Ballet Notes

The Four Seasons Cruel World Theme and Variations Together we’re celebrating the achievements of The National of Canada.

At TD Bank Financial Group, we’re proud to support The National Ballet of Canada. It’s just part of our commitment to making our communities better. Rebekah Rimsay, Chan Hon Goh, Rex Harrington and Sonia Rodriguez in Spring from The Four Seasons. Photo by Cylla von Tiedemann. music choreography: III music staged by: choreography: II music choreography: I produced inaccordance withtheBalanchine Style originally stagedby lighting design Costumes CourtesyofAmericanBalletTheatre trac costume design: costume design The FourSeasons projections andsceniceffects: lighting design Theme andVariations lighting design set andcostumedesign guest balletmaster The performance of | | | The FourSeasons : : : Cruel World Pytor IlyichTchaikovsky—The finalmovementof Antonio Vivaldi— Pytor IlyichTchaikovsky— Theme andVariations David Richardson is agiftfrom : Theme andVariations trac George Balanchine James Kudelka James Kudelka : : : is agiftfrom Scott Zielinski David Finn Robert Thomson : costume — — costume Lindsay Fischer : The FourSeasons costume — — costume Patricia Neary : Santo Loquasto the volunteercommittee,nationalballetofcanada the volunteer committee Souvenir deFlorence,Opus70 Carmen AlieandDenisLavoie Carmen AlieandDenisLavoie , aBalanchine Chris Wise ® and Balanchine Technique ® Ballet, ispresented byarrangementwithThe George BalanchineTrust Suite No.3forOrchestrainGmajor, Op.55 , the national balletofcanada ® Service standards established andprovided bytheTrust. sm and hasbeen . Photo by Cylla von Tiedemann. The Four Seasons Martine Lamy with Artists of the Ballet in Autumn from

JAMES KUDELKA AND THE NATIONAL BALLET OF CANADA the national ballet of canada, a company with more than Kudelka has introduced many new works to the National Ballet during 50 dancers and its own symphony orchestra, is Canada’s premier dance his tenure. Of his own , some were first created elsewhere: Cruel company and ranks as one of the world’s top international dance companies. World for American Ballet Theatre and Désir for Les Grands Ballets Canadiens. Others, created specifically for the National Ballet, extend its Founded in 1951 by English dancer Celia Franca, the company was Kudelkan image by re-imagining the classics, like his Russian Nutcracker, established in Toronto as a classical company and is still the only his flamboyant Firebird, or his dark, extraordinary take on that greatest of Canadian company to present a full range of traditional full-length classics, . His completely original ballets, like The Four Seasons classics. The company not only presents the classical repertoire, but and The Contract, are gems that give the company that unique repertoire also embraces contemporary works and encourages the creation of all companies covet. new ballets and the development of Canadian choreographers. Knowing that even his own great productivity isn’t enough, Kudelka In 1996 the National Ballet named James Kudelka as Artistic Director. consistently nurtures the creative impulse of other brilliant Canadians, Born in Newmarket, Ontario and trained at the National Ballet School commissioning from John Alleyne Septet and the full-length Tristan in Toronto, Kudelka has the rare ability to marry classical tradition and Isolde; from the late master Jean-Pierre Perreault The Comforts of with modern movement and is recognized for his remarkable talent in Solitude; from Dominique Dumais the weight of absence and one hundred combining both idioms. An internationally acclaimed choreographer words for snow; and from the young Matjash Mrozewski A Delicate Battle who is much sought after to create for the stages of other companies, and Monument. for seven years Kudelka has devoted most of his own artistic energies to expanding the National Ballet’s horizons through creating and For The National Ballet of Canada, Kudelka has brought forth a golden commissioning new works, mounting company premieres and judiciously age of creativity and artistic greatness. reviving touchstone works from the company’s vast repertoire. The Four Seasons . Photo by Lydia Pawelak. The Four Seasons Rex Harrington in Winter from

A BALLET FOR ALL SEASONS By Gary Smith james kudelka, canada’s most celebrated classical choreographer, Lake, Kudelka explores the relationship between life and art, lingering on takes a kaleidoscopic ride through Antonio Vivaldi’s The Four Seasons. themes of love, loss and loneliness. A ballet redolent with emotion, Created for The National Ballet of Canada, The Four Seasons received its yet unencumbered by a constraining narrative thread, The Four Seasons world premiere on February 12, 1997 at Toronto’s Hummingbird Centre. seeks meaning in atmosphere and mood. Kudelka has a way of making movement melt seamlessly into metaphor. A dancemaker of emblematic genius, James Kudelka tends to stir the From melodic inspiration he fashions movement that is poetic and imagination and disturb the senses. By keeping audiences deliberately inventive, seeking in the corners of a chosen score liberation for the off-balance, he allows for that exciting moment where performers and human body framed in flight. The ingenuity of his choreography has audience find a symbiotic union. Working away from the centre of the also been seen in his many other works for the company. This is especially comfort zone, Kudelka establishes a climate for discovery. With The true of his innovative Swan Lake created in 1999. Four Seasons, he uses the familiarity of Vivaldi’s entrancing score, but creates choreography that plays with and against the driving tension With this ballet, Kudelka explores the cycle of The Four Seasons, finding of the music. Kudelka’s ballet is an entry into a metaphysical world of within the harmony of Vivaldi’s familiar Baroque score an expression the seasons where winter is just a memory of the mordant, where of the cyclical nature of life. It would appear to be a perfect union of a the revivification of spring lurks just around the corner. visionary dancemaker and an eminently danceable score. In June 1999, Rhombus Media Inc. and Veronica Tennant Productions Ltd. Here, Kudelka created the role using the dramatic force of Principal Dancer filmed The Four Seasons which was aired by the CBC. Directed by Barbara Rex Harrington: a darkly handsome, intense creature of earth and air. Willis Sweete, the film features Principal Dancers Rex Harrington, Chan In his powerful, masculine flight Harrington is the perfect central image Hon Goh, Greta Hodgkinson, Martine Lamy, Victoria Bertram and to suggest The Four Seasons interplay of shadow and light. Jeremy Ransom along with members of The National Ballet of Canada. Essentially abstract in nature, The Four Seasons nevertheless encompasses Vivaldi’s celebrated score is performed by the National Arts Centre familiar Kudelka themes. As in Musings, The Actress, Désir and Swan Orchestra conducted by Pinchas Zuckerman. Cruel World . Photo by Lydia Pawelak. Cruel World Ryan Boorne and Chan Hon Goh in

A NOTE ON CRUEL WORLD in 1994 james kudelka was invited to create a ballet for the dancers. As luck would have it, during the 1993 Tchaikovsky celebrations, American Ballet Theatre by its Artistic Director, Kevin McKenzie. At that choreographer John Tarras created a work for New York City Ballet using time Kudelka was Artist in Residence at The National Ballet of Canada sections of Souvenir de Florence. For this piece, New York City Ballet and had just finished creating The Actress for the company. The Actress created a reduction score of most of the music for their rehearsals consisted mostly of a series of duets centring around the character and American Ballet Theatre was able to borrow it for Kudelka. portrayed by Karen Kain. In his new work for American Ballet Theatre, On April 29, 1994, American Ballet Theatre premiered Kudelka’s Cruel Kudelka wanted to create a piece that showcased an entire ensemble World at the Metropolitan Opera House, New York. As the curtain went of stars, using the premiere talent in their company. Entitled Cruel down in the 4,000 seat auditorium a roaring ovation resounded through World, the ballet was again constructed as a series of duets, but was the theatre. Kudelka’s inaugural creation for American Ballet Theatre shaped by the personalities of the many dancers he was working with. was highly acclaimed. Anna Kisselgoff of The New York Times hailed it The music for Cruel World is ’s turbulent Souvenir “A near perfect ballet and a total triumph for Mr. Kudelka.” de Florence, a work for expanded for . James Classically constructed, Cruel World shakes the audience’s expectations Kudelka first took notice of this piece in 1993 during the celebrations of with inventive turns and astonishing lifts. The couples ease into beautiful the centenary of Tchaikovsky’s death. Looking for music to which to set a romantic lifts that twist into unexpected shapes and flowing sequences are new National Ballet work, he heard Tchaikovsky’s sextet on the radio and suddenly halted, almost mid-step. There is an obvious element of danger was instantly captivated by this rarely heard piece. Though this music in the non-narrative Cruel World. Throughout the complex choreography, did not surface in a work for the National Ballet, Kudelka guarded this Kudelka encourages each dancer to take risks, both physically and selection in his memory for future use. After the premiere of Cruel World, emotionally. In describing Cruel World freelance journalist Gary Smith which uses an orchestrated version of Souvenir de Florence, choreographer writes, “Here, in a work that unlocks its secrets slowly, allowing the Glen Tetley congratulated Kudelka on finding such spectacular and pleasure of discovery, the human condition is revealed in a dark current perfectly suited music for his ballet. William Littler of The Toronto Star of choreographic invention. In Cruel World the emotional connection wrote “…the ensemble of dancers rode the crest of the music through between choreographer and dancer is exquisitely complete.” steps of such consistent ingenuity that one could imagine the composer smiling down from that cloud he inhabits above the spires of The success of Cruel World forged a continuing relationship between St. Petersburg.” Kudelka and American Ballet Theatre. Following the success of the Cruel World Kudelka has returned several times to American Ballet Theatre Because this piece was rarely used for dance, Kudelka only had a taped to create States of Grace (1995), The Firebird (2000, co-production version of Souvenir de Florence to work with, not the usual piano with Houston Ballet and The National Ballet of Canada) and Sin and accompaniment for rehearsals. American Ballet Theatre’s limited sound Tonic (2002). system did not allow for the music to be properly heard by Kudelka or Theme and Variations . Photo by Lydia Pawelak. Theme and Variations Martine Lamy with Artists of the Ballet in

A NOTE ON THEME AND VARIATIONS The National Ballet of Canada’s former Artistic Director, Reid Anderson, george balanchine wrote that theme and variations, saw Cruel World in New York and immediately wanted to secure it for the one of the choreographer’s best-known works, was intended “to evoke National Ballet’s repertoire. It was decided that the National Ballet would that great period in classical dancing when Russian ballet flourished with add Cruel World to its dynamic roster of Kudelka works for the 1996/97 the aid of Tchaikovsky’s music.” And while the work is a beautiful and season. In an interview with William Littler of The Toronto Star Kudelka exuberant tribute to the Petipa legacy, it is also pure Balanchine. stated “Kevin [McKenzie] and I have been talking. We are both concerned Set to the final movement of Pyotr Ilyich Tchaikovsky’s Suite No. 3 for with the future of the art form, rather than saying ‘This is mine!’ When Orchestra in G major, the ballet consists of a set of twelve variations, we rent and share productions, we can expose our dancers and our through which the vocabulary of classical dance is explored and celebrated. audiences to new work and everyone benefits.” A corps of twelve women forms the basis of the ballet’s choreographic When creating a ballet for another company, Kudelka likens himself to a excursions, and their dances are interwoven with the solo performances portrait painter. He creates using what he sees in front of him. When of a principal couple. A grand polonaise builds to the climactic finale creating a ballet like Cruel World, many layers of the choreography come for the entire cast of 26 dancers. Theme and Variations is one of the most from earlier pieces, but each new commission adds new personalities technically demanding in the Balanchine canon, especially for the male which energize the creative process. dancers, whose variations are not only of an astonishing intricacy, but are intended to be danced at great speed. David Richardson, former Artistic Associate for American Ballet Theatre, came to Toronto to set Cruel World on the National Ballet in May 1996. Theme and Variations was premiered on November 26, 1947 by Ballet The portrait Kudelka created of American Ballet Theatre now imbues the Theatre (later known as American Ballet Theatre). The first performance personality and technique of his own company’s dancers. Kudelka starred Alicia Alonso and Igor Youkesvitch and was hailed an immediate remarked “my own dancers at the National Ballet are more comfortable success by critics and audiences alike. It was not until February 5, 1960 with my choreography than other companies. They instinctively that Balanchine’s own company, New York City Ballet, premiered understand my motivation and my vocabulary of movement is instilled this work. In 1970 Balanchine added the first three movements of the in their muscle memory.” Tchaikovsky suite to Theme and Variations to create a larger ballet known as Suite No. 3. Cruel World was previewed by The National Ballet of Canada on June 15, 1996 at the National Arts Centre, Ottawa as part of the Canada Dance The National Ballet of Canada first performed Theme and Variations Festival. The Toronto premiere of the ballet took place on November 20, on February 18, 1998 at the Hummingbird Centre starring Martine Lamy 1996 at the Hummingbird Centre. and Johan Persson in the principal roles. The National Ballet is performing Theme and Variations this season to mark the centenary of George Balanchine’s birth. A NOTE ON GEORGE BALANCHINE By Gary Smithith in many ways new york city ballet is still dancing Balanchine created a neo-classical style of dance that in a sense for Balanchine. Though it’s been over 20 years since the great revolutionized ballet. So many choreographers think they are daringly choreographer’s death, his influence in reshaping the face of different today, yet you can find the genesis for much of their creation classical ballet in America, and indeed in much of the dance world, in Balanchine. Minimalist, before we even thought of such abstraction, remains a powerful force. Balanchine frequently created ballets in practice clothes on a bare stage. Ballet master, teacher and choreographer of extraordinary vision, It would be impossible to produce a short list of the major works of Balanchine gave music intense visual expression. Like Igor Stravinsky, George Balanchine. There are simply too many important and ground the great composer, he sought new ways to reinvent, redefine and breaking ballets in his canon, but certainly The Four Temperaments, reshape classical structure. From the architecture of great music he Symphony Concertante, Symphony in C, La Valse, Western Symphony, Who fashioned great dance. And, like Pablo Picasso, he sought exciting Cares? and Mozartiana define the wide parameters of his brilliant ouevre. new ways of expressing traditional thought, in serious, yet deliriously George Balanchine was to dance what Mondrian and Picasso were to pleasurable new ways. painting, what Stravinsky and Bernstein were to music. He saw an art Born January 22, 1904 in St. Petersburg, Russia, a stone’s throw from form in a new and daring way. When his creative genius was stilled the Tsvichevsky Palace, George Melitonovice Balanchivadze fell into April 30th, 1983, his legend eked into the ether of mythology. He once ballet, tagging along with his sister. He first appeared on stage in a said: “I don’t want my ballets preserved as museum pieces for people small dance part in The Sleeping Beauty at the Maryinsky Theatre. He to go and laugh at what used to be. Absolutely not. I’m staging grew up in the ballet world of Alexandra Danilova, Michel Fokine and ballets for today’s bodies. Ballet is NOW.” Tamara Karsavina. From our vantage point, here at the beginning of the 21st century, no He created his first ballet La Nuit in 1920 at the age of 16. Lacking one is laughing, just paying homage to a great innovator, ballet the physical necessities of a danseur noble, he appeared in demi- genius ahead of his time. caractère roles, his startling attributes being musicality, speed, a big jump and sharp attack. These were all to become hallmarks of New Gary Smith is the theatre and dance critic for The Hamilton Spectator. York City Ballet. He also writes on the arts for a variety of international publications. In 1924 Balanchine joined the vestiges of Sergei Diaghilev’s Ballets Russes working in Paris and London, honing his choreographic craft. In 1928 his landmark work Apollon Musagète was premiered in Paris. It was a harbinger of so many brilliant ballets to come. Lured to America in 1933 by Lincoln Kirstein, Balanchine entered the fabled world of his own Hollywood imagination. He founded the School of American Ballet that would teach American dancers and ultimately become the foundation for a company. Utilizing the talents in the school he created his signature piece Serenade in 1934. At the same time Balanchine also worked on Broadway and in Hollywood films. In a sense, it was a fusion of this blatant American iconography that informed his later work. In 1948, along with Lincoln Kirstein, Balanchine founded New York City Ballet. The company first performed at City Centre, and in 1964 moved to its own home at The New York State Theater, Lincoln Centre.

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Cover: Rex Harrington and Greta Hodgkinson in Summer from The Four Seasons. Photo by Cylla von Tiedemann.