Ballet Notes The 2012/13 season is dedicated to the memory of The National Ballet of Canada’s greatest patron Walter Carsen, O.C.

Giselle December 5 – 9, 2012

Greta Hodgkinson. Photo by Cylla von Tiedemann. 2012/13 Souvenir Book Featuring stunning images of National Ballet dancers by renowned photographers Aleksandar Antonijevic and Sian Richards.

On Sale Now in the Lobby!

Heather Ogden. Photo by Aleksandar Antonijevic.

Page 2 national.ballet.ca Orchestra Violin 1 Clarinets Naha Greenholtz, Max Christie, Principal Acting Concertmaster Colleen Cook+ Lynn Kuo, Gary Kidd, Bass Clarinet Assistant Concertmaster Emily Marlow* James Aylesworth Bassoons Jennie Baccante Stephen Mosher, Principal Sheldon Grabke* Jerry Robinson Nancy Kershaw Elizabeth Gowen, Sonia Klimasko-Leheniuk Contra Bassoon Celia Franca, C.C., Founder Yakov Lerner Jayne Maddison Horns George Crum, Music Director Emeritus Wendy Rogers Gary Pattison, Principal Karen Kain, C.C. Kevin Garland Paul Zevenhuizen Vincent Barbee* Artistic Director Executive Director Derek Conrod Violin 2 + Diane Doig Dominique Laplante, David Briskin Rex Harrington, O.C. Christine Passmore+ Music Director and Artist-in-Residence Principal Second Violin Scott Wevers Principal Conductor Csaba Koczo, Acting Magdalena Popa Lindsay Fischer Assistant Principal Trumpets Xiao Grabke Richard Sandals, Principal Principal Artistic Coach Artistic Director, + YOU dance / Ballet Master Renee London Mark Dharmaratnam Ron Mah Robert Weymouth Peter Ottmann Mandy-Jayne Aya Miyagawa Senior Ballet Master Richardson Trombones Senior Ballet Mistress Filip Tomov David Archer, Principal Joanna Zabrowarna Robert Ferguson Aleksandar Antonijevic, Guillaume Côté, David Pell, Greta Hodgkinson, Jiˇrí Jelinek, Zdenek Konvalina*, Violas Evan McKie*, Heather Ogden, Sonia Rodriguez, Angela Rudden, Principal Bass Trombone Piotr Stanczyk, Jillian Vanstone, Xiao Nan Yu Theresa Rudolph Koczó, Tuba Assistant Principal* Sasha Johnson, Principal Kevin D. Bowles, Lorna Geddes, Rebekah Rimsay, Carolyn Blackwell+, Acting Tomas Schramek, Hazaros Surmeyan Assistant Principal Harp Naoya Ebe, Keiichi Hirano, Tanya Howard, Valerie Kuinka Lucie Parent, Principal Stephanie Hutchison, Etienne Lavigne, Johann Lotter Timpany Patrick Lavoie, Elena Lobsanova, McGee Maddox, Beverley Spotton Michael Perry, Principal Stacey Shiori Minagawa, Tina Pereira, Larry Toman Jonathan Renna, Robert Stephen, Brett van Sickle Percussion Cellos Mark Mazur, Acting Jordana Daumec, Alexandra MacDonald, Maurizio Baccante, Chelsy Meiss, Alejandra Perez-Gomez, Principal Principal Jenna Savella, Christopher Stalzer Kristofer Maddigan Marianne Pack James Applewhite, Jack Bertinshaw, Skylar Campbell, Olga Laktionova Orchestra Personnel Adji Cissoko, Jonathan Davidsson, Shaila D’Onofrio, Andrew McIntosh Manager and Music Krista Dowson, Nadine Drouin, Jackson Dwyer, Elaine Thompson Administrator Francesco Gabriele Frola, Giorgio Galli, Selene Guerrero-Trujillo, Raymond Tizzard Emma Hawes, Juri Hiraoka, Ji Min Hong, Kathryn Hosier, Paul Widner Rui Huang, Lise-Marie Jourdain, Larissa Khotchenkova, Librarian James Leja, Elizabeth Marrable, Shino Mori, Tiffany Mosher, Basses Lucie Parent Andreea Olteanu, Asiel Rivero, Brendan Saye, Joseph Steinauer, Hans J.F. Preuss, Principal + Dylan Tedaldi, Nan Wang, Aarik Wells, Sarah Elena Wolff Tom Hazlitt Assistant to the Music RBC Apprentice Programme / YOU dance: Paul Langley* Director Jonathan Batista, Trygve Cumpston, Hannah Fischer, Robert Speer Jean Verch Miyoko Koyasu, Nayara Lopes, Liana Macera, Cary Takagaki Tudor Moldoveanu, Felix Paquet, Meghan Pugh, Kota Sato Flutes Lorna Geddes Joysanne Sidimus Leslie J. Allt, Principal * On Leave of Absence Pointe Shoe Manager / Guest Balanchine Maria Pelletier + Additional Musician Assistant Ballet Mistress Répétiteur Shelley Brown*, Piccolo + Ernest Abugov Peter Sherk Kevin O’Donnell , Piccolo Jeff Morris Stage Manager, YOU dance Oboes Stage Managers Mark Rogers, Principal Karen Rotenberg *Guest Artist Lesley Young, English Horn

Page 3 Wednesday December 5 at 7:30 pm Thursday, December 6 at 2:00 pm and 7:30 pm Friday, December 7 at 7:30 pm Saturday, December 8 at 2:00 pm and 7:30 pm Sunday, December 9 at 2:00 pm

Conductor: David Briskin, Music Director and Principal Conductor

Giselle

Choreography and Production: Peter Wright after the choreography of Jean Coralli, Jules Perrot and Marius Petipa (Based on the book by Vernoy de Saint-Georges, Gautier and Coralli) Music: Adolphe Adam, revised by Joseph Horovitz Set and Costume Design: Desmond Heeley Lighting Design: Gil Wechsler

Giselle was produced as a memorial to the late William P. Walker and was made possible through the courtesy of many generous friends of the National Ballet.

World premiere: Paris Opéra Ballet, Paris, France, June 28, 1841 The National Ballet of Canada Premiere: April 16, 1970

Greta Hodgkinson with Artists of the Ballet. Photo by Cylla von Tiedemann.

Page 4 national.ballet.ca Page 3 The Cast

Act I

Albrecht, Count of Silesia, A Nobleman disguised as Loys, a Villager Aarik Wells Guillaume Côté (Dec 5, 8 eve) Naoya Ebe* (Dec 6 mat) Villagers, Pages and Courtiers Zdenek Konvalina+ (Dec 6 eve, 8 mat) Artists of the Ballet Evan McKie+ (Dec 7, 9) Intermission Wilfred, his squire James Leja (Dec 5, 6 eve, 8) Act II Brett van Sickle (Dec 6 mat, 7, 9) Myrtha, Queen of the Wilis Berthe, Giselle’s mother Heather Ogden (Dec 5, 7, 8 eve) Lorna Geddes (Dec 5, 7, 8 eve, 9) Juri Hiraoka (Dec 6 mat, 8 mat) Rebekah Rimsay (Dec 6, 8 mat) Stephanie Hutchison (Dec 6 eve, 9)

Hilarion, a forester Her Attendants, Moyna and Zulme Piotr Stanczyk (Dec 5, 8 eve) Jenna Savella, Jordana Daumec (Dec 5, Etienne Lavigne (Dec 6 mat) 6 mat, 8) Jonathan Renna (Dec 6 eve, 8 mat) Alexandra MacDonald, Jiˇrí Jelinek (Dec 7, 9) Alejandra Perez-Gomez (Dec 6 eve, 7, 9)

Giselle, a peasant girl Wilis Greta Hodgkinson (Dec 5, 8 eve) Artists of the Ballet Jillian Vanstone (Dec 6 mat) Sonia Rodriguez (Dec 6 eve, 8 mat) Xiao Nan Yu (Dec 7, 9)

Giselle’s friends Elena Lobsanova, Chelsy Meiss, Running Time Keiichi Hirano, Patrick Lavoie (Dec 5, 8 eve) ACT I – 51 minutes Jenna Savella, Tina Pereira, Dylan Tedaldi, Intermission – 20 minutes Skylar Campbell (Dec 6 mat, 7, 9) ACT II – 47 minutes Selene Guerrero-Trujillo, Stacey Shiori Minagawa, Francesco Gabriele Frola, The performance will run approximately 1 hour Christopher Stalzer (Dec 6 eve, 8 mat) 58 minutes.

Bathilde, Albrecht’s fiancée + Guest Artist Alejandra Perez-Gomez (Dec 5, 8 eve, 9) * Debut Stephanie Hutchison (Dec 6 mat, 7) Sarah Elena Wolff (Dec 6 eve, 8 mat) Evan McKie’s appearance is made possible by a generous donation from The Frank Gerstein Albrecht’s father, Duke of Silesia Charitable Foundation. Kevin D. Bowles (Dec 5, 6 eve, 8) Jonathan Renna (Dec 6 mat, 7, 9) All casting is subject to change.

Page 5 Giselles Albrechts

Greta Hodgkinson Guillaume Côté

Jillian Vanstone Naoya Ebe

Sonia Rodriguez Zdenek Konvalina

Xiao Nan Yu Evan McKie

Page 6 national.ballet.ca Artists of the Ballet. Photo by Bruce Zinger. Synopsis

Act I an action would be the instinctive reaction The first act is set in a Rhineland valley of a nobleman. Hilarion tries to warn Giselle surrounded by vine-clad hills in medieval that there is something suspicious about Germany. A majestic castle looms in the Loys but she refuses to believe him. distance over the valley. It is autumn and the Soon a royal hunting party appears in the peasants are enjoying a rich harvest. Among village, led by Albrecht’s father, the Duke the many happy festivities is the crowning of Silesia, and Countess Bathilde, who is of the Queen of the Vintage. engaged to Albrecht. The village welcomes Giselle is a young peasant girl who lives the noble visitors and Giselle presents flowers with her mother, Berthe. Their cottage is to the beautiful Bathilde. When it is revealed opposite one that has recently been occupied that Giselle is engaged to be married, Bathilde by the handsome but mysterious Loys, a gives Giselle a necklace as a gift. While peasant farmer. Loys is really Count Albrecht Bathilde and the Duke go to rest in Giselle’s of Silesia, who has disguised himself as a cottage, Hilarion breaks into Loys’ cottage peasant in order to win Giselle’s affections. and discovers his sword, which bears the Giselle has fallen in love with Loys, but the family crest of the Duke of Silesia. He now local forester Hilarion loves Giselle and has has proof of Loys’ true identity. always planned to marry her. Hilarion is During the festivities that follow, when suspicious of Loys and thinks he is hiding Giselle is crowned Queen of the Vintage, some secret. Hilarion challenges Loys and, summoning Challenging Loys to a fight, Hilarion notices the royal party, reveals Loys’ true identity. that Loys immediately clasps his right hand Everyone is shocked and confused as they to his left hip, as if he were about to draw realize that Loys is really Count Albrecht. a sword. The astute Hilarion notes that such Bathilde is shocked to see her fiancé dressed

Page 7 as a peasant. She then tells everyone that haunted by Wilis (pronounced will-eez) she is herself engaged to be married to the he flees in terror. The Wilis are the spirits of duplicitous Albrecht. betrothed young women who have died from When Giselle realizes that Albrecht has grief after being betrayed by faithless lovers. deceived her, she is overcome by grief and Malicious in nature, these ghostly, nocturnal quickly loses her reason. Giselle recalls her creatures are ruled by their queen, Myrtha, moments of innocent happiness with Albrecht, and seek revenge by forcing any man who but then, in a frenzy of madness, she thrusts crosses their path between midnight and Albrecht’s sword toward her heart and dies dawn to dance to his death. The Wilis are in her mother’s arms. Albrecht runs off, filled gathering this night to prepare for the initiation with guilt and despair for what he has done. of Giselle into their ranks. Hilarion and the village grieve for Giselle. The Wilis momentarily leave the scene, and the melancholic Albrecht arrives at Act II Giselle’s grave to plead for forgiveness. To The scene opens in a moonlit forest glade his amazement, the ghost of the dead Giselle near the grave where Giselle has been buried. appears before him and he follows her into Since she took her own life, Giselle has been the forest. Hilarion returns to Giselle’s grave, laid to rest in unhallowed ground, unprotected this time to be entrapped by the Wilis, who from evil spirits. It is midnight and Hilarion is show him no mercy. After forcing him to dance keeping vigil, but when the forest becomes until he is exhausted, Myrtha commands the

Xiao Nan Yu and Guillaume Côté. Photo by David Cooper.

Page 8 national.ballet.ca Wilis to fling Hilarion into the nearby lake. When Albrecht returns, the Wilis surround him and try to doom him to the same fate as Hilarion. Giselle attempts to save Albrecht, warning him that he will be able to withstand the Wilis if he takes shelter by the cross on her grave, which he does. To have her revenge, the Queen of the Wilis forces Albrecht and Giselle to dance on and on into the night, until they are extremely exhausted. Albrecht collapses. Knowing that the power of the Wilis is destroyed by daylight, Giselle manages to sustain Albrecht until the chimes of a distant church bell announce the arrival of dawn. The Wilis vanish and Giselle must return to her grave. But as her love has transcended death, her spirit has now been freed from the power of the Wilis. As the curtain falls, Albrecht, forlorn and reflective, is left alone in his sorrow. Xiao Nan Yu with Artists of the Ballet. Photo by David Cooper.

The Roles of Giselle and Albrecht

The longevity of Giselle is credited not only to The contrasting thematic concerns of its historical value but also to the universality Giselle also lent themselves to the Romantic of its tale – a story of love, class distinction, fervour of the period. While many ballets betrayal, remorse and forgiveness. Like dealt either with an idealized peasant life or Romeo and Juliet, Giselle is a story of lovers the fantastic, Giselle incorporated both. The separated by the artificial barriers of society. ballet is set in two locales, which are set off For both dancers and audience members, the in sharp contrast. Act I takes place in the roles of Giselle and Albrecht prove a fascinating peasant village, which is contrasted with the challenge, as they allow for multi-faceted moonlit forest glade of Act II. As well, the psychological character development. realism of Act I is contrasted with the fantasy The role of Giselle is unique, from its elements of Act II. The first act incorporates costuming to the complexity of its character bright and lively mime and musical leitmotifs makeup. At the time of its creation in 1841, that develop the drama. Before the end of Giselle was one of the first ballets to introduce Act I, Giselle’s mad scene begins the transition the female dancer in pointe shoes, a device to Act II, in which the demonic world of the that allowed her wider possibilities of move- Wilis is represented as dark, sombre and ment. The result was that she seemed light, melancholic. ethereal and otherworldly on stage. The The character of Giselle also goes through introduction of calf-length, lightweight tulle a transformation, from light-hearted peasant dresses with tight bodices also allowed for girl to crazed woman and, finally, to a ghostly greater freedom in leg movements and the vision. Giselle is a challenge for ballerinas appearance of softer, “romantic” arms. who must combine dramatic ability and

Page 9 technical brilliance to bring about a convincing performance in a role that is both physically and mentally exhausting. One of the most powerful scenes in the ballet is Giselle’s death. Does she die of madness or of a broken heart? Or does she commit suicide when she thrusts Albrecht’s sword toward her heart? Since early documentation proves inconclusive on the subject, the scene has been dealt with in various ways by. The only clear fact is that Giselle is not buried in a graveyard but in the depths of a forest in unhallowed ground. Only a suicide would warrant such a burial. Choreographer Peter Wright has said he believes Giselle kills herself, but in his own productions dancers have changed the scene to suit their own interpretations. In the late 1800s in Russia, during Marius Petipa’s tenure Greta Hodgkinson. Photo by Cylla von Tiedemann. as ballet master of the Imperial Theatre, suicide was not accepted on the stage, so Giselle invariably was shown as dying from madness. madness and subsequent death not only The role of Albrecht provides male dancers awaken Albrecht’s moral sense, but also bring with one of ballet’s most interesting and to the fore his emotions, primarily love and complex characters. Far removed from the guilt. Through Giselle’s love and forgiveness in porteurs of most classical works, who simply Act II, Albrecht gains new awareness, humility, carry the ballerina, Albrecht is a fully rounded and a sense of responsibility. He is also made character capable of standing on his own and aware of the gulf between reality and his holding centre stage. ideals, and his inability to merge the two. He There is no right or wrong way to portray must fight for his life in this act, at the mercy Albrecht. Because Albrecht is a nobleman in of the powerful Wilis, who attempt with their disguise, it might be assumed that he wishes supernatural powers to compel him to dance to be freed from his elevated social position. to his death. It is also possible that he has grown alienated At the end of the ballet, Albrecht is left on from his wealth and is seeking a more spiritual, stage, a solitary figure. Dancers’ interpretations simple and authentic existence. Or maybe he vary in these final moments, sometimes walking is a restless dreamer who seeks a quaint into the distance, away from the audience diversion among the peasants. or toward it; sometimes carrying a flower, the In falling in love with Giselle is Albrecht a cad? only tangible link with Giselle, at other times, Is he a thoughtless nobleman and idle flirt? Or allowing the flower to fall to the ground; others is he truly in love with Giselle but simply naive end the ballet reaching out for the elusive about the social implications of their liaison? dream or kneeling in remorse. In the original Whether or not he is concerned with the production, this scene was taken one step consequences of his actions, he is soon further, with Bathilde, Albrecht’s betrothed, confronted with them. returning to his side. The audience would Already engaged to be married, Albrecht is have concluded that although he had savoured prevented by his duty to his aristocratic family his ideal (Giselle), he was reconciled to return from fulfilling his love for Giselle. Giselle’s to reality.

Page 10 national.ballet.ca Lorna Geddes and Sonia Rodriguez with Artists of the Ballet. Photo by Cylla von Tiedemann.

Leitmotifs in Giselle A leitmotif is a theme used recurrently to denote Flower theme a specific person, object or feeling, either The flower theme in which Giselle plucks the through music or movement. Giselle composer petals of a daisy (“he loves me, he loves me Adolphe Adam ingeniously used musical not”) is performed twice, once in a happy leitmotifs in his score. Adam’s leitmotifs were duet with Albrecht, and again in the mad complemented by dance movement leitmotifs scene, as Giselle recalls her lover. created by choreographers Jules Perrot and Jean Coralli, and are still incorporated in the Huntsmen’s theme ballet today, more than 150 years after its The huntsmen’s theme is the sound of horns premiere. that always precedes the arrival of the nobles and their hunting party. Giselle’s theme There is one sequence of steps with Wili theme accompanying music that Giselle repeats The Wili theme is first heard in Act I when Berthe, at various key moments in the drama. This Giselle’s mother, warns her about dancing too series of ballonnes, piqués and pas de basque much; it acts as a premonition of the tragedy denotes Giselle’s love for dance. They are that is to follow. The theme is reintroduced in very simple steps, light and airy, that reflect the second act with the arrival of the Wilis, who Giselle’s simple peasant background and surround Hilarion on his visit to Giselle’s grave. carefree existence. When Bathilde asks Giselle what her favourite pastime is, Giselle Hilarion’s theme executes this series of steps, telling Bathilde Hilarion’s entrance is heralded by his own that she loves to dance. distinct musical theme. For this music, Adolphe Adam used an excerpt from the Fate theme of Ludwig van Beethoven’s Fifth Symphony.

Page 11 Selected Biographies

Karen Kain, C.C., LL.D, took up the position of Artist- dance companies, including D. Litt., O.Ont. in-Residence with the Sadler’s Wells Theatre Ballet. Artistic Director National Ballet, a role that In 1959, he was appointed Long recognized as one was later expanded to that Ballet Master to Sadler’s of the most gifted classical of Artistic Associate. In 2004, Wells Opera and Teacher dancers of her era, noted she restaged Rudolf Nureyev’s at The Royal Ballet School. for her compelling landmark version of The Two years later he went to characterizations and Sleeping Beauty for the Stuttgart as Teacher and versatility as a performer, company and the following Ballet Master of the company Artistic Director Karen Kain year was named Artistic being formed by John Cranko. is one of Canada’s most Director. Ms. Kain has There he choreographed renowned and committed received many Canadian and several works, including The advocates for the arts. Born international awards through- Mirror Walkers and Quintet, and in Hamilton, Ontario, Ms. Kain out her career, testifying to mounted his first production received her training at her accomplishments both as of Giselle. His other interpre- Canada’s National Ballet an artist and an advocate for tations of the classics include School in Toronto, joining the arts. She is a Companion The Sleeping Beauty, Swan The National Ballet of Canada of the Order of Canada, the Lake, The Nutcracker and in 1969. She was quickly first Canadian recipient of the Coppélia. In 1969, he returned promoted to Principal Dancer Cartier Lifetime Achievement to The Royal Ballet as Sir with the company after her Award and was named an Kenneth MacMillan’s Associate sensational debut as the Officer of the Order of Arts Director. In 1977, he was Swan Queen in Swan Lake. In and Letters by the Government appointed Director of Sadler’s 1971, Ms. Kain was awarded of France. In 1997, Ms. Kain Wells Royal Ballet, taking the the Silver Medal in the was honoured with a Governor company to Birmingham in Women’s Category at the General’s National Arts Centre 1990 when it became prestigious International Ballet Award and received a Governor Birmingham Royal Ballet. Competition in Moscow General’s Award for Lifetime During his career, Sir Peter and, along with her frequent Artistic Achievement in 2002. Wright has won many awards. partner at the time, Frank From 2004 to 2008, she was He was made a Commander Augustyn, received a special Chair of the Canada Council of the British Empire in 1985, prize for Best Pas de Deux. for the Arts. In 2007, she was was knighted in 1993 and Subsequently, she embarked presented with the Barbara gained the title of Director on a remarkable international Hamilton Memorial Award Laureate of Birmingham career during which she for demonstrating excellence Royal Ballet in 1995. performed many of ballet’s and professionalism in the greatest roles with such performing arts. In 2008, the Aldophe Adam companies as Paris Opéra Karen Kain School for the Composer Ballet, Roland Petit’s Le Ballet Arts officially opened, a tribute Adolphe Adam was born de Marseilles, the Bolshoi to Ms. Kain’s ongoing in Paris, the son of a music Ballet, London Festival Ballet contributions to the cultural professor at the Conservatoire. and Vienna State Opera life of her country, and in He began musical studies at Ballet. Throughout her career 2011, Ms. Kain was honoured boarding school and entered she also developed a close by the International Society for the Conservatoire in 1821, creative partnership with Rudolf the Performing Arts with the studying organ and harmonium, Nureyev and often performed Distinguished Artist Award. with the goal of becoming a with him. A favourite of some composer for the theatre. By of the world’s most prominent Sir Peter Wright, CBE age 20 he was writing songs choreographers, she Choreographer for Parisian vaudeville houses. premiered many new and Sir Peter Wright made his By 1830, Mr. Adam had important works during her debut as a professional completed 28 theatre works time as a dancer. Ms. Kain dancer with the Ballets Jooss including some dances. His retired from dancing following during World War II and in the first dramatic composition a farewell tour in 1997 and 1950s, appeared with several was a one act operetta,

Page 12 national.ballet.ca Pierre et Catherine, which This honour, for both set and Ballet, the Berlin Opera Ballet premiered to great success at costume design in a single and The National Ballet of the Opera Comique in 1829. production, is unsurpassed. Canada. He has also lit Mr. Adam's first solo ballet His creations for the National productions for Paris Opéra, composition was Faust in 1833 Ballet include the Sylvia pas San Francisco Opera, for choreographer André de deux, Oiseaux Exotiques, Teatro Colón and The Deshayes. He continued to Don Quixote, The Merry Sante Fe Opera, as well as compose and in 1841 wrote Widow, Erik Bruhn’s Swan multiple works on Broadway. the music for Giselle, which Lake and Sir Peter Wright’s Mr. Wechsler has a fine arts premiered at the Paris Opéra Giselle. Mr. Heeley’s work degree from Yale University’s on June 28, 1841. After a is in museums and private School of Drama. following out with the Director collections across Canada, of the Paris Opéra, Mr. Adam the US and UK. A former David Briskin invested his own money Professor of Design at the Music Director and to open a third opera house, Tisch School of the Arts Principal Conductor the Théâtre National as at New York University, One of the foremost ballet a showcase for young he continues to teach and conductors at work today, composers. The theatre was lecture extensively. He has David Briskin is renowned for not a success and left Adam won numerous awards the scope of his repertoire with many debts. He turned including the prestigious Irene and the depth and beauty of to journalism to help pay Sharaff Lifetime Achievement his interpretations. Whether in his bills and was eventually Award in 1994. In 2005, Mr. the classical or contemporary appointed Professor of Heeley received an honorary idiom, from works steeped Composition at the doctorate from the North in tradition to cutting edge Conservatoire, a position Carolina School of the Arts. modern compositions, Mr. he held until his death. When Briskin brings a sure hand he died, Mr. Adam had Gil Wechsler and a sensitive understanding written 40 operas, 14 ballets Lighting Designer to the dramatic and and numerous light operas Gil Wechsler became the choreographic life of the and vaudevilles. Metropolitan Opera’s first music he conducts. Before full-time Resident Lighting joining The National Ballet of Desmond Heeley Designer in 1976. Throughout Canada in 2006, Mr. Briskin Set and Costume Designer his 20-year tenure, he designed served as conductor with Desmond Heeley’s set and the lighting for more than American Ballet Theatre costume designs have been 100 opera productions. His in New York City for seven seen on the stages of the responsibilities also included years, directing performances world’s major opera, ballet the lighting of more than 60 at the Metropolitan Opera and theatre companies televised opera performances House, City Center and during an international career and tours throughout the numerous ballet and opera that has spanned more than US and Japan. Preceding houses around the world. In 50 years. He began his his appointment to the demand as a guest conductor, career in 1948 with an Metropolitan Opera, Mr. Mr. Briskin has worked most apprenticeship at the Royal Wechlser designed more recently with such companies Shakespeare Theatre in than 30 productions for Lyric as New York City Ballet and Stratford-upon-Avon. In 1952, Opera of Chicago. He has San Francisco Ballet. Later he embarked on a freelance also designed more than this season, he will make his career in London and came 60 productions for Stratford debut at Covent Garden in to Canada in 1957 to design Shakespeare Festival, London conducting The Royal Hamlet for the Stratford including Equus in 1997 Ballet. He has appears with Festival, beginning an and Macbeth in 2004. Mr. The Joffrey Ballet of Chicago, association that continues to Wechsler’s designs for ballet Houston Ballet, Les Grands this day. His 1968 designs for are in the repertoires of Ballets Canadiens de Tom Stoppard’s Broadway American Ballet Theatre, The Montréal and Alberta Ballet, production of Rosencrantz Royal Ballet, The Harkness among others. For three and Guildenstern Are Dead Ballet, Pennsylvania Ballet, seasons, Mr. Briskin served won him two Tony Awards. Canada’s Royal Winnipeg as Music Director of Pittsburgh

Page 13 Ballet Theatre and was works for the National Ballet Solitude, Alexei Ratmansky’s Conductor for The Juilliard including Alexei Ratmansky, Romeo and Juliet, Aszure School’s Dance Division John Neumeier, William Barton’s Watch her and Jorma from 1993 to 2005. In 2008, Forsythe and Glen Tetley. Mr. Elo’s Pur ti Miro, Matjash Mr. Briskin was appointed Abugov was born in Montréal, Mrozewski’s Monument and Assistant Professor and Québec. Before beginning Wolf’s Court as well as works Director of Orchestral Studies his long association with the by John Cranko, William at the University of Toronto National Ballet, he worked Forsythe, George Balanchine, Faculty of Music.Mr. Briskin’s with Les Feux Follets, The Sir Frederick Ashton, John versatility has also seen him Charlottetown Festival, La Neumeier and Jerome conduct symphony and opera Poudriere Theatre and The Robbins. productions throughout the Studio Lab Theatre. He worked Americas, Europe and Asia, at Expo ’67 in Montréal, stage The National Ballet of with such orchestras as the managing over 4000 puppet Canada Orchestra Pittsburgh, Detroit, Baltimore, shows. Mr. Abugov also The National Ballet of Canada Indianapolis and Windsor toured with Harry Belafonte. is privileged to have its own Symphony Orchestras, the In what little spare time that full orchestra with over 60 Shanghai Symphony Orchestra he has, Mr. Abugov guest- members. The orchestra has and the National Symphony lectures to theatre students. performed in each of the Orchestra of Costa Rica, and National Ballet’s seasons and with such opera companies Jeff Morris is led by Music Director and as Calgary Opera, Manitoba Stage Manager Principal Conductor David Opera, Opera Carolina, Lake Born in Toronto, Jeff Morris Briskin. The company’s first George Opera and Sarasota studied technical theatre Music Director was George Opera. In addition, he served production and administration Crum who, along with for six years as Music Director at Ryerson’s Theatre School. Founder Celia Franca, was of the Masterwork Chorus After leaving Ryerson, he a pioneer of the company. and Orchestra in New York. became Production Stage Mr. Crum held the position Mr. Briskin attended the Manager for Toronto Dance from the company’s inception prestigious Indiana University Theatre (1990 – 1995). With in 1951 to 1984, when he School of Music and received Toronto Dance Theatre he was appointed Music Director a Bachelor of Music Degree toured extensively, stage Emeritus. The orchestra was in Orchestral conducting from managing the company’s led by Ermanno Florio from the University of Cincinnati debuts in Berlin, Warsaw, 1985 to 1990. Ormsby College-Conservatory of Beijing, Tokyo and at the Wilkins was Music Director Music and a Master’s Degree Joyce Theater, New York and Principal Conductor from from Queens College, City City. He was Production 1990 to 2006. The National University of New York. Stage Manager for Dancers Ballet of Canada Orchestra For Life (AIDS Committee of has toured extensively with Ernest Abugov Toronto, 1991 – 1997), Stage the company through Canada, Stage Manager Manager for Theatre Passe- the USA and Europe. Over Ernest (Ernie) Abugov has Muraille (Never Swim Alone, the years, the orchestra has served as Stage Manager of Metamorphosis of a Shadow) received much acclaim from The National Ballet of Canada and for the Fringe Festival of audiences and critics alike since 1973, working with Independent Dance Artists. and has recorded two CDs of every Artistic Director in the Mr. Morris joined The National Michael Torke’s compositions company’s history from Celia Ballet of Canada in 1995 and for The Contract (The Pied Franca to Karen Kain. He has has since stage-managed a Piper) and An Italian Straw traveled with the company wide range of the company’s Hat. The orchestra made their all over the world touring to unique classical and concert debut at Koerner Israel, Asia, Europe, Mexico contemporary repertoire, Hall on April 3, 2012, in and throughout North America. including the world premieres celebration of the company’s Mr. Abugov has worked with of James Kudelka’s The Four 60th anniversary. many of the world’s most Seasons, Cinderella, and An renowned choreographers Italian Straw Hat, Jean-Pierre For more information, visit who have created original Perreault’s The Comforts of national.ballet.ca

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