Six Hundred Ninetieth Program of the 2007-08 Season ______________________________ Indiana University Ballet Theater presents A Night at the Opera (at the Ballet) Les Patineurs Choreography by Frederick Ashton Music by Giacomo Meyerbeer Staged by Helen Starr Set and Costume Designer, William Chappell Sets and Costumes courtesy of Canada’s Royal Winnipeg Ballet Inouï Rossini New choreography by Violette Verdy Music of Gioacchino Rossini Lascia la Spina, Cogli la Rosa Choreography by Sasha Janes Music by George Frideric Handel Amanda Russo, Mezzo-Soprano Walpurgisnacht Choreography by George Balanchine ©The George Balanchine Trust Music by Charles Gounod Staged by Deborah Wingert Jeffrey Cook,Guest Conductor Patrick Mero, Lighting Designer __________________ Musical Arts Center Friday, March Twenty-First Saturday, March Twenty-Second Eight O’Clock music.indiana.edu Les Patineurs (The Skaters) (1937) Music by . Giacomo Meyerbeer (arr . and orchestrated by Constant Lambert from Le Prophète and L’Étoile du Nord) Choreography by Frederick Ashton Staged by Helen Starr Ballet Mistress, Stephanie Tuley Entrée . .Samantha Benoit, Juliann Hyde Pas de Huit . Colleen Anthonisen (3/21)/Danielle Dyson (3/22), Caitlin Kirschenbaum, Grace Reeves, Jessica Schachne, Vincent Brewer, Tom Penman (3/21), Ben Delony (3/22), Pablo Sanchez, Benjamin Warner Variation . Paul Dandridge Pas de Deux . Ashley Thursby & Anton LaMon Ensemble . Samantha Benoit, Juliann Hyde, Ashley Thursby, Demetria Schioldager, Jennifer Sherry, Paul Dandridge, Anton LaMon, with the Pas de Huit Pas de Trois . Samantha Benoit, Juliann Hyde, Paul Dandridge Pas des Patineuses . Demetria Schioldager, Jennifer Sherry Finale . Ensemble Projection Art by C. David Higgins Set and Costume Designer William Chappell Sets and Costumes courtesy of Canada’s Royal Winnipeg Ballet By arrangement with Boosey & Hawkes, Inc., publisher and copyright owner Intermission *61)*-)"3.0/*$ 0 3 $ ) & 4 5 3 " -FPOBSE4MBULJO $POEVDUPS .JDIFM$BNJMP $PNQPTFS1JBOJTU '3&&*6"6%*503*6.46/%":."3$) 1. Inouï Rossini (World Première) Music of . Gioacchino Rossini (taken from Otello) New Choreography by Violette Verdy Ballet Mistress, Doricha Sales Opening Carly Baum, Caitlin Kirschenbaum (3/21)/Juliann Hyde (3/22), Grace Reeves, Demetria Schioldager Vincent Brewer, Tom Penman (3/21)/Daniel Morales (3/22), Pablo Sanchez, Ben Warner March 21: Lauren Collier, Anja Hoover, Lucia Jimenez, Megan Liberty, Heidi Satterthwaite, Lacy Simpson, Elaine Sinclair, Mary Wroth March 22: Ava Chatterson, Kelsey Dick, Emily Grimshaw, Heidi Satterthwaite, Kate Schroeder, Elaine Sinclair, Alison Trumbull, Mary Wroth Anton LaMon, Elliot O’Glasser Adagio Carly Baum, Caitlin Kirschenbaum (3/21)/Juliann Hyde (3/22), Grace Reeves, Demetria Schioldager Vincent Brewer, Tom Penman (3/21)/Daniel Morales (3/22), Pablo Sanchez, Ben Warner Jumping Girls March 21: Lauren Collier, Anja Hoover, Lucia Jimenez, Megan Liberty, Heidi Satterthwaite, Lacy Simpson, Elaine Sinclair, Mary Wroth March 22: Ava Chatterson, Kelsey Dick, Emily Grimshaw, Heidi Satterthwaite, Kate Schroeder, Elaine Sinclair, Alison Trumbull, Mary Wroth Pas de Deux Demetria Schioldager & Anton LaMon Turning Girls Colleen Anthonisen, Kjersti Cubberley, Danielle Dyson, Jessica Schachne, Jennifer Sherry, Kim Williams March 21: Lauren Collier, Anja Hoover, Lucia Jimenez, Megan Liberty, Heidi Satterthwaite, Lacy Simpson, Elaine Sinclair, Mary Wroth March 22: Ava Chatterson, Kelsey Dick, Emily Grimshaw, Heidi Satterthwaite, Kate Schroeder, Elaine Sinclair, Alison Trumbull, Mary Wroth Boys’ Dance Vincent Brewer, Paul Dandridge, Ben Delony, Tom Penman, Pablo Sanchez, Ben Warner A la Mazurka Colleen Anthonisen, Lauren Collier (3/21), Kjersti Cubberley, Danielle Dyson, Kelsey Dick (3/22), Heidi Satterthwaite, Jessica Schachne, Jennifer Sherry, Kim Williams, Mary Wroth Four Girls’ Dance Carly Baum, Caitlin Kirschenbaum (3/21)/Juliann Hyde (3/22), Grace Reeves, Demetria Schioldager Finale Ensemble This collection of isolated pieces by Rossini, presumably for the opera Otello, was discovered by Antonio de Almeida . Like all other great Italian composers, ballet music had to be provided for the versions of his operas that were going to be played at the Theátre de L’Opéra de Paris, as important members of the Jockey Club wanted to see dancers on the stage in all performances . To complete the setting of the Paris Opéra ballets, Rossini’s music supplied the inevitable divertissement for a revival in 1844 of his early Otello (1816) . Now recast in French as Othello; the music was culled from Rossini’s Matilde di Shabran (1821) and Armida (1817) . Unfortunately, the original score has totally disappeared, but due to Keiko Ando Maekawa, who was able to re-create full orchestral scores for each of the instruments by listening to the 1970s recording, we are now able to perform this music live and in its full form on this occasion . Lascia la Spina, Cogli la Rosa (2006) Music by . George Frideric Handel Amanda Russo, Mezzo-Soprano Choreography by Sasha Janes* Dancers: Rebecca Carmazzi* and Sasha Janes* Costume Design by Sasha Janes * Lighting Design by Nate McGaha Commissioned by North Carolina Dance Theatre Première July 25, 2006, Chautauqua, NY *Guest artists from North Carolina Dance Theatre Walpurgisnacht (1980) Music by . Charles. Gounod From Faust Choreography by George Balanchine ©The George Balanchine Trust Staged by Deborah Wingert Ballet Master, Guoping Wang Elaine Sinclair & Anton LaMon (3/21) Ashley Thursby & Ben Warner (3/22) Ava Chatterson (3/21)/Lucia Jimenez (3/22) Jessica Schachne & Lacy Simpson Lauren Collier, Anja Hoover, Heidi Satterthwaite, Kate Schroeder Emily Grimshaw (3/22), Mary Wroth (3/22) Colleen Anthonisen (3/22), Carly Baum, Samantha Benoit, Marielle Bingham, Ivy Chow, Kjersti Cubberley, Kelsey Dick, Annie Duffey, Danielle Dyson (3/21), Emily Grimshaw, Megan Liberty, Elizabeth Rodbell, Jennifer Sherry, Alison Trumbull, Kim Williams, Katie Wood, Mary Wroth In 1925, Balanchine choreographed dances for a production of Gounod’s Faust performed by the Opéra de Monte-Carlo; they were danced by Diaghilev’s Ballets Russes . He choreographed dances for other productions of the opera in 1935 for the Metropolitan Opera and, in 1945, for the Opera Nacional, Mexico City . Walpurgisnacht Ballet was choreographed for a 1975 production of Faust by the Théâtre National de l’Opéra, danced by the Paris Opéra Ballet . The New York City Ballet premiere in 1980 was the first presentation of the choreography as an independent work . The Walpurgisnacht scene occurs at the beginning of the opera’s last act, when Mephistopheles brings Faust to watch the traditional celebration on the eve of May Day when the souls of the dead are released to wander at will . Although the ballet does not depict Walpurgisnacht per se, it does build on a sense of joyful revelry . The performance of Walpurgisnacht, a Balanchine® Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style® and Balanchine Technique® Service standards established and provided by the Trust . The Choreographers Frederick Ashton, Les Patineurs. Born in 1904, Frederick Ashton was probably the greatest British choreographer of the 20th cen- tury whose works helped establish the supremacy of The Royal Ballet . Ashton trained with Leonide Massine and Marie Ranbert before joining the Ballet Rambert . His choreographic endeavors began with this company, and his experience extended working for C . B . Cochran revues and for musicals . In 1935, he became Resident Choreographer of the Vic-Wells Ballet (now Royal Ballet), and, from 1963 to 1970, he served as the company’s artistic director . Ashton’s ballets were the foundation of The Royal Ballet repertory and style . They established a recognizably English style of ballet – lyrical, harmonious, musical, and non- ostentatious . Among his best known ballets are La Fille Mal Gardee, Symphonic Variations, The Dream, Cinderella, and Enigma Variations . This is the first Ashton work that IU Ballet Theater has performed . In 1962, Ashton’s achievements were officially recognized when he was knighted, becoming Sir Frederick Ashton . George Balanchine, Walpurgisnacht. The son of a composer, George Balanchine was born in Saint Petersburg, Russia, in 1904 . He trained at the Imperial Ballet Academy, and in 1925, he joined the Diag- hilev Company in Paris as a choreographer . Balanchine went on to choreograph and to make indelible impressions in opera, ballet, and musical theatre . In 1946, he and American ballet patron Lincoln Kirstein co-founded the company that would two years later become New York City Ballet . Through his choreographic works, Balanchine is considered the foremost rep- resentative of neoclassicism in ballet . Although some of his ballets have a story line, Balanchine is best known for his plotless ballets, such as The Four Temperaments and Jewels, which explore pattern and the movement of the human body to music . IU Ballet Theater is fortunate to include many Balanchine works in its repertoire, most recently Who Cares?, Allegro Brilliante, Serenade, and Symphony Concertante. Sasha Janes, Lascia la Spina, Cogli la Rosa . Sasha Janes was born in Perth, Australia, and he received his dance training at The Aus- tralian Ballet School . After graduating, he toured the U .S . with The Australian Ballet, performing at the Met in New York and the Ken- nedy Center in Washington, DC . He has been a principal dancer with The Hong