlotte, North Carolina Joined in 2006 Joined in 2017

SAMANTHA BRISTOW† GABRIELA GONZALEZ Born in Media, Pennsylvania Born in Mérida, Mexico Named apprentice in 2014 Joined in 2017 †Received training at San Francisco Ballet School Joined in 2015 Dancer headshots // © Chris Hardy and David Allen

20 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 CORPS DE BALLET

MADISON KEESLER† SEAN ORZA† Born in Carlsbad, California Born in San Francisco, California Joined in 2009 Named apprentice in 2007 Returned in 2017 Joined in 2008

NORIKA MATSUYAMA† NATHANIEL REMEZ† Born in Chiba, Japan Born in Washington, DC Joined in 2014 Named apprentice in 2016 Joined in 2017

BLAKE KESSLER† WONA PARK† Born in Jacksonville, Florida Born in , Named apprentice in 2015 Joined in 2017 Joined in 2016

DAVIDE OCCHIPINTI† ALEXANDER RENEFF-OLSON† Born in Rome, Italy Born in San Francisco, California Named apprentice in 2016 Named apprentice in 2012 Joined in 2017 Joined in 2013

SHENÉ LAZARUS† LAUREN PARROTT† Born in Durban, Born in Palm Harbor, Florida Named apprentice in 2016 Named apprentice in 2012 Joined in 2017 Joined in 2013

KIMBERLY MARIE OLIVIER† REBECCA RHODES† Born in New York, New York Born in , Named apprentice in 2009 Named apprentice in 2008 Joined in 2010 Joined in 2009

ELIZABETH MATEER ELIZABETH POWELL† Born in Boca Raton, Florida Born in Boston, Massachusetts Joined in 2016 Named apprentice in 2011 Dancer headshots // © Chris Hardy and David Allen Joined in 2012

PROGRAMS 02 & 03 | SFBALLET.ORG | 21

CORPS DE BALLET THE CREATURE IS BACK FRANKENSTEIN EMMA RUBINOWITZ† ISABELLA WALSH† MAR 06 – MAR 11 Born in San Francisco, California Born in Rolling Hills, California Named apprentice in 2012 Named apprentice in 2016 Joined in 2013 Joined in 2017

MIRANDA SILVEIRA† MAGGIE WEIRICH† Born in Rio de Janeiro, Brazil Born in Portland, Oregon Named apprentice in 2013 Named apprentice in 2014 Joined in 2014 Joined in 2015

“Frankenstein offers luscious performances, relentless drama, and spectacular set SKYLA SCHRETER MINGXUAN WANG† design and lighting. Replete with delicious Born in Chappaqua, New York Born in Qingdao, China Joined in 2014 Named apprentice in 2013 steampunk pyrotechnics, the design alone Joined in 2014 creates enough imaginative spectacle to become a leading character in its own right.” JOHN-PAUL SIMOENS† AMI YUKI† –The Mercury News Born in Omaha, Nebraska Born in Saitama, Japan Named apprentice in 2014 Named apprentice in 2014 Joined in 2015 Joined in 2015 n // © Erik Tomasson Frankenstei

APPRENTICES

NATASHA SHEEHAN† JOSEPH WARTON† ETHAN CHUDNOW† in Scarlett’s Vitor Luiz Born in San Francisco, California Born in Beaverton, Oregon ANATALIA HORDOV† Joined in 2016 Joined in 2017 CARMELA MAYO† SWANE MESSAOUDI† LARISA NUGENT† MYLES THATCHER† BENJI PEARSON† Born in , Georgia Named apprentice in 2009 Joined in 2010 TICKETS ON SALE NOW SFBALLET.ORG/FRANKENSTEIN

2018 MEDIA SPONSOR

HENRY SIDFORD† LONNIE WEEKS The 2017 SF Ballet premiere of Frankenstein was made possible by Born in Marblehead, Massachusetts Born in Los Alamos, New Mexico Lead Sponsors Bently Foundation and The Hellman Family; Costume Named apprentice in 2011 Joined in 2010 †Received training at San Francisco Ballet School Sponsor E. L. Wiegand Foundation; and Sponsors Ms. Laura Clifford, Joined in 2012 Dancer headshots // © Chris Hardy and David Allen Stephanie and James Marver, and an anonymous donor.

22 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03

THE CREATURE IS BACK FRANKENSTEIN MAR 06 – MAR 11

“Frankenstein offers luscious performances, relentless drama, and spectacular set design and lighting. Replete with delicious steampunk pyrotechnics, the design alone creates enough imaginative spectacle to become a leading character in its own right.” –The Mercury News n // © Erik Tomasson Frankenstei Vitor Luiz in Scarlett’s in Scarlett’s Vitor Luiz

TICKETS ON SALE NOW SFBALLET.ORG/FRANKENSTEIN

2018 MEDIA SPONSOR

The 2017 SF Ballet premiere of Frankenstein was made possible by Lead Sponsors Bently Foundation and The Hellman Family; Costume Sponsor E. L. Wiegand Foundation; and Sponsors Ms. Laura Clifford, Dancer headshots // © Chris Hardy and David Allen Stephanie and James Marver, and an anonymous donor. San Francisco Ballet in Balanchine's Serenade // Choreography by George Balanchine © The Balanchine Trust // Photo © Erik Tomasson PROGRAM 02BRIGHT FAST COOL BLUE FEB 13—FEB 24 Program Notes by Cheryl A. Ossola SERENADE Composer: Peter Ilyich Tchaikovsky World Premiere: Choreographer: George Balanchine March 1, 1935—American Ballet, Adelphi Theater; New York, New York Staged by: Elyse Borne Costume Design: after Karinska San Francisco Ballet Premiere: Original Lighting Design: Ronald Bates April 18, 1952—War Memorial Opera House; San Francisco, California

These performances of Serenade are made possible by Lead Sponsor Diane B. Wilsey; Major Sponsors David and Vicki Cox, Christa and Mark Lopez, and Mr. and Mrs. Kurt Mobley; and Sponsors Gioia and John Arrillaga, Mr. and Mrs. Edward Roach, and ENCORE! THE CHAIRMAN DANCES— QUARTET FOR TWO Composer: John Adams World Premiere: Choreographer: Benjamin Millepied January 19, 2017—San Francisco Ballet 84th Anniversary Gala, War Memorial Opera House; San Francisco, California Costume Design: Benjamin Millepied Lighting Design: Jim French These performances of The Chairman Dances—Quartet for Two are made possible by Lead Sponsors Gaia Fund, and Mr. and Mrs. John S. Osterweis; Major Sponsor Jennifer and Steven Walske; and Sponsors Kathleen Grant, M.D. and Thomas Jackson, M.D., Kacie and Michael Renc, Larissa Roesch and Calder Roesch, and O.J. and Gary Shansby, with additional support from the TeRoller Fund for New Productions of the San Francisco Ballet Endowment Foundation. RODEO: FOUR DANCE EPISODES Composer: Aaron Copland World Premiere: Choreographer: Justin Peck February 4, 2015—New York City Ballet, David H. Koch Theater; New York, New York Staged by: Costume Design: Reid Bartelme, San Francisco Ballet Premiere: Harriet Jung, and Justin Peck January 18, 2018—San Francisco Ballet 85th Anniversary Gala, Lighting Design: War Memorial Opera House; San Francisco, California

The San Francisco Ballet premiere of Rodeo: Four Dance Episodes is made possible by Lead Sponsors Teri and Andy Goodman, Mrs. Randee Seiger, and Judy C. Swanson; Major Sponsors Hannah and Kevin Comolli, and Catherine and Mark Slavonia; Sponsors John G. Capo and Orlando Diaz-Azcuy, Robert and Laura Cory, and Nion McEvoy and Leslie Berriman, with additional support from the Osher New Work Fund of the San Francisco Ballet Endowment Foundation.

PROGRAMS 02 & 03 | 415 865 2000 | 25

SERENADE

PROGRAM NOTES

Of all George Balanchine’s works, Serenade provides as close to a spiritual experience as can be found in ballet. Created on students at the School of American Ballet during a class on stage technique, it is one of the most beloved works by this choreographic master. From the moment the curtain rises—on an iconic image of 17 women standing still and serene—to the last glimpse of their pointe shoes as the curtain falls, Serenade takes gentle hold of our emotions.

Balanchine, the co-founder and artistic director of New York City Ballet and the School of American Ballet, was one of the most prolific choreographers in dance history. He created more than 200 ballets, but perhaps more notable are the astounding stylistic range and enduring nature of his works. Serenade, set to Peter Ilyich Tchaikovsky’s Serenade for Strings, was the first ballet that Balanchine created in the United States, and 84 years later Despite being created on students, Serenade is far from easy to it still has unwavering power. As San Francisco Ballet Artistic dance. “It’s allowed to be done by schools because he made it for Director and Principal Choreographer Helgi Tomasson puts it, the [School of American Ballet],” says Borne. “And yet the dancing this ballet is “timeless, so exquisite.” is so hard. I think it was a lot for him to demand from students—it’s not only hard technically but artistically. Although there’s no story, Serenade premiered in White Plains, New York, in 1934, danced there’s a lot of romance, a lot of drama and passion. If the dancers by students; its professional premiere came the following year, just do the steps, it doesn’t look like Serenade.” Over time, danced by the American Ballet (a predecessor to New York City Balanchine continued to develop the ballet, eventually using Ballet). Serenade entered SF Ballet’s repertory in 1952 and Tchaikovsky’s full score and fitting it to the skills of the has reappeared throughout the Company’s history, most professionals who danced it. recently in 2015. One of the ballet’s most touching moments occurs when the As Balanchine relates in his book Complete Stories of the Great 17 women, standing with feet together in parallel (sixth position), Ballets, he created Serenade to demonstrate to his students that open them to a wide V: first position. This simple movement, performing is far more complex than taking class. The day he so elemental, reflects Serenade’s origins as a piece for students. began, there were 17 students; the next day, nine; the third six. And, in part, those quiet, understated moments of beauty make In each class he worked with whoever was there, adding men Serenade timeless. “No one ever gets tired of it—not dancing it, when a few showed up to class, and including mishaps, like a late not seeing it, not staging it,” says Borne. “The curtain goes up entrance and a fall. Serenade is a prime example of Balanchine’s and you hear that beautiful music and see the light, and it’s often quoted philosophy (embraced by Tomasson): “Use what transcendent.” you’ve got.” He always did, in ways that display his tremendous creative depth.

Along with its steps, movement quality, and emotional PRODUCTION CREDITS Music: Serenade in C Major for String Orchestra, Op. 48. This performance expressiveness, Serenade shows off Balanchine’s ability to of Serenade, a Balanchine© Ballet, is presented by arrangement with the elevate to an art the simple act of creating patterns; in fact, George Balanchine Trust and has been produced in accordance with the the beauty of its formations makes it fun to watch from above. Balanchine Style© and © service standards established “It’s like an ebb and flow—there’s confusion and then instantly and provided by the Trust. Costumes constructed by Barbara Matera, Ltd., there’s order,” says stager Elyse Borne. Making those patterns New York, New York. work seamlessly requires a heightened sense of bonding, especially among the corps women.

26 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 CREATIVE TEAM

PETER ILYICH ELYSE BORNE TCHAIKOVSKY Stager Composer Elyse Borne, a former soloist Peter Ilyich Tchaikovsky with New York City Ballet, (1849–1893), an enduringly is a répétiteur for the George popular Russian composer of the Balanchine and Robbins Rights late Classical period, wrote the Trusts. Born in , scores for the ballets Swan Lake, she trained at the School of The Sleeping Beauty, and American Ballet in New York . Although Tchaikovsky displayed an early passion City before joining New York City Ballet, where she became a for music, his parents sent him to school for a career as a civil soloist. She performed with New York City Ballet for more than servant. At age 21, he enrolled at the St. Petersburg Conservatory. 13 years, dancing principal roles in ballets by Balanchine and Tchaikovsky’s work was first publicly performed in 1865 and, by Robbins and sharing a debut in The Nutcracker with Mikhail 1875, he had won widespread acclaim for his music. Despite a Baryshnikov. Borne served as Ballet Mistress for City Ballet tumultuous personal life, Tchaikovsky’s body of work constitutes for eight years and SF Ballet for six years. She currently travels the 169 pieces including symphonies, operas, ballets, concertos, world staging ballets by George Balanchine and Jerome Robbins, cantatas, and songs. Tchaikovsky died suddenly on November 6, as well as works by Hans van Manen and Helgi Tomasson. 1893, just six days after conducting the premiere of his Sixth Symphony, the “Pathétique.” KARINSKA Costume Designer GEORGE BALANCHINE Varvara Jmoudsky Karinska (1886–1983), better known Choreographer as simply “Karinska,” was one of the most influential Neoclassical choreographer costume designers of the 20th century, known for exquisite George Balanchine (1904–1983) craftsmanship and her long creative partnership with George is one of the 20th century’s most Balanchine. Born in Kharkiv, , she moved to Paris in influential and innovative artists. 1928. In 1932, she began to construct costumes for Les Ballets Born in St. Petersburg, he trained Russes de Monte Carlo, interpreting the ballet designs of at the Imperial Ballet School and Matisse, Picasso, Dali, and Chagall. Karinska moved to New joined the . He left York in 1939 and designed costumes for opera, dance, musicals, Russia in 1924 and became ballet master for Serge Diaghilev’s and film. In 1948, she won an Academy Award (with Dorothy in Paris. Balanchine choreographed several ballets, Jeakins) for Best Costume Design for Joan of Arc. Karinska including and Apollon Musagète (later renamed worked with New York City Ballet from its inception until the end ) for the Ballets Russes. After Diaghilev’s death, Balanchine of her career, creating costumes for 48 works for the company, worked in until arts patron invited him to including Serenade, , The Nutcracker, , come to the United States to start a company. “But first a school,” and Waltzes. was Balanchine’s famous reply, and he founded the School of American Ballet in 1934. In 1946, he and Kirstein started , which later became New York City Ballet. Balanchine RONALD BATES served as ballet master and principal choreographer of Lighting Designer New York City Ballet until his death in 1983. He created more Ronald Bates (1932–1986) was a stage director and lighting than 400 dance works, many of which are in the repertory designer known for his work with New York City Ballet. Born of San Francisco Ballet. in Arkansas, Bates studied scenic design at Los Angeles City College. He joined New York City Ballet (NYCB) in 1957 and worked closely with George Balanchine and Jerome Robbins in creating lighting designs for many of their key works. An authority on stage and dance floor construction, he designed the “Balanchine basket-weave floor,” a resilient wooden stage floor designed to minimize injury, in collaboration with Balanchine and NYCB Stage Manager Perry Silvey in 1981.

Opposite page: Frances Chung in Balanchine's Serenade // Choreography by George Balanchine © The Balanchine Trust // Photo © Erik Tomasson Above, headshot: George Balanchine // BALANCHINE is a Trademark of The George Balanchine Trust

PROGRAMS 02 & 03 | SFBALLET.ORG | 27 INSTANT The Artistic Legacy of George Balanchine EXPERT In 1945, poet and dance critic Edwin Denby called George Balanchine the “founder of American ballet as an art,” proclaiming that Balanchine had proved that “ballet can become as native an art here as it did long ago in Russia; and it can develop, as it did there, a native and spontaneous brilliance.” And yet, when Balanchine died in 1983—almost exactly 50 years after arriving in the United States and choreographing his iconic ballet Serenade—many ballet fans wondered if innovation in American ballet had died with him. Spoiler alert: it didn’t. In fact, his company, New York City Ballet, spawned many of the most important dance makers of the late 20th and early 21st centuries, including SF Ballet’s own Helgi Tomasson and the two choreographers featured in Bright Fast Cool Blue alongside Balanchine: Benjamin Millepied and Justin Peck, both of whom danced (or in the case of Peck, still dance) at New York City Ballet. Although each is very different and ultimately unique as a choreographer, you can see Balanchine’s influence on Tomasson, Millepied, and Peck: from the way they each respond carefully to their music, to the jazz-inflected asymmetries that appear in the dancers’ bodies, to the complicated formations and dancing expected of the corps de ballet, to the straightforward attitude of the dancers. And, above all, in their continuous innovation. Their dances are exemplary of what we’ve come to think of as the “American style” that Balanchine created and that contemporary choreographers like Tomasson, Millepied, and Peck continue to develop, adapt, and reinvent.

THE CHAIRMAN DANCES—QUARTET FOR TWO

PROGRAM NOTES

Benjamin Millepied’s The Chairman Dances—Quartet for Two part of the opera, it was what Adams calls a warm-up for it. breezes by, spinning through an astonishing number of moods. He had agreed to write a piece for the Symphony in A choreographic response to The Chairman Dances: Foxtrot 1985, and all he could think about was the scenario for Act 3 of for Orchestra by San Francisco–based composer John Adams, Nixon in China. The Chairman Dances, Adams says, is a musical this playful ballet was originally created for the 2017 Opening response to the “irresistible image of a youthful Mao Tse-Tung Night Gala. Millepied expanded it for the 2018 Repertory Season, dancing the foxtrot with his mistress Chiang Ch’ing, former adding a section for two couples, set to Adams' Christian Zeal B-movie queen and the future Madame Mao, the mind and spirit and Activity. behind the Cultural Revolution and the strident, unrehabilitated member of the Gang of Four.” In this ballet of mercurial moods, understated, jazzy syncopations and minimalist sequences share the stage with big, brash, Broadway-esque passages, so image-laden that when one woman perches on a man’s shoulder, revolving with In bright moments, the dancers arms stretched high amid a swirl of dancers below, you think of “ spring into action as if there were Esther Williams and the big movie musicals of the 1940s. When the mood darkens, ghostly shadows cast on the backdrop mimic no such thing as gravity to defy. the ensemble’s movement; in bright moments, the dancers spring into action as if there were no such thing as gravity to defy. Ensemble segments flank each occurrence of an ongoing duet for the principal couple, which builds on itself each time the dancers The music, so changeable and inflected, captivated Millepied, return to the spotlight. Illustrating the music’s syncopations, says Tina LeBlanc, a former San Francisco Ballet principal” dancer, Millepied offers quick changes of direction and couples swapping now SF Ballet School faculty, who served as ballet master for places, hints of and the flirtation that implies— The Chairman Dances—Quartet for Two. “He was so fascinated because, after all, Adams' The Chairman Dances is a foxtrot. by the rhythms, the changes of mood.” In the studio, he would play the music and improvise, she says, “and the music would be “Foxtrot” is a key word here, because the early-20th-century what carried him—just letting it take him away.” The speed and dance’s rhythms and personality color the ballet’s choreography lightness of the movement combine into something that’s “very and provide an undertone of story. In fact, the music does have a casual,” LeBlanc says. “Very little of it is punched, and that’s the story, and that’s why, when the footlights come up and the way he . At least for this piece, it seems quite soft and principal couple dances in the tight embrace of a follow-spot, casual, even the fast stuff.” Watching him in the studio, and it’s easy to picture Chairman Mao fox-trotting the night away with watching The Chairman Dances—Quartet for Two, she says, his mistress. Adams wrote The Chairman Dances when he began is like “being blown by the wind.” writing his 1987 opera Nixon in China, and though the piece isn’t

28 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 CREATIVE TEAM RODEO: FOUR DANCE EPISODES

JOHN ADAMS PROGRAM NOTES Composer John Adams is a Pulitzer Prize–winning Justin Peck’s Rodeo: Four Dance Episodes, named for the suite by American composer of music and opera, Aaron Copland, is a bounding, whooping balletic interlude of male a conductor, and a writer. Born and raised bonding, and then some. Like many of Peck’s ballets, it celebrates in New England, Adams began composing community—but delivers it in the form of a rambunctious cohort at the age of 10. After earning two degrees of 15 men, with one strong female sidekick. In its ratio of men to from Harvard, Adams became composer women, its lone female’s take-charge attitude (think frontier in residence of . woman), and its sunset-over-the-plains color scheme, Rodeo In addition to orchestral and film scores, Adams has composed the evokes the West without displaying a single cliché step or groundbreaking operas Nixon in China, The Death of Klinghoffer, and costume. The West is the backdrop in this sleek, modern ballet; Doctor Atomic. In 1983, he wrote the music for choreographer Lucinda musicality and male camaraderie are the stars. Childs’ Available Light; Mark Morris’ Joyride (2008) and Ashley Page’s Guide to Strange Places (2012) were both SF Ballet world premieres set Copland’s score premiered in 1942 as the music for Agnes de to Adams’ music. Adams at 70, a yearlong international celebration, Mille’s ballet Rodeo, made for the Ballet Russe de Monte Carlo. wrapped up with the world premiere of Girls of the Golden West at Three years later, Copland adapted the music, omitting one San Francisco Opera last November. movement and the transitional interludes, to make a suite form. Frequent fare in concert halls, the suite is iconic now. Listening to BENJAMIN MILLEPIED it, you can’t help but think of the West, of cowboys and ranchers, Choreographer men determined to tame a wild landscape. In creating this ballet, Peck, resident choreographer at New York City Ballet, was Benjamin Millepied is a choreographer, undaunted by the music’s popularity and ballet history. “I thought filmmaker, and artistic director perhaps there could be two completely different interpretations of distinguished by his career as a dancer the same music, side by side,” he says in a New York City Ballet at New York City Ballet and his growing video. “I wanted to strip away all of the narrative and scenic body of creative work. Born in Bordeaux, elements of the original piece and do an interpretation that France, Millepied trained with his mother, focused on the relation between the movement and the music.” Catherine Flori; at the Conservatoire His interpretation explores all the brashness and subtleties of National de ; and at the School of American Ballet before becoming Copland’s irresistibly toe-tapping score. And, in the words a principal dancer with New York City Ballet. His choreography is of Craig Hall, a ballet master at New York City Ballet who staged performed by New York City Ballet, Paris Opera Ballet, San Francisco the work for SF Ballet, it has heart. Ballet, , Berlin Staatsoper, Mariinsky Ballet, among many others, and was featured in ’s award- Peck’s Rodeo premiered at New York City Ballet in 2015, and winning film Black Swan, in which he also starred. Millepied founded when San Francisco Ballet Artistic Director and Principal L.A. Dance Project in 2012. In 2013, he was appointed director of Paris Choreographer Helgi Tomasson saw it, he loved it. “The music is Opera Ballet, where he was the subject of the documentary film Reset. so familiar, but he’s completely rethinking it,” he says. “And it is so He returned to Los Angeles in 2016 to focus on L.A. Dance Project and valid, what he has done.” Another enticement: its nearly all-male his own choreography and filmmaking. He is currently preparing his cast. “I have terrific men here,” Tomasson says. Rodeo lets them first feature film, a musical adaptation of Carmen, to be released in 2019. loose in individualized glory and dynamic ensemble movements. Among many awards and honors, Millepied was made a Chevalier of the Order of Arts and Letters by the French Ministry of Culture. For Peck, working with so many men “was a big challenge,” says Hall. “It was his first [ballet] with so many men of the company, and the energy, the testosterone—he had to wrangle all the wild bulls in order to get some structure. But when it happened, PRODUCTION CREDITS it turned into this amazing form of energy that was synchronized Music: The Chairman Dances into something quite beautiful.” by John Adams, used by arrangement with G. Schirmer, Inc. publisher and copyright The ballet begins with the men sprinting in canon to the owner. Christian Zeal and exhilarating opening phrases of “Buckaroo Holiday,” and it ends Activity by John Adams, used on an exuberant high note with “Hoedown.” In between are a by arrangement with Hendon quintet, to the adagio “Corral Nocturne,” and a mostly lighthearted Music, Inc., a Boosey & Hawkes , danced to “Saturday Night .” Peck says the company, publisher and copyright owner. Costumes second movement is the heart and soul of the ballet. The five men constructed by Franco Martinez. move through this lyrical section with a striking sense of unity. Each time one man moves away, the others bring him back, supporting and lifting him with touching warmth. “Justin likes to

PROGRAMS 02 & 03 | 415 865 2000 | 29 say that the five men are tumbleweeds and they’re constantly Peck has said that he’s always trying to find a balance between rotating and re-forming and trying to figure out where their artistry and athleticism, and he thinks Rodeo is the closest he’s standings are,” Hall says. “But they can’t act alone; they need the come. You can see the parallels to team sports in the ballet’s support of the other men.” There’s no romance in it, he says; the playfulness and camaraderie, the grace and machismo. The idea is “to show another side, some vulnerability, in five guys, costumes extend the metaphor, particularly the shorts and wide- which is maybe not seen enough—it’s very striking.” striped shirts for the quintet, which bring to mind rugby players on a cold day. (They’re wearing leg warmers.) The other men’s The second movement is difficult to learn, Hall says, “because costumes, in the rusty browns of a Western sunset, have the same most guys want to be in control. We don’t know what it’s like to be wide stripe across the chest. partnered.” Contemporary ballets often do pair men, but usually not in such a gentle, caring way. It was an emotional experience Peck’s choreography is big and athletic much of the time, for Hall, a member of the original cast. When he performed it for and in Rodeo the dancers zip across the stage with the speed the last time before he retired, “we all broke down in tears,” of wild horses. But Peck also knows how to entrap audiences he says, “because it was such an intimate [experience], like five with subtlety and poignancy. And always, his movement seems longtime friends that were saying goodbye.” to well up from within, “like you are pouring your heart out,” says Hall. The depth and texture of Peck’s movement come from Because the quintet is the heart of Rodeo, you might think there’s his fastidious attention to the music. His phrasing is specific, no need for a pas de deux, the traditional centerpiece in a ballet. following the rules of his own musicality, which makes counting Peck would disagree. Though his ballets offer innovative essential until the movement is ingrained in the body; in Rodeo, movement and ideas, they are deeply based in classical dance. syncopation and moments of stillness make finding the right “He admires that world so much, and he doesn’t want to reinvent musicality difficult. A musical phrase has a structure—8 counts, the wheel,” says Hall. “He just wants to take what he’s learned for example, or 17, or 32—and within that, the dancers might and tell his vivid story. He loves the structure of classical dance. interpret the movement’s timing in various ways. But in Peck’s This is a ballet; you have to have a pas de deux.” As always in choreography, “within that structure, there’s an added structure Peck’s work, this wrangling between man and woman is that he wants to show everyone, like under a microscope,” multilayered. When the duet begins, the mood is flirtatious, Hall says. “You can’t have vague movement, because that’s playful—and confident, because the couple seems very much at not Justin Peck.” ease. Suddenly the dynamic shifts: after a tender embrace, the woman steps away and the man brings her up short, their hands Rodeo is the third Peck ballet in the Company’s repertory, clasped between them. Now their relationship is more uncertain, and the first one that was made elsewhere. Hall is happy to see delving into unexpected terrain. “There’s a balance of ‘If I take “such a big, robust ballet” come to San Francisco. “The West Coast that step, will he take that step?’ or ‘If she steps away from me, needs to see this,” he says. “Justin is excited that it’s coming here. should I let her go?’” says Hall. “Something’s at stake then; it’s like He loves this company—he loves the ballet dancers, he loves the a chess match. And finally, when you break that tension, you go size, he loves the power.” into a moment of almost total bliss.”

Previous page: Maria Kochetkova and Carlo Di Lanno in Millepied's The Chairman Dances—Quartet for Two // © Erik Tomasson; Headshots: John Adams // © Christine Allcino; Benjamin Millepied // © Devlin Shand for Drew Altizer Photography Above: San Francisco Ballet in Peck's Rodeo: Four Dance Episodes // © Erik Tomasson Opposite page, headshot: Justin Peck // © Ryan Pfluger

30 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 CREATIVE TEAM AARON COPLAND BRANDON STIRLING BAKER Composer Lighting Designer Aaron Copland (1900–1990) was one of the twentieth-century’s Brandon Stirling Baker is an most influential composers, known for his distinctive blend of award-winning lighting designer classical, folk, and jazz idioms and a unique sound evocative of for ballet, opera, and theater the American west. Born in , New York, he played piano who has collaborated extensively as a child, continuing his studies with Nadia Boulanger in Paris in with choreographer Justin Peck. the 1920s. The music Copland composed for dance is iconic: A graduate of the California Institute particularly Billy the Kid (1938), commissioned by Lincoln Kirstein for the Arts, Baker also studied at and choreographed by , Rodeo (1942) originally the Royal Scottish Academy of Music & choreographed by Agnes de Mille, and the Pulitzer Prize–winning Drama in , . He has designed lighting for an extensive Appalachian Spring (1944) for a work by . A writer, internationally, including New York City Ballet, teacher, and scholar, he spent his later years traveling the world , Dutch National Ballet, Staatsballett Berlin, Pacific conducting and creating recordings. Among many honors, Copland Northwest Ballet, The Joffrey Ballet, , Houston was awarded The Presidential Medal of Freedom, the Commander's Ballet, and American Dance Theater, among others. Baker Cross of the Order of Merit of the Federal Republic of Germany, is the winner of the 2016 Lotos Foundation Prize in the Arts and Kennedy Center Award, and an Academy Award for his film score Sciences, as an Emerging Artist. for The Heiress.

REID BARTELME JUSTIN PECK Costume Design Choreographer Reid Bartelme is a New York-based fashion and costume designer Justin Peck is resident who specializes in costuming dance. He has also spent many years choreographer and a soloist working as a dancer in companies across North America. Born in dancer with New York City Ballet New York, he discovered dance as a voice student at Interlochen (NYCB). Peck joined NYCB in 2006 Arts Academy in Michigan. He studied at and was promoted to soloist in School before dancing for BalletMet, Alberta Ballet, and Shen Wei 2013. He began choreographing Dance Arts. He enrolled at the Fashion Institute of Technology, in 2009 at the New York where he met Harriet Jung. Bartelme and Jung founded Reid & Harriet Choreographic Institute. In 2014, Design in 2011. Collaboratively, they have designed costumes for after the creation of Everywhere We Go, Peck was appointed choreographers Justin Peck, , Andrea Miller, Emery Resident Choreographer of NYCB. He has created more than Lecrone, , Mauro Bigonzetti, and Doug Varone. They 30 ballets, which have been performed by Paris Opera Ballet, have costumed productions at American Ballet Theatre, New York City San Francisco Ballet, Miami City Ballet, Pacific Northwest Ballet, Ballet, and Ballet Next. Along with Justin Peck, they are featured in the LA Dance Project, Dutch National Ballet, The Joffrey Ballet, documentary Ballet 422. Houston Ballet, and Pennsylvania Ballet. In 2014, Peck was the subject of the documentary Ballet 422, which followed him as he created Paz de la Jolla, NYCB’s 422nd original dance. Peck HARRIET JUNG choreographed the 2018 Broadway revival of and Costume Design choreographed and consulted on the 20th Century Fox feature Harriet Jung is a New York-based artist with experience in costume film Red Sparrow. His Rodeo: Four Dance Episodes won the design, womenswear design, and illustration. Jung studied visual Bessie Award for Outstanding Production in 2015. arts at a young age and attended Orange County School of the Arts in Southern California. She earned a degree in molecular and cell biology from the University of California, Berkeley, before studying CRAIG HALL fashion design at the Fashion Institute of Technology. Upon graduating, Stager she joined the womenswear design team at Jill Stuart and worked as Craig Hall, a ballet master and former soloist with New York City an associate designer. Jung founded Reid & Harriet Design with Ballet, is currently part of a four-person artistic team directing Reid Bartelme in 2011. Collaboratively, they have worked with New York City Ballet. Born in Maywood, Illinois, he trained at choreographers Justin Peck, Doug Varone, Pam Tanowitz, and Stairway of the Stars, Chicago Academy of the Arts, the Ruth Page Matthew Neenan, and designed productions for New York City Ballet, Dance Foundation, and the School of American Ballet. He joined American Ballet Theatre, Pacific Northwest Ballet, Hubbard Street New York City Ballet in 2000 and was promoted to soloist in Dance Chicago, and Miami City Ballet. Jung and Bartelme have 2007. Hall danced featured roles in ballets by George Balanchine, recently started a capsule collection. Jerome Robbins, and , and originated roles in works by Justin Peck, Christopher Wheeldon, Alexei Ratmansky, PRODUCTION CREDITS Benjamin Millepied, , and Lynne Taylor-Corbett. He has Music: Four Dance Episodes from Rodeo by Aaron Copland, used by also appeared in the feature film Center Stage and a 2010 film arrangement with Boosey & Hawkes, Inc., publisher and copyright adaptation of Jerome Robbins’ N.Y. Export: Opus Jazz. owner. Costumes constructed by Christopher Read, Toronto, Canada.

PROGRAMS 02 & 03 | SFBALLET.ORG | 31 San Francisco Ballet in Thatcher's Ghost in the Machine // © Erik Tomasson PROGRAM03DISTINCTLY SF BALLET FEB 15—FEB 25 PROGRAM SPONSOR: THE BERNARD OSHER FOUNDATION Program Notes by Cheryl A. Ossola

ON A THEME OF PAGANINI Composer: Sergei Rachmaninov World Premiere: Choreographer: Helgi Tomasson March 7, 2008—San Francisco Ballet, War Memorial Opera House; San Francisco, California Scenic and Costume Design: Martin Pakledinaz Lighting Design: Neil Peter Jampolis The 2008 world premiere of On a Theme of Paganini was made possible by SF Ballet 75th Anniversary Lead Sponsor Yurie and Carl Pascarella.

These performances of On a Theme of Paganini are possible by Major Sponsor Athena and Timothy Blackburn, and Sponsor Almaden. IBSEN’S HOUSE Composer: Antonín Dvořák World Premiere: Choreographer: Val Caniparoli April 24, 2008—San Francisco Ballet, War Memorial Opera House; San Francisco, California Scenic and Costume Design: Sandra Woodall Lighting Design: James F. Ingalls The 2008 world premiere of Ibsen’s House was made possible by SF Ballet 75th Anniversary Sponsor the George Frederick Jewett Foundation, Assistant to the Choreographer: Maiqui Mañosa Lucille Jewett, Trustee.

These performances of Ibsen's House are made possible by Major Sponsor Kathleen Scutchfield.

GHOST IN THE MACHINE Composer: Michael Nyman World Premiere: Choreographer: Myles Thatcher April 5, 2017—San Francisco Ballet, War Memorial Opera House; San Francisco, California Scenic Design: Alexander V. Nichols Costume Design: Susan Roemer The 2017 world premiere of Ghost in the Machine was made possible by Lead Sponsors Fang and Gary Bridge, Shelby and Frederick Gans, Lighting Design: Jim French David and Kelsey Lamond, and The Seiger Family Foundation, with additional support from the Byron R. Meyer Choreographers Fund of the San Francisco Ballet Endowment Foundation.

These performances of Ghost in the Machine are made possible by Lead Sponsors Shelby and Frederick Gans, and David and Kelsey Lamond; Major Sponsors Brenda and Alexander Leff, and Charles and Kara Roell; and Sponsors Christine and Pierre Lamond, and San Francisco Ballet Allegro Circle.

PROGRAMS 02 & 03 | 415 865 2000 | 33 ON A THEME OF PAGANINI

PROGRAM NOTES

On a Theme of Paganini, created by Artistic Director and and potent sequences, with flying lifts that drop into whirling Principal Choreographer Helgi Tomasson in 2008, sets embraces and powerful moments that come from gestures: an neoclassicism head to head with romanticism, and the latter embrace or a kiss. prevails. Many of Tomasson’s ballets reveal his romantic streak; with this one—and with his choice of music, Sergei Rachmaninov’s Rachmaninov was one of the last of the line of Romantic pianist/ Rhapsody on a Theme of Paganini—he leaves viewers with zero composers that began with Frédéric Chopin and Franz Liszt in doubt about what lies at his choreographic heart. the mid-1800s. He wrote Rhapsody at a time when people thought his creative days were largely over; ironically, this piece is now There’s stylistic diversity in this ballet, both structurally and in the considered to be his finest large-scale composition. In 24 , movement itself. In the first and third movements, the formality of the composer gives Paganini’s theme a piano interpretation of great neoclassicism—which modernizes classical ballet steps but retains intricacy, backed by a full orchestra. The ballet’s central pas de deux the essence of classical form and line—creates a lovely contrast is set to what is perhaps the ultimate variation on a theme— with the languid romanticism of the second movement. Tomasson an inversion of every chord in Paganini’s melody. (In an inversion, sets up the contrast in the ballet’s first moments: with a full the lowest note moves up an octave.) According to Music Director ensemble behind them, two principal women begin, moving their and Principal Conductor Martin West, the work is a masterpiece, arms in a classically shaped, staccato port de bras that quickly brilliant in how Rachmaninov fits the variations together. “It’s not just extends to the legs. The women’s movements freeze momentarily, a set of variations; it’s a symphony,” says West. “Or it’s a concerto punching into the accented music. Then classical shapes morph which happens to have the same theme running all the way through. into more angular lines, but even those convey softness. For Every aspect of it is perfect.” example, in a flexed-hand motif, Tomasson starts with roundness in the arm, then flips the wrist to “break up that structure,” he says. Tomasson’s choreography is layered, in volume, space, and texture. Flying lifts drop into whirling At times, in true classical form, he frames and supports the “ embraces and powerful principals with the demi-soloists and corps de ballet; elsewhere he launches waves of men or women in dynamic contrast to smaller moments come from gestures: groupings. Neoclassicism bookends the ballet’s softer middle, an interlude of quiet intimacy that is probably the most romantic pas an embrace or a kiss. de deux Tomasson has choreographed. With the soaring melody of the 18th variation propelling them, the dancers move through rich ”

San Francisco Ballet in Tomasson's On a Theme of Paganini // © Erik Tomasson

34 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 For Tomasson, working with this flowing, emotional music designing for choreographers Helgi Tomasson, Mark Morris, was one of the pleasures of creating On a Theme of Paganini ; and Christopher Wheeldon. Pakledinaz also worked in theater another was using a large ensemble, which at the time he had and opera, frequently collaborating with Peter Sellars, and not done since 2000, when he made Prism. Using a corps de designing works for the Metropolitan Opera, Seattle Opera, ballet presents choreographic challenges that don’t exist in Opera , , Lyric Opera, Glimmerglass smaller works, such as how and when to use groups, what size Opera, and the Canadian Opera Company. He was nominated to make them, whether or not to pair the dancers, and whether 10 times for the Tony Award, winning for a 1999 revival of Kiss Me, their movement should complement or counterpoint what the Kate and Thoroughly Modern Millie (2002). Pakledinaz was principals do. “I had to make that happen,” Tomasson says. posthumously inducted into the American Theater Hall of Fame. “It was fun to work on.”

NEIL PETER JAMPOLIS Lighting Designer Neil Peter Jampolis is a Tony Award–winning lighting, set, and CREATIVE TEAM costume designer and stage director for dance, opera, and theater. Born in New York City, he won a Tony Award and a Drama Desk SERGEI VASILIEVICH RACHMANINOV Award for his lighting design for the Royal Shakespeare Theatre’s Composer 1975 production of Sherlock Holmes. Jampolis won an American Sergei Vasilievich Rachmaninov (1873–1943) was a Russian Theatre Wing Hewes Design Award in 1982 and received three pianist, composer, and conductor of the late Romantic period. more Tony Award–nominations for The Innocents, Black and Blue, Regarded as one of the major composers of the 20th century, and Descending. In dance, he has served as principal his works remain popular in the classical repertory. Born into designer for Pilobolus Dance Theatre since 1975 and has created an aristocratic, musical family, Rachmaninov started piano works for many major ballet companies, including San Francisco as a child and enrolled in the Moscow Conservatory at age Ballet and The National Ballet of Canada. Jampolis has also 12. At the home of his teacher, Nikolai Zverev, he met Peter worked with Vienna State Opera, La Scala, the Metropolitan Opera, Ilyich Tchaikovsky, who became a mentor. In the early 1900s, Seattle Opera, the Santa Fe Opera, and New York City Opera, Rachmaninov was in constant demand as a conductor, pianist, among others. Jampolis is a distinguished professor of and composer. After the Russian Revolution, he moved with theatre at UCLA's School of Theatre, Film, and Television. his family to the United States, where he toured extensively as a concert pianist. In later years, he composed Rhapsody on a Theme of Paganini, Symphony No. 3, and Symphonic Dances. PRODUCTION CREDITS Music: Rhapsody on a Theme of Paganini, Op. 43 by Sergei Rachmaninov. Music used by arrangement with Boosey & Hawkes Inc., publisher and sole HELGI TOMASSON copyright owner. Scenic painting by the San Francisco Ballet Carpentry and Choreographer Scenic Departments, at the San Francisco Opera Scenic Studios. See page 6.

MARTIN PAKLEDINAZ Scenic and Costume Designer Martin Pakledinaz (1953–2012) was a costume and scenic designer who worked in theater, dance, opera, and film. Born in Sterling Heights, Michigan, he graduated from Wayne State University and received a master’s in drama from the University of Michigan. Pakledinaz was a prolific designer and his work has been seen throughout the United States and around the world. He collaborated frequently with SF Ballet,

PROGRAMS 02 & 03 | SFBALLET.ORG | 35 IBSEN’S HOUSE

PROGRAM NOTES

Ibsen’s House, choreographed by Val Caniparoli, is a ballet tour the Camelias, and A Cinderella Story. “What makes Ibsen’s House de force for five women, based on characters from five plays by different,” Caniparoli says, “is that I’m not telling one story.” Norwegian playwright Henrik Ibsen. If you don’t know Ibsen’s work, don’t worry—the ballet, created for the San Francisco Ballet New For the score, Caniparoli chose Czech composer Antonín Dvořák’s Works Festival in 2008, stands on its own; Caniparoli used the Piano Quintet No. 2, minus the third movement. Although at first he plays as a point of departure. “Ibsen's radical ideas about marriage, didn’t notice the parallel structures—the music is a quintet, and the gender roles, and family relations shocked and outraged many of ballet dramatizes five women’s stories—the fit was perfect. The his contemporaries, and still hold resonance today” says Caniparoli. music was written in 1887, around the same time Ibsen’s plays were. What he wanted to do was capture the essence of these women, And Dvořák’s score has layers of feeling that mirror the passions their fraught relationships, their predicaments. buried within Ibsen’s characters—emotions, once freed, that compel them to defy traditional mores. Watching Ibsen’s House does give you a sense of the playwright’s work, however, because it puts his themes front and center. Called Ensuring that the dancers understood their characters was a the “Father of Modern Drama,” Ibsen challenged Victorian societal crucial part of developing the movement, so Caniparoli had them conventions in his plays of the late 1800s; in that sense he was read the plays, or watch film versions, and he brought Perloff into an early feminist. Caniparoli chose five dominant women characters, a rehearsal to describe key motivations and responses for each one each from A Doll’s House (1879), Ghosts (1881), Rosmersholm character. Disregarding the dancers’ ages, he freed himself to create (1886), The Lady from the Sea (1888), and Hedda Gabler (1890). movement based purely on the characters’ feelings. In the ballet’s “They were being challenged about what was the norm, what first two movements, Caniparoli presents the women first alone and you could or couldn’t talk about,” he says. “Ibsen was a rebel in then in duets with their male counterparts. Small, simple gestures that way.” reveal character—the smoothing of a dress; a hand brought to the mouth, then snatched away; a fist thudding against a chest. Caniparoli, a principal character dancer who has created 18 ballets Caniparoli revels in letting emotion drive the choreography. for the Company, choreographs widely. Often he blends dance with literary art forms, such as in his work with Carey Perloff at American For the third movement, Caniparoli goes beyond the confines Conservatory Theater, which includes A Christmas Carol, A Doll’s of the plays, exploring the consequences of the characters’ House, Tosca Café, and A Little Night Music. And he has done his shattered lives. “It’s like the aftermath,” he says, “how the men are fair share of story ballets: three versions of The Nutcracker, Lady of feeling, which you might not see in the play.” But still the women predominate, threading their way through the men’s psyches like reminders of what has been—or what might have been.

CREATIVE TEAM

ANTONÍN DVOŘÁK Composer Antonín Dvořák (1841–1904) was a Czech composer of Romantic music, known for his versatility and for incorporating elements of folk music of Moravia and his native Bohemia into his symphonic compositions. Born in a village north of Prague, Dvořák showed an early talent for violin and attended the Prague Organ School. After graduating, he performed in the Bohemian Provisional Theater Orchestra and taught music. His compositions attracted the attention of , who recommended Dvořák to a music publisher. His Moravian Duets and Slavonic Dances, Op. 46, launched his career internationally. In 1892, Dvořák became director of the National Conservatory of Music in New York. He wrote his Symphony No. 9 New World Symphony while in the United States and returned to Bohemia in 1895. Dvořák’s works include operas, symphonic, choral, and chamber music.

36 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 VAL CANIPAROLI Choreographer Val Caniparoli’s versatility has made him one of the most sought- after choreographers in the world. Born in Renton Washington, he joined San Francisco Ballet in 1973 and is currently a principal character dancer with the Company. He has contributed to the repertories of more than 50 ballet companies around the world, but remains closely associated with SF Ballet, his artistic home for more than 40 years. He has also worked with San Francisco Symphony, San Francisco Opera, American Conservatory Theater, The Metropolitan Opera, and Chicago Lyric Opera. The recipient of ten grants from the National Endowment for the Arts, he was awarded an artist fellowship from the California Arts Council. Caniparoli has twice received the Choo-San Goh Award from the Choo-San Goh and H. Robert Magee Foundation. He was nominated for the Benois de la Danse Award from the International Dance Association, and received the Isadora Duncan Award (“Izzie”) for Sustained Achievement, as well as two Izzies for Outstanding Choreography. His Lady of the Camellias for was honored by Hong Kong Dance Awards as “Outstanding Large Venue Production” and “Outstanding Ensemble Performance.”

SANDRA WOODALL Above: Sofiane Sylve in Caniparoli's Ibsen's House // © Erik Tomasson; Scenic and Costume Designer Headshot: Val Caniparoli // © Chris Hardy Opposite page: Sofiane Sylve and Tiit Helimets in Caniparoli'sIbsen's House // © Erik Tomasson Sandra Woodall is one of the best–known and most prolific designers in the Bay Area. Born in Oakland, Woodall studied painting at the San Francisco Art Institute. Woodall and her workshop have designed and executed creations for more than 200 productions for dance premieres in America and internationally. He often collaborates with companies including San Francisco Ballet, the Bolshoi Ballet, the Vienna The Wooden Floor dancers in Santa Ana, California. State Ballet, Norwegian National Ballet, , , , and Frankfurt Ballet, among others. She has worked with MAIQUI MAÑOSA San Francisco Opera, San Francisco Symphony, Eureka Theater, American Assistant to the Choreographer Conservatory Theater, Magic Theater, , and Hong Kong Repertory Theatre. Woodall is the recipient of five Isadora Duncan Awards. Born in the , Maiqui Mañosa trained with her mother Inday Gaston Mañosa and Totoy de Oteyza. She became a principal dancer with and performed frequently as a guest JAMES F. INGALLS artist with Philippine Ballet Theater and the Central Ballet of China. Lighting Designer After working as a ballet mistress with Dance Theater, James F. Ingalls designs lighting for dance, theater, opera, and symphony she returned to the United States to teach at The Rock School in concerts. He is a Department of Dramatic Arts graduate of the University . Currently she stages ballets for Val Caniparoli, of Connecticut and studied stage management and lighting design at Graham Lustig, and John McFall around the world and teaches the Yale School of Drama. His designs for San Francisco Ballet include in summer workshops. , Onegin, Sylvia, Nutcracker, Helgi Tomasson’s Silver Ladders, and the 75th Anniversary New Works Festival. Ingalls’ work is seen in the repertories of American Ballet Theatre, , Dutch National Ballet, Mark Morris Dance Group, The National Ballet PRODUCTION CREDITS of Canada, Pacific Northwest Ballet, and Paul Taylor Dance Company. Music: Piano Quintet in A Major, Op. 81 by Antonín Dvořák. Costumes constructed by Birgit Pfeffer, Groveland, California. He designed ’s 50th Anniversary Tour and Waiting at the Scenic construction and painting by San Francisco Ballet Carpentry and Station, ’s Celts and Continuum, and ’s Split Scenic Departments, at the San Francisco Opera Scenic Studios. Sides and Fluid Canvas. His work in opera and theater includes a long collaboration with director Peter Sellars, designing many world

PROGRAMS 02 & 03 | SFBALLET.ORG | 37 GHOST IN THE MACHINE

PROGRAM NOTES

For Ghost in the Machine, Myles Thatcher’s third work for The movement both emphasizes and tests the community theme. SF Ballet (his fourth will premiere in Unbound: A Festival of We see fluidity and continuity, weighted movements, supported falls, New Works), Thatcher was thinking about the power of community. gentle repositionings, flocking passages of unison steps, and times “It’s easy to get stuck in our own personal agendas, baggage, when members of the group who seem to need an emotional boost and dramas,” he says. “To get out of that, we need each other— are given a physical one. Thatcher wants heart in his movement, and to relate to each other and be there as a community.” softness; he wants the torso to flex and extend as much as an arm or leg. “I’m fascinated by dynamics in movement that my generation has Thatcher wanted music that had “some darkness and pain, but also developed, or the one before us, like with hip-hop and a way of moving lightness and joy,” he says. He found it in works by Michael Nyman. that articulates the four points of the shoulders and the hips,” he says. “There’s such emotion in the subtext,” Thatcher says, “but it doesn’t “It’s expressive. Even just softening here”—he collapses his chest— dictate. It gives me freedom to play.” And play he does, finding both “means so much.” the positive and negative aspects of being in a community. “I’ve been exploring how we interact with society and how society can Threaded throughout are movement motifs that reinforce the theme. interact with us,” he says. “We can be in a room full of people and An arm snakes, the hand flipping 180 degrees; both hands slide still feel absolutely alone.” Structurally, the dancers group and across the torso on diagonals, one up to the heart, one down to regroup in shifting numbers. At times a single dancer comes into the hip. There’s rocking, reaching, and, most important, embracing. focus, but it’s not long before he or she is reabsorbed into the group. In developing motifs, Thatcher says he sees “theme sensations—I try to find steps that have the same sensations for the dancers.” Thatcher The ballet begins with a confrontation, a duet that “should feel like a is willing to experiment, and he’s open to the dancers’ ideas. “They face-off at an abandoned warehouse,” Thatcher says. “It’s like when shape what [the ballet] is going to be,” he says. “It’s really humbling.” you have chemistry with someone who isn’t really good for you; there’s toxicity there, but there’s pleasure in that.” Next, the piece moves through expressions of sadness and rejection to its turning point, a duet created on Principal Dancers Dores André and Carlo PRODUCTION CREDITS Di Lanno. They have chemistry, Thatcher says, “but they can’t Music by Michael Nyman: “Queen of the Night” and “An Eye For Optical Theory” from The Draughtsman’s Contract; “Prawn-Watching” from A Zed and Two Noughts; realize it in the context of the group. Maybe they aren’t supposed to “A Wild and Distant Shore,” “Lost and Found,” and “The Heart Asks Pleasure First/ be together. Maybe there’s something preventing them from being The Promise” from The Piano and “Wheelbarrow Walk” from Drowning by Numbers. together.” Their struggle to accept love opens the door to a happier Music used by arrangement with G. Schirmer, publisher and copyright owner. state within this small community, at which point Thatcher asks his Costumes constructed by S-Curve Apparel & Design, San Francisco, California. dancers to be “simple and human.” Conflict and isolation give way Above: San Francisco Ballet in Thatcher's Ghost in the Machine // © Erik Tomasson. to empathetic hugs, a moment of serenity and togetherness Opposite page, headshot: Myles Thatcher // © Rolex/Reto Albertalli inspired by a Rolodex (of all things), some comic relief, and a pervasive feeling of acceptance.

38 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 CREATIVE TEAM

MICHAEL NYMAN ALEXANDER V. NICHOLS Composer Scenic Designer Michael Nyman is one Britain's Alexander V. Nichols designs lighting, scenery, costumes, most celebrated choreographers and projections for theater, opera, music, and dance. Born in of opera, string quartets, film Berkeley, California, he started out designing scenery and lighting soundtracks, and orchestral works. for Berkeley Ballet Theater. His designs for San Francisco Ballet He is also a conductor, pianist, author, include Death of a Moth, Later, Thread, RAkU, Trio, Francesca musicologist, photographer, and da Rimini, and Swimmer. Nichols has been resident lighting filmmaker. In 1968, he coined the designer for Pennsylvania Ballet, Hartford Ballet, and American term “minimal music,” and during the following decade he reflected Repertory Ballet and lighting supervisor for American Ballet and influenced a certain school of thought in contemporary music. Theatre. He is a recipient of a San Francisco Certificate of Honor In 1976, he formed the Michael Nyman Band, which over the past four for his work at American Conservatory Theater and has received decades has been a laboratory for his inventive and experimental four Isadora Duncan Awards, four Bay Area Critics Circle Awards, compositional work. Nyman’s film scores include the Peter Greenway and three Dean Goodman Awards. films The Draughtsman’s Contract and The Cook, the Thief, His Wife & Her Lover. He has written scores for Neil Jordan and Michael Winterbottom, as well as Andrew Niccol’s Gattaca and Jane SUSAN ROEMER Campion’s The Piano, the soundtrack of which has sold more than Costume Designer 3 million copies. Operatic works include The Man Who Mistook His Costume Design Susan Roemer, Wife for a Hat, Facing Goya, and Man and Boy: Dada. Nyman’s a former professional dancer in multiscreen installations draw upon his extensive collection of San Francisco, is a costume and moving images and stills recorded during his travels—blended with dancewear designer. Originally his musical compositions they create unique and evocative works. from Milwaukee, Roemer danced The multiscreen Nyman with a Movie Camera combines extracts with Milwaukee Ballet and other from many of Nyman’s films with his soundtrack for Dziga Vertov’s small organizations across the US 1929 masterpiece Man with a Movie Camera. Nyman was awarded the before moving to California to join Smuin Ballet in 2007. Roemer Commander of the Most Excellent Order of the British Empire in 2008. created her first costumes for Smuin Ballet’s Choreography Showcase in 2012. A year later she founded her business, S-Curve Apparel & Design, through which she produces costumes and MYLES THATCHER athletic apparel. Roemer first worked with Myles Thatcher creating Choreographer costumes for In the Passerine’s Clutch. She has also designed Myles Thatcher is a corps de ballet costumes for Amy Seiwert’s Imagery, AXIS Dance Company, dancer with San Francisco Ballet and Post:Ballet, Diablo Ballet, Menlowe Ballet, , Ballet a choreographer. Born in Atlanta, West, The Joffrey Ballet, , , Thatcher trained at The Harid and on the television series Flesh & Bone. Conservatory, Ellison Ballet, and at San Francisco Ballet School. He spent a year as a SF Ballet School Trainee JIM FRENCH before being named an apprentice in 2009 and joining the corps de Lighting Designer ballet in 2010. As a dancer, he has performed principal or featured Jim French, lighting supervisor for San Francisco Ballet, roles in many classical and contemporary ballets, and as Paris in designs lighting for performing arts and live events. He has the 2015 film of Tomasson’s Romeo & Juliet for Lincoln Center at the designed lighting for seven premiere ballets at San Francisco Movies’ Great American Dance. Thatcher began choreographing while Ballet, including works by Christopher Wheeldon, Myles Thatcher, still a trainee in 2008. His In the Passerine’s Clutch premiered at the Jiří Bubeníček, and Arthur Pita. Following extended stints with 2013 Repertory Season Gala and was followed in 2015 by his Manifesto, the Martha Graham Dance Company and Twyla Tharp Dance, which was nominated for an Isadora Duncan Award for Outstanding French enjoyed nine years as resident designer for New York’s Achievement in Choreography. In 2015, Thatcher also created Cedar Lake Contemporary Ballet. He has collaborated with Passengers for The Joffrey Ballet and Polaris for New York City Ballet. Bandaloop, , Ballett Basel (), Carte He spent a year in the Rolex Mentor & Protégé Arts Initiative under the Blanche (), Joe Goode Performance Group, Post:Ballet, mentorship of choreographer Alexei Ratmansky in 2014–15. Thatcher Richmond Ballet, and choreographers Amy Seiwert, Jessica Lang, has created a new ballet for Unbound: A Festival of New Works that will Crystal Pite, Pascal Rioult, and Val Caniparoli. In theater, he has premiere in April. designed lighting for Marin Theatre Company, Irish and Classical Theatre, Shotgun Players, Just Theater, and New York’s Above: San Francisco Ballet in Thatcher's Ghost in the Machine // © Erik Tomasson. Opposite page, headshot: Myles Thatcher // © Rolex/Reto Albertalli Playwrights Horizons and Primary Stages. He has been a house lighting designer at SF Jazz, and volunteers for Dancers Responding to AIDS and Bike East Bay.

PROGRAMS 02 & 03 | 415 865 2000 | 39 SAN FRANCISCO BALLET ORCHESTRA

MUSIC DIRECTOR & PRINCIPAL CONDUCTOR MARTIN WEST

PRINCIPAL GUEST CONDUCTOR MING LUKE

VIOLIN I CELLO ENGLISH HORN Cordula Merks, Concertmaster Eric Sung, Principal Marilyn Coyne Heeguen Song, Associate Concertmaster Jonah Kim, Associate Principal Beni Shinohara, Assistant Concertmaster Victor Fierro, Assistant Principal Heidi Wilcox Thalia Moore Mia Kim Nora Pirquet Natalie Parker, Principal Robin Hansen Ruth Lane* Andrew Sandwick Brian Lee Mariya Borozina BASSOON Karen Shinozaki* CONTRABASS Rufus Olivier, Principal Laura Albers* Steve D’Amico, Principal Patrick Johnson-Whitty Shinji Eshima, Associate Principal Jonathan Lancelle, Assistant Principal VIOLIN II Mark Drury SAXOPHONE Craig Reiss, Principal David Henderson* Jeanelle Meyer, Associate Principal Dale Wolford* Wenyi Shih, Assistant Principal** FLUTE Kevin Stewart* Marianne Wagner Barbara Chaffe, Principal Clifton Foster Stephanie McNab* Rebecca Jackson** Julie McKenzie HORN Emma Votapek* Kevin Rivard, Principal Jeremy Preston* PICCOLO Keith Green Julie McKenzie Brian McCarty, Associate Principal

William Klingelhoffer VIOLA Yi Zhou, Principal OBOE Anna Kruger, Associate Principal Laura Griffiths, Principal TRUMPET Joy Fellows, Assistant Principal James Moore III* Adam Luftman, Principal Caroline Lee Marilyn Coyne Joseph Brown, Principal Paul Ehrlich John Pearson* Elizabeth Prior* San Francisco Ballet Orchestra © Erik // Tomasson

40 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03

TROMBONE Jeffrey Budin, Principal Paul Radke**

BASS TROMBONE Scott Thornton, Principal

TUBA Peter Wahrhaftig, Principal

TIMPANI James Gott, Principal

PERCUSSION David Rosenthal, Principal ESPETUS Todd Manley* Peter Thielen* Tyler Mack* 1/2 V AD Mark Veregge* WE USE HARP Annabelle Taubl, Principal 100% NATURAL

PIANO Mungunchimeg Buriad* MESQUITE Natal’ya Feygina*

ORCHESTRA PERSONNEL MANAGER & CHARCOAL MUSIC ADMINISTRATOR Tracy Davis AUTHENTIC BRAZILIAN STEAK HOUSE

MUSIC LIBRARIAN Fourteen signature cuts of meat roasted over a mesquite grill. Matthew Naughtin We use fresh produce to prepare our salads daily. Nothing comes from cans.

TASTE THE DIFFERENCE!

SAN FRANCISCO | SAN MATEO ESPETUS.COM

* Extra player ** Season Substitute

PROGRAMS 02 & 03 | SFBALLET.ORG | 41 SAN FRANCISCO BALLET STAFF

HELGI TOMASSON ARTISTIC DIRECTOR & MUSIC MARKETING & COMMUNICATIONS PRINCIPAL CHOREOGRAPHER MARTIN WEST, Music Director JULIE BEGLEY, Chief Marketing Officer & Principal Conductor Kyra Jablonsky, Associate Director, GLENN MCCOY Mungunchimeg Buriad, Communications EXECUTIVE DIRECTOR Natal'ya Feygina, Nina Pinzarrone, Jessica Lucas, Associate Director, Company Pianists Marketing

Tracy Davis, Orchestra Personnel Valerie Megas, Senior Manager, Manager & Music Administrator ARTISTIC Retail Operations Ricard Bustamante, Felipe Diaz, Matthew Naughtin, Music Librarian Mary Goto, Senior Manager, Ballet Masters & Assistants to the Marketing and Sales

Artistic Director Monica Cheng, Senior Manager,

Graphic Design Betsy Erickson, Anita Paciotti, Katita Waldo, ADMINISTRATION Ballet Masters Jane Ann Chien, Web & Digital DARIN CONLEY-BUCHSIEB, Yuri Possokhov, Choreographer in Residence Human Resources Director Platforms Manager Abby Masters, Artistic Administrator Laura Simpson, Board Relations Manager Jillian Vasquez, Marketing & Promotions Manager Alan Takata-Villareal, Logistics Manager Rocio Salazar, Human Resources Generalist Nannette Mickle, Group Sales Amelia Bear, Assistant to the Artistic Staff Katharine Chambers, Assistant to Representative Senior Executive Staff James Hosking, Video Producer/Editor Caitlin Sims, Publications Editor OPERATIONS Lea Lamprecht, Social Media Producer DEBRA BERNARD, General Manager DEVELOPMENT Rena Nishijima, Communications Associate Juliette LeBlanc, Company Manager Elizabeth Lani, Senior Officer, Planned Giving Emily Munoz, Marketing Associate Amy Hand, Operations Manager Amy Drew, Senior Officer, Corporate Giving Rachel Bauer, Media Asset Administrator Sarah Warner, Senior Officer, Major Gifts Francis Zhou, Graphic Designer Kera Jewett, Senior Officer, Major Gifts

PRODUCTION Ingrid Roman, Senior Manager, Special Events

CHRISTOPHER DENNIS, Production Director Ari Lipsky, Senior Manager, Individual Gifts TICKET SERVICES Daniel Thomas, Technical Manager Laurel Skehen, Senior Manager, Membership BETSY LINDSEY, Associate Director, Kate Share, Manager of Wardrobe, Wig, Jim Sohm, Research Manager Ticket & Patron Services Make-up & Costume Construction Elizabeth Luu, Grants Manager Jennifer Peterian, Box Office Manager/ Jim French, Lighting Supervisor Nicole Lugtu, Individual Gifts Officer Treasurer Jane Green, Production Stage Manager Catherine Davis, Donor Relations Officer Mark Holleman, Sales & Service Supervisor Kathryn Orr, Stage Manager Colette Whitney, Corporate Giving Officer Elena Ratto, Patron Services Specialist Nixon Bracisco, Master Carpenter Ashley Rits, Development Database Jole Mendoza, Ticketing Database Specialist Kelly Corter Kelly, Master Electrician Coordinator David Clark, Box Office Supervisor Kenneth M. Ryan, Master of Properties Emma Lundberg, Special Events Coordinator Arielle Hazan, Jericho Lindsey, Patricia Pearson, Kevin Kirby, Audio Engineer Joshua Schaffer, Membership Coordinator Michelle Schafer, Cherryl Usi, John O'Donnell, Flyman Haley O’Neil, Senior Development Associate Ticket Services Associates Patti Fitzpatrick, Head of Women’s Wardrobe Jamie Bergos, Development Associate Claudia Schwartz, Ticket Services Assistant

Juanita Lam, Development Associate Todd Siewert, Acting Head of Men's Wardrobe Meg Monks, Special Events Associate Richard Battle, Head of Hair & Make-up Megan Anderson, Corporate Giving Associate FINANCE Thomas Richards, Assistant Head of KEVIN MOHR, Chief Financial Officer Hair & Make-up Kristin Klingvall, Controller

Valerie Ruban, Accounting Supervisor Evangelina Maravilla, Payroll Manager Matthew Czarnecki, Senior Accountant Jonathan Creecy, Leanna Wright, Staff Accountants Jennifer Kovacevich, Lean Ops Project Manager

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.

42 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03

MARKETING & COMMUNICATIONS FACILITIES Yuko Katsumi Education & Training Administration JULIE BEGLEY, Chief Marketing Officer NATHAN BRITO, Facilities Manager Tina LeBlanc ANDREA YANNONE, Director of Education Kyra Jablonsky, Associate Director, Adrian Rodriguez, Facilities Coordinator Jeffrey & Training Communications Todd Martin, Stanley Wong, Rubén Martín Cintas, Jennie Scholick, PhD, Associate Director Jessica Lucas, Associate Director, Facilities Assistants Lee R. Crews Endowed Faculty Member of Audience Engagement Marketing Tamara de la Cruz, Nicole Drysdale, Ilona McHugh Christina Gray Rutter, School Assistant Administrative Director Valerie Megas, Senior Manager, Yana Vincent, Receptionists Pascal Molat, Trainee Program Assistant Retail Operations Jasmine Yep Huynh, Manager of Youth Jaime Diaz, Ballet and Strengthening Mary Goto, Senior Manager, Programs and Teacher Support Marketing and Sales Dana Genshaft, Ballet, Jennifer Bakane, INFORMATION TECHNOLOGY & Conditioning Monica Cheng, Senior Manager, School Operations Manager Graphic Design MURRAY BOGNOVITZ, Director of Cecelia Beam, Adult Ballet Tai Vogel, School Registrar and Information Technology Jane Ann Chien, Web & Digital Brian Fisher, Contemporary Dance Summer Session Coordinator Platforms Manager Stacy Desimini, IT Operations Leonid Shagalov, Karen Johnson, School Programs & Project Manager Jillian Vasquez, Marketing Henry Berg, Conditioning Coordinator Karen Irvin, Application Administrator & Promotions Manager Jamie Narushchen, Daniel Sullivan, Miles Petty, Administrative Assistant, & Help Desk Coordinator Nannette Mickle, Group Sales Music Education & Training Josh Marshall, Web Administrator Representative Lisa Giannone, Mateo Santos Perry, School Assistant James Hosking, Video Producer/Editor Jiapeng Jiang, IT Specialist Conditioning Class Consultant Cecelia Beam,

Sofiane Sylve, Principal Guest Faculty Audience Engagement Coordinator Caitlin Sims, Publications Editor

Lea Lamprecht, Social Media Producer Naima McQueen, Residence Manager

Rena Nishijima, Communications Associate FRONT OF HOUSE Matt McCourt, Will Reese, School Pianists Resident Assistants JAMYE DIVILA, House Manager Emily Munoz, Marketing Associate Jamie Narushchen, School Pianist Supervisor, Marialice Dockus, Head Usher Leslie Donohue, Chris Fitzsimons, Rachel Bauer, Media Asset Administrator Lee R. Crews Endowed Pianist School Physical Therapists Francis Zhou, Graphic Designer Rodney Anderson, Danica Burt, Anthony Cantello, Ella Belilovskaya, Ritsuko Micky Kubo, Laurent Dela Cruz, Martin Dias, Starsky Dias, Daniel Sullivan, Galina Umanskaya, Jonathan Drogin, Chip Heath, Elaine Kawasaki, Billy Wolfe, Julia Ganina, Sky Tan Eileen Keremitsis, Ryszard Koprowski, Bill Laschuk, COMPANY PHYSICIANS TICKET SERVICES Sharon Lee, Lenore Long, Doug Luyendyk, Evelyn Martinez, Leontyne Mbele-Mbong, Richard Gibbs, M.D. & Rowan Paul, M.D., BETSY LINDSEY, Associate Director, Dance in Schools & Communities Sam Mesinger, Dale Nedelco, Wayne Noel, Supervising Physicians Ticket & Patron Services Teaching Artists Beth Norris, Jan Padover, Julie Peck, Michael Leslie, PT Alisa Clayton Jennifer Peterian, Box Office Manager/ Robert Remple, Bill Repp, Rilla Reynolds, Director, Dancer Wellness Center Treasurer CJ Ru, Robyn Sandberg, Kelly Smith, Sammay Dizon Kristin Wingfield, M.D., Mark Holleman, Sales & Service Supervisor Stephanie Somersille, Theresa Sun, Tom Taffel, Cynthia Pepper Primary Care Sports Medicine Richard Wagner, Steve Weiss, Elaine Yee, Elena Ratto, Patron Services Specialist Phoenicia Pettyjohn Frederic Bost, M.D., On-site Orthopedist Ushers Jole Mendoza, Ticketing Database Specialist Jessica Recinos Peter Callander, M.D., David Clark, Box Office Supervisor Joti Singh Keith Donatto, M.D., Jon Dickinson, M.D., Orthopedic Advisors to the Company Arielle Hazan, Jericho Lindsey, Patricia Pearson, Genoa Sperske EDUCATION & TRAINING Karl Schmetz, Consulting Physical Therapist Michelle Schafer, Cherryl Usi, Maura Whelehan Ticket Services Associates San Francisco Ballet School Active Care, Lisa Giannone, Director, Off-site Physical Therapy Claudia Schwartz, Ticket Services Assistant HELGI TOMASSON, Artistic Director Dance in Schools & Communities & Conditioning Classes PATRICK ARMAND, Director Accompanists Leonard Stein, D.C., Chiropractic Care

School Faculty David Frazier Henry Berg, Rehabilitation Class Instructor FINANCE Patrick Armand Omar Ledezma Kelsey Anderson, KEVIN MOHR, Chief Financial Officer Wellness Program Manager Kristi DeCaminada Zeke Nealy Kristin Klingvall, Controller Karen Gabay Wade Peterson Valerie Ruban, Accounting Supervisor Jordan Hammond-Tilton Bongo Sidibe Evangelina Maravilla, Payroll Manager Matthew Czarnecki, Senior Accountant Jonathan Creecy, Leanna Wright, Staff Accountants Jennifer Kovacevich, Lean Ops Project Manager

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.

PROGRAMS 02 & 03 | SFBALLET.ORG | 43 DONOR EVENTS

Did you know that ticket sales and school tuition cover only 50 percent of our expenses each year? That makes our donors equal partners in our success. We invite our donors to celebrate our shared success at Cast Parties and events with artists of SF Ballet, to get a look behind-the-scenes at dress rehearsals, and to learn more about the art form at lectures and other special events. Join us, won’t you? Just visit sfballet.org/donate or call 415 865 6628 to make your gift and receive exclusive benefits designed to enhance your SF Ballet experience.

We’ve designed a wonderful variety of events for our supporters during our 2018 Repertory Season. Listed below are events for members of the Artistic Director’s Council (ADC), Chairman’s Council (CHM), Christensen Society (CS), The Jocelyn Vollmar Legacy Circle (VLC), and Friends of San Francisco Ballet. Christensen Society members and above will receive invitations to events that correspond with their performance dates. These events are marked with an asterisk (*). For more information, please visit our website at sfballet.org/donor-events, or contact Ari Lipsky, Senior Manager of Individual Gifts, at [email protected] or 415 865 6635.

FEBRUARY (CONTINUED) APRIL February 15, 1 pm March 12, 6 pm April 3, 10 pm OPEN DRESS REHEARSAL TRAINEE PERFORMANCE (DAN+/VLC) CS CAST PARTY*, NIJINSKY: A BALLET DISTINCTLY SF BALLET (SUP+) Chris Hellman Center for Dance BY JOHN NEUMEIER (ASO+) War Memorial Opera House The Green Room, Veterans Building March 15, 5:30 pm February 24, 10:30 pm LEGACY STUDIO REHEARSAL (VLC) April 8, 12:30 pm CS CAST PARTY* Chris Hellman Center for Dance BALLET HISTORY LECTURE (CON+) BRIGHT FAST COOL BLUE (ASO+) Chris Hellman Center for Dance March 19, 6 pm The Green Room, Veterans Building TRAINEE PERFORMANCE February 28, 5:30 pm (DAN+/VLC) LEGACY STUDIO REHEARSAL (VLC) Chris Hellman Center for Dance Chris Hellman Center for Dance March 20, 1 pm OPEN DRESS REHEARSAL MARCH ROBBINS: BALLET & BROADWAY (CON+) March 1, 5:30 pm War Memorial Opera House CS STUDIO REHEARSAL (DAN+) March 24, 11 am Chris Hellman Center for Dance COMPANY CLASS OBSERVATION March 6, 1 pm & RECEPTION (SUP+) OPEN DRESS REHEARSAL & RECEPTION War Memorial Opera House FRANKENSTEIN (PAT+) March 27, 5:30 pm War Memorial Opera House CS WAREHOUSE EVENT (ASO+) March 8, 11:30 am 2400 Cesar Chavez Street ORCHESTRA REHEARSAL (PAT+/VLC) War Memorial Opera House

MEMBERSHIP LEVEL KEY ADC | Artistic Director’s Council ($100,000+) CHM | Chairman’s Council ($15,000–$99,999)

CHRISTENSEN SOCIETY FRIENDS OF SF BALLET CHO | Choreographer’s Council ($7,500–$14,999) PAT | Patron ($1,000–$2,499) DAN | Dancer’s Council ($5,000–$7,499) SUP | Supporter ($500–$999) ASO | Associate’s Council ($2,500–$4,999) CON | Contributor ($200–$499)

VLC | Jocelyn Vollmar Legacy Circle

Opposite page, left to right: Trustee Diane B. Wilsey and Wilsey Principal Dancer Sofiane Sylve // © Chris Hardy; Barbara Osterweis, Osterweis Principal Dancer Joseph Walsh, and Trustee John Osterweis // © Nikki Ritcher

44 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 SPONSOR AND DONOR NEWS ENDOWMENT DONORS HONOR ARTISTS We are pleased to recognize Sofiane Sylve as the Diane B. Wilsey Principal Dancer and Joseph Walsh as the John and Barbara Osterweis Principal Dancer. Dancers are selected for these honorary titles by Artistic Director and Principal Choreographer Helgi Tomasson based on their distinguished artistry and contributions to SF Ballet.

Similar to endowing a faculty position at a college or university, an endowed position at SF Ballet is a way for donors to leave a lasting legacy. Through the generosity of one donor, a gift endowing the position of a principal dancer not only provides a consistent source of annual funding for essential functions of SF Ballet’s operations but also ensures support to help fulfill SF Ballet’s mission now and in the future.

Sofiane Sylve, Diane B. Wilsey Principal Dancer Joseph Walsh, John and Barbara Osterweis Principal Dancer Born in Nice, France, Sofiane Sylve danced with Germany’s Born in Doylestown, Pennsylvania, Joseph Walsh danced Stadttheater, Dutch National Ballet, and New York City Ballet before with Houston Ballet before joining SF Ballet as a soloist in 2014. joining San Francisco Ballet in 2008 as a principal dancer. She is He was promoted to principal dancer that same year. also a principal guest faculty member at San Francisco Ballet School. John and Barbara Osterweis are longtime supporters of SF Ballet. Diane B. Wilsey has played an active role on our Board of Trustees John joined our Board of Trustees in 1987. He’s served as the Chair since 1990 (with previous board service from 1972–1978), where of the Board and is currently the SF Ballet Endowment Foundation she serves as Vice Chair as well as on several board committees. Board President Emeritus. Mr. and Mrs. Osterweis are a Grand A longtime SF Ballet supporter, she is the Presenting Sponsor of Benefactor Sponsor of Unbound: A Festival of New Works. Unbound: A Festival of New Works. For more information regarding endowed positions at SF Ballet, please contact Elizabeth Lani, Senior Officer, Planned Giving at415 865 6623 or [email protected].

RECOGNIZING OUR NEW AND DEPARTING TRUSTEES We are thrilled to welcome Matthew Hobart and Elaine Kartalis to the Elaine Kartalis is an advisor and board member with FWS Enterprises, Inc., SF Ballet Board of Trustees, and warmly acknowledge and thank our a green technology group. She relocated to the Bay Area with her family retiring Trustees. from Dallas, TX in 1999. While in Dallas, she worked in advertising sales and marketing for radio stations. Kartalis graduated from the University of Matthew Hobart is a partner at TPG Growth, based in San Francisco. Texas at Austin with a degree in Business Administration. Prior to joining TPG in 2004, he worked at Morgan Stanley Capital Partners. Hobart currently sits on the boards of Access Clinical Partners, San Francisco Ballet gratefully thanks retiring Board Members Evolent Health, iMDsoft, Northstar Anesthesia, and Precision for Rosemary Baker, Julie Flynn, Irv Lichtenwald, Deborah Messemer, Medicine. He graduated summa cum laude from Miami University of and Mary Mewha for their service to our Company. Ohio with a degree in economics, and from Stanford University with an MBA.

PROGRAMS 02 & 03 | 415 865 2000 | 45 SPONSOR AND DONOR NEWS CONTINUED

RECOGNIZING OUR NEWEST GREAT BENEFACTORS

To commission adventurous new work, stage the classics, and develop the next generation of dancers, we rely on the generous support of donors. In 2005, we created the honor of Great Benefactor to recognize dedicated donors whose cumulative giving to SF Ballet is $1 million or more. We are pleased to recognize Denise Littlefield Sobel and the Estate of Barbara A. Daily as Great Benefactors.

Denise Littlefield Sobel Barbara A. Daily Denise Sobel has been attending San Francisco Ballet since 2004. A longtime subscriber, Christensen Society member, and BRAVO She has supported the Company in numerous ways, including volunteer, the late Barbara Daily established two gift annuities with productions of Christopher Wheeldon’s Cinderella© and George SF Ballet. The first was in support of the San Francisco Ballet School Balanchine’s Coppélia; our 2012 tour to New York City; and the and the second provided general support of the Company. recording of Tomasson’s Romeo & Juliet for Lincoln Center at the Movies’ Great American Dance. “The Company provides extraordinary pleasure,” said Daily, when asked why she chose to include San Francisco Ballet in her planned giving. In 2016, Sobel was a Lead Sponsor of Swan Lake. Her gift enabled us Daily, who passed away in June 2016, left the bulk of her estate to be to rework scenic elements in Act I, continuing a tradition her mother, used for scholarships for deserving students. Jeannik Méquet Littlefield, started in 2009 as the Exclusive Sponsor of Swan Lake. In 2017, Sobel was the Lead Sponsor of Salome. This year, “Barbara Daily was a long-term and active member of BRAVO,” says she is sponsoring The Infinite Ocean and Guernica, two world premiere BRAVO President Patricia Knight. “Everyone who knew her spoke with ballets included in Unbound: A Festival of New Works. admiration of her warmth, good nature, and sense of humor. A quiet, lovely woman, she volunteered frequently for San Francisco Ballet. She’s also remembered for being kind to new BRAVO members and making them feel welcome. BRAVO members who knew Barbara are unanimous in their heartfelt expressions of affection for her.”

SUPPORTING THE NEXT GENERATION OF DANCERS Bank of America is the lead sponsor for San Francisco Ballet School for a third year. Thanks in part to this generous support, SF Ballet School trains 500 students during our school-year program and provides nearly $1 million in scholarship funds for tuition and housing support.

With philanthropy at its core, Bank of America has given more than $200 million to the community and supports more than 2,000 visual and performing arts organizations worldwide. Bank of America is committed to supporting the arts in the hopes of giving people a way to connect and educate each other cross-culturally, to strengthen and enrich societies.

Freed of London has sponsored the SF Ballet School Summer Session Audition Tour since 2004. An essential recruitment opportunity for SF Ballet School, the audition tour brings the next generation of talent to Denise Sobel created the Tikkun Olam Foundation, Inc., in which she train with us. Each summer, students ages 12 to 18 travel from around the serves as President, focusing on women’s health, gender justice, and world to train in our multi-week programs, working to improve technique, reproductive rights. She is Vice-Chairman of the American Friends of learn from new teachers, and master innovative choreography. With Les Étés de la Danse and organizes the patrons’ trip to Paris for this ’s generous support, we were able to select and enroll summer dance festival, in which the San Francisco Ballet performed in 220 talented students from the 2017 Summer Session Audition Tour. 2014. Sobel serves on the board of the Auditorium Theatre in Chicago and of the Clark Art Institute in Williamstown, Massachusetts. She resides Freed of London, founded in 1929, is a world leader in design and in New York City and San Francisco. manufacturing of professional dance shoes.

Above: Denise Sobel with SF Ballet Scenic Carpenters and Scenic Artists // © Chris Hardy Opposite page, top to bottom: San Francisco Ballet 2018 Opening Night Gala, decor by J. Riccardo Benavides // © Drew Altizer; Maria Kochetkova in Tomasson's On a Theme of Paganini // © Erik Tomasson

46 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 OUR CELESTIAL OPENING NIGHT GALA On January 18, the San Francisco Ballet Auxiliary hosted Celestial, the 2018 Opening Night Gala of our 85th Season. Our Opening Night Gala is one of the leading fundraising and social events in the Bay Area, attracting more than 3,000 patrons and raising more than $2.8 million.

An elegant cocktail reception and three-course dinner in City Hall’s rotunda preceded our annual Prosecco Promenade in the Opera House. A special one-time-only performance offered special performances and highlights of the 2018 Repertory Season. The evening continued with a celebratory After Party with food, drinks, and live music and entertainment.

We are honored to recognize Kathryn Huber as this year's Event Chair, Betsy Linder as this year’s Dinner Chair, and Catherine Bergstrom as this year's Decor Chair and would like to thank the members of the Auxiliary Gala Committee for all of their hard work to make Celestial such a success.

In addition, we would like to extend sincere thanks and recognize the generous support from the sponsors of this year’s event: Presenting Sponsor Osterweis Capital Management; Benefactor Dinner Sponsor KPMG; Patron Dinner Sponsor JPMorgan Chace & Co.; Performance Sponsor Fang and Gary Bridge, in honor of Helgi Tomasson; After Party Sponsor La Perla; Prosecco Promenade Sponsor Shreve & Co.; Invitation Sponsor Pacific Union Real Estate; and Aperitif Sponsor Lillet.

THE BERNARD OSHER FOUNDATION SPONSORS DISTINCTLY SF BALLET The Bernard Osher Foundation, a steadfast supporter of San Francisco new ballets that expand and invigorate the art form of classical dance. Ballet for more than three decades, has been instrumental in its Established in 2006, the Touring Fund has enabled SF Ballet to perform development into one of the world’s leading ballet companies. around the globe, in fourteen cities in nine countries including China, “We’re delighted to support San Francisco Ballet and the creativity Russia, Germany, France, England, Italy, Denmark, and Iceland. and beauty that it brings to the people of Northern California and beyond,” said Foundation President Mary G. F. Bitterman. Since its San Francisco Ballet is fortunate to call Barbro and Bernard Osher and start in 1977, the Foundation has supported a wide array of cultural The Bernard Osher Foundation long-standing patrons and dedicated and educational organizations throughout the Bay Area, including friends. We thank them for their continued support. museums, orchestras, and dance, opera, and theater companies.

The Bernard Osher Foundation’s sponsorship of Distinctly SF Ballet extends this support of local artists as the program consists of three FITNESS SF: OFFICIAL GYM OF SF BALLET works created by artists closely linked to the company: Artistic Director We are delighted to welcome FITNESS SF as the official gym of and Principal Choreographer Helgi Tomasson’s On a Theme of Paganini, San Francisco Ballet. As one of the premier fitness operators on the Principal Character Dancer Val Caniparoli’s Ibsen’s House, and West Coast, FITNESS SF has seven locations in San Francisco and Corps de Ballet member Myles Thatcher’s Ghost in the Machine. beyond. FITNESS SF, a family-owned business, has a mission to create a happier and healthier The Foundation also invests in the future of SF Ballet through community. The gym regularly partners with area the Osher New Work Fund and The Bernard Osher Foundation Touring non-profits and local businesses, sponsoring Fund. The New Work Fund, an endowment funded in 2015, ensures art festivals and sports teams, participating in that SF Ballet will be able to continue to create and perform vibrant community races, and supporting local charities.

PROGRAMS 02 & 03 | SFBALLET.ORG | 47 UNBOUND DONOR SPOTLIGHTS CARL AND YURIE PASCARELLA UNBOUND: A FESTIVAL OF NEW WORKS San Francisco Ballet gratefully acknowledges Carl and Yurie Pascarella’s sponsorship of FESTIVAL PRESENTING SPONSOR David Dawson’s Anima Animus. Created for Unbound: A New Works Festival, Dawson’s Diane B. Wilsey ballet is his first commission for SF Ballet as well as the first ballet he’s made in the FESTIVAL GRAND BENEFACTOR SPONSORS United States. A rich mix of contrasts, Dawson's ballet draws upon what he calls the Kate and Bill Duhamel “physically emotional virtuosity” of the dancers. David and Kelsey Lamond “It’s an honor to be able to support David Dawson and his tremendous contribution to the Mr. and Mrs. John S. Osterweis New Works Festival,” says Carl. “Dawson embodies the spirit of Unbound—he’s innovative, Yurie and Carl Pascarella passionate, and willing to take risks. We’re pleased to be able to back one of the most Kathleen Scutchfield exciting choreographers of our time in one of the most forward-thinking ballet festivals Denise Littlefield Sobel of our time.” David H. Spencer Apr 20 – May 06 Currently Chair of the Board of Trustees, Carl has been a part of the SF Ballet Board Ms. Susan A. Van Wagner since 1995. He and Yurie were also Lead Sponsors in SF Ballet’s 75th Anniversary Miles Archer Woodlief Sponsor's Council. FESTIVAL LEAD SPONSORS Bently Foundation, in honor of Glenn McCoy’s DENISE LITTLEFIELD SOBEL 30 years of leadership at San Francisco Ballet San Francisco Ballet gratefully acknowledges Denise Sobel’s sponsorship of two world Ms. Laura Clifford* premieres: The Infinite Ocean by Edwaard Liang, and Guernica by Annabelle Lopez Ochoa. Mrs. Randee Seiger Created for Unbound: A Festival of New Works, both ballets explore themes of love and Judy C. Swanson loss, passion and art. “I am excited to support Annabelle Lopez Ochoa, such a talented female choreographer, whose production of Mammatus I sponsored at The Joffrey Ballet. FESTIVAL MAJOR SPONSORS I met Edwaard Liang when he was a dancer at the School of American Ballet, and I admire Sue and John Diekman his development as a choreographer,” says Sobel. “I’m honored to be able to play a part in Teri and Andy Goodman helping Edwaard and Annabelle bring their choreographic vision to life.” Tom Horn and the Bob Ross Foundation Koret Foundation

FESTIVAL SPONSORS CIRCLE Alison and Michael Mauzé Jennifer and Steven Walske

FESTIVAL PATRONS CIRCLE Chaomei Chen and Yu Wu Ms. Elaine Kartalis* Be at the epicenter of dance for the Nancy A. Kukacka* world premieres of 12 ballets by 12 Brenda and Alexander Leff of today’s most sought-after and critically Marie and Barry Lipman

acclaimed choreographers. Sasha De Sola // © Erik Tomasson Ms. Tiffany Lockridge* Michael and Mary Schuh

*Sponsors Dinner Host Committee

Sponsor list as of January 18, 2018 UNBOUND A UNBOUND C CELEBRATE UNBOUND | The Collective Agreement | Bespoke Sponsors and donors to Unbound: A Festival of New Christopher Wheeldon | Bound Trey McIntyre | Your Flesh Shall Be a Great Poem Works receive exclusive invitations to one-of-a-kind Justin Peck | Hurry Up, We’re Dreaming Annabelle Lopez Ochoa | Guernica events and rehearsals. From a VIP dinner on the War Memorial Opera House stage with all 12 Unbound UNBOUND B UNBOUND D choreographers to a closing night celebration at the Myles Thatcher | World Premiere Edwaard Liang | The Infinite Ocean Bently Reserve—with dress rehearsals and post- Cathy Marston | Snowblind Dwight Rhoden | LET’S BEGIN AT THE END performance onstage toasts in between—becoming David Dawson | Anima Animus Arthur Pita | Björk Ballet an Unbound donor is the best way to guarantee an unforgettable festival experience. Plus, Unbound donors have the satisfaction of knowing they've done their part in cementing the future of ballet. For more information, contact Ari Lipsky, Senior Manager, Individual Gifts, at [email protected] or Yurie and Board Chair Carl Pascarella; Denise Sobel and Artistic Director and Principal Choreographer 415 865 6635. Helgi Tomasson // © Devlin Shand for Drew Altizer Photography FOR DETAILS, VISIT SFBALLET.ORG/UNBOUND 48 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 acclaimed choreographers. critically and sought-after most today’s of 12 world premieresof12balletsby forthe dance of epicenter the at Be Apr 20Apr –May 06 Justin Peck Peck Justin Myles Thatcher Thatcher Myles B UNBOUND Alonzo King King Alonzo A UNBOUND Christopher Wheeldon David Dawson Dawson David Cathy Marston Marston Cathy | |

We’re Up, Dreaming Hurry The Collective Agreement The Collective | | | | Animus Anima Snowblind World Premiere Premiere World | Bound

©

Dwight Rhoden Rhoden Dwight Annabelle Lopez Ochoa Ochoa Lopez Annabelle Edwaard Liang Liang Edwaard D UNBOUND Stanton Welch Welch Stanton C UNBOUND Trey McIntyre Trey McIntyre Arthur Pita Pita Arthur SFBALLET.ORG/UNBOUND | Ballet Björk | | | | | Your Bespoke Ocean Infinite The LET’S BEGIN AT END BEGIN THE LET’S Poem aGreat Be Shall Flesh |

FOR DETAILS, VISIT VISIT DETAILS, FOR

Guernica

Sasha De Sola // © Erik Tomasson 2017–18 SEASON SPONSORS

2017 NUTCRACKER LEAD SPONSORS The Chairman Dances—Quartet for Two PROGRAM 04 The Herbert Family LEAD SPONSORS Frankenstein The Swanson Foundation Gaia Fund LEAD SPONSOR SPONSORS Mr. and Mrs. John S. Osterweis Ms. Elaine Kartalis Yurie and Carl Pascarella MAJOR SPONSOR MAJOR SPONSORS Kathleen Scutchfield Jennifer and Steven Walske Karen S. Bergman The Smelick Family Sonia H. Evers SPONSORS OFFICIAL AIRLINE OF NUTCRACKER Kathleen Grant, M.D. and United Airlines Thomas Jackson, M.D. Kacie and Michael Renc PROGRAM 05 Larissa Roesch and Calder Roesch Opus 19/The Dreamer 2018 REPERTORY SEASON O.J. and Gary Shansby LEAD SPONSOR PROGRAM 01 Mr. Richard C. Barker Rodeo: Four Dance Episodes The Sleeping Beauty SPONSOR LEAD SPONSORS LEAD SPONSORS Katherine and Gregg Crawford Ms. Laura Clifford Teri and Andy Goodman Alison and Michael Mauzé Mrs. Randee Seiger Judy C. Swanson San Francisco Ballet Auxiliary MAJOR SPONSORS Mr. and Mrs. James C. Katzman MAJOR SPONSORS MAJOR SPONSORS Stephen and Margaret Gill Hannah and Kevin Comolli David H. Spencer Catherine and Mark Slavonia Family Foundation Innovation Global Capital SPONSORS Alex and Carolyn Mehran John G. Capo and Orlando Diaz-Azcuy MAJOR SPONSOR Mrs. Henry I. Prien Robert and Laura Cory Sue and John Diekman Michael and Mary Schuh Nion McEvoy and Leslie Berriman SPONSORS SPONSORS Joseph and Marianne Geagea PROGRAM 03 Glenn H. Reid Mark and Debra Leslie BRAVO Timothy Marten, M.D. PROGRAM SPONSOR Richard Thalheimer Family The Bernard Osher Foundation

On a Theme of Paganini PROGRAM 06 The National Ballet of Canada in PROGRAM 02 MAJOR SPONSOR Nijinsky: A Ballet by John Neumeier Serenade Athena and Timothy Blackburn MAJOR SPONSOR LEAD SPONSOR SPONSOR Marie and Barry Lipman Diane B. Wilsey Almaden MAJOR SPONSORS Ibsen's House David and Vicki Cox SATURDAY NIGHT SUBSCRIPTION SERIES Christa and Mark Lopez MAJOR SPONSOR Lucy and Fritz Jewett Saturday Night Series Mr. and Mrs. Kurt Mobley Kathleen Scutchfield

SPONSORS Ghost in the Machine Gioia and John Arrillaga UNBOUND: A FESTIVAL OF LEAD SPONSORS Mr. and Mrs. Edward Roach NEW WORKS SPONSORS Shelby and Frederick Gans Please see page 46. ENCORE! David and Kelsey Lamond

MAJOR SPONSORS Brenda and Alexander Leff Charles and Kara Roell SPONSORS Christine and Pierre Lamond San Francisco Ballet Allegro Circle

50 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 Wei Wang © Erik // Tomasson

CELESTIAL 2018 OPENING NIGHT GALA

PRESENTING SPONSOR Osterweis Capital Management San Francisco Ballet gratefully acknowledges San Francisco Grants for the Arts, the Koret Foundation, 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 PATRON DINNER SPONSOR JPMorgan Chase & Co.

PERFORMANCE SPONSOR EDUCATION & TRAINING Fang and Gary Bridge, in honor of Helgi Tomasson

AFTER PARTY SPONSOR Lead Sponsors of San Francisco Ballet’s Education Programs La Perla Additional support is provided by Major Sponsor Kaiser Permanente and Sponsors Gap Foundation, PROSECCO PROMENADE SPONSOR U.S. Bank Foundation, and the Zellerbach Family Foundation. Shreve & Co. The Dance in Schools and Communities program is supported by Major Sponsor The Charles Henry Leach, II Fund, an advised fund of the Silicon Valley Community Foundation. INVITATION SPONSOR The Student Matinee Series is supported by the Gaia Fund of the San Francisco Ballet Endowment Foundation. Pacific Union Real Estate

APERITIF SPONSOR Lillet Lead Sponsor of San Francisco Ballet School

2018 MEDIA SPONSOR NUTCRACKER MEDIA SPONSOR

PROGRAMS 02 & 03 | 415 865 2000 | 51 GREAT BENEFACTORS Our most loyal donors are dedicated to supporting exquisite art and also 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. We are pleased to welcome the Estate of Barbara A. Daily and Denise Littlefield Sobel as our newest Great Benefactors.

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

52 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 ARTISTIC DIRECTOR'S COUNCIL Our most loyal donors are dedicated to supporting exquisite art and also understand that a contribution to San Francisco Ballet San Francisco Ballet gratefully acknowledges the members of the Artistic Director’s 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 Council. Their generous annual support of $100,000 or more has been instrumental the steadfast and generous support of patrons in the Bay Area and beyond. In 2005, we created the honor of Great Benefactor to the success of SF Ballet, SF Ballet School, and SF Ballet’s education programs. to recognize donors whose cumulative giving to SF Ballet is $1 million or more. We are pleased to welcome the Estate of Council members receive customized benefits including special access to Barbara A. Daily and Denise Littlefield Sobel as our newest Great Benefactors. performances, exclusive events, and rehearsals. For more information, please contact Sarah Warner, Senior Officer, Major Gifts, JPMorgan Chase & Co. at [email protected] or 415 865 6634. Maurice Kanbar Dr. and Mrs. Jerome Ormond Kirschbaum Diana Dollar Knowles GRAND BENEFACTORS ARTISTIC DIRECTOR’S COUNCIL Estate of Diana Dollar Knowles Gifts of $250,000 and Above Gifts of $100,000–$249,999 Koret Foundation Mary Jo and Dick Kovacevich Ms. Laura Clifford Mr. Richard C. Barker Kelsey and David Lamond Kate and Bill Duhamel Anne T. and Robert M. Bass The Charles Henry Leach, II Foundation The Hellman Family Fang and Gary Bridge Jennifer Jordan McCall, Foundation Trustee David and Kelsey Lamond Sue and John Diekman Catherine Lego Mr. and Mrs. John S. Osterweis Gaia Fund Paul Lego Yurie And Carl Pascarella Shelby and Frederick Gans Marie and Barry Lipman Kathleen Scutchfield Teri and Andy Goodman Mrs. Jeannik Méquet Littlefield Mrs. Randee Seiger Lucy Jewett The Marver Family Denise Littlefield Sobel Ms. Elaine Kartalis Stephanie and James Marver Ms. Susan A. Van Wagner Mary Jo and Dick Kovacevich Alison and Michael Mauzé Diane B. Wilsey Brenda and Alexander Leff Andrew W. Mellon Foundation Mr. and Mrs. James D. Marver Nicola Miner and Robert Mailer Anderson Alison and Michael Mauzé National Endowment for the Arts Arthur and Toni Rembe Rock The Bernard Osher Foundation Joan E. Roebuck TOM TAFFEL John Osterweis and Barbara Ravizza David H. Spencer Pacific Gas and Electric Company Judy C. Swanson Yurie and Carl Pascarella Jennifer and Steven Walske CRUISES The Thomas J. and Gerd Perkins Foundation Miles Archer Woodlief Pillsbury Winthrop Shaw Pittman LLP Kenneth Rainin Mr. George R. Roberts Arthur and Toni Rembe Rock Bob Ross Gordon Russell San Francisco Ballet Auxiliary The San Francisco Foundation Kathleen Scutchfield Randee Seiger O.J. and Gary Shansby Shubert Foundation, Inc. The Smelick Family Denise Littlefield Sobel Estate of Natalie H. Stotz The Swanson Foundation Richard J. Thalheimer Ms. Susan A. Van Wagner Visa Inc. Wallis Foundation Phyllis C. Wattis Wells Fargo The E. L. Wiegand Foundation Diane B. Wilsey Akiko Yamazaki and Jerry Yang The Zellerbach Family 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 January 8, 2018. 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 Kera Jewett, Senior Officer, Major Gifts, [email protected] or 415 865 6638. We are pleased to give special recognition to donors who have been honored as ten-year members of the Chairman’s Council or Christensen Society. Their names are followed by a plus sign (+) in this section. Former SF Ballet Trustees and Associate Trustees are noted with an asterisk (*).

PRODUCER’S COUNCIL SPONSOR’S COUNCIL CHAIRMAN’S COUNCIL Gifts of $75,000–$99,999 Gifts of $25,000–$49,999 Gifts of $15,000–$24,999

Sonia H. Evers+ Gioia and John Arrillaga+ Brenton and Lysbeth Warren Anderson+ Beth and Brian Grossman Eleonore Aslanian+ in memory of Edward Aslanian Rosemary B. Baker*+ Marie and Barry Lipman+ Ms. Eliza M. Brown+ Courtney Benoist and Jason M. Fish*+ Michael and Mary Schuh+ John G. Capo and Orlando Diaz-Azcuy+ Lydia and Steven Bergman Catherine and Mark Slavonia Stacey B. Case+ Ms. Susan Blake+ Chaomei Chen and Yu Wu Mr. and Mrs.* William S. Mr. and Mrs. Scott Connors Rachel Brass and Richard Foster PRESENTER’S COUNCIL Robert and Laura Cory Ron and Susan Briggs+ Gifts of $50,000–$74,999 Katherine and Gregg Crawford+ J. and J. Chang Dana and Robert Emery+ Rosalyn Chen Chavez Carol Emory and The Wingate Foundation+ Mr. and Mrs. Sol Coffino Karen S. Bergman+ J. Stuart Francis and Diana Stark+ Mrs. and Mr. Nancy Curtiss Athena and Timothy Blackburn+ Joseph and Marianne Geagea Dr. and Mrs. Jordan Deschamps-Braly Hannah and Kevin Comolli Drs. Richard D. and Patricia Gibbs Mr. Josh Elkes and Ms. Rachel Happ David and Vicki Cox+ Kathleen Grant, M.D. and Thomas Jackson, M.D.+ Paula M. Elmore* Margaret and Stephen Gill+ James C. Gries+ Jacqueline* and Christian P. Erdman+ Jim and Cecilia Herbert+ Thomas E. Horn+ Lynn Feintech and Tony Bernhardt+ Mr. Hiro Iwanaga Ms. Jeri Lynn Johnson+ Mr. and Mrs. John L. Field+ Mr. and Mrs. James C. Katzman+ Christine and Pierre Lamond+ Randi and Bob Fisher Nancy A. Kukacka Dr. and Mrs. Stephen Leavitt Mr. Robert S. Fisher*+ Christa and Mark Lopez Mark and Debra Leslie+ Mrs. Mortimer Fleishhacker+ Marissa Mayer and Zachary Bogue+ Ms. Tiffany Lockridge Patty Garbarino and David Freitas Mr. and Mrs. Kurt Mobley Timothy Marten, M.D.+ Tim and Amanda Garry Mrs. Henry I. Prien+ Ms. Laura McCabe-Edgar James K. and Helen L. Goodwine+ Charles and Kara Roell Nion McEvoy and Leslie Berriman Mary and Nicholas Graves+ Joyce L. Stupski+ Alexander R. Mehran*+ Brian and Elizaveta Gustafson Mr. and Mrs. Norman C. Pease Mr. Isaac Hall Karl and Holly Peterson Brian and Rene Hollins+ Glenn H. Reid+ James C. Hormel and Michael P. Nguyen+ Kacie and Michael Renc Mr. and Mrs. Terry Houlihan Mr. and Mrs. Edward Roach+ Ms. Kathryn Huber and Mr. William Larry Binkley Mr. George R. Roberts+ William and Gretchen Kimball Fund+ Larissa Roesch and Calder Roesch+ Patrice and Walther Lovato O.J.* and Gary Shansby+ Peter and Melanie Maier Marc Sinykin and Kevin Osinski Ms. Susan Marsch Mr. and Mrs. Robert M. Smelick+ Mr. Gregg Mattner Tom Steyer and Kat Taylor+ Justin T. McBaine Mr. Richard J. Thalheimer+ Jane and Roger McCarthy Mr. and Mrs. William Truscott Stewart McDowell Brady and Philip Brady Barbara and Stephan Vermut Mr. Ronald W. Miller+ Anonymous Mr. James E. Milligan*+ Mrs. Stuart G. Moldaw+ Mr. and Mrs. Robert L. Newman+ Roland G. Ortgies and Carmela C. Anderson-Ortgies+ Mr. and Mrs. Michael O'Sullivan Mr. James Parsons and Ms. Andrea Hong Dave and Judy Redo+ Ms. Patricia Richardson Mr. Gordon Russell and Dr. Bettina McAdoo+ Mr. and Mrs. Robert Shaw Christine Sherry and Lawson Fisher+ The Honorable and Mrs. George P. Shultz+ Michael and Susanna Steinberg Roselyne C. Swig*+ Adam J. Thaler Mr. and Mrs. William R. Timken+ Helgi and Marlene Tomasson The Whitman Family Foundation Beatrice Wood Ms. Patricia Wyrod Diane and Howard Zack+ Dr. Jan and Mr. Jonathan Zakin+ Anonymous (3)

54 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 THE CHRISTENSEN SOCIETY The Christensen Society, named for the three brothers whose artistic vision pioneered SF Ballet, offers a foundational 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 January 8, 2018. For more information about the Christensen Society, please contact Ari Lipsky, Senior Manager, Individual Gifts, at [email protected] or 415 865 6635. We are pleased to give special recognition to donors who have been honored as ten-year members of the Christensen Society. Their names are followed by a plus sign (+) in this section. Former SF Ballet Trustees and Associate Trustees are noted with an asterisk (*).

CHOREOGRAPHER’S COUNCIL Gifts of $7,500–$14,999

Joseph and Brooke Dr. Maya Meux Mr. and Mrs. Donald Chaiken+ Sig Anderman Marta L. Morando+ Dr. Annie Chang and Prof. Frederik Mooi Norby Anderson Michael Moritz and Harriet Heyman Robert Clegg*+ Drue and Jerry Ashford Mrs. Janet Morris+ Jack and Gloria Clumeck Kristen A. Avansino+ Manfred K. Mundelius+ Ms. Margaret Coblentz Mr. and Ms. Bartley B. Baer Miriam Sedman and Ralph Nyffenegger Mr. Thomas J. Cooney+ Dr. Margaret Bates and Mr. Scott Johnson+ Michel and Mekhala Oltramare Ms. Phoebe Cowles+ Mr.* and Mrs. Joachim Bechtle+ Mr. Richard Oppenheimer Mary B. Cranston*+ Davidson Bidwell-Waite and Edwin A. Waite+ Beth Price+ Mr. and Mrs. Angelos Dassios Claire and Jared Bobrow+ Leslie and Nick Podell+ Mr. and Mrs. James A. Davidson Bruce Braden+ Mr. and Mrs. Neal I. Powers Mr. and Mrs. David Dossetter+ Kelly and Samuel* Bronfman II Mr. Fritz Quattlebaum Mr. Frank J. Espina and Mrs. Andrea Valo-Espina The Robinson Family - AB Butler Family Mr. Gordon L. Radley+ Buck Farmer and Leida Schoggen Dr. Heidi H. Cary Mr. Jeremy Rishel Mr.* and Mrs. Irwin Federman+ Ms. Carolyn Chandler Mr. and Mrs. Sanford R. Robertson+ Brent and Sandra Fery Jon B. Chaney+ Mr. and Mrs. Mark J. Ryan+ Ms. Katherine M. Fines and Mr. Henry Heines+ Antoinette Chatton+ Dorothy Saxe+ Mr. Dennis N. Fluet+ Ms. Karen K. Christensen+ Kamran and Helena Shamsavari+ Camille and Sean Flynn+ Dr. Charles Connor+ Mr. and Mrs. Roderick W. Shepard Ms. Mayhill Fowler Ms. Phyllis Cook+ Dr. and Mrs. Stephen Sherwin+ Mr. David B. Franklin and Mr. Ruedi F. Thoeni Michele Beigel Corash and Laurence Corash+ Anne and Michelle Shonk+ Mr. Douglas Frantz Peter G. Curran Ms. Cherida Collins Smith+ Phyllis K. Friedman+ Mrs. Courtney C. Dallaire Mrs. Linda Snyder Marilyn & Robert Funari Family Foundation Jill Daly The Spero Family Sally L. Glaser and David Bower+ Ms. Bonnie De Clark Susanne Stevens+ Donald W. and Patricia L. Green Juanita and Manuel Del Arroz The Streets Family+ William J. Gregory Mr. and Mrs. Kevan Del Grande Alan and Patricia Tai+ Linda Groah Mrs. Suzy Kellems Dominik*+ Mr. and Mrs. Charles V. Thornton+ Duncan and Jeanie Gurley Ms. Paulette Doudell+ Drs. Oldrich and Silva Vasicek+ Mr. and Mrs. John and Lucie Hall Robert and Judith Duffy+ Mr. and Mrs. Alan B. Vidinsky Michael and Julie Hawkins Samantha DuVall and Darren Bechtel Paul A. Violich Miranda Heller and Mark Salkind+ Mr. Mory Ejabat The Watkins Family+ Joan and Alan Henricks Douglas and Barbara* Engmann+ Daniel and Marie Welch Ms. Mary Herman Doris Fisher+ Helena and William Wheeler Cynthia Hersey Mr. and Mrs. David Fleishhacker+ Cynthia and Edgar Whipple+ Mr. and Mrs. John S. Hoch Mr. and Mrs.* Greg Flynn Mr. Tim C. Wu and Mr. Eric Murphy+ Mr. Patrick M. Hogan Louella C. Fung Kenneth and Anna Zankel, The Grove Hank J. Holland* John and Marcia Goldman Anonymous Ms. Kathryn Holmes Ann M. Griffiths+ Susan and Lyman Hurd Dr. Elizabeth A. Harrison Ms. Giovanna Jackson* Dr. Birt Harvey Ms. Andrea Jacoby Mr. and Mrs. A. Grant Heidrich III+ DANCER’S COUNCIL Dennis and Paula Jaffe Ms. Kimberly M. Hughes Gifts of $5,000–$7,499 Bruce and Dasa Katz, Katz Family Foundation+ Arnold and Laurel Jacobson Mr. and Mrs. Jim Kautz Mr. and Mrs. Richard Jasen Ms. Diane K. Aaron Ms. Lisa A. Keith+ Guyton Jinkerson+ Mr. and Mrs. Andy Ach Rev. Keenan C. Kelsey Mrs. Barbara L. Johnson Judy and David Anderson Mr. and Mrs. Alan F. Klein John G. Kerns*+ Mr. and Mrs. Hiroki Asai Ms. Patricia D. Knight Dana and Larry Klamecki Ms. Corine Assouline Ms. Suzanne Knott and Mr. Tom Rose Ms. Micki Klearman Dr. Thomas and Julie Ballard Mr. and Mrs. Martin M. Koffel Linda and Robert Klett+ Mr. Charles Barrett Mr. and Mrs. Mark Kostic Arlene and Steve Krieger+ Jeanne and William Barulich Sharon Lambert and Charles Cohen+ Mrs. Maja Kristin Mr. and Mrs. Gene Becker Mr. and Mrs. Jude Laspa+ Ms. Linda Kurtz Valli Benesch and Bob Tandler Dr. and Mrs. G. Karl Ludwig, Jr.+ Captain Witold Klimenko and Ms. Sandra Moore Berrey Mr. and Mrs. Laurence R. Lyons Dr. Darlene Lanka-Klimenko+ Mr. Charles Alden Black, Jr. and Mr. C. Grisham, Jr. Mr. Michael Manning Laube Family Foundation Mr. William Bonville Mr. Patrick McCabe Ms. Betsy A. Linder+ Mr. and Mrs. Ronald Borelli Mr. and Mrs. John A. McQuown Mark and Lori Litwin+ Dr. Thomas and Janice Boyce+ Mr. Steve Merlo Carol and Hal Louchheim+ Ms. Carolyn J. and Mr. David W. Brady Mr. Wallace Mersereau Mr. and Mrs. Allen Luniewski Cynthia and Fred Brinkmann+ Mary Mewha* Lori and David F. Marquardt+ James R. and Melinda M. Brown Ms. Carole Middleton Dr. and Mrs. David Joseph Martin Kelli and Steve Burrill+ Fred A. Middleton+ Dr. Jack M. McElroy and Dr. Mary Ann Skidmore+ Nina Cardoza and John Krowas Mr. Ted E. Mitchell+

PROGRAMS 02 & 03 | 415 865 2000 | 55 THE CHRISTENSEN SOCIETY CONTINUED

Ms. Alexandra Moses+ Ms. Desa C. Belyea Dr. Robert Elfont and Ms. V'Anne Singleton Kathleen Much and Stanley Peters Ms. Anne Leland Benham Mr. Greg Evans Peggy and Willis Newton Christopher and Camille Bently+ Mrs. Mickey Evans Ms. Carla Oakley and Mr. Kevin McCarthy Ms. Carol Benz Rev. Richard Fabian Mrs. Alexandra Ottesen Mrs. LaVerne Beres Tawna and John Farmer+ Dennis Otto and Robert Meadows Ms. Catherine Bergstrom Mr. Zé Figueirinhas Ms. Mindy Owen Diana Bersohn Mr. William E. Fisher+ Ms. Elizabeth A. Peace Mr. Phil Bettens and Ms. Kristin B. Simonsen Ms. Linda Jo Fitz+ Melanie and Rob Pedrick+ RADM and Mrs. John W. Bitoff+ John and Kelly Foley Patricia Sanderson Port Amos and Carla Blackmon Mr. and Mrs. Roy A. Francies Jr Ms. Ruth Quigley Ms. Martha E. Blackwell Mr. Ernest Freeman Ursula Elisabeth Ralph Ms. Phyllis Blair Ms. Baerbel Freytag Reach-A-Star Foundation Ms. Kathleen Blanchard Dr. and Mrs. A. W. Fricke Dr. and Mrs. Robert E. Richardson+ Mr. Noel T. Blos Mr. Ian Friedland Ms. Kathryn Roberts Ms. Janet M. Bollier Ms. Joyce Friedman Ms. Marianne B. Robison+ Bon Air Center Mr. and Mrs. Donald Friend Ms. Patricia Rock and Mr. John Fetzer Dr. Stephen C. Born Mr. Markus Fromherz Mr. and Mrs. David E. Rosenkrantz+ Germaine Brennan Foundation+ Ellen Fujikawa Ms. Susan Rosin and Mr. Brian Bock Ms. Marilyn Brennan Mr. Philip Fukuda Paul Sack and Shirley Davis+ Ms. Erin Brooks and Mr. Todd Gottula Dr. Kim Fullerton-Nelson Kathleen Schiebold Mr. and Mrs. Kent F. Brooks Mrs. Ayumi Funaki Dr. David Tai-Man Shen and Mrs. Elaine Shen+ Ms. Barbara Brown+ Penny and Gregory Gallo+ Mary Ann Somerville+ Catherine Brown and Gerald Gwathney Mr. John Garfinkle Mr. and Mrs. Mathew Spolin+ Carole and Ed Brown+ Ms. Jane Gazzola Mr. Matthew Stepka Mrs. Kathleen M. Brown* Joan and Jim Gillette Ms. Fran A. Streets+ Josephine Brownback+ Ms. Joy Gim Maureen and Craig Sullivan Julie Brown-Modenos Glaucoma Center of San Francisco Mr. and Mrs. Jim Swartz+ Julie and David Burns Ms. Barbara Glynn Ms. Nadine Tang Peggy and Donald Burns+ Jennie Golde Mr. and Mrs. William L. Thornton Adrian and Carol Byram Nora Goldschlager Mr. Harry Tierney+ Mrs. John Callander+ Drs. Meryl Gordon and Robert Schermer Mr. and Mrs. Edward Tortorici Libi Cape+ Phillip and Philippa Newfield Gordon+ Mr. and Mrs. Thomas Tuttle+ Damian S. Carmichael Ms. Shelley Gordon Janet Sassoon-Upton and John R. Upton, Jr.+ Nina Carroll+ Mr. James Gosling+ Ms. Lida Urbanek Ms. Linda Carson Mr. Michael Grady Larry M Vales Charles R. Castellano and Deryl Castellano Richard L. Grant and James L. Miller+ Ms. Susan Warble Mr. and Mrs. Robert Cauthorn Ms. Joan Green Daphne and Stuart Wells Mr. Benedick Chai Judy and Josh Green Mr. and Mrs. Wallace Wertsch+ Drs. Valerie and Devron Char Nonie H. Greene and Todd Werby+ Benjamin and Mary Ann Whitten Mr. Marvin Charney Ms. Kera Jewett and Dr. William Greene Karen and Stephen Wiel+ Mr. Philip Chou Claude and Nina Gruen+ Ms. Leslie Wilson Mr. Paul Clifford Mimi Haas+ Mr. and Mrs. Michael Woodall Douglas Clough and Erin Uesugi Stephen Halprin+ Travis and Jim Wright+ Annelle Clute Ms. Maria Hilakos Hanke Dr. Keith R. Yamamoto+ Susan and Mitchell Cohen+ Alexander and Catherine Hargrave+ Sharon and Robert Yoerg Ms. Claudia Coleman+ Sara and Catherine Harkins Anonymous (7) Ms. Robin Collins Mr. and Mrs. David M. Haskin+ Richard and Sylvia Condon+ Mr. and Mrs.* Kenneth Hecht Mrs. Glenna Cook John F. Heil+ Jane A. Cook Mary Lou Ambinder Heine ASSOCIATE’S COUNCIL Alice M. Corning Troy and Alysia Helming Gifts of $2,500–$4,999 Colette V.A. Cornish Dr. and Mrs. I. C. Henderson+ Ms. Carmen Côté De Vaughn Laura Miller and Matthew Herold Mr. John Abbott and Mr. Clifford Clark Ms. Sandi Covell+ Virginia Hind Hodgson Michael C Abramson+ Ms. Nora C. Cregan Susan and Russell Holdstein Philanthropic Fund Norman Abramson and David Beery Ms. Lilly Creighton Mr. and Mrs. Christopher Hollenbeck Mr. Amir Adibi Mrs. Mary A. Culp+ Ms. Carol Ann Holley Molly and Stewart Agras+ Ms. Amy & Jamie Dananberg JHGM Foundation Mr. Bruce Albert and Dr. Chady F. Wonson+ Dr. Stephen J. Danko Dr. Serena Hu Lisa and Maria Alvarez Ms. Susan J. Davenport Ms. Marie Louise Hurabiell Ms. Sue Alvarez Mr. Dan Davies Ms. Margaret C. Hutchins Mrs. Diane E. Anderson Dr. and Mrs. R.L. Davis+ Mr. and Mrs. Ronald W. Hutton Jola and John M. Anderson+ Ms. Joan Dea and Mr. Lionel Conacher Ms. Karen J. Irvin Mr. Zachery Anderson Mr. Keith Dehoff Ms. Jane L. Johnson Dr. and Mrs. Joseph S. Andresen+ Dr. Richard M. Delfs+ Ms. Mary Johnson Ms. Gigi Anthony+ Ms. Carole A. Demsky and Mr. Karl F. Nygren Todd Jolly and Judith Murio Ms. Christine DeSanze and Mr. Scott Anthony Marvin Dennis+ Debra and Blake Jorgensen Ms. Carol Blake Applebury Mr. Curtis E. Dennison Mr. Peter Joshua Ms. Maren Armour Ms. Simone Derayeh Sandra Juracich+ Mr. and Mrs. Greer Arthur+ Mr. David E. DeSilva Mr. and Mrs. Paul Kahn Lori Arthur Julie Desloge and George A. Newhall Ms. Roberta Kameda Asmus Family Mr. and Mrs. Robert Dickson Ms. Daru H. Kawalkowski+ Chris and Janet Bajorek Ms. Patricia Dobashi Dr. Amelia Kaymen Mr. Stephen A. Bansak III Mr. and Mrs. Theodore S. Dobos+ Mr. Kris Kazaks Nate Hennings and Nora Barr Hennings Mrs. Abigail Donahue Tom Kennedy and Brad Hipkins Ms. Deborah Taylor Barrera Mr. and Mrs. William H. Draper III Drs. Douglas and Carol Kerr Karen Bartholomew Michael E. Dreyer and Harry B. Ugol Ms. Kathryn Kersey Marie-José and Kent Baum+ Mr. Garrettson Dulin, Jr. Ms. Jennifer H. Kilpatrick Mr. and Mrs. David W. Beach+ Mr. Fritz Eberly Kevin King and Meridee Moore+ George Becker MD. Ms. and Ms. Freya Eduarte Mrs. Jerome Ormond Kirschbaum+ Ms. Lydia Beebe Diane and Joseph Ehrman III+ Ms. Nancy Kittle

56 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 Mr. and Mrs. Mark S. Koenig Ms. Linda L. Olson and Mr. David Polnaszek Joseph J. Sturkey+ Mr. Abner Korn Mr. and Mrs. Philip Ouyang+ Ms. Jane Su Hal and Iris Korol+ Mr. William D. Parent+ Mr. Peter Sullivan Reiko and Yasunobu Kyogoku Mr. Deric Patrick Kimberly and Philip Summe Laura La Gassa Mr. Frank Patt Ms. Joan Sutton Mrs. Carla L. Labat Dr. Eugene H. Peck Mr. and Mrs. Peter Swartz Ms. Elmira C. Lagundi Ms. Patricia Peterson Darian and Rick Swig+ Mrs. Brigitte Laier The Phillips Family Ms. Lita Swiryn Mr. Bryan Lamkin and Ms. Arianna Carughi Jin-Piao Trust Mr. John J. Tallarida Ms. Nancy L. Larson Hilary C. Pierce and Keir J. Beadling Ms. Trecia Knapp and Mr. Bruno Tapolsky Mr. Bill L. Lee Michael Pirrung Mrs. Bente Tellefsen+ Patricia W. Leicher Edward and Linda Plant+ Mr. James Teter Julius Leiman-Carbia & Kyle Thomas Smith Melissa and Ritchie Post+ Judy and Harold Ticktin Mr. and Mrs. Edward M. Leonard Tanya Marietta Powell+ Howard and Ann Timoney Mr. and Mrs. Mark R. Lepper+ Dale and Danielle Power Mr. Ronald R. Titus Mrs. Mona Lessing-Harroch+ Mrs. Twyla Powers Ms. Mary Tobias Mr. Robert Levenson Ms. Sandra Price Mr. and Mrs. Vincent Tobkin Mr. Roy Levin and Mrs. Jan Thomson Mr. John Pringle Mr. Dana Tom Pam G. Lewis Louis Ptacek and Ying-Hui Fu Lowell Tong and Alasdair Neale Ms. Allison Jacobs Ms. Mary J. Quinn Ms. Christine Z. Tooby Ms. Debra A. Leylegian+ Barbara Rambo* and Thomas A. Goossens+ Ms. Amanda Topper+ Ms. Judy Lichterman James Deveney and Steve Rausch Ms. Esther Torres Claire and Herbert Lindenberger+ Drs. Garry and Kathy Rayant+ Suzanne M. Tucker and Timothy F. Marks Dr. Mary Jane W. Loda Ms. Elizabeth S. Reed Ms. Helen Tyree Carol and Bill Lokke Judge and Mrs. Charles B. Renfrew Gayla Tyson and Dan Cotter Dr. and Mrs. Kevin Louie Louise and Paul Renne Mr. Herbert Uetz Mr. and Mrs. Steve Love Ms. Kathryn Renschler Patricia Unterman and Tim Savinar Dan Lowenstein & Mylo Schaaf Jon Q. and Ann S. Reynolds Dr. Conrad Vial Mr. and Mrs. Lawrence Ludgus+ Thomas C. Rindfleisch and A. Carlisle Scott+ Mr. and Mrs. Gregg von Thaden Mr. Harvey Lynch Mr. Chip Roame Mr. Richard A. Votava Mrs. Rhondalee Mahendroo Deborah Robbins and Henry Navas Mrs. Virginia Wade Howard and Siesel Maibach+ L.L. Roberts and A.R. Wilbanks+ Ms. Adrian Walker Ms. Janice Maloney Mrs. Rosemary Rodd Spitzer Mr. Richard Walsh Dr. Aditi Mandpe Jack and Fran Rominger Emily and Bob Warden Mr. Richard Martin Mr. and Mrs. Richard Roothman Rosalie V. Weaver Ms. Virginia Martin Ms. Jeanne Rose Eitan Fenson and Barbara Weinstein Ms. Anita Martinez+ Ms. Patricia Rosenberg Melanie and Ronald Wilensky Ms. Connie V. Martinez Mr. and Mrs. Herbert Rosenthal Ms. Freddi Wilkinson Ms. Mary E. Massee Kate Rowe+ David and Karima Wilner Holly and Stephen Massey Mr. Paul L. Rowe and Mr. Michael Sereno Ms. Faye Wilson Ms. Dosia Matthews Mrs. Chandra K. Rudd Mr. and Mrs. Terry Winograd Niko and Steven Mayer+ Mr. Roberto Ruiz and Mr. Kevin Lee Mr. and Mrs. Eric Wold Mr. John Mazurski Dr. Ellen Salwen Ms. Muriel Wolverton Jennifer J. McCall+ Louise Adler Sampson Celeste and Darryl Woo Dr. and Mrs. W. D. McCallum+ Ms. Jennifer Sandell Laureen Woodruff+ Mr. Glenn McCoy+ Mr. Warren H. Sandell Ms. Daphne Wray Dan McDaniel, M.D. Ms. Letitia Sanders Ms. Kelly Wulff Ms. Kathleen McEligot+ Donald and Terry Sarver+ Mr. Babak Yazdani Joan and Robert McGrath+ Mr. and Mrs. Richard Saveri Ms. Zhenya Yoder Ms. Roberta McMullan Mr. Michael Scagliotti and Mrs. Miya R. Peard Jacqueline Young Lisa and Jason McPhate Gwendy and Anthony Scampavia+ Ms. Tatyana Yurovsky Dr. and Mrs. Bruce Mebine William and Linda Schieber Mr. James Zawada Mr. David E. Meders Carolynne Schloeder Catherine Zimmerman Mr. Martin Melia Peter Lotnar Schmidt Mr. and Mrs. Harold Zlot Dr. Beryl Mell+ Warren A. Schneider Anonymous (9) Mr. and Mrs.* James J. Messemer+ Mr. and Mrs. Paul A. Schroeder Byron R. Meyer*+ Ms. Deborah Schultz Mr. and Mrs. Lou Meylan Mrs. S. D. Schwabacher+ Richard Miller and John Vinton+ Mrs. Avé M. Seltsam and Mr. James D. Seltsam, Jr. Mr. and Mrs. Michael Millman Joan and Lynn Seppala Mrs. Elizabeth Robinson Mitchell Ms. Teresa Serata Susan and Jack Molinari+ Mr. and Mrs. Gary J. Shapiro+ Mr. and Mrs. Ken Moonie+ Mr. and Mrs. Drew Sievers Mr. and Mrs. Donald Morgan Mr. Lawrence J. Simi Gary and Eileen Morgenthaler Mrs. Harriet J. Simpson+ Dianne and Brian Morton Earl Singer Mr. Milton J. Mosk and Mr. Thomas Foutch+ Dr. Dale Skeen+ Ms. Christine Motley Mrs. Paula Anne Smith Ms. Sharon S. Muir Ms. H. Marcia Smolens+ Mr. Roger Murray Ms. Eileen Soden Ms. Vija Hovgard Nadai James Sokol Ms. Donna Neff Mr. Scott C. Sollers Mrs. Shirley Negrin+ Rosemary G. Southwood Dr. Alex Nellas Ms. Ellice Sperber and Ms. Emma Elizalde Ms. Amanda Nelson Mr. and Mrs. Will Stegall Drs. Andrew and Lynn Newman+ Ruth and Alan Stein+ Jeanne Newman Lisa J. Stern-Hazlewood+ Ms. Allison Nielsen Mr. Paul Stone Patricia and Hayes Noel Mr. and Mrs. Philip Strause Mr. Paul Nordine Mrs. Dwight V. Strong+ Mrs. Wilma J. Nurenberg Mrs. Mary Stuard

PROGRAMS 02 & 03 | SFBALLET.ORG | 57 CORPORATE AND FOUNDATION SUPPORT Forward-thinking organizations understand the need to create a vibrant civic life in the places they do business. 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. 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. To learn more about Corporate giving, contact Colette Whitney, Corporate Giving Officer, [email protected] or 415 865 6651. To learn more about Foundation giving, contact Elizabeth Luu, Grants Manager, at [email protected] or 415 865 6616.

CORPORATE SUPPORT ARTISTIC DIRECTOR’S COUNCIL SPONSOR’S COUNCIL CHOREOGRAPHER’S COUNCIL Gifts of $100,000–$249,999 Gifts of $25,000–$49,999 Gifts of $10,000–$14,999

First Republic Bank Freed of London B|O|S (Bingham, Osborn & Scarborough, LLC) Osterweis Capital Management Kaiser Permanente Gap Foundation Tiffany & Co. Mechanics Bank Wealth Management PRESENTER’S COUNCIL Shreve & Co. Gifts of $50,000–$99,999 CHAIRMAN’S COUNCIL UBS Gifts of $15,000–$24,999 U.S. Bank Foundation Bank of America Willis Towers Watson Almaden Chevron Innovation Global Capital Dodge & Cox DANCER’S COUNCIL JPMorgan Chase & Co. La Perla Gifts of $5,000–$9,999 KPMG Pacific Union Real Estate Pacific Gas and Electric Company Denning and Company Lillet McRoskey Mattress Company SpotHero

IN-KIND SUPPORT GRAND BENEFACTOR’S COUNCIL PRESENTER’S COUNCIL CHAIRMAN’S COUNCIL Gifts of $250,000 and above Gifts of $50,000–$99,999 Gifts of $15,000–$24,999

Bay Area Rapid Transit J Riccardo Benavides Ernest Vineyards FITNESS SF KNTV Sutter Securities Incorporated KGO-TV KPIX Wish Social Events San Francisco Chronicle McCalls Catering & Events Nob Hill Gazette CHOREOGRAPHER’S COUNCIL ARTISTIC DIRECTOR’S COUNCIL Pillsbury Winthrop Shaw Pittman LLP Gifts of $10,000–$14,999 Gifts of $100,000–$249,999 San Francisco magazine Almaden Cibo KQED TV KCBS SPONSOR’S COUNCIL Miette Gifts of $25,000–$49,999

The San Francisco Examiner / SF Weekly United Airlines DANCER’S COUNCIL Gifts of $5,000–$9,999

Bouchaine Vineyards Etude Wines

58 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 FOUNDATION & GOVERNMENT SUPPORT GRAND BENEFACTORS CHOREOGRAPHER’S COUNCIL Gifts of $250,000 and above Gifts of $10,000–$14,999

San Francisco Grants for the Arts The Guzik Foundation Koret Foundation Walter & Elise Haas Fund Heising-Simons Foundation ARTISTIC DIRECTOR’S COUNCIL Zellerbach Family Foundation Gifts of $100,000–$249,999

Bently Foundation, in honor of Glenn McCoy’s DANCER’S COUNCIL Gifts of $5,000–$9,999 30 years of leadership at San Francisco Ballet The William and Flora Hewlett Foundation Mervyn L. Brenner Foundation, Inc. George F. Jewett Foundation Fleishhacker Foundation The Bernard Osher Foundation Lisa and Douglas Goldman Fund Bob Ross Foundation The Hope and Norman Hope Foundation Walter S. Johnson Foundation PRESENTER’S COUNCIL The Kingsley Foundation Gifts of $50,000–$99,999

Flora Family Foundation ASSOCIATE’S COUNCIL Gifts of $2,500–$4,999 Stephen and Margaret Gill Family Foundation The Diana Dollar Knowles Foundation The Amphion Foundation National Endowment for the Arts Lakeside Foundation The Shubert Foundation, Inc. Wender Weis Foundation for Children

SPONSOR’S COUNCIL Gifts of $25,000–$49,999 VISIT THE SHOP The Hellman Foundation H. B. and Lucille Horn Foundation AT SF BALLET The William G. Irwin Charity Foundation You’ll find a spectacular assortment The Charles Henry Leach, II Fund of SF Ballet-branded merchandise, E. L. Wiegand Foundation beautiful jewelry, and wonderful gifts.

CHAIRMAN’S COUNCIL The Shop is open one hour before Gifts of $15,000–$24,999 curtain time, during intermission, and for thirty minutes following Mimi and Peter Haas Fund weekend matinees. John Brockway Huntington Foundation The Ballet Shop is located on the south mezzanine.

PROGRAMS 02 & 03 | SFBALLET.ORG | 59 THE JOCELYN VOLLMAR LEGACY CIRCLE Your estate gift to SF Ballet enrolls 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, Senior Officer, Planned Giving, [email protected] or 415 865 6623.

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

60 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 Susan J. Meadows Charles G. Smith Robert L. Merjano Dr. W. Byron Smith Steve Merlo M. Eileen Soden, Ph.D. Karl Meyer and Kelly Hails Scott C. Sollers J. Sanford Miller Sue Sommer Ms. Joyce E. Miller Sharon St. James Mr. Sidney F. Mobell Stephen B. Steczynski Nancy and Larry Mohr Nancy Stern Patricia Mok Susanne Stevens Milton J. Mosk Mrs. Dwight V. Strong Kathleen Much Jane and Jay Taber Tom and Anne Muller Mr. and Mrs. Alan Tai Peter Johnson Musto Jack Eugene Teeters Virginia Mylenki and Sam Thal, M.D. James J. Pidgeon Richard J. Thalheimer Mr. and Mrs. Robert L. Newman Suzanne and Charles Thornton Tom Nicoll Jazz Tigan Jeffrey A. Nigh Mr. and Mrs. Howard Timoney The Sleeping Beauty // © Erik Tomasson Norman and Hillevi Null Michael E. Tully Peter Nye and James Marks Janet Sassoon-Upton and John S. Osterweis John R. Upton, Jr. James O. Pearson, Jr. Carolyn and Terry Voet Karen Posner Mrs. Katherine Wallin Steve and Cleo Postle Mrs. Barbara W. Wanvig Roger and Deborah Potash Rosalie V. Weaver Mr. and Mrs. Albert M. Price Dr. Frieda Weiner Jane Radcliffe Daphne and Stuart Wells San Francisco Ballet in Tomasson’s San Francisco Ballet in Tomasson’s Dave and Judy Redo Benjamin and Mary Ann Whitten Glenn H. Reid and Karen and Stephen Wiel Frank S. Lanier Mr. Burlington Willes M.A. Rey-Bear Trust Miles Archer Woodlief Mr. and Mrs. Richard D. Ringe Laureen Woodruff Pat Roberts Dr. Robert and Sharon Yoerg JOIN FRIENDS OF Elsie Robertson Janice Hansen Zakin Pauline and Richard Roothman Kristine A. Zeigler SAN FRANCISCO BALLET Renee and Dennis Ross Mrs. Stephen A. Zellerbach Renee Rubin Anonymous (69) Celebrate your love of ballet by becoming a Friend of Karl Ruppenthal and Jo Maxon SF Ballet. Loyal supporters like you ensure that the Ballet Pat Sanderson will be around for future generations to enjoy. R. L. Sauer Dorothy Saxe Norman Schlossberg Ms. Catherine Schmidt Walter and Sharon Schneider Al Schroeder Leonard C. Schwab Harold E. Segelstad Mr. and Mrs. Jack Self JOIN US, WON’T YOU? Christine Selle Visit our website at sfballet.org/donate Michael and Daryl Shafran or call 415 865 6628. J. Gary and O.J. Shansby Foundation John-Luke Sheridan Mrs. Carter Parrish Sherlin Carol R. Sholin Marc Sinykin and Kevin Osinski ENDOWMENT FOUNDATION The San Francisco Ballet Endowment Foundation is a separate nonprofit public benefit corporation that holds and manages endowment funds, with the goal of supplying a reliable source of support while protecting its investments against inflation and wide swings in the capital markets. Each year, a transfer from the Endowment Foundation provides support for a variety of SF Ballet needs, including the creation of new works, touring, financial aid for SF Ballet School students, and community education and outreach programs. It is now the third largest source of revenue for SF Ballet after ticket sales and contributions. Donors who make gifts of $25,000 or more to the endowment have a fund created in their name. Named funds 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 on endowed funds or the San Francisco Ballet Endowment Foundation, please contact Elizabeth Lani, Senior Officer, Planned Giving, [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 NEW WORKS Ernest A. Bates New Works Fund Lucy and Fritz Jewett New Works Fund Burnett Family New Works Fund Catherine P. Lego New Works Fund Dan and Stacey Case New Works Fund Paul G. Lego New Works Fund Robert Clegg New Works Fund Irv H. Lichtenwald and Stephen R. Ripple New Works Fund Columbia Foundation New Works Fund The Marver Family New Works Fund Mary B. Cranston New Works Fund Byron R. Meyer Choreographers Fund Suzy Kellems Dominik New Works Fund Berit and Robert A. Muh New Works Fund Sonia H. Evers New Works Fund National Endowment for the Arts New Works Fund Ford Foundation New Works Fund Osher New Work Fund Diana Stark and J. Stuart Francis New Works Fund Barbara Ravizza and John Osterweis New Works Fund Stephen and Margaret Gill New Works Fund Kenneth Rainin New Works Fund* Evelyn & Walter Haas, Jr. New Works Fund Bob Ross New Works Fund Mimi Haas New Works Fund Kate and George W. Rowe New Works Fund Mimi & Peter Haas New Works Fund The Smelick Family New Works Fund Walter & Elise Haas New Works Fund Gail and Robert M. Smelick New Works Fund Sally and William Hambrecht New Works Fund TeRoller Fund for New Productions* The Hellman Family New Works Fund Richard J. Thalheimer New Works Fund Cecilia and James Herbert New Works Fund Helen Von Ammon New Works Fund The William and Flora Hewlett Foundation New Works Fund Karen and David Wegmann New Works Fund Donald F. Houghton New Works Fund* Akiko Yamazaki and Jerry Yang New Works Fund George B. James New Works Fund Anonymous

YOUR LEGACY, “Our bequest to San Francisco Ballet is a way of immortalizing our love of this art form. For us, ballet represents the highest and most exquisite expression of beauty, power, and discipline–combining OUR FUTURE movement, music, and cultural values. Our gift gives us the satisfaction of knowing that, through our legacy, our spirit (in some small way) will live onww; engaging, enlightening, and enriching others for generations to come.”

Tom Taffel and Bill Repp are familiar faces in the War Memorial Opera House year-round. Both have served as ushers for more than twenty years and have helped countless patrons—whether in the Opera season or the Ballet season—enjoy their experience.

For information about bequests, charitable gift annuities and other estate gift options, contact Elizabeth Lani in SF Ballet’s planned giving office at415 865 6623 or [email protected]. Patrons who include SF Ballet in their will or other estate plans are invited to membership in the Jocelyn Vollmar Legacy Circle and celebrated as essential members of the SF Ballet family.

Tom Taffel and Bill Repp, two Ballet legacy members, and Principal Dancer Angelo Greco // © Chris Hardy

San Francisco Ballet rehearsing Peck's Hurry Up, We're Dreaming // © Erik Tomasson

62 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 YOUR LEGACY, “Our bequest to San Francisco Ballet is a way of immortalizing our love of this art form. For us, ballet represents the highest and most exquisite expression of beauty, power, and discipline–combining OUR FUTURE movement, music, and cultural values. Our gift gives us the satisfaction of knowing that, through our legacy, our spirit (in some small way) will live on; engaging, enlightening, and enriching others for generations to come.”

Tom Taffel and Bill Repp are familiar faces in the War Memorial Opera House. Both have served as ushers for more than twenty years and have helped countless patrons—whether in the Ballet season or the Opera season—enjoy their experience.

For information about bequests, charitable gift annuities and other estate gift options, contact Elizabeth Lani in SF Ballet’s planned giving office at415 865 6623 or [email protected]. Patrons who include SF Ballet in their will or other estate plans are invited to membership in the Jocelyn Vollmar Legacy Circle and celebrated as essential members of the SF Ballet family.

Tom Taffel and Bill Repp, Jocelyn Vollmar Legacy Circle members, and Principal Dancer Angelo Greco // © Chris Hardy Learn. Grow. Dance.

SAN FRANCISCO BALLET SCHOOL

Did you know that more than 60 percent of the dancers in SF Ballet received all or part of their training at the School? Our students get the chance to train in the home of America’s oldest professional ballet company and school, learning from our world-renowned faculty led by Director Patrick Armand. San Francisco Ballet School students © Erik // Tomasson

2018–19 SCHOOL YEAR

PRE-BALLET AUDITIONS FOR CHILDREN Ages 4–7 Ages 8–11 • Registration begins April 11, 2018 • Saturday, June 2, 2018 • No audition required • sfballet.org/school/ballet-classes • Admissions are accepted on a first-come, first-served basis • Register online for a FREE trial class AUDITION & REGISTRATION • sfballet.org/school/pre-ballet sfballet.org/school

LEAD SPONSOR OF SAN FRANCISCO BALLET SCHOOL 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 new ballet season, Ballet Auxiliary members comprise an Learn. exclusive group of women who leverage their talents in fundraising events that each year raise more than $2 million for SF Ballet. Learn. LEADERSHIP Mrs. Alexander Leff, President Mrs. G. Steven Burrill, Recording Secretary Ms. Beverley Siri Borelli, Treasurer Ms. Ann Kathryn Baer, Vice President Mrs. John E. Fetzer, Corresponding Secretary Mrs. Robert W. Wood, Event Treasurer Grow. ACTIVE MEMBERS Ms. Blanca Aguirre Mrs. Rhonda Mahendroo Ms. Rosemary B. Baker Miss Elizabeth Leep Ms. Donna Bachle Mrs. Heather Cassady Martin Ms. Katherine Banks Ms. Debra A. Leylegian Ms. Deborah Taylor Barrera Ms. Laura V. Miller Mrs. Patrick V. Barber Mrs. Barry R. Lipman Miss Carol Benz Mrs. Emily Millman Mrs. Kent T. Baum Ms. Sheila M. Lippman Dance. Mrs. Steven Bergman Dr. Shokooh Miry Ms. Barbara Bechelli Mrs. John C. Lund Ms. Catherine Bergstrom Mrs. Elizabeth Robinson Mitchell Mrs. Peter Berliner Mrs. Robert W. Maier Mrs. Ashley Berman Ms. Margaret Mitchell Mrs. John W. Bitoff Ms. Susan A. Malecki Ms. L’Ann Bingham Mrs. Monika Moscoso-Riddle Mrs. Athena Blackburn Ms. Sandra Mandel Ms. Giselle Bosc Mrs. Sarah Newmarker Mrs. Richard A. Bocci Mrs. Michael L. Mauzé Mrs. William S. Brandenburg Mrs. Michael O’Sullivan Mrs. Caroline Krawiec Brownstone Mrs. Mark A. Medearis Mrs. Rada Brooks Mrs. Jack Preston Mrs. Walter Carpeneti Mrs. James J. Messemer SAN FRANCISCO BALLET SCHOOL Mrs. David Byers Ms. Virginia Leung Price Mrs. Charles E. Clemens Mrs. Jane S. Mudge Mrs. Kathleen Coffino Ms. Kacie Renc Miss Robin Collins Ms. Vickie Nelson Mrs. Patricia D. Roberts Ms. Christine Leong Connors Did you know that more than 60 percent of the dancers Ms. Rebecca Cooper Mrs. Robert L. Newman in SF Ballet received all or part of their training at the Mrs. Angelos J. Dassios Ms. René Rodman Mrs. Daniel P. Cronan Mrs. Peggy L. Newton in SF Ballet received all or part of their training at the Ms. Melissa del Sol Ms. Stephanie B. Russell Ms. Gail De Martini Ms. Carole A. Obley School? Our students get the chance to train in the Ms. Carole A. Demsky Ms. Meg Ruxton Mrs. Theodore S. Dobos Mrs. Edward Plant home of America’s oldest professional ballet company Ms. Christine DeSanze Mrs. James D. Seltsam, Jr. Mrs. David Dossetter Mrs. Nick Podell and school, learning from our world-renowned faculty Mrs. Samara Diapoulos Mrs. Ally Sievers Mrs. Happy Dumas Dame Tanya Marietta Powell and school, learning from our world-renowned faculty Ms. Jane Gazzola Ms. V’Anne Singleton Dr. DiAnn Ellis Ms. Merrill Randol led by Director Patrick Armand. led by Director Patrick Armand. Mrs. Vincent Golde Mrs. Shelley Sorani Mrs. Douglas J. Engmann Mrs. Todd G. Regenold Ms. Shelley Gordon Ms. Grace Nicolson Sorg Mrs. Christian P. Erdman Ms. Katherine Robertson Mrs. Colin Greenspon Mrs. Christy Swartz Ms. Patricia Ferrin Ms. Lorrae Rominger Mrs. David Grove Ms. Holli Thier Ms. Dixie D. Furlong Ms. Dara C. Rosenfeld

San Francisco Ballet School students © Erik // Tomasson Ms. Lori Harmon Mrs. Andrea Valo-Espina Mrs. Alison Morr Gemperle Mrs. Jay Ryder San Francisco Ballet School students © Erik // Tomasson Mrs. Joseph Harris, Jr. Ms. Amy Wender-Hoch Mrs. Stephen Ghiselli Ms. Isabel M. Sam-Vargas Mrs. Ronald R. Heckmann Ms. Freddi Wilkinson Ms. Nonie H. Greene Ms. Ellen Sandler Mrs. Christopher Hemphill Mrs. Eric Wold Mrs. John P. Grotts Mrs. Elaine Wong Shen 2018–19 SCHOOL YEAR Mrs. Holly Hollenbeck Ms. Patricia Wyrod Ms. Catherine D. Hargrave Ms. Karen L. Skidmore 2018–19 SCHOOL YEAR Ms. Kathryn A. Huber Miss Carla Wytmar Mrs. Michael R. Haswell Mrs. Susan Solinsky Ms. Marie Louise Hurabiell Mrs. Ronald Zaragoza Mrs. Terrence M. Hazlewood Mrs. Mathew Spolin PRE-BALLET AUDITIONS FOR CHILDREN Mrs. Michelle Gilman Jasen Ms. Mindy Henderson Mrs. Judy Swanson Ages 4–7 Ages 8–11 Mrs. Jonathan Kaufman Mrs. Helgi Tomasson Ms. Kelli Hill Ms. Jody K. Thelander Ages 4–7 Ages 8–11 Mrs. James C. Kelly Honorary Member Mrs. Michael F. Jackson Mrs. Charles V. Thornton • Registration begins April 11, 2018 • Saturday, June 2, 2018 Mrs. Trecia Knapp Ms. Daru H. Kawalkowski Ms. Elizabeth W. Vobach • No audition required • sfballet.org/school/ballet-classes Mrs. Carolyn Koenig SUSTAINING MEMBERS Ms. Lisa A. Keith Mrs. Gregg von Thaden • No audition required • sfballet.org/school/ballet-classes Ms. Claire Stewart Kostic Jola Anderson Mrs. William N. Keller Ms. Barbara Waldman • Admissions are accepted on a first-come, • Admissions are accepted on a first-come, Ms. Rochelle Lacey Mrs. Judy Anderson Mrs. Robert D. Kroll Mrs. Wallace Wertsch first-served basis Ms. Betsy A. Linder Mrs. James P. Anthony Mrs. William D. Lamm Mrs. Aimee West AUDITION & REGISTRATION Mrs. Carol Louie Mrs. Thomas G. Austin Ms. Jean Larette • Register online for a FREE trial class AUDITION & REGISTRATION • sfballet.org/school/pre-ballet sfballet.org/school 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. For more, visit sfballet.org/allegrocircle.

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

LEAD SPONSOR OF LEAD SPONSOR OF SAN FRANCISCO BALLET SCHOOL SAN FRANCISCO BALLET SCHOOL

PROGRAMS 02 & 03 | 415 865 2000 | 65 THANK YOU TO OUR VOLUNTEERS CONTINUED ENCORE If you’re a young professional who loves dance and a great party, dust off the tux, get out that gown, and join our 300 plus ENCORE! members at a wide variety of social, educational, and networking events. For more, visit sfballet.org/encore.

LEADERSHIP Christopher Correa, President Daniel Cassell, Treasurer Alex Christie Elizabeth Sgarrella Susan Lin, Vice President Emily Hu, Immediate Past President Vanessa Jn-Baptiste Jamie Taylor 17—18 Angela Zhang, Secretary Jacqueline Barrett Kelcie Lee Gary Williams Maggie Winterfeldt Clark BRAVO Each year BRAVO members contribute a collective total of more than 10,000 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. For more: sfballet.org/bravo

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

We are pleased to recognize BRAVO members who contributed 40 hours or more during the 2016–2017 Season.

250+ HOURS Corine Assouline Roberta McMullan Maria Lawrence 40–54 HOURS Paulette Cauthorn Deric Patrick Cyndy Lee Lynn Barbaria Joan Green Twyla Powers Aldona Lidji Alexis Beckman James Gries Pauline Roothman Betsy Lim Julie Brown-Modenos Julie Hawkins Eileen Soden Steve Loving Tiffany Chin Giovanna Jackson Lacy Steffens Betsy McGuigan Linda Drake Patricia D. Knight Karen Weil Linda Miyagawa Inna Edwards Suzanne Knott Michael Williams Keiko Moore Roslyn Eng Pirkko Lucchesi Steve Wong Patricia Nelson Jonathan Gohstand Dosia Matthews Daphne Wray Gale Niess Bettina Graf Steve Merlo Jill Zerkle Deborrah Ortego Lydie Hammack Kathryn Roberts Johanna Payne Michae Hart 55–99 HOURS Sue Plasai Carolyn Hutchinson 100–249 HOURS Edie Bazjanac Sara Pope Susan Kalian Margaret Anderson Jenya Bordas Mercedes Rodriguez Sanae Kelly Jenny Au-Yeung Mary Davi Herm Sinoy Priscilla Law Carolyn Balsley Doris Duncan Tracy Stoehr Barbara Lim Marilyn Breen Vicente Garcia Brad Stokes Anne Snowball Thomas Brown Keiko Golden Sherrie Szalay Erika Stuart Martha Debs Piers Greenhill Leslie Tsirkas Audrey Tse Treanor Philip Fukuda Kiyoshi Kimura Lizzy Woodham Steve Trenam Roger Green Robin Kinoshita May Yasui Desmond Torkornoo Susanne Johnson Kenneth Kitch Mary Yee Susan Warble Kathy Judd Carrie Kost Stas Yukevich Elmira Lagundi Christine Lasher John Mazurski David Lau SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER War Memorial Opera House is owned and operated by the city and county of San Francisco through the board of trustees of the War Memorial, The Honorable Mark Farrell, Mayor.

TRUSTEES NANCY H. BECHTLE, President VAUGHN R. WALKER, Vice President

Belva Davis Paul F. Pelosi Thomas E. Horn Charlotte Mailliard Shultz Lt. Col. Wallace I. Levin CSMR (Ret.) Diane B. Wilsey Gorretti Lo Lui Mrs. George R. Moscone ELIZABETH MURRAY, Managing Director Major General J. Michael Myatt, USMC (Ret.) JENNIFER E. NORRIS, Assistant Managing Director/Executive Secretary

66 | SAN FRANCISCO BALLET | PROGRAMS 02 & 03 they getapersonalcloseencounterwiththeinnerworkingsofworldSFBallet.Formore: Each yearBRAVO memberscontributeacollectivetotalofmorethan10,000 hoursofvolunteerassistancetoSFBallet.Intheprocess BRAVO sfballet.org/bravo 17—18 MAY 23–25 2018 STUDENTSHOWCASE AN INVITATION TO DANCE: SAN FRANCISCOBALLETSCHOOL 08 07 06 05 04 03 02 1 0 JAN 23–MAY 06 23–MAY JAN SEASON 12 internationalchoreographers 12 World12 Premieresby APR 20–MAY 06 UNBOUND: AFESTIVAL OFNEWWORKS APR 03–APR 08 NIJINSKY: ABALLET BY JOHNNEUMEIER THE NATIONAL BALLETOFCANADA Fancy Free Other Dances The Cage Opus 19/TheDreamer MAR 20–MAR25 ROBBINS: BALLET&BROADWAY MAR 06–MAR11 FRANKENSTEIN Ghost intheMachine Ibsen’s House On aThemeofPaganini FEB 15–FEB25 DISTINCTLY SFBALLET Rodeo: FourDanceEpisodes The ChairmanDances—Quartetfor Two Serenade FEB 13–FEB24 BRIGHT FAST COOLBLUE JAN 23–FEB04 THE SLEEPINGBEAUTY Yerba BuenaCenterfortheArts

THIS ISBALLET SFBALLET.ORG

WanTing Zhao // © Erik Tomasson EAP full-page template.indd 1 12/21/17 11:27 AM