DOCSLIB.ORG

PROGRAMS 01 02 We Build Our Business One Relationship at a Time

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PROGRAMS 01 02 We Build Our Business One Relationship at a Time 2017 Season Infinite Worlds PROGRAMS 01 02 We build our business one relationship at a time. (855) 886-4824 or visit www.fi rstrepublic.com New York Stock Exchange Symbol: FRC First Republic Private Wealth Management includes First Republic Trust Company; First Republic Trust Company of Delaware LLC; First Republic Investment Management, Inc., an SEC Registered Investment Advisor; and First Republic Securities Company, LLC, Member FINRA/SIPC. Investment and Advisory Products and Services are Not FDIC Insured, Not Guaranteed and May Lose Value. Untitled-4 1 12/12/16 4:41 PM January 2017 Volume 94, No. 3 Table of Contents PROGRAM Paul Heppner 01 PROGRAM Publisher PAGE 22 Susan Peterson Design & Production Director 02 Ana Alvira, Robin Kessler, PAGE 30 Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design 5 Greetings from the Artistic Director 39 San Francisco Ballet Orchestra Mike Hathaway Sales Director & Principal Choreographer 40 San Francisco Ballet Staff Marilyn Kallins, Terri Reed, Rob Scott 6 History of San Francisco Ballet San Francisco/Bay Area Account Executives 42 Calendar of 2017 Repertory Season Brieanna Bright, 7 Board of Trustees Donor Events Joey Chapman, Ann Manning Endowment Foundation Board Seattle Area Account Executives 43 Sponsor & Donor News Jonathan Shipley 9 For Your Information Ad Services Coordinator 46 Great Benefactors Carol Yip 10 Explore Ballet Sales Coordinator 47 Artistic Director’s Council 13 Leadership 48 Season Sponsors 14 Artists of the Company Principal Dancers 50 The Chairman’s Council Principal Character Dancers Soloists 51 The Christensen Society Corps de Ballet Paul Heppner 54 Corporate & Foundation Support President 22 Program 01 Mike Hathaway Haffner Symphony 56 San Francisco Ballet Vice President Fragile Vessels (World Premiere) Endowment Foundation Genay Genereux In the Countenance of Kings Accounting & Office Manager 58 The Jocelyn Vollmar Legacy Circle Sara Keats 30 Program 02 Marketing Manager Seven Sonatas 61 Thank You to Our Volunteers Ryan Devlin Optimistic Tragedy (World Premiere) Business Development Manager Pas/Parts 2016 62 San Francisco War Memorial and Performing Arts Center Corporate Office San Francisco Ballet | Vol. 94, No. 3 425 North 85th Street Seattle, WA 98103 2017 Repertory Season p 206.443.0445 f 206.443.1246 All editorial material © San Francisco Ballet, 2017 Chris Hellman Center for Dance [email protected] 455 Franklin Street, San Francisco, CA 94102 800.308.2898 x105 www.encoremediagroup.com Cover: Carlo Di Lanno and Sofiane Sylve in Forsythe's Pas/Parts 2016; Above, l-r: Vanessa Zahorian and Steven Morse in Tomasson's Haffner Symphony; Frances Chung in Ratmansky's Seven Sonatas // All: © Erik Tomasson FOLLOW US BEFORE AND AFTER THE PERFORMANCE! Encore Arts Programs is published monthly by Encore Media facebook.com/sfballet twitter.com/sfballet Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. youtube.com/sfballet instagram.com/sfballet ©2017 Encore Media Group. Reproduction without written permission is prohibited. PROGRAMS 01 & 02 SAN FRANCISCO BALLET 3 Infinite Worlds JAN 24 – MAY 07 CHOREOGRAPH YOUR OWN SEASON Packages start at just $66. Choose three or more programs and save up to 15%. 01 THE JOY OF DANCE 02 MODERN MASTERS 03 FRANKENSTEIN 04 MUST-SEE BALANCHINE Triple Bill | Jan 24–Feb 04 Triple Bill | Jan 26–Feb 05 Full-length | Feb 17–26 Triple Bill | Mar 07–18 North American Premiere 05 CONTEMPORARY VOICES 06 SWAN LAKE 07 MADE FOR SF BALLET 08 CINDERELLA© Triple Bill | Mar 09–19 Full-length | Mar 31–Apr 12 Triple Bill | Apr 05–18 Full-length | Apr 28–May 07 SUBSCRIBE AND SAVE San Francisco Ballet welcomes Stephanie and James Marver sfballet.org as the Lead Sponsor of our 2017 Repertory Season. 2017 Season Media Sponsors Top image: Dores André and Joseph Walsh // © Erik Tomasson Program images, top left to bottom right: Vanessa Zahorian in Tomasson’s Haffner Symphony; San Francisco Ballet in Ratmansky’s Seven Sonatas; Vitor Luiz; Yuan Yuan Tan and Anthony Vincent in Balanchine’s Stravinsky Violin Concerto, Choreography by George Balanchine // © The Balanchine Trust; San Francisco Ballet in Possokhov’s Fusion; Yuan Yuan Tan; Sasha De Sola and Vitor Luiz in Tomasson’s Trio; Maria Kochetkova // © Erik Tomasson Greetings from the Artistic Director & Principal Choreographer Welcome! I’m delighted to have you join us at the War Memorial Opera House. Our first two programs, The Joy of Dance and Modern Masters, are a wonderful introduction to our 2017 Repertory Season, which showcases the artistic range of the Company and our steadfast commitment to new works. I like taking chances on new choreographers, because I believe their work is the future of the art form. All six of the ballets on these programs have been choreographed by contemporary, working artists, in many cases collaborating with composers, designers, and of course, our dancers. Though I was classically trained, I ended up dancing many new works, particularly at New York City Ballet. Since I joined SF Ballet in 1985, I’ve focused on building a company of dancers who are steeped in the classical technique with the adaptability to perform infinite styles of contemporary work. This has become a wonderful, perpetual cycle as our interesting, wide-ranging repertory attracts a variety of highly talented dancers. Program 1 is a celebration of the pure joy of dancing. Jiří Bubeníček, Erik Tomasson who only retired from a brilliant performing career in 2015, worked © alongside our dancers in the studio, pushing them to their limits to create Fragile Vessels, set to Rachmaninov’s epic Piano Concerto No. 2. And I’m thrilled to bring back Justin Peck’s energetic, thrilling In the Countenance of Kings, in addition to my own ballet, Haffner Symphony. Alexei Ratmansky and William Forsythe both have long, artistically rewarding relationships with SF Ballet and their pieces on Program 2 are multi-layered ballets that are deeply evocative, the work of master choreographers. As is our Choreographer in Residence Yuri Possokhov’s new work, Optimistic Tragedy. Yuri’s last work for us, Swimmer, was a tremendous success and I look forward to sharing another work by this talented artist with you. Thank you for coming to SF Ballet. Your support enables us to take artistic risks that move the art form forward. We have a terrific season planned and we look forward to seeing you in the Opera House many times in upcoming months. Sincerely, Helgi Tomasson Artistic Director & Principal Choreographer PROGRAMS 01 & 02 SAN FRANCISCO BALLET 5 History of San Francisco Ballet A tradition of innovation flows through Helgi Tomasson’s arrival as artistic director in the history of San Francisco Ballet. As 1985 began a new era at SF Ballet. Like Lew America’s oldest professional ballet Christensen, Tomasson had been a leading company, SF Ballet has always built upon dancer for George Balanchine, one of the most strong classical roots, while continually prominent choreographers of the 20th century. exploring and redefining where the art Tomasson has choreographed extensively for the form is headed. The San Francisco Opera Company and has staged acclaimed full-length Ballet was founded in 1933, primarily to productions of Swan Lake (1988, 2009); The prepare dancers to appear in lavish opera Sleeping Beauty (1990); Romeo & Juliet (1994); productions. In 1942, the ballet officially Giselle (1999); and a new Nutcracker (2004). He separated from the opera and was has also expanded the repertory to include new renamed San Francisco Ballet. works by choreographers William Forsythe, Mark Morris, Paul Taylor, Christopher Wheeldon, Val From the late 1930s to the 1970s, SF Caniparoli, and many others. Ballet was led by three brothers: Willam, Lew, and Harold Christensen. The young In 1991, SF Ballet performed in New York City for company was the first to create full-length the first time in 26 years. The New York Times American productions of Swan Lake (1940) proclaimed, “Mr. Tomasson has accomplished and Nutcracker (1944). SF Ballet performed the unprecedented: He has pulled a so-called on the East Coast for the first time in 1956, regional company into the national ranks, and at Jacob’s Pillow Dance Festival. The he has done so by honing the dancers into a following year, the Company toured 11 classical style of astonishing verve and purity. Asian nations, the first performances of an SF Ballet under Helgi Tomasson’s leadership is American ballet company in Asia. The tour one of the spectacular success stories of the was so successful that it was followed by arts in America.” a four-month tour of Latin America in 1958 and a three-month tour of the Middle East Under Tomasson, SF Ballet has also undertaken in 1959. ambitious programming. In May 1995, the Ballet hosted 12 international ballet companies for The 1970s were tumultuous. The UNited We Dance: An International Festival, Company started an annual season in the commemorating the 50th anniversary of the War Memorial Opera House in 1972, and signing of the United Nations Charter in the Michael Smuin was appointed associate War Memorial Opera House. In 2008, the New artistic director in 1973. But in 1974, SF Works Festival, organized to mark the Company’s Ballet faced bankruptcy. Dancers rallied 75th anniversary, introduced 10 premieres by 10 community support with an extraordinary choreographers. In recent years, the Company’s grassroots effort called “Save Our Ballet,” touring programs have also become increasingly Top, l-r: SF Ballet founders Lew, successfully bringing the Company back extensive, with international engagements Willam, and Harold Christensen from the brink. SF Ballet then developed the first in Paris, London, Moscow, Hamburg, Athens, in the 1940s; Bottom: Members of San Francisco Ballet under long-range plan for an American dance company Shanghai, and Beijing. the Golden Gate Bridge on the and, 18 months later, was financially stable.
Load more

Recommended publications
  • Nutcracker Three Hundred Sixty-Seventh Program of the 2012-13 Season ______Indiana University Ballet Theater Presents
    2012/2013 Peter Ilyich Tchaikovsky NutcrackerThe Three Hundred Sixty-Seventh Program of the 2012-13 Season _______________________ Indiana University Ballet Theater presents its 54th annual production of Peter Ilyich Tchaikovsky’s The Nutcracker Ballet in Two Acts Scenario by Michael Vernon, after Marius Petipa’s adaptation of the story, “The Nutcracker and the Mouse King” by E. T. A. Hoffmann Michael Vernon, Choreography Andrea Quinn, Conductor C. David Higgins, Set and Costume Designer Patrick Mero, Lighting Designer Gregory J. Geehern, Chorus Master The Nutcracker was first performed at the Maryinsky Theatre of St. Petersburg on December 18, 1892. _________________ Musical Arts Center Friday Evening, November Thirtieth, Eight O’Clock Saturday Afternoon, December First, Two O’Clock Saturday Evening, December First, Eight O’Clock Sunday Afternoon, December Second, Two O’Clock music.indiana.edu The Nutcracker Michael Vernon, Artistic Director Choreography by Michael Vernon Doricha Sales, Ballet Mistress Guoping Wang, Ballet Master Shawn Stevens, Ballet Mistress Phillip Broomhead, Guest Coach Doricha Sales, Children’s Ballet Mistress The children in The Nutcracker are from the Jacobs School of Music’s Pre-College Ballet Program. Act I Party Scene (In order of appearance) Urchins . Chloe Dekydtspotter and David Baumann Passersby . Emily Parker with Sophie Scheiber and Azro Akimoto (Nov. 30 & Dec. 1 eve.) Maura Bell with Eve Brooks and Simon Brooks (Dec. 1 mat. & Dec. 2) Maids. .Bethany Green and Liara Lovett (Nov. 30 & Dec. 1 eve.) Carly Hammond and Melissa Meng (Dec. 1 mat. & Dec. 2) Tradesperson . Shaina Rovenstine Herr Drosselmeyer . .Matthew Rusk (Nov. 30 & Dec. 1 eve.) Gregory Tyndall (Dec. 1 mat.) Iver Johnson (Dec.
    [Show full text]
  • 2019-2020 Season Overview JULY 2020
    ® 2019-2020 Season Overview JULY 2020 Report Summary The following is a report on the gender distribution of choreographers whose works were presented in the 2019-2020 seasons of the fifty largest ballet companies in the United States. Dance Data Project® separates metrics into subsections based on program, length of works (full-length, mixed bill), stage (main stage, non-main stage), company type (main company, second company), and premiere (non-premiere, world premiere). The final section of the report compares gender distributions from the 2018- 2019 Season Overview to the present findings. Sources, limitations, and company are detailed at the end of the report. Introduction The report contains three sections. Section I details the total distribution of male and female choreographic works for the 2019-2020 (or equivalent) season. It also discusses gender distribution within programs, defined as productions made up of full-length or mixed bill works, and within stage and company types. Section II examines the distribution of male and female-choreographed world premieres for the 2019-2020 season, as well as main stage and non-main stage world premieres. Section III compares the present findings to findings from DDP’s 2018-2019 Season Overview. © DDP 2019 Dance DATA 2019 - 2020 Season Overview Project] Primary Findings 2018-2019 2019-2020 Male Female n/a Male Female Both Programs 70% 4% 26% 62% 8% 30% All Works 81% 17% 2% 72% 26% 2% Full-Length Works 88% 8% 4% 83% 12% 5% Mixed Bill Works 79% 19% 2% 69% 30% 1% World Premieres 65% 34% 1% 55% 44% 1% Please note: This figure appears inSection III of the report.
    [Show full text]
  • AND FRIENDS Milano
    presenta ROBERTO AND FRIENDS milano · 29 / 30 novembre 2016 TeaTro degli arcimboldi © Giovanni Gastel © Giovanni ROBERTO BOLLE CAST AND FRIENDS A MILANO UN VIAGGIO IMPERDIBILE NELLA BELLEZZA DELLA DANZA Gala Roberto Bolle and Friends si sono tra- ROBERTO BOLLE sformati nelle mani di Roberto Bolle, qui nei TEatRO ALLA SCALA, MILANO panni non solo di interprete, ma anche di AMERICAN BALLET THEatRE, NEW YORK direttore artistico, in un potente strumento culturale di diffusione della danza, attirando ogni anno migliaia di appassionati e non. Bolle, forte della sua intensissima esperienza ALICIA AMATRIAIN internazionale, è riuscito ogni volta a ricrea- STUTTGART BALLETT, STOCCARDA re per ognuno di questi appuntamenti uno spettacolo magico, riunendo alcuni dei più importanti ballerini del mondo e dando vita Icon loro a programmi vivaci, sorprendenti, che hanno TIMOFEJ ANDRIJASHENKO saputo coinvolgere pubblici eterogenei e mai così TEatRO ALLA SCALA, MILANO vasti finora. Dai grandi classici, alle coreografie più nuove, il Roberto Bolle and Friends ha radunato ogni anno il meglio della danza del mondo, offrendo una possibi- CHRISTIAN BAUCH lità culturale rara e prestigiosa e infrangendo alcuni SEMPEROPER BALLET, DRESDA tabù che costringevano il balletto nella definizione di arte di nicchia. Anche il programma, pensato per quest’attesissimo appuntamento di fine novembre al Teatro degli Ar- OSIEL GOUNEO cimboldi di Milano, ha trovato nell’accostamento BAYERISCHES STAATSBALLETT, MONACO del repertorio classico – con titoli celeberrimi come Il Corsaro, Don Chisciotte e Diana e Atteone – a quello più moderno e contemporaneo – Vertigo Maze e Duet from New Suite – la sua cifra distintiva MARIA KOCHETKOVA e inimitata. Ma il programma, già così ricco, presenta SAN FRANCISCO BALLET, SAN FRANCISCO anche importanti novità.
    [Show full text]
  • Mikhail Baryshnikov Exhibitions
    Mikhail Baryshnikov Aside from being renown as a dancer, Mikhail Baryshnikov has practiced photography for over 30 years and is now also known for his dance photography. His photographs capture the emotions of dance, they are full of vitality, rich colour, movement and grace. He effectively blurs movement portraying the dancers as somewhat alien or angelic. Despite having retired as a dancer himself, Baryshnikov explains that he is still a dancer in his mind and continues dancing through the images he captures. His process of photography involves being on stage with dancers. This closeness gives the photographs intimacy and insight; Baryshnikov’s lens is near enough to the movement to reveal its subtlety. Exhibitions: 2019 Looking for the Dance, Galleria D’Arte Contini, Venice, Italy 2017 Mikhail Baryshnikov, from the Dance series, Manege Museum, Moscow, Russia 2015 Dancing Away, Galerie 11 Columbia, Monte Carlo, Monaco Dancing Away, ContiniArt UK, London, United Kingdom Piera Anna Franini, Baryshnikov: adesso ballo con la macchina fotografica, in “Il Giornale”, Italy 2014 Dance This Way, Contini Galleria D’Arte Contini, Cortina D’Ampezzo, Italy Dubai, R29 Bluewaters Boulevard, Bluewaters Island. Forte dei Marmi, Via Carducci 14, 55047, Lucca, Italy. Tel. +971 4 232 2071 +39 0584 300290 www.oblongcontemporary.com Dance This Way, Space SBH, St. Barts, French West Indies Mikhail Baryshnikov, Dancing Away, Contini Art UK, ed. Tecnostampa, Loreto, Italy 2013 Dance This Way, Galleria D’Arte Contini, Venice, Italy Giovanna Bisignani, Mikhail Baryshnikov immortala la sua danza a Venezia, in “Il Tempo”, Italy, 6 July Mikhail Baryshnikov, Dance this Way, Galleria d’Arte Contini, ed.
    [Show full text]
  • An Interview with Robert Shaw: Reflections at Eighty
    An Interview with Robert Shaw: Reflections at Eighty by Jeffrey Baxter RobertShaw .Robert Shaw's distinguished career began in New York City In 1979, Shaw was appointed by President Jimmy Carter to in 1938, where he prepared choruses for such renowned con­ the National Council on the Arts and he was a 1991 recipient of ductors as Fred Waring, Arturo Toscanini, and Bruno Walter. the Kennedy Center Honors, the nation's highest award given to In 1949 he formed the Robert Shaw Chorale, which for two artists. Musical America, the international directory of the per­ decades reigned as America's premier touring choir. Under the forming arts, named him Musician of the Year for 1992, and auspices ofthe U.S. State Department, the Chorale performed during the same year he was awarded the National Medal ofthe in thirty countries throughout Europe, the Soviet Union, the Arts in a White House ceremony. He was the 1993 recipient of Middle East, and Latin America. During this period Shaw also the Conductors' Guild TheodoreThomas Award, in recognition served as Music Director ofthe San Diego Symphony and then ofhis outstanding achievement in conducting and his contribu­ as Associate Conductor of the Cleveland Orchestra, working tions to the education and training ofyoung conductors. closely with George Szell for eleven years. He served as Music A regular guest conductor ofmajor orchestras in this country Director of the Atlanta Symphony Orchestra from 1967 to and abroad, Shaw also is in demand as a teacher and lecturer at 1988, during which time the orchestra garnered widespread leading U.S.
    [Show full text]
  • Vision / Dance Innovations
    2020 FEBRUARY PROGRAMS 02 /03 CLASSICAL (RE)VISION / DANCE INNOVATIONS The people you trust, trust City National. Top Ranked in Client Referrals* “City National helps keep my financial life in tune.” Michael Tilson Thomas Conductor, Educator and Composer Find your way up.SM Visit cnb.com *Based on interviews conducted by Greenwich Associates in 2017 with more than 30,000 executives at businesses across the country with sales of $1 million to $500 million. City National Bank results are compared to leading competitors on the following question: How likely are you to recommend (bank) to a friend or colleague? City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. ©2018 City National Bank. All Rights Reserved. cnb.com 7275.26 PROGRAM 02 | CLASSICAL (RE)VISION PROGRAM 03 | DANCE INNOVATIONS TABLE OF CONTENTS 05 Greetings from the Artistic Director & Principal Choreographer 05 06 Board of Trustees Endowment Foundation Board 07 SF Ballet Leadership 08 Season News 10 Off Stage 13 Pointe and Counterpoint: The Story of Programs 02 and 03 14 PROGRAM 02 Classical (Re)Vision Bespoke Director's Choice Sandpaper Ballet 22 PROGRAM 03 Dance Innovations The Infinite Ocean The Big Hunger World Premiere Etudes 30 Artists of the Company 14 39 SF Ballet Orchestra 40 SF Ballet Staff 42 Donor Events and News 46 SF Ballet Donors 61 Thank You to Our Volunteers 63 For Your Information 64 Designing Sandpaper Ballet FOLLOW US BEFORE AND AFTER THE PERFORMANCE! San Francisco Ballet SFBallet youtube.com/sfballet SFBallet 42 San Francisco Ballet | Program Book | Vol.
    [Show full text]
  • 2013| 2014 Community Programs Atlanta Ballet's
    2013| 2014 COMMUNITY PROGRAMS ATLANTA BALLET’S NUTCRACKER STUDY GUIDE PRESENTED BY DEAR EDUCATOR Atlanta Ballet and Atlanta Ballet Centre for Dance Education are committed to bringing you and your students the highest quality educational programs available. We continually strive to meet the ever-growing needs of students and the educational community. Please take a moment, after viewing the ballet and using the study guide, to complete the survey enclosed at the end of this guide. Your feedback is the only way we can continue to deliver high quality programs. This study guide was designed to acquaint both you and your students with Atlanta Ballet’s Nutcracker, as well as provide an interdisciplinary approach to teaching your existing curriculum and skills. This study guide was prepared by Atlanta Ballet staff members with educational backgrounds. Every attempt was made to ensure that this study guide can be used to enhance your existing curriculum. We hope both you and your students enjoy the educational experience of Atlanta Ballet and have fun along the way! Sharon Story Nicole Kedaroe Dean, Centre for Dance Education Community Division Manager TABLE OF CONTENTS Background Information and Teacher Resources Suggested Resources 4 Curriculum Connections 5 Synopsis of the Ballet 6 The Composer 7 The Choreographer 8 Choreographer History 9 History of the Nutcracker 10 History of Atlanta Ballet 11-12 History of Ballet 13 History of the Fox 14 Who’s Who in the Ballet 15 Nutcracker Vocabulary 16 Student Activities Creating a Ballet 17 Pantomime 18* Answer This 19 Who am I? 20 Extra, Extra 21 Character Education 22-23 Nutcracker Matching Quiz 24 Word Search 25 Drawing Activities 26 *This page is from the Ballet Workbook Series The Nutcracker and the Mouse King, E.T.A.
    [Show full text]
  • October 2020 New York City Center
    NEW YORK CITY CENTER OCTOBER 2020 NEW YORK CITY CENTER SUPPORT CITY CENTER AND Page 9 DOUBLE YOUR IMPACT! OCTOBER 2020 3 Program Thanks to City Center Board Co-Chair Richard Witten and 9 City Center Turns the Lights Back On for the his wife and Board member Lisa, every contribution you 2020 Fall for Dance Festival by Reanne Rodrigues make to City Center from now until November 1 will be 30 Upcoming Events matched up to $100,000. Be a part of City Center’s historic moment as we turn the lights back on to bring you the first digitalFall for Dance Festival. Please consider making a donation today to help us expand opportunities for artists and get them back on stage where they belong. $200,000 hangs in the balance—give today to double your impact and ensure that City Center can continue to serve our artists and our beloved community for years to come. Page 9 Page 9 Page 30 donate now: text: become a member: Cover: Ballet Hispánico’s Shelby Colona; photo by Rachel Neville Photography NYCityCenter.org/ FallForDance NYCityCenter.org/ JOIN US ONLINE Donate to 443-21 Membership @NYCITYCENTER Ballet Hispánico performs 18+1 Excerpts; photo by Christopher Duggan Photography #FallForDance @NYCITYCENTER 2 ARLENE SHULER PRESIDENT & CEO NEW YORK STANFORD MAKISHI VP, PROGRAMMING CITY CENTER 2020 Wednesday, October 21, 2020 PROGRAM 1 BALLET HISPÁNICO Eduardo Vilaro, Artistic Director & CEO Ashley Bouder, Tiler Peck, and Brittany Pollack Ballet Hispánico 18+1 Excerpts Calvin Royal III New York Premiere Dormeshia Jamar Roberts Choreography by GUSTAVO RAMÍREZ
    [Show full text]
  • The San Francisco Bay Area, California
    The San Francisco Bay Area, Can disaster be a good thing for the arts? In the California San Francisco Bay Area, the answer is a qualified “yes.” A terrible earthquake has shaken loose mil- lions of dollars for the arts, while urban sprawl has boosted the development of arts centers right in the communities where people live. After the Loma Prieta earthquake struck in 1989, many key institutions were declared unsafe and had to be closed, fixed and primped. Here’s what reopened in the past five years alone: American Conservatory Theatre (ACT), the city’s major repertory theater, for $27 million; the War Memorial Opera House, home of the San Francisco Opera and Ballet, for $88 million; and on the fine arts front, the California Palace of the Legion of Honor, for $40 million; and the Cantor Center for the Visual Arts at Stanford University, for $37 million. Another $130 million is being raised to rebuild the seismically crippled M.H. de Young Memorial Museum, and at least $30 million is being sought to repair the Berkeley Art Museum. Within San Francisco itself, a vital visual arts center has been forged just within the last five years with the opening of the new $62 million San Francisco Museum of Modern Art and the Yerba Buena Center for the Arts. Meanwhile the Jewish Museum, the Asian Art Museum, the Mexican Museum and a new African-American cultural center all plan to move to seismically safe buildings in the area in the next two years. Art galleries, on the other hand, limp along compared with those in Los Angeles or New York.
    [Show full text]
  • Dance Theatre of Harlem
    François Rousseau François DANCE THEATRE OF HARLEM Founders Arthur Mitchell and Karel Shook Artistic Director Virginia Johnson Executive Director Anna Glass Ballet Master Kellye A. Saunders Interim General Manager Melinda Bloom Dance Artists Lindsey Croop, Yinet Fernandez, Alicia Mae Holloway, Alexandra Hutchinson, Daphne Lee, Crystal Serrano, Ingrid Silva, Amanda Smith, Stephanie Rae Williams, Derek Brockington, Da’Von Doane, Dustin James, Choong Hoon Lee, Christopher Charles McDaniel, Anthony Santos, Dylan Santos, Anthony V. Spaulding II Artistic Director Emeritus Arthur Mitchell PROGRAM There will be two intermissions. Friday, March 1 @ 8 PM Saturday, March 2 @ 2 PM Saturday, March 2 @ 8 PM Zellerbach Theatre The 18/19 dance series is presented by Annenberg Center Live and NextMove Dance. Support for Dance Theatre of Harlem’s 2018/2019 professional Company and National Tour activities made possible in part by: Anonymous; The Arnhold Foundation; Bloomberg Philanthropies; The Dauray Fund; Doris Duke Charitable Foundation; Elephant Rock Foundation; Ford Foundation; Ann & Gordon Getty Foundation; Harkness Foundation for Dance; Howard Gilman Foundation; The Dubose & Dorothy Heyward Memorial Fund; The Klein Family Foundation; John L. McHugh Foundation; Margaret T. Morris Foundation; National Endowment for the Arts; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; New England Foundation for the Arts, National Dance Project; Tatiana Piankova Foundation; May and Samuel Rudin
    [Show full text]
  • Y\5$ in History
    THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 A thesis submitted to the faculty of San Francisco State University A5 In partial fulfillment of The Requirements for The Degree Mi ST Master of Arts . Y\5$ In History by James Harvey Mitchell, Jr. San Francisco, California May, 2016 Copyright by James Harvey Mitchell, Jr. 2016 CERTIFICATION OF APPROVAL I certify that I have read The Gargoyles of San Francisco: Medievalist Architecture in Northern California 1900-1940 by James Harvey Mitchell, Jr., and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirements for the degree Master of Arts in History at San Francisco State University. <2 . d. rbel Rodriguez, lessor of History Philip Dreyfus Professor of History THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 James Harvey Mitchell, Jr. San Francisco, California 2016 After the fire and earthquake of 1906, the reconstruction of San Francisco initiated a profusion of neo-Gothic churches, public buildings and residential architecture. This thesis examines the development from the novel perspective of medievalism—the study of the Middle Ages as an imaginative construct in western society after their actual demise. It offers a selection of the best known neo-Gothic artifacts in the city, describes the technological innovations which distinguish them from the medievalist architecture of the nineteenth century, and shows the motivation for their creation. The significance of the California Arts and Crafts movement is explained, and profiles are offered of the two leading medievalist architects of the period, Bernard Maybeck and Julia Morgan.
    [Show full text]
  • The Auditorium Theatre Celebrates 50Th Anniversary of Their Grand Re
    10/12/2017 Auditorium Theatre One-Night-Only Performance Honoring the Theatre's Past, Present, Future View in browser 50 E Congress Pkwy Lily Oberman Chicago, IL 312.341.2331 (office) | 973.699.5312 (cell) AuditoriumTheatre.org [email protected] Release date: October 5, 2017 THE AUDITORIUM THEATRE CELEBRATES 50th ANNIVERSARY OF THEIR GRAND RE-OPENING WITH ONE-NIGHT-ONLY PERFORMANCE FEATURING PREMIER DANCERS FROM TOP COMPANIES AROUND THE WORLD THE EVENING INCLUDES PERFORMANCES BY DANCERS FROM ALVIN AILEY AMERICAN DANCE THEATER, AMERICAN BALLET THEATRE, DUTCH NATIONAL BALLET, THE JOFFREY BALLET, NEW YORK CITY BALLET, THE WASHINGTON BALLET, AND FINALISTS FROM YOUTH AMERICA GRAND PRIX A Golden Celebration of Dance – November 12, 2017 On November 12, 2017, the Auditorium Theatre, The Theatre for the People, commemorates the 50th anniversary of its grand re-opening with A Golden Celebration of Dance, a one-night-only mixed repertory program featuring dancers from the world’s premier dance companies: Alvin Ailey American Dance Theater, American Ballet Theatre, Dutch National Ballet, Eifman Ballet of St. Petersburg, Hubbard Street Dance Chicago, The Joffrey Ballet, MOMIX, New York City Ballet, Parsons Dance, The Suzanne Farrell Ballet, and The Washington http://tracking.wordfly.com/view/?sid=NjUzXzQ4NTRfMjc3ODA2XzY5NTk&l=4d2b8dea-61af-e711-8416-e41f1345a486&utm_source=wordfly&utm_me… 1/5 10/12/2017 Auditorium Theatre Ballet. In addition, the evening will feature special performances by finalists from the Youth America Grand Prix, the next generation of great dancers. In 1941, the Auditorium Theatre closed its doors to the public in the wake of the Great Depression. Aside from when it was used as a servicemen’s center during World War II, the theatre sat unused and in disrepair, until a 7-year-long fundraising campaign – led by Beatrice Spachner and the Auditorium Theatre Council – covered the costs of theatre renovation, culminating with a grand re-opening on October 31, 1967.
    [Show full text]