BAm BROOKLYN ACADEMY OF MUSIC

Directors: , Michael Smuin The most exciting floor show in Brooklyn is playing on Fulton Street. •

THE

•

A&S Brooklyn has eight floors that offer continuous entertainment seven days a week. Our headliners range from show-stopping dresses to sit down dining that will make you stand up and cheer. The list of attractions also includes Ken 's Food Basket on Five for gourmet delicacies, Glemby Beauty Salon on Six, the Entertainment Center on the meuanine and countless other services to serve you. And the neighbor­ hood A&S lives in lets a store that has it all give you even more. Within walking distance of our Fulton Street home, BAM has emerged as a prestigious entertainment complex and nearby Atlantic Avenue has blossomed into a dynamic area for shops and restaurants for every taste. And when you want to catch your breath, take in the breathtaking view from the Promenade in Brooklyn Heights. When you shop at A&S, there's more in store for you than just our store. Because when you catch our show, there are some great supporting acts waiting in the wings. • Abraham and Straus BAm BROOKLYN ACADEMY OF MUSIC

October 26 through November 5, 1978 Opera House

' THE BROOKLYN ACADEMY OF MUSIC presents BALLET

Directors: Lew Christensen, Michael Smuin

Artists of the Company

Damara Bennett Vivian Little Tina Santos Madeleine Bouchard Susan Magno Don Schwennesen Val Caniparoli Dennis Marshall Jim Sohm Gardner Carlson John McFall Robert Sund Evelyn Cisneros David McNaughton Michael Thomas Janne Clement Diana Meistrell Elizabeth Tienken Laurie Cowden Lynda Meyer Paula Tracy Allyson Deane Cynthia Meyers Vane Vest Nancy Dickson John Mourelatos Gary Wahl Betsy Erickson Gina Ness Diana Weber Attila Ficzere Anita Paciotti Jerome Weiss Alexander Filipov Zoltan Peter Deborah Zdobinski Victoria Gyorfi Roberta Pfeil Jamie Zimmerman Tomm Ruud

Ballet Master Regisseur Robert Gladstein Virginia Johnson Regisseur Richard L. Cammack Music Director and Conductor Conductor Denis deCoteau Jean-Louis LeRoux Lighting Director Company Physician Sara Linnie Slocum Dr. John N. Callander Company Instructors Richard Gibson Sue Loyd Sally Streets

Th1s program is made possible in part by public funds from the National Endowment for the Arts, a federal agency. and the New York State Council on the Arts. SHIRLEY VERRETT, SOPRANO, SINGS WAGNER

LUKAS FOSS, CONDUCTING THE BROOKLYN PHILHARMONIA FRI. & SAT., NOV. 10 & 11 at 8pm SUN., NOV. 12 at 3pm OPERA HOUSE

Tannhauser Overture & Bacchanale I Siegfried Idyll I Wesendonck Lieder/ Prelude & Liebestod from .

Tickets: $8.50, 6.50, 4.50. Charge to credit cards (212)239-7177. Tickets available at BAM Box Office A&S Brooklyn, Bloomingdale's 59th St. and B'way's Edison Thea· tre. "Foodstuffs", Manhattan Ex­ press Bus Service and attended parking available. For ticket infor· mation and Express Bus Schedule call (212)636- 4100.

Brooklyn Academy of Music BAm 30 Lafayette Avenue Brooklyn. N .Y. 11217

Dear Friends: It gives me great pleasure to welcome you on behalf of the San Francisco Ballet Associ­ ation to our 'ew York performances. We are very proud to be making our first appear­ ance here in over a decade under the distin­ guished auspices of the Brooklyn Academy of Music. The growth of the Company and its re­ pertory, under the guidance of our Directors, Lew Christensen and Michael Smuin, has been a source of pride. We are fortunate in Dear Friends: having six resident choreographers contribu­ This is an exciting time in the history of ting to the development of a unique reper­ the San Francisco Ballet and we are delighted toire. Administratively we are in sound to be able to share our hopes and enthusiasm condition. We are now perceived as an im­ with our friends and supporters in New York. portant artistic resource, not only in our own The artistic philosophy of the San Fran­ community, but all across the country. cisco Ballet has evolved through a desire to We are delighted to be here and I know honor the legacy of the European classical that our Artists, our Board of Trustees and ballet traditions, handed down to us by the the members of our staff join me in wishing teachers and choreographers who brought you a very enjoyable season with our beauti­ those traditions to America, and to develop ful Company. our own talents to carry on that tradition. Our future, like that of any company, lies in Sincerely yours, our creativity. We are very fortunate, in this regard, to have six resident choreographers creating new works every season, a company of forty dedicated dancers who give life to the choreographers' vision, and an excellent Richard E. LeBlond, Jr. school which provides our classical foundation. President and General Manager We feel that today our single most impor­ tant contribution to ballet is the building of a repertoire unique to the San Francisco Ballet. A repertoire unique not only in choreography, but in design, production and music as well. Here in New York for the first time in over a decade we will present three different programs including nine 1'-:ew York premieres and the full-length "Romeo and Juliet," seen on national television last J une as part of WNET's " in America" series. During our 1979 Repertory Season we will present for the first time five world pre­ mieres of works by our resident choreo­ graphers with commissioned scores by Ameri­ can composers. Our thanks to you for helping to make it all possible. ~ .. ~- ,~£,zt~ Lew Christensen Directors •

•

• ~ 733 madison avenue, new york, 140 maiden lane, san francisco THE PROGRAM

Tuesday, October 3 1, 1978, 7:00pm (See fo llowing pages f or November 3 and November 4 programs ) STRAV INSKY CAPRICCIO FOR PIANO AND ORCHESTRA (1978) New York Premiere Choreography Robert Gladstein Music * Costumes designed by Willa Kim Costumes executed by Patricia Polen BREAKFAST Lighting Designer Sara Linnie Slocum LUNCHEON Conductor Jean-Louis LeRoux DINNER Piano Soloist Roy Bogas AFTER BAM SNACKS I SUNDAY BRUNCH Gina Ness and Michael Thomas & DINNER Evelyn Cisneros, Diana Meistrell, Tina Santos, Deborah Zdobinski OPEN DAILY & SUN II from 6:30 AM 'til 1.30 AM ; Laurie Cowden and Dennis Marshall FRI to 3 AM ; SAT to 4 AM All Baking Done Ill on Premises Gina Ness Michael Thomas Laurie Cowden Dennis Marshall Evelyn Cisneros, Diana Meistrell, Tma Santos, Deborah Zdobinski BANQUET ROOM Karen Antisdel, Janne Clement, Ally son Deane, Nancy Dickson, Available for Private Parties for up to 200 Vivian Little, Cynthia Meyers, CALL Rachel Westlake, Jamie Zimmerman 852·5257 This ballet is physical. It does not carry a message or have deep underlying meanings. It is "non­ intellectual. " But there are images created and motivated by the music. To quote George Balan­ chine: "No piece of music, no dance can in itself be abstract. You hear a physical sound, humanly organized, performed by people. Or you see moving before you dancers of flesh and b lood, in a living relation to each other. What you hear and see is completely real." - Robert Gladstein *Capriccio for Piano and Orchestra (1929) is used by arrangement with Boosey & Hawkes, Inc., publishers and copyright owners. 30 West 57th St., New Vorl<, N.Y. This production is suppor ted by a generous grant from Fidelity Savings and Loan Association. PAUSE BROOKLYN D IVERTISSEMENT D'AUBER (1959) HAS IT ALL! Choreography Lew Christensen Music Francois Espr it Auber* CALL US FOR Costumes designed by Steven Rubin FREE ASSISTANCE Costumes executed by "Grace" WE'LL HELP YOU LOCATE IT Lighting Designer Sara Linnie Slocum NEW YORK YELLOW PAGES. INC Conductor Jean-Louis Le Roux The form and movement of this ba llet demonstrates the classical technique at its peak. There is no citypliOone® story line, no abstract theme-just artfully designed movement. The ba llet is designed as a showcase for three virtuoso dancers, demonstrating the full range of the dancers' vocabulary. Diana Weber David McNaughton Elizabet h Tienken 675-0900 *Fra Diavolo, Black Domino, Bronze Horse, Crown Diamonds overtures. Call After 10 A.M Weekdays §mufofa r~sale ,~~ proced tacket:~ 00offers~~!-: If you re ..n.~ot . w.~~~~hy not f allw o ~!ut t he bla ionk~~ belo'~'w~ and . ~~~hand at to.~ l CR.etaurantJ the nearest usher or maal at to BAM from you're home Once you do. we'll send you ad · I I vance nota f ocataon of BAM events. plus specaal opportunataes to save up to 50% on our just across from BAM top praced seats

tel: 855-4830 I Name ------1 UL8-2000 1 Address I Ca ty Stat e Zap open daily for lunch and dinner I t I i ) I'm already on your maa lang l as t, but here's my new address . I till 9 P.M. R- etur n to BAM Mailing L ist J Italian and American Cuisine L 30 Lafayette A ve Brookly n N Y 11 2 17 special orders upon request ------THE PROGRAM

... continued from p receding page ~ PAUSE eam~fdown MOBILE (1969) ~Lim New York Premiere Moving Objects Behaving in Linear Equipoise Enjoy fine food & drink in a delightful Choreography Tomm Ruud Music Aram Khachaturian* atmosphere Lighting Designer Parker Young Conductor Jean-Louis LeRoux Brunch, Sun 11:30-3 Damara Bennett T omm Ruud Deborah Zdobinski Dinner, Mon-Sat 5 to midnight. Sun 4 -11 *Adagio from Gayne Ballet

INTERMISSION

Reservations Suggested SONGS OF MAHLER (1976) New York Premiere 847 Union Street Off 7th Avenue in Choreography Michael Smuin Music Gustav Mahler* Park Slope Lighting Designer Sara Linnie Slocum Conductor Denis deCoteau (2 12) 638-0860 Mezzo Soprano Gwendolyn Jones** " In the creative arts, virtually the only impressions that are fruitful and decisive in the long run are those that occur between the ages of four and eleven ... anything later is rarely turned into art." -Gustav Mahler

I. Ging Heut Morgen Uber's Feld Tina Santos Deborah Zdobinski Tomm Ruud II. Wenn Me in Schatz Hochzeit Macht Betsy Erickson Gary Wahl Ill. Rheinlegendchen Laurie Cowden Jim Sohm IV. Der Schildwache Nachtlied Gina Ness Dennis Marshall V. Des Antonius Von Padua Fischpredigt Victoria Gyorfi Attila Ficzere John McFall VI. I ch Hab E in Gluhend Messer Anita Paciotti Gardner Carlson Tomm Ruud Jerome Weiss VII. Wer Ha Dies Lied lein Erdacht? Elizabeth Tienken

BROOKLYN's Biggest & Best Florists THE ONLY THREE CROWN RESTAURANT IN BREUCKELEN • • • tile§tvetn FINE ITALIAN CUISINE ESTA BLISHED 1906 (fi)(fi)(fi)--- In Myra Waldo's Restaurant Guide for New York Five minutes from BAM by car. taxi, No. 37 bus. Open noon to 12 AM Sun thru Thurs. Friday & Sat. noon to 3 AM with unlimited on-premise free valet parking. F!owers, plants and fruit baskets for all occasions MONTE'S VENETIAN ROOM (212) 768-6770 25th Street & 451 CARROLL ST., BROOKLYN (211) 624-8984 768-0800 5th Avenue THE PROGRAM

V Ill. Wo Die Schonen Trompeten Bla sen Paula Tracy Vane Vest

Mahler did not opt for a fairy-tale "once upon a time" approach. but he relived his texts as if they were of the present moment. It is the intimacy and the dramatic or ly rical truth of his settings that exalts them far above the level of instant manifestations of romantic narratives whether literary or musical. We are led all unsuspecting to expect a conventional , but our expect ations are sur­ prised and we exper ience instead a sometimes t raumatic rea lism. This procedure is wholly charac­ teristic of Mahler's genius and it is, indeed, nothing less than his genius at its most character istic, that we encounter in these songs. - Michael Smuin 100 7th Avenue (Park Slope) *Des K naben Wunderhorn is used by arrangement with Theodore Presser Company, agent for 789-4419 Universal Edition. Vienna. Songs of a Wayfarer is used by arrangement with Associated Music Publishers. Inc.. New York. agents for Josef Weinberger , Ltd., . The Dance Studio offers a com­ plete program of dance for adults ••Gwendolyn Jones is the Sears Roebuck artist with the San Francisco/Affiliate Artists-Opera Program, and she appears through the courtesy 0f the San Francisco Opera. and children. We have classes in ballet, modern, tap, jazz, belly INTERMISSION dancing, tai chi, and disco. In addition, we have gymnastics and. a special exercise program. We are CON AMORE happy to offer to BAM audiences (1953) the opportunity to come and try a Choreography Lew Christensen complimentary class. Just give us Staged by Bene Arnold a call and bring the coupon below! Music Gioacchino Ross ini* Libretto James Graham-Lujan free introductory class with Costumes and Decor designed by Seppo Nurmina this coupon Costumes executed by " Grace" limit one per customer Decor adapted by Robert Darling Lighting Designer Sara Linnie Slocum THE DANCE STUDIO Conductor Jean-Louis LeRoux

Con Amore is a humorous ballet patterned after the opera buffa made popular by Rossini. Cos· tumes and decor were suggested by lithographs f rom 1830. Alfred Frankenstein summarizes the balletic pretext in the following words: " In the first scene a young thief invades an Amazon's camp; in the second a lady entertains several admirers too many; and in the third, the God of Love resolves both situations in a pseudo-classic t riumph." A new production of Con Amore was presented by the Finnish National Opera Ballet in Helsi'lki in February, 1971.

Scene I : The Amazons and the Thief Captain of the Amazons Lynda Meyer 12:00 - 7:30 Tues- Sat Thief Dav id McNaughton Fine wallpaper, coordinating fabric, Lieutenants Damara Bennett, Deborah Zdobinsk i shades-shutters Soldiers Karen Antisdel, Evelyn Cisneros, Janne Clement, Nancy Dickson, Gold leaf lettering, antiques, Vivian Little, Diana Meistrell, reproductions, etc. Elizabeth Tienken, Jamie Zimmerman 179 Berkeley Place Park Slope 636-0604 Scene II : The Master 's Return The Mistress Paula Tracy Her Husband Val Caniparoli Rake Jim Sohm VIRGINIA HOYT Sailor Jerome Weiss Student John Mourelatos CANTARELLA Scene Ill : The T riumph of A mor at LIU Brooklyn Amor Allyson Deane and the Entire Cast Paintings and *Overtures: La Gazza Ladra, II Signor Bruschi no, La Scala di Seta Drawings Humanities Gallery ' Nov. 2-22 (212) 622-2061 When your principal business is service, you get to know a lot about it. You develop a philosophy. Ours is to give you first rate service at a fair price. ' From - Occidental Life of California Transamerica Insurance Transamerica Title l'nsurance Pac1fic Finance Loans United Artists Trans International Airlines Budget Rent a Car .. . and the other Transamerica compan1es Transamenoa ,rr The people in the Pyramid ' I 600 Montgomery Street. • I San Franc1sco. Cahforn1a 94111 : ' " ,.' ..... I Ill , ...... ' • - ...... • • .0 • •

• • • • • • • & I • I I • . • • • • • • - • •• & • . •a I '- . I .. & ... •a • • .• ...• .•. ..• •

I I • I

'I . I I I . 'I ~ ­ .- · ; ,,...... _~ ... ·~···;::~~;..;;.: • THE PROGRAM

Friday, November 3, 1978, 8:00pm

STRAVINSKY CAPR I CCIO FOR PIANO AND ORCHESTRA (1978) 148 Hoyt St. New York Premiere [!!!!~~~~~ ( at Bergen) Choreography Robert Gladstein Dine in Victorian elegance Music Igor Stravinsky* Costumes designed by Wi lla Kim from: twelve - three Costumes executed by Patricia Polen six - midnight/ closed Monday Lighting Designer Sara Linnie Slocum French Cuisine Conductor Jean-Louis LeRoux Sinfully Delicious Desserts Piano Soloist Roy Bogas Wine & Spirits I T ina Santos and Michael Thomas Major Credit Cards Accepted Reservations Recommended Damara Bennett, Evelyn Cisneros, Vivian Little, Deborah Zdobinski 858-0400 II Lynda Meyer and Jim Sohm

Il l Tina Santos Michae l T homas Lynda Meyer Jim Sohm Damara Bennett, Evelyn Cisneros, Vivian Little, Deborah Zdobinski Karen A ntisdel, Janne Clement, Nancy Dickson, Diana Meistrell , Victoria Morgan . Wendy VanDyck, Rachel West lake, Jamie Zimmerman This ba llet is physical. It does not carry a message or have deep underlying meanings. It is " non­ intellectual. " But there are images created and motivated by the music. To quot e George Balan­ chine: "No p iece of music, no dance can in itself be abstract. You hear a physical sound, humanly organized , performed by people. Or you see moving before you dancers of f lesh and blood, in a living relation to each other. What you hear and see is completely rea l." - Robert Gladstein A *Cap riccio for Piano and Orchestra (1929) is used by arrangement w ith Boosey & Hawkes, Inc .. W publishers and copyright owners. 30 West 57th St., New York. N .Y . This production is supported by a generous grant from Fidelity Savings and Loan Association. PAUSE DIVERTISSEMENT D'AUBER PREPARE FOR: (1959) MCAT • DAT • LSAT Choreography Lew Christensen Music Francois Esprit Auber GMAT • GRE • OCAT Costumes designed by Steven Rubin Costumes executed by "Grace" VAT· SAT Lighting Designer Sara Linnie Slocum Conductor Jean -Louis LeRoux 1MB I. II. III·ECFMG The form and movement of this ballet demonstrates the classica l technique at its peak. There is no story line. no abstract theme- just artfully designed movement. The ballet is designed as a show­ case for three virtuoso dancers, demonstrating the full range of the dancers vocabulary. FLEX·VQE Susan Magno Zoltan Peter A llyson Deane NAT'L DENTAL BOARDS NURSING BOARDS *Fra D iavolo, Black Domino, Bronze Horse, Cro wn D iamonds overtures. Flexible Progrema & Hours 'lltere IS a differen&e!!! For Information Please Call: BROOKLYN Brooklyn (2121336~300 1675 E 16 Bklyn N Y 11229 Old Monhanan (2121 832-1400 Long Island (5161248-1134 Hackanuck (20114118·4778 HAS IT ALL! E. Brun.,.,ck (2011846·2662 N- Havon (2031789·1169 CALL US FOR Har1ford (2031568·7927 " An authentic Hungarian restau­ FREE ASSISTANCE rant right here in Brooklyn." WE'LL HELP YOU LOCATE IT Cocktails, Business Lunch and NEW YO RK YE LLOW PAGES. INC. ,~tLro pre-theatre Dinner daily TEST PREPARATION cityptluOone® l SPECIALISTS SINCE 1938 Live Cymbalom Music nightly 535 M1dison Ave, NYC 10022 (nr 54 St) Outside N.Y. State Only CALL TOLL FREE: 100-223-1712 Major Credit Cards Accepted Centers In Malor US Cltlu Toronto, Puerto Rico 675-0900 an d Lu1ano, Switzerland 142 Montague St. 625-1649 Call After 10 A.M . Weekdays -~- THE PROGRAM c.•>;- minimax { c.e ... continued from preceding page ~-,. GliLLEfiJll~~~ PAUSE ~eslau ran l palisserie MOBILE (1969) New York Premiere • Escape from ...the ordinary , the Moving Objects Behaving in Linear Equipoise commonplace. Discover the leisurely elegance of Brooklyn Choreography Tomm Ruud Heights' only European Cafe Music Aram Khachaturian* Patisserie . .. the Minimax Lighting Designer Pa rker Young Galleria on Montague Street. Conductor Jean-Louis LeRoux The newly-designed Galleria offers Damara Bennett Tomm Ruud Deborah Zdobinski a unique old-world ambience that is both informal and elegant .. Adagio from Gayne Ballet ... interior climaxed by a 30-foot mural reflecting life on INTERMISSI ON Montague Street in the 1930s . .. a menu that ranges from cappuccino SONGS OF MAHLER and French pastries to omelettes (1976) and lobster thermidor, complemen· New York Premiere ted by a full select ion of imported Choreography Michael Smuin w ines, liqueurs and cocktails. Music Gustav Mahler* The Galleria ... Lighting Designer Sara Linnie Slocum it's unique, different, Conductor Den is deCoteau sophisticated , not for everyone .. . Mezzo Soprano Gwendolyn Jones** it 's not a commonplace place. "In the creative arts. virtually the only impressions that are fruitful and decisive in t he long run are Open every day Sam to midnight. those that occur between the ages of four and eleven ... anything later is rarely turned into art." 174 Montague Street - Gustav Mahler 625-7883 I. Ging Heut Morgen Uber's Feld Nancy Dickson Tina Santos Tomm Ruud

II. Wenn Mein Schatz Hochzeit Macht Betsy Erickson Gary Wahl • Ill. Rheinlegendchen {iax~bo Laurie Cowden Jim Sohm IV. Der Schildwache Nacht lied NATURAL FOODS RESTAU RANT Madeleine Bouchard Robert Sund SPECIAL IZING IN VEGETABL ES & SEAFOOD V . Des A ntonius Von Pad ua Fischpredigt 142 7th AVE. Evelyn Cisneros Attila Ficzere John McFall (Bet G

VII. Wer Ha Dies Liedlein Erdacht? Victoria Gyorfi

VIII. Wo Die Schonen Trompeten Blasen Paula Tracy Vane Vest

Mahler did not opt for a fairy-tale "once upon a time" approach, but he relived his texts as if they were of the present moment. It is the intimacy and the d ramatic or lyrical truth of his settings that exalt s them far above the level of instant manifestations of romantic narratives whether lit erary or musical. We are led all unsuspecting to expect a conventional romanticism, but our expectations are sur­ prised and we experience instead a sometimes t raumatic realism. This procedure is wholly cha rac­ teristic of Mahler 's genius and it is, indeed, nothing less than his genius at its most characteristic, that we encounter in these songs. -Michael Smuin

*Des Knaben Wunderhorn is used by arrangement with Theodore Presser Company. agent for Universal Edition. Vienna. Songs of a Wayfarer is used by arrangement with Associated Music Publishers. Inc .• New York. agents for Josef Weinberger, Ltd., London.

**Gwendolyn Jones is the Sears Roebuck artist w ith the San Francisco/Affiliate Artists-Opera Program. and she appears through the courtesy of the San Francisco Opera.

INTERMISSION

CON AMORE (1953)

Choreography Lew Christensen Staged by Bene Arnold Music Gioacchino Rossini* Libretto James Graham-Lujan Costumes and Decor designed by Seppo Nurmina Costumes executed by "Grace" Decor adapted by Robert Darling • Lighting Designer Sara Linnie Slocum Conductor Jean-Louis LeRoux

Con Amore is a humorous ballet patterned after the opera buffa made popular by Rossini. Cos­ tumes and decor were suggested by lithographs from 1830. Alfred Frankenstein summarizes the balletic pretext in the following words. "In the f irst scene a young thief invades an Amazon's camp; in the second a lady entertains several admirers too many; and in the third, the God of Love resolves both situations in a pseudo-classic triumph." A new production of Con Amore was presented by the Finnish National Opera Ballet in Helsink i in February,1971.

Scene I : The Amazo ns and the Thief Captain of the Amawns Betsy Erickson Thief John McFall Lieutenants Laurie Cwoden, Tina Santos Soldiers Karen Antisdel, Evelyn Cisneros, Janne Clement, Nancy Dtckson. Vivian Little, Diana Meistrell, Rachel Westlake, Jamie Zimmerman

Scene II: The Master 's Return The Mtstress Anita Paciotti Her Husband Val Caniparoli Rake Michael Thomas Sailor Gardner Carlson Student John Mourelatos

Sce ne Ill : The Triumph of A mor Amor Susan Magno and the Entire Cast

•overtures La Gazza Ladra, II Signor Bruschino, La Scala di Seta '

the money you can save on low-cost SAVINGS BANK LIFE INSURANCE This is the insurance that leaves you more specialists will be glad to help you select the money for living. You'll see why when right plan and amount to fit your needs. And you compare the cost of SBLI with the after you buy your policy, they'll still be glad cost of many similar types of protection. to serve you. Where do you get it? Right here at The Stop at any office for full details. Without Williamsburgh, where our insurance obligation, of course.

YOUR FUTURE BEGINS AT THE

Incorporated 1851

Nassau Offices: Hempstead Tpke. at Center Lane. Leo.oittown •682 Dogwood Ave., Franklin Square • Suffolk Offices: Walt Whit­ man Shoppmg Center, 200· 7 Walt Whitman Rd., At. 11 f), Huntington Station • Path mark Shopping Center, 5880 Jericho Turnpike, Commack • Queens Offices: 95-01 63rd Drive at Saunders Street, Rego Park; 136-65 Roosevelt Ave., Flushing; 107-15 Continental Ave., Forest H1lls ·Manhattan Offices: Wall Street Off1ce: 74 Wall Street at Pearl; Yorkville Office: 345 East 86th Street • Brooklyn Offices: Central Office: 1 Hanson Place at Flatbush Ave.; Williamsburgh Office: 175 Broadway at Driggs Ave.; Bensonhurst Office 86th St. and 23rd Ave.; Starrett City Office: Pennsylvama Ave. cor. Twin Pines Drive. THE PROGRAM

Saturday, November 4, 1978, 8:00pm

STRAVINSKY CAPR ICCIO FOR PIANO AND ORCHESTRA (1978) New York Premiere

Choreography Robert Gladstein Music Igor Stravinsk y * Costumes designed by Willa Kim Costumes executed by Patricia Polen Lighting Designer Sara Linnie Slocum Conductor Jean-Louis LeRoux Piano Soloist Roy Bogas

I Gina Ness and Michael Thomas Evelyn Cisneros, Diana Meistrell, Tina Santos, Deborah Zdobinski

II Laurie Cowden and Dennis Marshall

Ill Gina Ness Michael Thomas Laurie Cowden Dennis Ma rsha ll Evelyn Cisneros, Diana Meistrell, Tina Santos, Deborah Zdobinski Karen A ntisdel, Janne Clement, Allyson Dea ne, Nancy Dickson, Vivian Little, Cynthia Meyers, Rachel Westlake, Jamie Zimmerman

This ballet is physical. It does not carry a message or have deep underlying meanings. It is "non­ intellectual." But there are images created and motivated by the music. To quote George Balan­ chine: "No piece of music. no dance can in itself be abstract. You hear a physical sound , humanly organized, perfor med by people. Or you see moving before you dancers of f lesh and blood, in a living relation to each other. What you hear and see is completely real." -Robert Gladstein

*Capriccio for Piano and Orchestra (1929) is used by arrangement with Boosey & Hawkes, Inc., publishers and copyright owners , 30 West 57th St., New York. N.Y. This production is supported by a generous grant from Fidelity Savings and Loan Association.

PAUSE

DIVERTISSEMENT D 'AUBER (1959)

Choreography Lew Christensen Music Francois Esprit Auber Costumes designed by Steven Rubin Costumes executed by "Grace" Lighting Designer Sara Linnie Slocum Conductor Jean-Louis LeRoux

The for m and movement of this ballet demonstrates the classica l technique at its peak. There is no story line , no abstract theme- just artfully designed movement. The ballet is designed as a show­ case for three virtuoso dancers, demonstrating the full range of the dancers vocabulary .

Diana Weber David McNaughton Elizabeth Tienken

*Fra Diavolo, Black Domino, Bronze Horse, Crown Diamonds overtures.

PAUSE THE PROGRAM

... continued from preceding page MOBILE (1969) New York Premiere Moving Objects Behaving in Linear Equipoise

Choreography Tomm Ruud Music Aram Khachaturian* Lighting Designer Pa rker Young Conductor Jean-Louis LeRoux Damara Bennett Tomm Ruud Deborah Zdobinski

*Adagio from Gayne Ballet

INTERMISSION

SONGS OF MAHLER (1976) New York Premiere

Choreography Michael Smuin Music Gustav Mahler* Lighting Designer Sara Linnie Slocum Conductor Denis deCoteau Mezzo Soprano Gwendolyn Jones**

"In the creative arts, virtually the only impressions that are fruitful and decisive in the long run are those that occur between the ages of four and eleven ... anything later is rarely turned into art." -Gustav Mahler

I. Ging Heut Morgen Uber's Feld Tina Santos Deborah Zdobinski Tomm Ruud

II. Wenn Mein Schatz Hochzeit Macht Betsy Erickson Gary Wahl

Ill. Rheinlegendchen Laurie Cowden Jim Sohm

IV. Der Schildwache Nachtlied Gina Ness Dennis Marshall

V . Des Antonius Von Padua Fischpredigt Victoria Gyorfi Attila Ficzere John McFall

VI. lch Hab Ein Gluhend Messer Anita Paciotti Gardner Carlson Tomm Ruud Jerome Weiss

VII. Wer Ha Dies Liedlein Erdacht? Elizabeth Tienken

VIII . Wo Die Schonen Trompeten Blasen Paula Tracy Vane Vest

Mahler did not opt for a fairy-tale "once upon ll time" approach, but he relived his texts as if they were of the present moment. It is the intimacy and the dramatic o r lyrical t ruth of his settings that exalts them far above the level of instant manifestations of romantic narratives whether literary or musical.

We are led all unsuspecting to expect a conventional romanticism, but our expectations are sur­ prised and we experience instead a sometimes traumatic realism. This procedure is wholly charac­ teristic of Mahler's genius and it is, indeed, nothing less than his genius at its most characteristic, that we encounter in these songs. -Michael Smuin THE PROGRAM

The San Francisco Ballet is the oldest *Des Knaben Wunderhorn is used by arrangement with Theodore Presser Company, agent for Universal Edition, Vienna. classical ballet company in the United States. It began in 1933 as the San Fran­ Songs of a Wayfarer is used by arrangement with Associated Music Publishers, 1nc., New York, agents for Josef Weinberger, Ltd., London. cisco Opera Ballet, providing dancers for • the San Francisco Opera performances. In **Gwendolyn Jones is the Sears Roebuck artist with the San Francisco/Affiliate Artists-Opera the same year, the San Francisco Ballet Program, and she appears through the courtesy of the San Francisco Opera. School was founded as a permanent source of well-trained talent for the Com­ INTERMISSION pany. It was the first American dance company to tour the Far East, in 1957. and the first to perform the full-length Nutcracker in the United States in 1944. CON AMORE The San Francisco Ballet is building a (1953) repertoire to include works representative of all the great living choreographers and Choreography Lew Christensen seeks to develop local creative talent, per­ Staged by Bene Arnold forming new works created by its own Music Gioacchino Rossini* artists. Libretto James Graham-Lujan Performing in the San Francisco Costumes and Decor designed by Seppo Nurmina Opera House. the Company offers 29 per­ Costumes executed by "Grace" formances of in December, Decor adapted by Robert Darling a 49-performance Repertory Season from Lighting Designer Sara Linnie Slocum January through May and numerous spe­ Conductor Jean-Louis LeRoux cial performances each Spring. The Com­ pany also offers series in San Jose and at Con Amore is a humorous ballet patterned after the opera buffa made popular by Rossini. Cos­ the University of California in Berkeley, tumes and decor were suggested by lithographs from 1830. A lf red Frankenstein summarizes the and regularly tours the United States, balletic pretext in the following words: "In the first scene a young thief invades an Amazon's most recently in Iowa City, St. Louis, camp; in the second a lady entertains several admirers too many; and in the third, the God of Love Detroit and Brooklyn. resolves both situations in a pseudo-classic t riumph." Directors of the Company are Lew A new production of Con Amore was presented by the Finnish National Opera Ballet in Helsinki in February, 1971. Christensen and Michael Smuin. Says Smuin: "The San Francisco Ballet is enter­ ing a Golden Age. It now has the creative Scene I : The Amazons and the Thief force, leadership and talent to become a Captain of the Amazons Lynda Meyer company of international status-a com­ Thief David McNaughton pany that will set trends, not follow ' them." Lieutenants Damara Bennett, Deborah Zdobinski Soldiers Karen Antisdel, Evelyn Cisneros, Janne Clement, Nancy Dickson, Vivian Little, Diana Meistrell, Elizabeth Tienken, Jamie Zimmerman

Scene II : The Master's Return The Mistress Victoria Gyorfi Her Husband Val Caniparoli Rake Jim Sohm Sailor Jerome Weiss Student John Mourelatos

Scene Ill: The Triumph of Amor Amor Allyson Deane and the Entire Cast

*Overtures: La Gazza Ladra, II Signor Bruschino, La Scala di Seta

If you're tonight's performance, we can probably take you close to your front door by BAM Express Bus. Buses leave from under our front marquee immediately following the final curtain. Fare is $1.50 each way. Buses make stops on the east Program Cover - Laurie Cowden and D ennis Marshall In Stravinsky Capricci o for Piano and and west sides between the Village Orchestra. Photo by Marty Sohl. and ~treet. An art1st's rendenng of the future Fulton Malt Widened, decorabve Sidewalks, trees; bus shelters. kiosks. and no cars -only bus traN1c. Fulton Mall The look oi tomorrow's Brooklyn.

Fulton Mall. The first major downtown shopp1ng But be sure to keep shopp1ng Fulton Street mall in New York City. Now begmn1ng now - don't wa1t for the f1n1shed Mall. The Fulton construction after a decade of plannmg and hard Mall Improvement Assoc1at1on soon w1ll begin work. It's a pnme example of the v1taltty and sponsorship of spec1al events and entertainment 1mag1nat1ve th1nk1ng that cont1nue to make Fulton nght on the street And, of course. there still will Street the great shopp1ng street 1t IS be all the great shoppmg values for wh1ch Fulton When the MalliS fm1shed. shoppers will Street IS famous. stroll along beautiful sidewalks of brick pavers So come shopping on Fulton Street. And Pedestnans will have nearly double the room they watch "The People Street" become beautiful have now. And vehicular traffic w1ll be lim1ted to Fulton Mall buses only.

Fulton Mall Improvement Association 409 Fullon Street, Brooklyn. NY tt20t • 2t21852·5tt8 NEXTAT BAM THE $3.6 MILLION FACELIFT San Francisco Ballet October 26-November 5 Chamber Music 2 Take a look around. 3.6 mi II ion dollars in federal, city, and private Music of Copland, Mozart, Bach funding is going into BAM's most extensive renovation to date - November 4-5 a twelve-step improvement plan that wi II better serve BAM's staff, Preservation Hall Jazz Band artists, and you, the audience, in t he years to come. November 9

Over the next year there will be construction go ing on all over Brooklyn Philharmonia t he building - from the main lobby to the soon-to-be completely with guest soprano Shirley Verrett November 10-12 rehabilitated backstage dressing rooms, to our 199-seat upstairs theater that will be out of commission for the entire season. The Eurythmeum parking lot has already been repaved, the Opera House and Play­ November 19 house have new lighting boards and ventilation systems, and the Pennsylvania Ballet Opera House's mezzanine and balcony floors have been covered Coppel1a with new tile with ca rpeting soon to follow. November 21-26 Family Symphony Series The next few months will see the renovation of the rest rooms Antonia Brice, conductor (in addition to an ex t erior access ramp) special ly designed for the Myths and Fairy Tales elderly and the handicapped. T he main lobby's lighting wi ll be re­ November 26 designed and t he elevators w ill be rehab ilitated. The Playhouse will Chamber Music 3 have a f ly system installed enab ling t he raising and lowering of Music of the Italian Baroque Era scenery and the Leoercq Space will receive a gantry designed to December 2-3 facilitate the setting of lights. Friends of BAM Children's Series Joy In Every Land By next August the renovation will be complete with an addi­ All Nations Dance Company tional two floors prcwiding administrative offices, rehearsal space, December 9 and an in-house canteen for staff and artists. Exterior pointing and painting, including the marquee, will be done to enhance the origi­ Brooklyn Philharmonia nal nee-renaissance architecture of the building. with guest ltzhak Perlman December 15-17 So, if things look a bit dustier than they should, o r, if a long Friends of BAM Children's Series trek is required to get to a restroom, you can take heart in the fact Story of the Nutcracker that you're sharing in the exciting development of America's oldest Bob Brown Puppet Theatre performing arts center. December 16 Dodger Theater at BAM Gimme Shelter December 5-17 DIRECTORY

Directory of Facilities and Services Box Office Hours: Monday Noon to 6. OOpm Tuesday through Saturday Noon to 9 OOpm Sunday Performance Times only. Lost and Found: Telephone 636-4100 lounges and Restrooms: Opera House Women and Men temporarily under construction use Restrooms in Playhouse or on 5th floor. Playhouse Women Orchestra level; Men: Mezzanine level. l epercq Space Women and Men Theatre level and 5th f loor. Public Telephones: Main Lobby. Ashland Place Entrance For information about discount group rates on tickets call 636·4126. to find out about adver­ tiSing tn BAM theatre programs. call 636-4186

The taking of photographs or the use of record· ing devices in this theatre is strictly forbidden. Brooklyn Academy of Music 30 Lafayette Ave. Brooklyn, Nevv York 11217 (212)636-4100 '

San Francisco Ballet. Premieres. Lew Christensen and Michael Smuin, Directors Featuring 9 New York Premieres* Exclusively Oct 26-Nov 5 Sat. Oct 28 at 2 & Bpm. Sun. Oct 29 at 2pm: Wed. Nov 1 at 2 & Bpm: Thurs. Nov 2 at Bpm * Romeo & Juliet (SmUin Prokofiev) Thur. Oct 26 at lpm: Fn. Oct 27 at Bpm: Sun. Nov 5 at 2pm II Distratto (Chnstensen Haydn).*Stravinsky Pas de Deux (Chnstensen Stravmsky).* O.a V. (Smum Verdi) ,* Shinju (SmUin Ch1hara).* Beethoven Quartets (McFall Beethoven) Tue . Oct 31 at lpm. Fn; Nov 3 at Bpm: Sat. Nov 4 at Bpm Con Amore (Christensen/Rosslni).* Divertissement d 'Auber (Chnstensen Auber). * Songs of Mahler (SmUin Mahler).*Stravinsky Capriccio for Piano and Orchestra (Gladstein Strav1nsky). * Mobile ( Ruud /Khachatunan)

Tickets $8.50, 6.50, 4.50 Charge to credit cards (212) 239-7177 TICkets ava ilable at BAM Box Office. A&S Brooklyn Bloommgdale sand B'way' s Ed1son Theatre .. Foodstuffs ... attended parkmg and Manhattan BAm Express Bus Serv1ce ava1lable TDF dance vouchers accepted Fo r ticket mformat1on and Express Bus Schedule call (2 12) 636·4100 Brooklyn Aca demy of Mu sic. 30 Lafayette Ave Bklyn New York 11217 THE ARTISTS

Lew Christensen has been an enormously in­ Ballet and Ballet West. Smuin also choreo­ Lord Capulet in Romeo and Juli et. To this list ventive force behind the Company since 1952 graphed Panambi for Alvin Ailey's American he adds remarkable performances in Gersh win, when he became the Artistic Director. During Dance Theatre. Moves and Jinx. these past 26 years Christensen has achieved In 197 3. at the crest of his dancing national recognition in America for his work in career. Smuin left ABT and returned from his Born in Hawaii. Gardner Carlson came to the • every phase of ballet· first as a dancer. then as a 11-year leave of absence to the San Francisco San Francisco Ballet in 1971 from the Harkness choreographer and finally as a director. Born in Ballet to assume the position of co-director of and American Concert Ballets. His performance of a musical family. he received his early the Company. Although this period. from 1973 in Trilogy has been called the "compelling, eye­ training from his uncle, and later studied with through 1975, was marked by the SFB's severe riveting focal point" of that ballet's third move­ such masters as Mascagno. Fok ine. Vladimiroff financial straits. Smuin continued to demon­ ment. He has delighted audiences with the ag ili­ and Balanchine. Following in the footsteps of strate his high energy-in the dancer-led fund ty of his dancing as the Ribbon Candy Dancer his two older brothers. William and Harold raising dr ive, and his choreographic diversity­ in Nutcracker, in Medea and David and Goliath . both of whom have also achieved nationa dis· with at least one new work every season. and with his character portrayals in Filling Sta· tinction for their work in ballet-he first ap In 1973, the SFB premiered Smuin's tion, Souvenirs and La Fil/e Mal Gardee. peared before the public in vaudeville. before Harp Concerto . a pure classical-romantic ballet. there was such a thing as an American ballet and a full -length Cinderella. which was a col­ Born in Long Beach. California. Evelyn company. He subsequently danced with various laborative effort of Smuin and SFB director Cisneros studied at the San Francisco Ballet New York companies including Ballet Caravan. Lew Christensen The 1973 Season also saw the School before joining the Company in 1977. a forerunner of the , in SFB production of Eternal /dol The jazzy and Her impressive debut in Scherzo prompted one which he appeared as premier danseur. As a innovative Mother Blues premiered in 1974. fol­ critic to remark: " Her suppleness. quick ness and dancer he first achieved national prominence in lowed by the 1975 debut of Shinji.J . a ballet fearlessness will cer tainly provide more excite­ 1936 with his performance in Jeu de Cartes. based upon a romantic and tragic Japanese ment in future performances. She's a girl to and in the title role of in a memorable legend. and three pas de deux for Romeo and watch." She has fulfilled that promise in per­ aii-Stravinsky series at the New York Metropoli­ Juliet . as well as SFB productions of Pulcine/la formance in Mozart's C M inor Mass, Serenade, tan Opera House. During his career. Christensen Variations and Schubertiade. Romeo and Juliet and as Princess Creusa in has written more than 90 ballets, operas and In September 1976, Michael Smuin ac­ Medea. She is married to Company member mus1cal shows. some of which are widely re­ cepted the invitation of the Chairman of the David McNaughton. garded as American classics Christensen's work National Endowment for the Arts to serve a constitutes a good portion of the repertoire of three-year term as a member of the prestigious Born in Portland. Oregon. Janne Clement the San Francisco Ballet and has contributed NEA Dance Advisory Panel. whose purpose is joined the San Francisco Ballet in 1976 follow­ greatly to the Company's unique reputation. to make recommendations to the National ing her early trai ning with Peninsula Ballet Some of his ballets are also part of the active Council on the Arts on applications for NEA Theatre and summer sessions on scholarship to repertoire of the New York City Ballet, thanks grants. the School of American Ballet. She has since to an exchange agreement between the two The 1976 Repertory Season brought the charmed audiences with her classical poise and companies. world premiere of Smuin's full-length Romeo energetic style in Beethoven Quartets, Songs and Juliet and Songs o f Mahler. Medea . a highly of Mahler, Concerto Barocco and in the role of Born in Missoula, Montana on Friday. October dramatic ballet based upon Euripides' violent the Bride in Souvenirs. 13,1938. M ichael Smuin has seemingly defied tragedy. was introduced in 1977. as was Scher­ the ominous portents of that unlucky birthdate. zo . a haunting expression of Gustav Mahler's At age 13. L aurie Cowden entered the San His destiny may have been cast when he saw his Fifth Symphony. Scherzo Movement. Francisco Ballet School as a Ford Foundation first ballet at the age of eight-a performance The SF B's 1978 Season saw the premiere Scholarship student from Oak land. Califor nia. by the Ba llets Russes de Monte Ca rlo. At the of Smuin's Mozart C M inor Mass . a dance cele­ She joined the Company in 197 1. adding the age of 14, Smuin was awarded a scholarsh ip to bration of the Kyrie and Gloria f rom Mozart's roles of Mirliton. Snow Queen and Rose to her the and there studied ballet great Mass which combines a massed choir of student roles in Nutcracker. Lead ing roles in • under . the founder of the 60 with up to 50 dancers on stage. Also pre­ Si nfonia, Moves, Gershwin and Stravinsky San Francisco Ballet. miered in 1978 was Smuin's Q.a V .. a tour de Capriccio for Piano and Orchestra have recent­ From . Smuin moved to force for four dancers with music by Verdi. ly brought her to the attention of critics as "a San Francisco in 1957 to further his balletic fast-rising young dancer whose talents have no education with Lew Christensen. William's apparent ceiling." Following her performance younger brother and director of the San Fran­ Bor n in Munich, . Damara Bennett as Princess Creusa in Medea . the San Francisco cisco Ballet. studied at the School of Amer ican Ballet follow­ Chronicl e described her as possessing "fire. wit, At the SFB. Smuin was principal dancer. ing her ea rly training with Lila Zali in Laguna charm. d rama. impeccable bravura and invin­ ballet master and resident choreographer when. Beach. California. She joined the San Francisco cible control." in 1962. he left for New York on a leave of ab­ Ballet in 1971 dancing in Serenade, II D is tratto, sence. During the next four years. he perfor med Symphony in C and. most recently. in Mobile Before joining the San Francisco Ballet in 1972. on Broadway. worked with the finest talents in and Mozart's C Minor Mass. T o comic and Allyson Deane performed with the San Fran­ the theatre. the dance world. and television and dramatic roles in Souvenirs and Romeo and cisco Opera Ballet and the Sacramento Ballet in formed a cabaret act with his wife, Paula Tracy. Juliet, she brings a lively imagination and ir­ her hometown of Sacramento. California. In an ABT soloist. For three years. the Smuins repressible energy. dramatic roles in Souvenirs, Filling Station and toured the world as "Paula and Michael"- a as a Street Dancer in Romeo and Juliet, the period which Michael credits as a great learning A native of British Columbia. M adeleine Sacramento Bee describes her as "dancing up a experience. Bouchard was a soloist with the Royal storm ... with grace and style." To her roles in In 1966. Michael Smuin became a mem­ Winnipeg Ballet before joining the San Francisco Sinfonia, Scherzo, Harp Concerto and Beethoven ber of American Ballet Theatre and, two years Ba llet in 1973. She has since given unparalleled Quartets, she brings-as the Honolulu Advertiser later. was named principal dancer. He won crit­ performances in leading roles in Harp Concerto, observed-"precise footwork and gorgeous ex­ ical recognition and praise for his appearances Souvenirs and Beethoven Quartets. Following tensions." in Billy the K id, Coppelia, Fancy Free, Gaite her•sensitive performances in Eternal Idol with her husband Attila Ficzere. Dance Maga­ Parisienne, M iss Julie, La Fille Mal Gardile, Les A San Francisco native. Nancy D ickson was Patineurs, Petrouchka and The River. zine said: "Feminity sweetens all her roles; she is gentle and modest. but her dancing has a a Ford Foundation Scholarship student at the During this time. Smuin also studied San Francisco Ballet School before joining the painting at the New York Students Art League rapturous quality that. in pas de deux. becomes an innocent sensuality." Company in 1973 and dancing leading roles in over a five-year period. Symphony i n C, Harp Concerto, Di vertissement As a choreographer. Smuin is recognized d'Auber, Nu tcracker, Songs of Mahler, Serenade as one of America's leading talents. It was his Born in Renton. Washington. Val Cani p aroli was a Ford Foundation Scholarship student at and A gon . The Ann Arbor News singled her out Pulcine/la Variations. the first ballet to be pre­ saying: "Dickson dances with both assurance sented at the new Metropolitan Opera House. the San Francisco Ballet School before joining and abandon and is thrilling to watch." In 1977 which f irmly established him in the nation's eye the Company in 197 3. He has also performed she toured South America with the Internation­ as a significant sou rce of fresh. refined choreo­ with the San Francisco Opera Ba llet, as a guest al Ballet of Caracas. where she worked with graphy. artist with Pacific Northwest Dance of Seattle both Alvin Ailey and Margo Sappington. and His early ballets. choreographed for ABT. and with Bejart's Ballet of the 20th Century. then joined American Ballet Theatre for their include The Catherine Wh eel, Gartenfest, Pul­ The combination of his dance training with two 1977-78 season. She rejoined the San Francisco cine/la Variations, Th e Eternal /dol and Schu­ years of acting training has helped to shape his Ballet in June. 1978. dancing in Songs o f Mahler, ber tiade. Many of these works are in the reper inimitable characterizations of the Gigolo in • Shinju, Concerto Barocco and Con Amore. toires ot such companies as the Royal Winnipeg Souvenirs . Thomas in La Fille Mal Gardee and Continued on next page ... Preservation Hall Jazz Band November 9, 1978 Duke Ellington Orchestra January 25, 1979 Count Basie and His Orchestra April 26, 1979

HOW TO ORDER: ,------$15 JAZZ SALE. ------Send a stamped, self-addressed envelope, your check Please send me _ _ subscriptions at $15 (regularly $25.50). made payable to BAM and this order form to: BAM I enclose my check, payable to BAM, for$ _ _ _ Box Office, 30 Lafayette Avenue, Brooklyn, N.Y. 11217. Your cancelled check is your receip t. For INDIVIDUAL PERFO RM ANCES. further information and group discount rates call Indicate the number of tickets for each performance and the (212) 636-4100. Program subject to change. No total dollar :unount. Tickets are $8.50, $6.50, and $4.50. refunds or exchanges. These performances are made Ticket Price Quantity Total possible in part with public funds from the New York Preservation Hall State Council on the Arts. Sale end s November 3,1978. Duke Ellington Count Basie 1 Name ______I Address------BAmBROOKLYN ACADEMY OF MUSIC 1 City·----- State------1 Phone( day) ------THE ARTISTS

... continued from previous page Capriccio for Piano and Orchestra. as Mac in Fille Mal Gardee, Firebird, Shinju, Gershwin Born in Oakland, California, Betsy Erickson Filling Station . Colas in La Fille Mal Gardee. and Con Amore. He became a full company studied at the San Francisco Ballet School be­ Goliath in David and Goliath and Jason in member in 1978. fore joining American Ballet Theatre in 1967. Medea , he brings both powerful technique and In 1972, she returned to the San Francisco explosive energy. As Goliath in David and Goli­ Following her training with Merriem Lanova • Ballet and soon established a reputation for the ath. one critic observed. "He provides classical and Benjamin Reyes. San Francisco-born Gina elegance and precision of her dancing in leading steps with a sol id corporality ... and swaggers Ness stud ied at the San Francisco Ballet School roles in Symphony inC, Serenade, Mozart's C with the arrogance of a young Brando." and Harkness House. She performed with Paci ­ Minor Mass, Beethoven Quartets, Songs of f ic Ballet in San Francisco before joining the Mahler, Tealia (both the stage and film produc­ Born in Kansas City, Missouri. John McFall San Francisco Ballet in 1972. In lead ing roles in tions). as the Snow Queen in Nutcracker. in the joined the San Francisco Ballet in 1965 follow­ A irs de Ballet, Q.a V. and Stravinsky Cappricio title role of The Ice Maiden and as Rosaline in ing a year with the San Francisco Ballet School. for Piano and Orchestra , in the title role in Romeo and Juliet The San Francisco Examiner As a dancer- described as "absolutely electric" Cinderella and as the Sugar Plum Fairy in has said "Erickson should be saluted in partic­ by the San Francisco Examiner - his credits in­ Nutcracker, she impressed the San Francisco ular for her admirably soaring flights and neat clude leading roles in Cinderella, Nutcracker, Examiner as possessing "great sweetness. sparkle landings. What a dancer! Her style is so absolute­ Mac in Filling Station and Benvolio in both the and a very clean technique." ly free of exaggeration." By another critic's stage and television productions of Romeo and description, "her dancing has the lapidary pre­ Juliet. His characterization of Alain in La Fille In 1970 Anita Paciotti came to the San cision of cut glass-cool and clear as crystal." Mal Gardee was a comic sensation. His choreo­ Francisco Ballet from the Oakland Ballet where graphic credits include Tealia (1973) which, in she received her early t raining. Distinguished for Attila Ficzere performed with the Budapest its film version was awarded the U.S.I A. Golden the dramatic authority and technical refine­ Opera Ballet in his native Hungary before de­ Eagle Award; Garden of Love's Sleep (1976). ment of her dancing, she has performed leading roles in Gershwin, Shinju, Serenade . the title fecting to the West and joining the floyal Win­ Beethoven Quartets (1977) and Quanta (1978). role in Medea , Lady Capulet in Romeo and nipeg Ballet in 1970. where he and his wife Juliet and Lise in La Fille Mal Gardee. Of her Madeleine Bouchard first performed in Michael From his first performance with the San Fran­ performance in Medea. the Sacramento Bee has Smuin's pas de deux, Eternal Idol. Since he cisco Ballet in 1976 as a Ribbon Candy Dancer said." Anita Paciotti's Medea is full of presence JOined the San Francisco Ballet in 1973, he has in Nutcracker. the "ever-amazing David and she dances ... w ith powerful definition thrilled audiences with his performances in McNaughton" (Sa n Francisco Chronicle) has and force." leading roles in , The Nutcracker, thnlled audiences with his technical virtuosity. Shi nju, Medea, Songs of Mahler and Scherzo. Born in Walnut Creek. California and trained by Born in Hungary. Zoltan Peter danced with In the role of Mercutio in Romeo and Juliet, his Anatole Vilzak and Lew Christensen at the San the Hungarian Opera Ballet. winning the 1968 performance has been described as "magnetic" Francisco Ballet School. he performed with the and "irresistible," "electrifying the stage at Oak land Ba llet for two years before joining the Bronze Medal in the Varna competition. In 1970 he defected to Germany and spent two every appearance." San Francisco Ballet. He has since earned per­ forming cred its in Medea, Gershwin, Divertisse­ years dancing with the Munich Ballet and the Bayerische Staatsoper. He moved to Holland Moscow-born Alexander Filipov trained and ment d 'Auber and Jinx and as David in David performed with the Kirov Ballet before joining and Goliath. He is married to Company member and joined the Dutch National Ballet in 1972 where he remained until joining this company American Ballet Theatre in 1970. He first per­ Evelyn Cisneros. in 1978. His classical cred its include leading formed with the San Francisco Ballet in 1974, roles in Giselle, , The Nutcracker, dancing the leading role in Don Juan and the Born in Tulsa. Oklahoma, Diana Meistrell Romeo and Juliet, Sleeping Beauty, La Baya­ role of the Cavalier in The Nutcrac.ker. After a performed with the New York City Ballet, Jot­ dere, Don Quixote, The Dream by Sir Frederick season with the Pittsburgh Ballet and an inde­ frey Ballet and Los Angeles Ballet before join­ Ashton, and Le Corsaire Pas de Deux. pendent t our of South America, he rejoined the ing the San Francisco Ballet in 1977. For her San Francisco Ballet in 1978 to dance featured performances in Serenade, Beethoven Quartets, • Born in Chicago, Roberta Pfeil performed roles in Stravinsky Pas de Deux, Divertissement Quanta and Stravinsky Capriccio for Piano and d 'Auber and Q.a V. The San Francisco Chronicle Orchestra. she has been described as "a very with the Illinois Ballet, the Ch icago Ballet and has called him "the personification of the Rus­ feminine. pure dancer." the Geneva Ballet before joining the San Fran­ sian high stunter, flashing in leap combinations." cisco Ballet in 1973. Described by one critic as Lynda Meyer joined the San Francisco Ballet having both a " long, strong look" and a "jazzy after studying at the Ballet's School on a Ford anack ... she has earned the credit deserved for Victoria Gyorfi joined the San Francisco Foundation Scholarship from Texas. To what her performances in Sinfonia, Beethoven Quar­ Ballet one year after coming to San Francisco the San Francisco Chronicle has ca lled "a geo­ tets, Concerto Barocco and Songs of Mahler. from Washington to study on a San Francisco metric perfection of position," she adds a sensi­ Ballet School scholarsh ip. She has charmed au­ tivity and versatil ity of characterization ranging Born in Wyoming, dancer-choreographer diences with her "crisp technique and fine sense from innocence to passion and aristocratic Tomm Ruud received his B. F.A. and M.F.A. of comic timing" in leading roles in Beethove n elegance. and has captivated audiences with her at the University of Utah while performing as a Quartets, Divertissement d'Auber, Quanta, portrayals of the Sugar Plum Fairy in Nutcrack­ featured dancer with Ballet West in Salt Lake Songs of Mahler. as Lise in La Fille Mal Gardee er. Beauty in Beauty and the Beast, the leading City. Since he joined the San Francisco Ballet and as the Sugar Plum Fairy in Nutcracker. She role in Cinderella and as Juliet in Romeo and in 1975, he has scored countless successes in is also a talented costume designer, credited Juliet. Her impressive list of cred its also includes leading roles in Serenade, La Fille Mal Gardi!e, with the designs for her choreographer-husband triumphs in leading roles in A irs de Ballet, Mozart's C M inor Mass and Beethoven Quartets. John McFall's Beethoven Quartets and Quanta. Serenade, Three and Q.a V. In The Ice Maiden . the Sacramento Bee des­ cribes him as "warm, open, handsome and Vivian Little joined the San Francisco Ballet Cynthia Meyers came to San Francisco from strong as the Groom,dancingwith lithe power." in 1978 after performing with Pacific North­ Seattle . Washington to study on a Ford Founda­ The San Francisco Chronicle found his Romeo west Dance in Seanle where she worked with tion Scholarship to the San Francisco Ballet "as much boyish and eager as it is poised and Melissa Hayden. and . School and joined the Company in 1971. Her aristocratic." As a choreographer. he has earned Her performance credits include La Fille Mal solo accomplishments include the role of the recognition for his Mobile, Metamorphoses and Gardee, Serenade, Con Amore and the role of Summer Fairy in Cinderella . the Third Theme Trilogy. As o ne critic remarked: " His ballets Arabian Coffee in Nutcracker. of Four Temperaments . the Second Movement tick with intelligent craftsmanship." of Symphony in C . the Snow Queen in Nut­ Before joining the San Francisco Ballet in 1975, cracker and a pas de deux in Beethoven Quar­ Tina Santos delighted audiences of the Massachusetts-born Susan Magno was for eight tets. The San Francisco Examiner described her Cultural Center Dance Company and Dance­ years a member of the Joffrey Ballet. Margo performance in Harp Concerto as a "marvel of Theatre-Philippine in her native Philippines Sappington's Weewis was created f or her and suppleness." before comi ng to mainland United States to the Joffrey. In leading roles in Songs of Mahler, join the Harkness Ballet. A member of the San Romeo and Juliet, Nutcracker, The Ice Maiden, A San Francisco native, John Mourelatos is Francisco Ballet since 1913, she has given stun­ Serenade, Stravinsky Pas de Deux and Gershwin, one of the first SFB male dancers to have come ning performances in lead ing roles in Q.a V., she caught the attention of the Los Angeles '\Jp solely through the SFB School and into the Moves. and Shinju , a tragic love story in which Times which described her as "all speed. power Company. He studied at the SFB School for ten she is partnered by her husband. Gary Wahl. In and charm." years as a scholarship student and worked as a consideration of these performances and ap­ company apprentice for the 1977-78 season. pearances in Souvenirs, Gershwin and Scherzo, • Dennis Marshall received his early training in His appearances with the SFB began w ith the one critic has said: "Santos is quite a bit more Texas, joined the American Ballet Theatre in Nutcracker roles of Fritz, the Prince and Spa­ than a top-flight dancer; she's a theatrical force. 1972 and the San Francisco Ballet in 1976. To nish Chocolate. As an apprentice, he appeared She possesses an exceptionally rare trar~icdimen - leading roles in Three, Q.a V. and Stravinsky in David and Goliath, Serenade, Trilogy, La Continued on next page ... •

_.There's Neur Life iuBroo :''

It' s an exc1t1ng rev1val. and 1t ' s growmg Brownstone In response to the growmg back-to-the-c1ty movement that neighborhoods are tak1ng on a bnght, upbeat look as restoration began several years ago, commun1ty leaders requested Brooklyn efforts by enthusiastiC new homeowners brmg to l1fe the long­ Un1on to prov1de a facil1ty where people could obtain mformat1on lost beauty of the1r brownstone houses They know you won' t about ownmg and renovat1ng a brownstone house Our answer fmd the pamstakmg craftsmanship of brownstone architecture was the Brownstone lnformat1on Center It's part of our 10-year­ anywhere else today It' s a lost art But, you can recapture 1t m old Cmderella restoration program that has been spurring the the brownstones of Brooklyn that ex 1st today Un1que class1c reb1rth of Brooklyn shapes and forms from rooftops to stoop railmgs that say, ' 'I'm Itself a restored brownstone. the center prov1des a non-profit one of a kmd " Spac1ous 1ntenors that offer endless poss1bil1t1es serv1ce 1ncludmg mformat1on on current brownstone availabili­ for creat1ng your own part1cular " dream house " W1th the ties. where and what to look for, how to arrange fmancmg, conven1ence of 1n-oty l1 v1ng remodelmg techn1ques, and the pos1t1ve advantages that make a Interes ted? brownstone home so conduc1ve to grac1ous livmg Then. let us g1ve you a l1ttle background about the place you So . even 1f you ' re JUSt th1nk1ng about buymg a brownstone, can v1s1t to f1nd out everythmg you want to know about ownmg a v1s1t the center for an InSight mto a rewardmg way of life Start brownstone by callmg for an appomtment today

THE BROWNSTONE INFORMATION CENTER 93 Prospeet Plaee Call Carol Leshner, 643-4293 0 Bro:~:~··~·~ion Gas THE ARTISTS

... continued from previous page in solo roles in Songs of Mahler and Divertisse­ A native of New Jersey. Diana Weber JOined sion and. surprisingly, she's brilliantly hammy ment d 'Auber as "delightful and spark ling." the San Francisco Ballet in 1973, after perform­ in comic roles." Another critic gave the following description. ing as a soloist with American Ballet Theatre. "Earthy and ingenuous ... she romps f reely. Deceptively fragile-looking, she brings a solid with such apparent ease that it masks the accu technique to leading roles in Divertissement • Born in Pasadena. California. Don racy and precision of her movements." She is d 'Auber, Serenade and Scherzo. and dramatic Schwennesen first studied classical ballet as a married to Company member Vane Vest. sensitivity and depth to the roles of Lise in La university undergraduate. He came to San Fran· Fille Mal Gardt!e and Juliet in both the stage cisco to study at the San Francisco Ballet "Professionalism and precise. elegant dancing" and television productions of Romeo and Juliet. School,joining the Company in 1976. A strong describe Paula Tracy's performance in fea­ The Los Angeles Herald Examiner described her partner and powerful dancer, he has since given tured roles in Mozart's C Minor Mass, Songs of performance: "A Juliet of appealing innocence memorable performances in Sinfonia, Moves, Mahler, Shinju and Filling Station. Following and ardent conviction. she is also a dancer of David and Goliath and Mozart's C Minor Mass. her early training at the San Francisco Ballet rare lyric sensibilities. one who can embody the School and performance with the Company. role's wispy pathos." The San Francisco Chro­ In 1975, Jim Sohm. a native Californian. she appeared on Broadway in No Strings, in Mel nicle ventured to say that she "may be one of JOined the San Francisco Ballet after two years Brooks' film. The Producers and on nightclub the finest lyric dancers in the country today ... with the Oakland Ballet and early training with stages with her husband Michael Smuin. She strong, technically and dramatically." Tricia Kaye in the San Francisco Bay Area. To performed as a soloist with American Ballet his roles in Souvenirs, Agon and Mobile. he Theatre for seven years before rejoining the San Dancer/choreographer Jerome Weiss' early adds the role of Romeo in both the stage and Francisco Ballet in 1973. Her son. Shane training included both classical ballet and mo­ television productions of Romeo and Juliet. in Michael Smuin, has appeared with the Com­ dern dance at the Juilliard School w ith Jose this role. the New York Post described him as pany in The Ice Maiden, Peter and the Wolf and Limon and at the School. Born dancing "handsomely. partnering with strength. Romeo and Juliet . in Miami , he performed with the Miami Ballet, and all in all showing the first makings of a the Atlanta Civic Ballet. the Nederlands Dans major dancer." Theatre and the Harkness Ballet before joining Born in .Vane Vest received his early the San Francisco Ballet in 1973. He brings Born in St. Paul. Minnesota. Robert Sund training in Denver. Colorado, with Larry Boyett. what one critic described as an "electrifying began his dance training at the age of 16 at the He joined the San Francisco Ballet in 1972 presence" to a variety of roles in Con Amore, Andahazy School in the Twin Cities. He went after four years with American Ballet Theatre. Shinjii, Medea, Trilogy, II Distratto and Romeo on to the American Ballet School as a scholar­ A sensitive partner and strong class ical stylist in and Juliet , and to the ro les of the Motorist in ship student and studied with Stanley Williams. leading roles in Nutcracker, Symphony in C, Filling Station and Alain in La Fille Mal Gardee. In 1975, he joined Pacif ic Northwest Ballet Songs of Mahler and as Romeo in Romeo and As a choreographer he has delighted audiences where he worked with Melissa Haydn, Todd Juliet, he inspired one critic to say: "Vest with his vivid imagination for comedy-with his Bolender and Janet Reed. He became an appr~n­ knows how to make his partners look good: spoof, Peter and the Wolf, and for psychologi­ tice w ith the SF B in 1977 and has appeared in with great subtlety. skill and modesty. he plays cal drama with his ba llet Orpheus. Romeo and Juli et as Rosaline's guard, Shinju, black velvet to the ballerina's diamond." He has Songs of Mahler, Jinx, Filling Station and also delighted and surprised audiences with his Born in Pittsburgh. Pennsylvania, Deborah Quanta. He became a full company member of comic portrayals in Souvenirs and Filling Sta­ Zdobinski received the basis of her formal the SFB in 1978. tion ; of his performance as the Widow Simone t raining in Buffalo. N.Y.. with Kathleen Crofton. in La Fille Mal Gardt!e . the Guar­ During that time, she was coached by Bronislava Michael Thomas received his early training at dian said, "he showed the same kind of three­ Nijinska in the role of the Hostess in Les Biches the School of American Ballet and Harkness dimensionality and warmth as his illustrious for performance at Jacob's Pillow. Before join­ House before joining the Stuttgart Ballet. where predecessor (Stanley Holden)." His versatility ing the San Francisco Ballet in 1974, she danced he worked under the direction of John Cranko. prompted one critic to describe him as "the in Belgium. Germany and Portugal and for one • and Les Grands Ballets Canadiens. In 1973 he kind of dancer a company can be built around." season with the San Francisco Opera Ballet. Her returned to his native California to join the San He is married to Company dancer Elizabeth sleek classica l lines in Mobile, Moves and Songs Francisco Ballet. In 1977. dur ing a nine-month Tienken. of Mahler provide an interesting contrast to the leave of absence. he performed with the Dutch comic style of her role as the Vamp in Souvenirs. National Ballet in Amsterdam. For his perfor­ After his early training in Portland. Oregon. Gary Wahl joined the Hark ness Ballet and. in mances in San Francisco Ballet productions of Jamie Zimmerman. a native of Portland, 1973, the San Francisco Ballet. A favorite with Agon, Airs de Ballet, Four Temperaments. and Oregon. began her classical training at the age of audiences, he combines a powerful technique for his exceptional performance as the Bird in and continued her studies in San Jose, Cali­ and commanding presence in leading roles in 3Y.. Bejart's Firebird. crit ics have praised his "stun fornia, with Dimitri and Francesca Romanoff. Nutcracker and Songs of Mahler. in the role of ning virtuoso style, great strength, agility and She also studied .in Washington. D.C .. Hunts­ the Samurai in Shinju dnd as the hot-blooded stamina. intensity and heroic quality." ville, Alabama, and Bern. Switzer land. Before and imperious Tybalt in Romeo and Juliet . His joining the San Francisco Ballet in 1977. she performance as the Bird in Firebird has been Born in San Francisco, Elizabeth Tienken performed with the San Jose Dance Theatre. described as "compelling-dynamic, intense, studied with the San Francisco Ballet School Her performance credits include Concerto hypnotic." He is married to Company member before joining the Company in 1973. The San Barocco, II Distratto, Quanta and the role of Tina Santos. Francisco Chronicle described her performances Mirliton in Nutcracker. ORCHESTRA

Denis deCoteau Second Violins Flutes Trumpets Music Director and Conductor Ruggiero Pelosi, Principal Larry Duckles, Principal Charles Metzger. Principal Judith Sloss James Moran Skip Wagner Jean-Louis LeRoux Patricia Van Winkle Trombone$ Conductor Oboes Violas William Banovetz, Principal Hall Goff, Principal Alexander Horvatn Adrianus Stenzen, Principal Marilyn Coyne Steven Kohlbacher Orchestra Manager Miriam Dye John E. Williams, Bass Trombone Susan Bates Clarinets Alfred Loeb, Principal Tuba The Performing Arts Orchestra of Celli James Dukey John Stevens San Francisco is the official or­ Richard Eade, Principal chestra of the San Francisco Ballet. Nancy Stenzen Bassoons Timpani V ictor Fierro Carla Wilson, Principal Danny Montero Violins David Bartolotta Roy Malan, Concertmaster Double Bass Percussion Jeffrey Levine, Principal David Rosenthal First Violins French Horns Steven D'Amico Frank Donaruma, Principal Jeanne Marvin Eric Aichen Alexander Horvath Piano • Catharine Dennis Margaret Tyson Eugene Babo Terr i Sternberg Brian McCarty Clifton Foster SAN FRANCISCO BALLET

The San Francisco Ballet i ~ supported in Lloyd's Bank of California The San Francisco Ballet Association s part by gran ts frorr The Nat iorral Endow­ Security Pacific National Bank proud of ts ontribution to the Dan :e ment for the A rts in Washington, D.C., a Union Bank Profess1on through its acfve membership Federal Agency, the California Arts Coun­ United California Bank in: The Association of A merican Dance ci l and the Publicity and Advertising Fund Wells Fargo Bank Companies, American Arts Alliance; Cali­ of the City of San Francisco. San Francisco Foundation fornia Confederation of the Arts; Ca ifor­ Shaklee Corporation nia Associat ion of Dance Companies; San The San Francisco Ba ll et Association also The Shubert Foundation, Inc. Francisco Bay Area Dance Coalition; gratefully acknowledges generous contri­ SY NT EX (USA), Inc. Greater San Francisco Chamber of Com­ butions from the following Corporate and A llen S. Taylor Foundation merce, Performing A rts Services, Inc .. and Foundation Patrons and Benefactors: Touche Ross and Company San Fra ncisco Convention and Visitors Town and Country Village Bureau. Amencan A irlines T ransamerica Corporat ·on AMPEX Corporation United States Leasing International, Inc. Arcata National Corporation Utah International, Inc. Atlantic Richfield Foundation Western A irlines Bechtel Foundation Wilbur-Ellis Company California Jockey Club Foundation Arthur Young & Company Carter Hawley Hales Stores , Inc. The Zellerbach Family Fund Great Group CBS, Inc. Anonymous Chevron , U.S.A., Inc. Crocker National Bank Discounts Crown Zellerbach Foundation Attractive discounts are ava il­ Del Monte Corporation ab le for groups of 20 or more. Dinwiddie Construction Company For information, call our Dolby Laboratories Group Sales Representative, Dunhill International Embarcadero Center Marci Garber, at area code EXXON Corporation (212) 636-4126. Fidelity Savings and Loan Associ ation Fireman's Fund American Foundation Mortimer F leishhacker Foundation BAm Ford Foundation Foremost-McKesson Foundation, Inc. t The Gamble Foundation William G. Gilmore Foundation Golden Grain Macaroni Company The Hagen Group William Randolph Hearst Foundation IBM Corporation William G. Irwin Charity Foundation Levi Strauss Foundation Louis R. Lurie Foundation Macy's of California I. Magnin and Company Marelich Mechanical Co. , Inc. Mcinerny Foundation The Andrew W. Mellon Foundation National Corporate Fund for Dance, Inc. Paci fic Gas & Electric Company The David and Lucille Packard Foundation Potlatch Corporation Retail Dry Goods Assn . of San Francisco The Emporium Lane Bryant Liberty House Livingston Brothers Macy's I. Magnin and Company Joseph Magnin Roos/Atkins Saks Fifth Avenue Revlon San Francisco Ballet Assn. Auxiliary BROOKLYN ACADEMY OF MUSIC San Francisco Clearing House Assn. Tickets: $8.50, :t>6.50, $4.50 I Bi!nk of America ~ Bank of Montreal Available at Box Office (636-4100) or Chargit (239-7177) California Canadian Bank SUNDAY, NOVEMBER 19-3:00 P.M. SAN FRANCISCO BALLET

OFFICERS Assostant E lectrocoans Advertising Associate Chairman of the Board Hugh Byrne, Lawrence Poggett1 Jane Lochne Ph1 1p S Schlein Fly man Marketing Assistant President M1chael Willcox Thorn Weyand Ri chard E. LeBlond, Jr. • San Francosco Ballet sound system courtesy of Public Relations Manager Chairman of the Executive Committee ESS Inc. JoAnn Dnscoll Wayne L. Prim COSTUME DEPARTMENT Public Relations Associate Vice President and Treasurer Costume Supervisor Nancy Steele Judson W. Goldsmith Patricia Bibbins Public Relations Assistant Voce Presodent and Assistant Treasurer Wardrobe Master Ann M. Wallace R1chard J. Olsen Read Gilmore Community Relations Manager Voce President Costumer Harrison Cromer"" Mrs. G.W. Douglas Carver Patncia Gast Polen Communoty Relations Assistant Vice President Laura H. Leivi ck ADMINISTRATION Rudolph W. Driscoll School Program Classroom Instructors President and General Manager Vice President R :hard E. LeBlond Jr. Ruth Bossieux, Wendy Greene George B. James Associate General Manager Vice President Ph l1p Semark Receptionists James J. Ludwig L1sa Takeyama, Tzivia Stein Admmistratove Assostant V oce President Peggy Takeyama Artistic Secretary Stephen Zellerbach V1rginia R1ddle Secretary V ice President and A ssistant Secretary Guy Nickson MUSIC DEPARTMENT Mrs. John R. Upton Controller M usic Director and Conductor Secretary 0. Robert Conkey Den1s deCoteau Mrs. Derk R. TeRoller Accountant Conductor Controller Diana Dubash Jean-Louis LeRoux 0. Robert Conkey Development Manager Orchestra Manager PRODUCTION DEPARTMENT Joseph C. Hartney Alexander Horvath Productoon Manager Development Fellow Company Poanist • Parker Young Thomas Crail* Eugene Babo Stage Manager Development Secretary The Performing Arts Orchestra of San Francisco S. Randolph Post Carmen Hermida is the official orchestra of the San Francisco Ballet. Roy Malan, Concertmaster. Master Carpenter Marketing and Publicity Manager M1chael Kane Valerie Kosorek Master E lectncian Booking and Tour Manager James D1ckson Dennis Rumsey • National Fellow in Performing Arts Master of Properties Marketin9 Assocoate Management Robert K1rby R 1chard Bernstein • * On leave

THE SAN FRANCISCO BALLET SCHOOL Do rector Assostant to the Dorector School Administrator R1chard L Cammack Deborah Hess Caroline B. Krieger

Faculty Chnsune Busch, Richard L. Cammack, Zola Dishong, Chr1st1ne Benng Glimidak1s, Larry Grenier, Zelda Mortimer, Susan Parry, Mary Ruud, Sally Streets, Marlene Fit;patrick Swendsen, Anatole Vilzak

The San Franc1sco Ballet School, the off1cicll school of the San Francisco Ballet, IS a non-profit organization concentrating on superb class1cal tra1nmg and appreciation of ·Jance as an art form. The School shares its prem1ses w1th the San Francisco Ballet Company, prov1ding a constant source of inspiration to the developing dancer The Company serves as a showcase for qraduates of the San Franc1sco Ballet School. From its inception in 1933, the San Francisco Ballet School has produced dancers who have ach1eved International status in other dance companies both in the U.S.A. and abroad . This is due to the unique strength of the School's faculty, which is comprised of dancers with extensive performing and teaching experience. The School offers one of the most extensive programs available. Class levels range from the Threshold Division, geared for children aged f1ve through seven, through the Student D1vision, where a carefully structured syllabus of n1ne levels takes a beginning ballet student through to a professional level. An audition IS requ1red for acceptance 1nto the Student Division. Morning and evening classes are held for begmnmg, mtermed1ate and advanced adult students.

The San Francisco Ballet Association is a non profit organozation and is the legal corporate entity for the San Francisco Ballet School , 378 · 18~t. Ave., San Francisco, CA 94121 (415) 751 2 141. Pennsy:lvania Ballet. Coppelia. An exclusive New York Premiere engagement November 21 - 26 in the Opera House.

Date Time Tue, Nov. 21 7:00pm Wed , Nov. 22 8:00pm Fri, Nov. 24 2:00pm Fri, Nov. 24 8:00pm Sat, Nov. 25 2:00pm Sat, Nov. 25 8:00pm Sun, Nov. 26 2:00pm

Tickets: S8.50, 6.50, 4.50 Charge to credit cards (212) 239-7177. Tickets available at BAM Box Office, A&S Brooklyn, Bloomingdale's 59th St. and B'way's Edison Theatre. " Foodstuffs", Manhattan Express Bus Service and at tended parking ava ilable. For ticket information and Express Bus Sched ule call (212) 636-4100. t Illustration by Jose Varona BAm THE BROOKLYN ACADEMY OF MUSIC THE BROOKLYN ACADEMY OF MUSIC

Tile Brooklyn Academy is owned by the C1ty Congressman Fred R tchmond Mr & Mrs Wtlliam Briggs o· New York The Brook yn Academy of Mus< Brooklyn Savtngs Bank Executive Producers qriltefully ack now edges the support of the Na Cynthta Brown tionill Endowment for the Arts, the New Yor~ (51 ,000-2,4991 State Council on the Arts. and :he Department George Buckhout • ot Cultural Affa1rs of •he City of New York. 1n Ben,am n & EliLabeth Abrams Camperdown Elm add tion the Bodrd of Truswes wishes to thank Foundatton, Inc. Capezio Foundation the kllowinq c.orpordtlons, foundations and Anchor Savings Bank Edward M. Carey private individu<~ls who. through their leader Avon Products Foundation, Inc. ship and support. help to make these programs Mr. & Mrs. John Chancellor possible. BAM Sponsors James M. Clark Coca-Cola Bottling Co. of N.Y., Inc. Francis & Agnes Coleman Fund Pacesetters Arthur Cohen Wtlliam R Coleman ($10,000 and more) Constans Culver Foundation Colt I ndustrtes. Inc Ache s Foundation Marie Chr stophe de Menil Ann E. Cooper Bodman Foundation Doll Foundatton, Inc. Cowles Charitable Trust Booth Ferns Foundation East New York Savings Bank Culbro Corporation Louis Calder Foundation Mallory Factor Annette E. Davidson City of New York Gilman Foundation, Inc. Dime Savings Bank of Williamsburgh Robert Sterling Clark Foundation. Inc. Henry L. Goldberg Foundation Thomas H. Dixon Friends of BAM Goldman Sachs Fund Robert Downey Fund Alex Hillman Family Foundation W.R . Grace & Company Michael Dunn J.M. Kaplan Fund, Inc. Greenpoint Savings Bank Lewis Etsenberg Andrew W Mellon Foundation Irving One Wall Street Foundation Emil & Kobrtn Henry & Lucy Moses Fund, Inc. Johnson & Higgins Rtchard Enquist National Endowment for the Arts Nancy Huggin Equitable Federal Savings & Loan New York Community Trust I. Stanley Kriegel S. Escuadra New York State Council on the Arts Phyllis Lichtenstein Estate of Sadie Finkelstein Edward John Noble Foundation Lincoln Savmgs Bank Margaret Fischer Rockefeller Brothers Fund, Inc. Samuel H. Ltndenbaum Mr. & Mrs. Harold L. Fisher Helena Rubinstetn Foundation, Inc. Luci lie Lortel Flushing Savings Bank Emma A. Sheafer Chart table Trust R.H. Macy & Company, Inc. Michael V. Forrestal Schlumberger Homons, Inc. Maya Corporatton Ernst & E lfriede Frank Foundation, Inc. Shubert Foundation, Inc. McGraw-Hill, Inc. Doris C. Freedman Surdna Foundation, Inc. Metropolitan Life Insurance Company Freeport Minerals Company Theatre Development Fund Inc. New York Telephone Company Fried, Frank, Harris, Shriver & Jacobsen Arne Vennema Alice Holbrook Platt Friedman Fund • Benefactors RCA Gage & Tollner ($5,000-9,999) Reader's Dtgest Foundation Mr. P. George Abraham & Straus Rockmeadow Foundation, Inc. Gilmour Foundation American Express Foundation Richard Rodgers Robert D. Graff Bankers Trust Company Starr Foundatton Greater New York Savings Bank Brooklyn Union Gas Company William Matheus Sullivan Musical Edward F. Greene Chase Manhattan Bank Foundation, Inc. Myra M. Gregory Citibank Time, Inc. Fred Gretsch Consolidated Edison Co. of New York, Inc. Mtchael Tuch Foundation Hardy Holtzman Pfeiffer Charles E. Culpepper Foundation, Inc. Union Carbide Corporation rlarman Family Foundation Arthur D. Emil Williamsburgh Savings Bank H. Hauser Independence Savings Bank Mr. & Mrs. Robert W. Wilson Foundation Helen Hayes IBM Corporation Producers June Hillman Mobil Foundation. Inc. ($100-999) Stephen Hoffman Morgan Guaranty Trust Company ADT Securtty Systems Arthur B. Hooker Needmor Fund AFL·CIO DC 37 IATSE ~Jew York Times Co. Foundation, Inc. Able Century Seattng Company Janice Jaidi Simarka Run Foundation Accurate Building Inspectors Charles M. Johnson Ltla Acheson Wallace Fund No. 2 American Air I ines Wi ll iam Josephson & Joan Bieder Junior League of Brooklyn, Inc. Patrons American Savings Bank Stephen D. Kahn ($2 ,500-4,999) American Stock Exchange Robert Keefe Amy as Ames American Telephone & Telegraph Co. Bonnie Kleinberg Amstar Corporation Chemical Bank Arthur Lapovsky Elaine A. Anderson Dtme Savings Bank of New York Bi ll Liberman Mr. & Mrs. Peter W. Asher Exxon Corporation Joseph Machl is Ba rclays Bank International Ltd. Francis Goelet MacMillan Foundation Mrs. Morton Baum ITT Corporation Edward T. Maher Julian Beaderkopt Manufacturers Hanover Trust Company Mr. & Mrs. Mtchael Maney Walter Beer, Jr. Franklin H. Moore James S. Marcus Foundation Rebecca D. Bernstein Mulber Fund Myron Mayer Harvey Btrnbaum National Opera Institute Edward P Maynard • Ltllian Boehm Foundation Joseph M. Patterson Charitable Foundation Neal A. McCarroll Pftzer Inc. Mr. & Mrs. Joseph W. Bostic, Sr. Prospect Hill Foundation, Inc. Leonard Braun Cont inu ed o n next p age . . . THE BROOKLYN ACADEMY OF MUSIC

... continued from previous page The Brook yn Academy of M JSi• . In IS 'l non profit organiLation. Dr. & Mrs. McCoy ' Board of Directors Jar-res McGoarty Hon. Edward I Koch and Hon. Ho -var I G den, H Jnorary Cha1rrren/Kenneth S. RosPP, Richard Menschel Robert Menschel Chairman-on-leave Leonard Garment, Ac.unq Chairman/Anthony Scotto, V1ce Cha1r man/Harvey Lichtenstein, Presicient and Ch1ef Execut1ve Officer/Harry W. Albright, Jr I Eugene Mercy. Jr. Henry 81ng, Jr./Neli Chrisman/Charles M. Diker/Mallory Factor/Harold L. F1sher/Aian Metropolitan Savings Bank B. Gilman/ Rita Hillrnan/S1dney Kantor/!. Stanley Knecwi/Sarnuel H. Lindenbaum/ John Moran Eugene H. Luntey/ Donald E Moore/ E'velyn Ortner/ Cynthia Peltz/ Williarr Tobey/ Franc1s J. Mugavero Arne Vennema/Sanford J. Zm rnerrniln/John E. Zuccott1/Members ex offiCIO Muller-Martini Mrs. B. Newman Cornm. Henry GE' I ·ah'er 'Howard L Lewis Robert Ol1ver Officers Our Lady of Mercy Church Harvey Ll< hten eon President and Ch1ef Executive 0"1cer Parkway Democratic Club Judith E Dilyk 1n Executive Vice President and Gener.JI Manaqer W1llram H. Parry Shar0n A upert Vire President and Treasurer Henry A Young, Jr. Vic:e President for Planning Donald Petrie Donald KrintLman Vice President for Marketing Phi Iharmonic Society of Brook lyn and Project Development Harold Prince Administrative Office Staff Prudential Savings Bank Ruth Goldblatt Assistant tc the President Mr. & Mrs. Arthur J. Radin Toby Mailman Assistant to the General Manager Mary Rarnond Susan Spiegel Sam Sweet Robert J. Rav1tz Finance Rentar Development Corporation Steve Dennin. John Howland, Pearl Light. Rose Rauch, Marcus Smith Republic Nat onal Bank Promotion Roman Catholic Diocese of Bklyn John Howlett Senior Press Representative Byron Rose Joy Waller Art Director Robert & Judith Rubin Fund Virginia Sanders Advertising M.1nager M1kki Ankhra Community Relations Coordinator Lew1s Rudin Marci Garber Haw.lwini Direct Marketing Manager AI Rugg1ero Phil1p Rinaldi Press Representative Phil Sahn Associates Paul Knlnik Official Photoqrapher R .J. Scheuer Charles E. Z1ff Press and Marketong Consu tant Paul Vega Alice Ashmead. Geneva Alvaret Shirley Jones, Yvonne Bandy Denis Azaro. Lyd1a Hatton Peter Schickele J. Henry Schroder Bank & Trust Co ... Planning Helene Schoenberg Andrea Walton Assistant to the Vice President 'W' Victoria Brand Development Officer Seatrarn Lines. Inc. Ray SchwartL Mr. & Mrs. Daniel Seymour Production May G Shand low Malcolm J Waters Production Milnager Carole Shelley William M1n!Ler Lighting Consultant to BAM Jud rth Shepard Sal Rasa Assistant Production Manager Mrs. G.B. Short & the 4th Grade Lisa Baumgarten Production Assistant Mart1n Green Crew Chief Constantine S1damon-Eristoff Robert Sniecinsk1 Wardrobe Supervisor Lawrence Sills 8cmard Gilmartln.Nuuman Gr,ffin, John Fuller. Howard Larson. Patrick McDonald, Leonardo Raphael Mrs M. Silverman Donald Riordan . Cy Similly, Jr .. Ernest Southerland Herbert Slater Special Projects f'c..trick Smith Martha McGowan Director Edward W. Snowdon, Jr Theatre Management Soroptim1st Club of Brooklyn Jc hn J Miller Theatre Manaqer Mr. & Mrs. Paul J. Sperry Leonar•J Nat man Assistant Theatre Milnager Sperry & Hutchinson Building Management Henry J Stanton Stan Mong1n Building Manager JaneS. Stern Norman MacArthur Assistant to Building Manager Ronald Spiegel Parking Facilities Supervisor C.R. Sull1van Leonard Abbruscato. Steven Calamucci. James Carter. Yahue Cooper. LaZlaro Curato. Dav1d Tetger Nicholas Curato. Ray Dorsa. Donald Farr, Frank Favata. Rosalie Ferrell Peter Dale. Ronald Grant James Ttmmons Bernard Lawrence. Gregory Lombardi. Joseph Mattera, Daryl Miles. Walter Robinson Joshua Self. Will1arn Tobey Robert Shaplo. James Victor. Robert Wells AI ce Tully Box Office Untted States Filter Corporation Daniel J. Sui ·van Bo>. Offi~e Treasurer Robert Vadhe1m Saheed Baksh M1chae1 Glassman Vesna Corporation Beverly Hand Vtceroy Sportswear I Children's Program Thomas Waber Betty Rosendorn Children's Program Manager Martha Watts Rae Lesser. Hessie McCollum. Sarah Walder. Margo Abbrus a to. Gladys Singletary S.H. Weidenfeld Food and Beverage Service Western Electirc Fund .A F ldst Jffs Ra.ph Lupol1 Caterers Dr & Mrs. Arnold Winston • Bever.Jge Serv1ce Theatre Refreshments. Inc Lu a Woods Margaret Woolbridge R1chard Yancey The Brooklyn Academy Building is owned by the C1tv of New York and funds for 1ts ma1ntenilnce .1re adm1n1stered by the Department of Culturdl Affa1rs. Henry G~·ldLahler. Commissioner, Henry A. Young, Jr Janet Langsam. Deputy CommiSSioner. Edw

• There's only one plaee in Brooklyn... where you'll find the convenience of an enclosed, climate-controlled shopping mall . It's Kings Plaza. Here you'll find Macy's, Alexander's and 140 other great shops and services, all under one roof. Kings Plaza is easy to get to. We're at Flatbush Avenue and Avenue U, just 1/ 2 mile north of Belt Parkway Exit 11N. And there's always plenty of free parking in our enclosed, multi-level garage. Come on over!

BROOKLYN'S ONLY ENCLOSED MALL Flatbush Ave & Ave U • Belt Parkway Ex1t liN SHOPPING HOURS Mon ·Sat I OAM-9 30PM •• SUNDAY NOON-SPM Plenty of free parkmg 1n our mult1·level garage '"'' • ....,. - ~h· \ \ \ ~\!~' \ ~{,~

I ~ Jlt~ I II

- \ \ ~ l \ J

YOUR MONEY GROWS LIKE MAGIC AT THE

THE DIME SAYINGS BANK OF NEW YORK ...., ... &ft•Ot<

MANHATIAN • DOWNTOWN BROOKLYN • BENSONHURST • FLATBUSH CONEY ISLAND • KINGS PLAZA • VALLEY STREAM • MASSAPEQUA HUNTINGTON STATION