DOCSLIB.ORG

The Nutcracker December 13, 2014 – January 3, 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Nutcracker December 13, 2014 – January 3, 2015 Ballet Notes Presents The Nutcracker December 13, 2014 – January 3, 2015 Jonathan Renna. Photo by Aleksandar Antonijevic. Orchestra Violin 1 Flutes Elissa Lee, Leslie J. Allt, Principal Guest Concertmaster Shelley Brown, Piccolo* (Dec 13 - 23) Kevin O’Donnell, Piccolo+ Aaron Schwebel, Maria Pelletier Guest Concertmaster (Dec 23 - Jan 3) Oboes Lynn Kuo, Mark Rogers, Principal Assistant Concertmaster Karen Rotenberg James Aylesworth Lesley Young, Jennie Baccante English Horn Sheldon Grabke Clarinets Celia Franca, C.C., Founder Nancy Kershaw Max Christie, Principal Sonia Klimasko-Leheniuk Gary Kidd, Bass Clarinet George Crum, Music Director Emeritus Yakov Lerner Emily Marlow* + Karen Kain, C.C. Barry Hughson Jayne Maddison Aiko Oda Wendy Rogers Colleen Cook+ Artistic Director Executive Director Paul Zevenhuizen Bassoons David Briskin Rex Harrington, O.C. Violin 2 Stephen Mosher, Principal Music Director and Artist-in-Residence Dominique Laplante, Jerry Robinson Principal Conductor Principal Second Violin Elizabeth Gowen, Aaron Schwebel, Contra-Bassoon Magdalena Popa Lindsay Fischer Assistant Principal Principal Artistic Coach Artistic Director, 2nd Violin* Horns YOU dance / Ballet Master Jayne Maddison, Acting Gary Pattison, Principal Assistant Principal Vincent Barbee* Peter Ottmann Mandy-Jayne 2nd Violin (Dec 13 & 14) Derek Conrod Senior Ballet Master Richardson Diane Doig+ Csaba Koczó, Acting + Senior Ballet Mistress Assistant Principal Christine Passmore 2nd Violin Scott Wevers Guillaume Côté, Greta Hodgkinson, Svetlana Lunkina, (Dec 17 - Jan 3) Trumpets McGee Maddox, Evan McKie, Heather Ogden*, Anne Armstrong+ Sonia Rodriguez, Piotr Stanczyk, Jillian Vanstone, Richard Sandals, Principal Xiao Grabke Mark Dharmaratnam Xiao Nan Yu Hiroko Kagawa+ + Robert Weymouth Lorna Geddes, Alejandra Perez-Gomez, Jamie Kruspe Trombones Rebekah Rimsay, Tomas Schramek, Ron Mah David Archer, Principal Hazaros Surmeyan Aya Miyagawa Filip Tomov Robert Ferguson Naoya Ebe, Keiichi Hirano, Tanya Howard, Ashley Vandiver+ David Pell, Bass Trombone Stephanie Hutchison, Etienne Lavigne, Patrick Lavoie, Sonia Vizante+ + Tuba Elena Lobsanova, Tina Pereira, Jonathan Renna, Rebekah Wolkstein Sasha Johnson, Principal Robert Stephen Joanna Zabrowarna Harp Skylar Campbell, Jordana Daumec, Violas Lucie Parent, Principal Alexandra MacDonald, Chelsy Meiss, Angela Rudden, Tiffany Mosher, Jenna Savella, Brendan Saye, Principal Tympani Christopher Stalzer, Dylan Tedaldi Josh Greenlaw, Michael Perry, Principal Assistant Principal Jack Bertinshaw, Trygve Cumpston, Shaila D’Onofrio, + Percussion Jonathan Craig Jackson Dwyer, Rhiannon Fairless, Hannah Fischer, Emily Eng Tim Francom, Principal Francesco Gabriele Frola, Giorgio Galli, Selene Guerrero-Trujillo, + Kristofer Maddigan Ivan Ivanovich Emma Hawes, Juri Hiraoka, Kathryn Hosier, Rui Huang, Mark Mazur Valerie Kuinka Harrison James, Lise-Marie Jourdain, Larissa Khotchenkova, Miyoko Koyasu, James Leja, Elizabeth Marrable, Shino Mori, Johann Lotter Orchestra Personnel Rory McLeod+ Manager and Music Jaclyn Oakley, Andreea Olteanu, Félix Paquet, Brent Parolin, + Meghan Pugh, Asiel Rivero, Ben Rudisin, Kota Sato, Nan Wang, Nicholaos Papadakis Administrator Ethan Watts, Sarah Elena Wolff Beverley Spotton Raymond Tizzard Larry Toman* RBC Apprentice Programme / YOU dance: Librarian Nicole Blain, Patrick Foster, Giorgio Garrett, Christopher Gerty, Cellos Lucie Parent Spencer Hack, Soo Ah Kang, Elenora Morris, Clare Peterson, Maurizio Baccante, Calley Skalnik, Andrew Tomlinson Principal * On Leave of Absence Alastair Eng+ + Additional Musician Robert Binet Lorna Geddes Mary Katherine Finch+ Guillaume Côté Pointe Shoe Manager / Olga Laktionova Choeographic Associates Assistant Ballet Mistress Elaine Thompson Marianne Pack Ernest Abugov Joysanne Sidimus Andrew McIntosh Jeff Morris Guest Balanchine Paul Widner Stage Managers Répétiteur Basses Hans. J.F. Preuss, Michael Lewandowski Principal * Maternity leave Assistant Stage Manager Paul Langley Robert Speer Cary Takagaki Page 2 national.ballet.ca Saturday, December 13 at 2:00 pm & 7:00 pm Tuesday, December 23 at 1:00 pm & 5:30 pm Sunday, December 14 at 1:00 pm & 5:30 pm Saturday, December 27 at 2:00 pm & 7:00 pm Wednesday, December 17 at 7:00 pm Sunday, December 28 at 1:00 pm & 5:30 pm Thursday, December 18 at 7:00 pm Tuesday, December 30 at 1:00 pm & 5:30 pm Friday, December 19 at 7:00 pm Friday, January 2 at 1:00 & 5:30 pm Saturday, December 20 at 2:00 pm & 7:00 pm Saturday, January 3 at 1:00 pm & 5:30 pm Sunday, December 21 at 1:00 pm & 5:30 pm presents: The Nutcracker Choreography and Libretto: James Kudelka. O.C. Music: Pyotr Ilyich Tchaikovsky Set and Costume Designs: Santo Loquasto Lighting Design: Jennifer Tipton Canada’s National Ballet School Rehearsal Director: Laurel Toto, assisted by Patrick Kastoff Répétiteurs: Peter Ottmann, Mandy-Jayne Richardson, Magdalena Popa, Rex Harrington, Lindsay Fischer, Aleksandar Antonijevic and Lorna Geddes The National Ballet of Canada gratefully acknowledges its collaboration, in the production of The Nutcracker, with Canada's National Ballet School and students of: C.R Marchant Middle School Lawrence Park Collegiate Institute Cawthra Park Secondary School Lycée Français de Toronto Clarington Central Secondary School Malvern Collegiate Institute Cobourg District Collegiate Institute West Michael Power High School Collège Français North Toronto Christian School Cornerstone Montessori Prep School Northern Secondary School Cosburn Middle School Nottawa Elementary School Courtice Intermediate & Secondary School O'Neill Collegiate & Vocational Institute Danforth Collegiate Institute Our Lady of Lourdes De La Salle College Rawlinson Community School Don Mills Collegiate Institute Red Maple Public School Earl Haig Secondary School Riverdale Collegiate Institute Etobicoke School of the Arts Rosedale Heights School of The Arts Fenelon Falls Secondary School St. Joseph's College School George Harvey Collegiate Institute St. Thomas Aquinas Secondary School Glen Ames Senior Public School The Academy for Gifted Children P.A.C.E Glenview Senior Public School The Bishop Strachan School Havergal College Unionville High School Humberside Collegiate Institute University of Toronto Inglenook Community High School Victoria Park Collegiate Institute Kingsway College School York University Conductors: Earl Stafford, Guest Conductor (Dec 13 eve, 14 mat, 17, 18, 19, 20, 21, 23 eve, Jan 3 eve) Nathan Brock, Guest Conductor (Dec 13 mat, 14 eve, 23 mat, 27, 28, 30, Jan 2, 3 mat) The National Ballet of Canada Orchestra with VIVA! Youth Singers of Toronto, Carol Woodward Ratzlaff, Founder and Artistic Director This production of The Nutcracker is dedicated to Celia Franca and Betty Oliphant. With respect, admiration and gratitude. J.K. Made possible by generous financial support from production underwriters Sandra & Jim Pitblado, Lawrence & Ann Heisey and an anonymous friend of the National Ballet. Page 3 Act I Scene 1, A Barn Parents, Children, Aunts, Uncles, Servants, Bears and a Horse Peter, a stable boy Artists of The National Ballet of Canada and McGee Maddox (Dec 13 mat, 14 eve, 27 mat, Students of Canada’s National Ballet School 28 eve, 30 mat, Jan 3 mat) Guillaume Côté (Dec 13 eve, 17, 19, 21 eve) Act I Skylar Campbell (Dec 14 mat, 20 mat, 23 mat, Scene 2, The Battle of the Tsar of the Mice Jan 3 eve) Piotr Stanczyk (Dec 18, 20 eve, Jan 2 eve) The Nutcracker Evan McKie* (Dec 21 mat, 23 eve, 27 eve) McGee Maddox (Dec 13 mat, 14 eve, 27 mat, Keiichi Hirano (Dec 28 mat, 30 eve, Jan 2 mat) 28 eve, 30 mat, Jan 3 mat) Guillaume Côté (Dec 13 eve, 17, 19, 21 eve) Marie Skylar Campbell (Dec 14 mat, 20 mat, 23 mat, Jacqueline Sugianto (Dec 13 mat, 18, 20 eve, Jan 3 eve) 23 mat, 28 mat, 30 eve) Piotr Stanczyk (Dec 18, 20 eve, Jan 2 eve) Clara Corbo (Dec 13 eve, 17, 21 eve, 27 eve, Evan McKie* (Dec 21 mat, 23 eve, 27 eve) 28 eve, Jan 2 eve) Keiichi Hirano (Dec 28 mat, 30 eve, Jan 2 mat) Sophia Lisikh (Dec 14 mat, 20 mat, 23 eve, 27 mat, Jan 2 mat, 3 eve) The Tsar of the Mice Mathilde Roberge (Dec 14 eve, 19, 21 mat, Dylan Tedaldi or Jack Bertinshaw or 30 mat, Jan 3 mat) Christopher Stalzer or Kota Sato Misha, Marie’s brother Baby Mice Adam Hone (Dec 13 mat, 18, 20 eve, 23 mat, Students of Canada’s National Ballet School 28 mat, 30 eve) (Associates Programme) Gabriel Buell (Dec 13 eve, 17, 21 eve, 27 eve, 28 eve, Jan 2 eve) Dogs, Cats and Mice Benjamin Alexander (Dec 14 mat, 20 mat, Students of Canada’s National Ballet 23 eve, 27 mat, Jan 2 mat, 3 eve) (Associates Programme) and participating Cole Sweet (Dec 14 eve, 19, 21 mat, 30 mat, schools listed on Page 3 Jan 3 mat) Goat and Rooster Baba, Marie and Misha’s nurse Armando Biasi or Heather Cook or Krista Dowson∞ (Dec 13 mat, 14 eve, 27 eve, Adam Joshua Norrad or Joshua Sailo+ Jan 2 mat) Rebekah Rimsay (Dec 13 eve, 19, 21 eve) Act I Andreea Olteanu* (Dec 14 mat, 20 mat, Scene 3, The Land of Snow 23 mat, Jan 3 eve) Lise-Marie Jourdain (Dec 17, 20 eve, 28 mat, Snow Queen and her Icicles 30 eve, Jan 2 eve) Xiao Nan Yu, Brent Parolin*, Patrick Lavoie Alejandra Perez-Gomez (Dec 18, 21 mat, (Dec 13, 17) 23 eve, 27 mat, 28 eve, 30 mat, Jan 3 mat) Tanya Howard, Keiichi Hirano, Naoya Ebe (Dec 14 mat, 20 mat, 23 mat, Jan 3 mat) Marie and Misha’s parents Stephanie Hutchison, Brent Parolin*, Tanya Howard or Stephanie Hutchison or Patrick Lavoie (Dec 14 eve, 27 mat, 28 eve, Lise-Marie Jourdain or 30 mat) Alejandra Perez-Gomez Elena Lobsanova, Harrison James, Jack Bertinshaw (Dec 18, 20 eve) Jonathan Renna or McGee Maddox
Load more

Recommended publications
  • Canada's National Ballet School
    Canada’s National Ballet: 50 Years of Evolution by Paula Citron It was clear with the founding of the National Ballet of Canada in 1951 that a future national ballet school was a necessity. Betty Oliphant and Celia Franca are the two remarkable women who co-founded Canada’s National Ballet School in 1959. As Oliphant wrote in her autobiography Miss O: My Life in Dance: “Celia Franca and I knew that a good company needs a good school to feed it.” James Neufeld says in his book Power to Rise: The Story of the National Ballet of Canada: “(Franca) was a teacher of professionals and saw with a teacher’s eye that the raw material before her had to be shaped and trained. Teaching would be the key to the company’s success.” The NBS is commemorating its 50th anniversary this year, and there is much to celebrate. The school is considered among the top professional ballet academies in the world. Just as the Herculean efforts of Oliphant and Franca helped found the school, so have the innovative policies of Oliphant and her chosen successor, Mavis Staines (class of 1972), help raise the school to its lofty perch in the world of dance education. On the recommendation of Dame Ninette de Valois of the Sadler’s Wells Ballet, Franca came from England to Toronto in 1951 to found the National Ballet of Canada. Betty Oliphant, who had arrived from England in 1947 as a war bride, ran a successful ballet school in the city. Oliphant was asked by Franca to become the company’s ballet mistress.
    [Show full text]
  • Gp 3.Qxt 7/11/16 9:01 AM Page 1
    07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 1 July 13 –31, 2 016 Lincoln Center Festival lead support is provided by American Express July 28–31 David H. Koch Theater The National Ballet of Canada Karen Kain, Artistic Director The Winter’s Tale The National Ballet of Canada Orchestra Music Director and Principal Conductor David Briskin Approximate running time: 2 hours and 35 minutes, with two intermissions This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. The Lincoln Center Festival 2016 presentation of The Winter’s Tale is made possible in part by generous support from The LuEsther T. Mertz Charitable Trust and Jennie and Richard DeScherer. Additional support is provided by The Joelson Foundation. Endowment support for the Lincoln Center Festival 2016 presentation of The Winter’s Tale is provided by Blavatnik Family Foundation Fund for Dance. Public support for Festival 2016 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts. The National Ballet of Canada’s lead philanthropic support for The Winter’s Tale is provided by The Catherine and Maxwell Meighen Foundation, Richard M. Ivey, C.C., an anonymous friend of the National Ballet, and The Producers’ Circle. The National Ballet of Canada gratefully acknowledges the generous support of The Honourable Margaret Norrie McCain, C.C. A co-production of The National Ballet of Canada and The Royal Ballet 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 2 LINCOLN CENTER FESTIVAL 2016 THE WINTER’S
    [Show full text]
  • DOCTORAL THESIS the Dancer's Contribution: Performing Plotless
    DOCTORAL THESIS The Dancer's Contribution: Performing Plotless Choreography in the Leotard Ballets of George Balanchine and William Forsythe Tomic-Vajagic, Tamara Award date: 2013 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 THE DANCER’S CONTRIBUTION: PERFORMING PLOTLESS CHOREOGRAPHY IN THE LEOTARD BALLETS OF GEORGE BALANCHINE AND WILLIAM FORSYTHE BY TAMARA TOMIC-VAJAGIC A THESIS IS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF PHD DEPARTMENT OF DANCE UNIVERSITY OF ROEHAMPTON 2012 ABSTRACT This thesis explores the contributions of dancers in performances of selected roles in the ballet repertoires of George Balanchine and William Forsythe. The research focuses on “leotard ballets”, which are viewed as a distinct sub-genre of plotless dance. The investigation centres on four paradigmatic ballets: Balanchine’s The Four Temperaments (1951/1946) and Agon (1957); Forsythe’s Steptext (1985) and the second detail (1991).
    [Show full text]
  • 2004 Cecchetti Newsletter V3
    CECCHETTI INTERNATIONAL CLASSICAL BALLET Newsletter No. 10, 2004 Mission Statement: to foster the development of the method to develop training for the future to keep alive the essence of the method’s historical tradition Enrico Cecchetti as to raise the profile of the method world-wide Kastchei in L’Oiseau de feu (Firebird) with the to encourage the profession and the art of dance by interaction Ballets Russes, at the between members and the international dance profession Paris Opera, 1910. Photographic negatives to enhance the status of dance in the context by Raffaello Bencini. of the arts and education Photo courtesy of Dance Collection Danse Letter from the Chairman Dear Members and Friends of Cecchetti International - Classical Ballet (CICB) It is with great delight that we can tell you that our international organization is now a legal non-profit entity. We were incorpo- rated in Canada on July 2nd, 2004 and we thank the Canadian delegates for facilitating this. Congratulations to everyone, and welcome to Cecchetti International - Classical Ballet. The Corporate Members of CICB have had an inaugural teleconference. Matters needing clarification were discussed, and over all it was an excellent meeting. Hereunder are set out the categories of membership of our new International Society, so that all our members can understand their standing in the new organization. a) Corporate Members - there are six corporate members who have come together to promote the Cecchetti Method and comprise the Board of CICB. Cecchetti Societies of: Australia, Canada, Southern Africa, and USA Cecchetti Council of America, Danzare Cecchetti - ANCEC Italia also represented are Korea, Malaysia, Namibia, New Zealand Thailand and Zimbabwe b) Represented Members - we are all Represented Members if we belong to one of the six Societies above and are in good standing with that society.
    [Show full text]
  • Prima Ballerina Bio & Resume
    Veronica Tennant, C.C. Prima Ballerina Bio & Resume Veronica Tennant, during her illustrious 25-year career as Prima Ballerina with The National Ballet of Canada - won a devoted following on the international stage as a dancer of extraordinary versatility and dramatic power. Born in London England, Veronica Tennant started ballet lessons at four at the Arts Educational School, and with her move to Canada at the age of nine, started training with Betty Oliphant and then the National Ballet School. While she missed a year on graduation due to her first back injury, she entered the company in 1964 as its youngest principal dancer. Tennant was chosen by Celia Franca and John Cranko for her debut as Juliet. She went on to earn accolades in every major classical role and extensive neo-classical repertoire as well as having several contemporary ballets choreographed for her. She worked with the legendary choreographers; Sir Frederick Ashton, Roland Petit, Jiri Kylian, John Neumeier, and championed Canadian choreographers such as James Kudelka, Ann Ditchburn, Constantin Patsalas and David Allan. She danced across North and South America, Europe and Japan, with the greatest male dancers of our time, including Erik Bruhn (her mentor), and Rudolf Nureyev, Anthony Dowell, Peter Schaufuss, Fernando Bujones and Mikhail Baryshnikov (immediately after he defected in Toronto, 1974). She was cast by Erik Bruhn to dance his La Sylphide with Niels Kehlet when Celia Franca brought The National Ballet of Canada to London England for the first time in 1972; and was Canada’s 'first Aurora' dancing in the premiere of Rudolf Nureyev's Sleeping Beauty September 1, 1972 and at the company's debut at the Metropolitan Opera House in New York, 1973.
    [Show full text]
  • Veronica Tennant, Prima Ballerina with the National Ballet of Canada for 25 Years, Won Hearts and Accolades on the National and International Ballet Stage
    VERONICA TENNANT, C.C.; D.LITT; LL.D ~ (h.c.) 1 1 Veronica Tennant, Prima Ballerina with The National Ballet of Canada for 25 years, won hearts and accolades on the national and international ballet stage. Since 1989, she has been recognized as a gifted filmmaker, producer/director, speaker/narrator and writer, with her works garnering several awards, including the International Emmy Award. In 2004, Veronica Tennant was awarded the prestigious Governor General’s Performing Arts Award for Lifetime Achievement, and was announced by the Canada Council, as the recipient of the Walter Carsen Prize for Excellence in the Performing Arts. As the first dancer to be appointed to the Order of Canada as Officer in 1975, Veronica Tennant was promoted in 2003, for the breadth of her contribution to the arts in Canada, to the rank of Companion, which is the country’s highest honour. During Veronica Tennant’s illustrious career, she won a devoted following as a dancer of extraordinary versatility and dramatic power. Entering the company at 18, as it’s youngest Principal Dancer she was cast by Celia Franca as Juliet in John Cranko’s Romeo and Juliet. She earned accolades in every major classical role as well as having several ballets choreographed for her, dancing on stages across North America, Europe and Japan, with the greatest male dancers of our time, including Erik Bruhn, Rudolf Nureyev, Anthony Dowell and Mikhail Baryshnikov. She gave her farewell performance in 1989: A Passion for Dance: Celebrating the Tennant Magic. Overlapping from the National Ballet in 1989, Tennant was the host, creative consultant/writer of Sunday Arts Entertainment for three seasons on CBC Television.
    [Show full text]
  • Celia Franca Albums
    FINDING AID FOR CELIA FRANCA PHOTOS – 2007 DONATION TO LAC ALBUMS R4290 Volume 88 Brown ornate cover Shanghai Dance School and Shanghai Ballet Company 29 black and white photos of CF with children and young dancers in a studio Green ornate cover Celia Franca and James Morton in China 15 b&w photos of JM and CF meeting with people and JM teaching music students and at a reception R4290 Volume 86 Pink album with diamond pattern labeled Beijing dated June 10, 1980 Celia Franca and James Morton in China 36 b&w photos primarily of CF with students in classes 4 colour photographs Pink album labeled Beijing Celia Franca in China 34 b&w photos of CF with students walking, eating and dancing Maroon album with dragon pattern on cover Ballet company in China 20 7x9 b&w photographs mainly of ballet performances with a few of students in dance studio class R4290 Volume 87 Brown album National Ballet of Canada 35th Anniversary Gala held at O’Keefe Centre. February 25, 1987 “Copies of Myrna Aaron’s photos” 88 colour photographs of those attending the gala, primarily 5x7s R4290 Volume 88 Navy blue album Commemorative album given to CF by the Heart and Stroke Foundation of Ontario Arts for Hearts Benefit, 2000 37 primarily 5x7 colour photos of attendees including Mitchell Sharp and wife, Marianne Scott and Hamilton Southam R4290 Volume 85 Black binder Commemorative photographs from opening of the Celia Franca Centre in Toronto 24 colour digital scans PERSONAL PHOTOGRAPHS R4290 Volume 80 Folder 1 Photographs of CF as a young child, with her parents
    [Show full text]
  • The Case of David Allan's 1987 Ballet Masada: Did It Matter That the Topic
    Dancers Veronica Tennant and Gregory Osborne in David Allan's 1987 ballet Masada: The Zealots. Photo: John Mahler/ Toronto Star Archives The Case of David Allan’s 1987 Ballet Masada: Did it Matter that the Topic was Jewish? Jennifer Fisher In 1987, choreographer David Allan made what critics called “a dar- the fortified walls. When they did, they made a gruesome discovery: ing and controversial” 40-minute ballet called Masada, The Zealots, to avoid capture, slavery, and worse, the families chose to end their for the spring season of Toronto’s National Ballet of Canada. It was own lives.1 based on a legend unfamiliar to most of its 27-dancer-cast, though the siege at Masada was well-known to North Americans who knew Although many resources were invested in the ballet and several Jewish history or had visited Israel, or perhaps saw a TV version reviewers found it powerful and promising, Masada was never re- starring Peter O’Toole in the 1980s. Historical “Ballet Notes” were peated. With this essay, I want to bring Allan’s ballet back into the provided to the press and to audiences in pre-performance talks, historical record, as well as pointing out how it affected people at explaining the tragic events of 74 A.D. at Herod’s winter palace the time, and how it leads to conversations about being Jewish in overlooking the Dead Sea. Jewish families had escaped the Roman the North American ballet world. I begin with the critical reception victory over Jerusalem and fled to Masada. There it took the Roman of Masada from newspaper accounts and documents in the Nation- army two years to build their siege ramp and finally break through al Ballet of Canada archives, then focus on recent interviews with 54 | DANCE TODAY | ISSUE No.
    [Show full text]
  • MA Thesis Document
    DANCING FOR CANADA/DANCING BEYOND CANADA: THE HISTORY OF THE NATIONAL BALLET OF CANADA AND THE ROYAL WINNIPEG BALLET’S INTERNATIONAL TOURS, 1958-1974. by Nadia van Asselt A thesis submitted to the Department of History in conformity with the requirements for the Degree of Master of Arts Queen’s University Kingston, Ontario, Canada Final (QSpace) submission May, 2021 Copyright ©Nadia van Asselt, 2021 Abstract This thesis traces the growth of the National Ballet of Canada (NBC) and the Royal Winnipeg Ballet (RWB) through international ballet exchanges and reveals how foundational they were to the companies’ current reputations. In the mid-twentieth century, the development of Canadian ballet was intertwined with international exchanges because the Canada Council of the Arts viewed national success as synonymous with international success. The National Ballet of Canada and the Royal Winnipeg Ballet developed different ways of being viewed as Canadian while abroad and established themselves as noteworthy cultural institutions. This thesis is also a study of the non-state actors’ role – ballet companies’ personnel, artistic directors, dancers, and media – in producing or furthering diplomatic relations with host countries and how they either upheld or contradicted state interests. Chapter two examines ten years (1958-1968) of negotiations between the NBC and the Instituto Nacional de Bellas Artes to show how the NBC used Canadian cultural policies and Canada’s national language to attain international tours that focused on fostering the company’s growth. Also, the tour resulted in the NBC building a relationship with Mexico without much help from the government. Chapter three studies the RWB’s engagement with Jamaica for the country’s independence celebrations in 1963 from the perspective of non-state actors – the dancers, media, and private sectors – to understand the motivations in carrying out state interest.
    [Show full text]
  • Giselle June 15—19, 2016 Presented by National.Ballet.Ca Jurgita Dronina
    Celebrating 10 Years as Artistic10 Director 2015 /16 Season Giselle June 15—19, 2016 Presented by national.ballet.ca Jurgita Dronina. Photo by Alejandro Alvarez Cadilla. ESCAPE TO A WORLD OF WONDER Giselle June 15—19, 2016 Presented by Principal Dancer Jillian Vanstone Contents 9 Cast 10 A Note on the Ballet 12 Synopsis 14 Selected Biographies NOW PLAYING UNTIL OCTOBER • BUY NOW FOR BEST SEATS 18 Dancers stratfordfestival.ca The National Ballet of Canada Programme Editors: Julia Drake and Belinda Bale 1 • 844 • 835 • 9512 Design: Kyle Greenwood Advertising and Printing: Mirvish Media THE LION, THE WITCH AND THE WARDROBE By C.S. Lewis | Dramatized by Adrian Mitchell Directed by Tim Carroll With Sara Farb, Ruby Joy, André Morin, Gareth Potter, Tom McCamus, Yanna McIntosh Jillian Vanstone is sponsored through Dancers First by George & Kathy Dembroski. Photo: Don Dixon Photo by Aleksandar Antonijevic. Date: May 05, 2016 Filename_ Version# SSF151837_LionWitchWardrobe_NBOC_JUNE2016_FNL Client: Stratford Artist: Josh Desc: 2016 Season Acct. Mgr: Melissa Pub: NBOC Insertion Date: June 2016 559 College Street, Suite 401 Trim: 6.5" x 9.25" Ship Date: 05 May 2016 Toronto, ON M6G 1A9 # Colours: 4C 416-323-3282 Bleed: 0.125" Safety/Live: 5.5" x 8.5" File Built at: 100% (1:1) PMS PMS INK DENSITY FOR NEWSPAPER: 240 INK DENSITY FOR MAGAZINE: 300 The National Ballet of Canada Orchestra Celia Franca, C.C., Founder David Briskin, Music Director and Principal Conductor George Crum, Music Director Emeritus Violin 1 Andrew McIntosh Trumpets Aaron Schwebel, Concertmaster Elaine Thompson Richard Sandals, Principal Karen Kain, C.C.
    [Show full text]
  • Pdfaboutnews To-The-Pointe-Fall11.Pdf
    To the Pointe the To ISSUE 53 FALL 2011 Farewell Message Message from from Jeff Melanson the Artistic Director The five years I spent at NBS were coloured Community Engagement: the flashmobs Ministries of Culture and Health Promotion My priority entering the 2010/11 year was When Cynthia Roberts, one of NBS’ two care of the students and superb with great opportunities, wonderful have been hugely successful on a number and those many friends on every side to help all NBS staff prepare for 2011/12, gifted part-time Physiotherapists, left for organisational skills will be sorely missed, colleagues, fantastic donors, diligent Board of levels. We’ve engaged our local NBS of the political spectrum at City Hall in as it is a year that brings with it many a year’s maternity leave in January 2011, throughout July she thoughtfully mentored members and many special memories. community, made valuable relationships Toronto. Many of you I shall continue to staff leader transitions due to retirement, co-partner, Jen Denys, assumed a full- her successor, Suzzette Patten. with schools and educators and reached work with and I look forward to doing so maternity leave, sabbaticals or career time schedule to carry both their hours. The following are some of the highlights a global audience through YouTube with in the months and years ahead. changes. As NBS staff members develop Executive Director and my Co-CEO, My ‘Personal Assistant’ Katherine Jeff Melanson, alerted me in early May each synthesizing what I believe are the our demonstration/teaching and close relationships, the challenge was to embrace colleagues’ pending departures Hallisey, announced in November her to a “job offer he could not refuse”, that core strengths of the best organisations: performance videos.
    [Show full text]
  • Press Kit the National Ballet of Canada
    PRESS KIT THE NATIONAL BALLET OF CANADA THE SECOND DETAIL William Forsythe + SPECTRE DE LA ROSE Marco Goecke + CHROMA Wayne McGregor October 1.2.3, 2015 Place des arts, Théâtre Maisonneuve Also presented on October 6, 2015 at the Grand Théâtre de Québec Danse Danse – Press kit Ballet National du Canada (Canada) Triple Bill 1 The National Ballet of Canada will present three unique works by the world renowned choreographers, William Forsythe, Marco Goecke and Wayne McGregor. Three unique aesthetics featuring amazingly virtuoso dancers make for an unforgettable evening. Led by the renowned Karen Kain, a living legend of dance, The National Ballet of Canada sparkles with its wide-ranging repertoire and 73 dancers. The company will return to Danse Danse with a contemporary triple bill, one fascinating evening of dance. THE SECOND DETAIL CREDITS Wolrd premiere : The National Ballet of Canada, Toronto, February 21, 1991 Choreography : William Forsythe Music : Thom Willems Costume Design : William Forsythe Set and lighting Design : William Forsythe Staged by : Jill Johnson the second detail is a gift from The Volunteer Committee, The National Ballet of Canada. ABOUT THE SECOND DETAIL In the second detail, a piece for 14 dancers, William Foresythe employs contemporary movements of organized chaos, playing with geometric compositions and rhythmic differences. Set to dynamic electronic music by Thom Willems, the piece has retained all its power of fascination since it was created by The National Ballet of Canada in 1991. Forsythe also designed the set, lighting and costumes, with the exception of a magnificent white dress designed by fashion icon Issey Miyake.
    [Show full text]