2017 Season Infinite Worlds

PROGRAMS 01 02 We build our business one relationship at a time.

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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 Orchestra Mike Hathaway Sales Director & Principal Choreographer 40 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 [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

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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 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 // © 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 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 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 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 Concerto No. 2. And I’m thrilled to bring back ’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 (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, , 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. 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 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 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. eve of the historic 1957 tour to Asia. San Francisco Ballet School, also established in Smuin’s The Tempest was the first ballet broadcast 1933, has grown into a preeminent training center live from the War Memorial Opera House and under Tomasson and associate director Patrick was nominated for three in 1981 Armand. The School attracts students from around (Costume Designer Willa Kim won). In 1984, Smuin the world, training approximately 350 annually. In received an Emmy for Choreography for the addition to filling the ranks of SF Ballet, graduates : Dance in America national have joined distinguished ballet companies broadcast of A Song for Dead Warriors. throughout the world.

6 SAN FRANCISCO BALLET SFBALLET.ORG San Francisco Ballet Association Board of Trustees 2016–2017

Carl F. Pascarella, Chair of the Board and Executive Committee

Chris Hellman† Jola Anderson Irv H. Lichtenwald TRUSTEES EMERITI ASSOCIATE TRUSTEES Chair Emeritus Kristen A. Avansino Marie O’Gara Lipman Michael C. Abramson Brenda Leff Rosemary B. Baker Mark G. Lopez John S. Osterweis† Thomas W. Allen President, San Francisco Ballet Immediate Past Chair Richard C. Barker Alison Mauzé Marjorie Burnett Auxiliary Karen S. Bergman Marissa Mayer Charles Dishman Margaret G. Gill Gary Bridge Deborah M. Messemer Patricia D. Knight Vice Chair Garrettson Dulin, Jr.† President, BRAVO Chaomei Chen Kurt C. Mobley Millicent Dunham James H. Herbert, II† Hannah Comolli Kara Roell J. Stuart Francis† Christopher Correa Vice Chair Christine Leong Connors Christine Russell Sally Hambrecht President, ENCORE! Lucy Jewett David C. Cox Randee Seiger Ingrid von Mangoldt Hills Stewart McDowell Brady, Susan P. Diekman Robert G. Shaw Vice Chair George B. James II† Patrice Lovato Kate Duhamel Christine E. Sherry Pamela J. Joyner† Co-Chairs, Allegro Circle James D. Marver Sonia H. Evers Charlotte Mailliard Shultz Vice Chair David A. Kaplan Julie A. Flynn Catherine Slavonia Mary Jo Kovacevich Diane B. Wilsey Shelby M. Gans David Hooker Spencer James J. Ludwig† Vice Chair Joseph C. Geagea Fran A. Streets Stephanie Marver Jennifer J. McCall Richard Gibbs, M.D. Judy C. Swanson Nancy H. Mohr Secretary Beth Grossman Richard J. Thalheimer Marie-Louise Pratt Patrick M. Hogan Jennifer M. Walske George R. Roberts Susan S. Briggs Thomas E. Horn Miles Archer Woodlief Assistant Secretary Kathleen Scutchfield Donald F. Houghton Timothy C. Wu Robert M. Smelick Nancy Kukacka Hiro Iwanaga Janice Hansen Zakin Susan A. Van Wagner Treasurer James C. Katzman Dennis Wu Helgi Tomasson Yasunobu Kyogoku Akiko Yamazaki Artistic Director & Kelsey Lamond Principal Choreographer Glenn McCoy* Executive Director

San Francisco Ballet Endowment Foundation Board of Directors 2016–2017

James D. Marver, President

John S. Osterweis Kim Ondreck Carim‡ Richard C. Barker Chris Hellman President Emeritus Chief Financial Officer Susan S. Briggs Director Emeritus Hank J. Holland Laura Simpson‡ J. Stuart Francis George B. James II Vice President Secretary Nancy Kukacka Director Emeritus Hilary C. Pierce Thomas E. Horn Elizabeth Lani‡ Larissa K. Roesch Treasurer Assistant Secretary

† Past Chair * Non-Trustee ‡ Non-Director

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 7 My wealth. My priorities. My partner.

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EAP full-page template.indd 1 9/6/16 11:24 AM For Your Information

NEW! BEVERAGES ALLOWED IN THE AUDITORIUM DINING AND REFRESHMENTS on a first-come, first-served basis SF Ballet, SF Opera, and SF Symphony are experimenting during the The Café at the Opera and cannot be guaranteed. Our first six months of 2017 with allowing audiences to enjoy beverages House on the Lower Lounge staff will assist you. in the auditorium. Many other venues across the country have level opens two hours prior adopted similar policies, so that you don’t have to choose between to curtain time for a pre- Walking tours of the San enjoying a drink and all the other things you might want to do during performance buffet (except Francisco War Memorial and intermission. You may bring drinks purchased in the venue into the before Saturday matinees) and Performing Arts Center are auditorium, as long as they are in the approved recyclable cup with a is open during intermission for available most Mondays at lid, which will be available at all bars in both the War Memorial Opera refreshments. Call 415 861 8150 select hours. For information, House and Davies Symphony Hall. All three companies will meet for buffet reservations. Patrons call 415 552 8338. regularly to monitor this pilot effort and will decide, following the six- arriving before the front doors month trial period, whether or not to continue the program. We want open will be admitted at the PLEASE NOTE your feedback, so look for a survey in your post-performance email North Carriage Entrance. We sympathize, but for the and let us know what you think. sake of the performers and Refreshments are available other patrons, we can't seat PURCHASING TICKETS ACCESSIBILITY on the Lower Lounge level latecomers while a work is You can order online at SF Ballet is committed to as well as the Box, Orchestra, in progress. You will be sfballet.org or call Ticket providing easy access for all and Dress Circle levels during asked to stand until a break Services at 415 865 2000, of our patrons. Please contact all performances. Drinking in the action, which might Monday through Friday, 10 am our Ticket Services department fountains are located on all be at intermission. to 4 pm. On performance dates, at 415 865 2000 prior to the levels near the elevators. phones are open from 10 am performance with questions It's tempting to take a picture until the performance begins. and so that we can ensure IN THE OPERA HOUSE or video to share with The SF Ballet Box Office in the your comfort. Coat and parcel check rooms friends, but photographs and Opera House is open only on are located on the north and recordings of the performance performance dates. During Patrons in wheelchairs may south side of the Main Lobby. are strictly forbidden. the Repertory Season, we’re enter and exit the Opera For the safety and comfort open Tuesday through Friday, House through the front of our audiences, all parcels, Turn off and stow your from noon through the first doors (Van Ness Avenue), backpacks, luggage, etc., must mobile devices before the intermission, and on Saturday Taxi Ramp (Grove Street), and be checked. performance as the lights and and Sunday from 10 am through Carriage Entrance (north side). sounds are a distraction. the first intermission. During Wheelchair seating positions Lost & Found is located at the the hour prior to curtain, the are located on the Orchestra north coat check room, or call Children attending a Box Office will only be able and Dress Circle levels. 415 621 6600, Monday–Friday, performance must have a to handle business for the 8:30–11:30 am. ticket and occupy that seat; upcoming performance. Wheelchair accessible stalls in no children-in-arms or infants, restrooms can be found on all Opera glasses are available please. We recommend that Groups of 10 or more can floors except the Main Lobby for $5 rental at the north coat children be at least eight save up to 30 percent. For and fifth floor Balcony level. A check room. You’ll need to years old to attend Repertory information, visit sfballet.org/ lockable single user/special supply a valid ID as a deposit. Season performances. groups or call 415 865 6785. needs restroom is located on Frankenstein and Salome are Floor 3. Please see the usher Restrooms are located on all not recommended for children Gift certificates are available closest to this location for floors except Main Lobby level under 12. online at sfballet.org or by access. Accessible drinking (first floor). calling 415 865 2000. fountains are located on all Opera House management floors except the Balcony level. Courtesy telephones, for reserves the right to remove any THE SHOP AT SF BALLET local calls only, are located on patron creating a disturbance. is open one hour before Assistive listening devices the Main Lobby level, directly each performance, during (Sennheiser model infrared across from the elevators. Smoking is not permitted in the intermissions, and after sound amplification headsets) Opera House. weekend matinees, even are available at both coatcheck Taxis line up after performances if you're not attending the locations in the Main Lobby. at the Grove Street Taxi Ramp, An EMT is on duty in the Opera performance itself (visit the Box A major credit card or driver’s located on the south side of the House Lower Lounge level Office for a special pass). license is required for deposit. Opera House. Taxis are provided during all performances.

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 9 Explore Ballet

Who are the new voices in AUDIENCE ENGAGEMENT PROGRAMS the ballet world today? What makes a ballet a “classic”? MEET THE ARTIST INTERVIEWS (AND PODCASTS) How difficult is it to do the black swan’s famous turns in Fridays, 7:00–7:30 pm Sundays, 1:00–1:30 pm Swan Lake? What’s a typical War Memorial Opera House, Orchestra Level day in the life of a dancer? Open to all ticket holders for selected performances SF Ballet’s Explore Ballet programs answer these For an inside look at the performance you’re about to see, come a bit early. Perfect questions and more. for newcomers, balletomanes, and everyone in between, pre-performance Meet the Artist (MTA) interviews feature a conversation with an artist who worked on the Information at performance. Curious about what our artists have to say? An archive of previous sfballet.org/explore MTAs is available at sfballet.org/explore/podcasts.

All Audience Engagement Programs 2017 POINTES OF VIEW (POV) LECTURE SERIES are subject to change. The views, opinions, and information expressed Wednesdays, 6–6:45 pm FREE and open to the public are strictly those of the participants, War Memorial Opera House, Orchestra Level and do not necessarily represent or imply any official position of San Please use the carriage entrance on the north side of the building Francisco Ballet Association. Company artists, visiting scholars, and others offer key insights into the performance. All are welcome — you don’t need to buy a ticket to attend.

Jan 25 | Program 1 “how I, then a young girl, came to think In the years since Jennifer Homans of...so very hideous an idea.” Peel will predicted ballet’s eminent demise in her address that question by looking at cultural ’s Angels, we have seen the rise and scientific forces in her day, and by of a new crop of choreographers — all of considering Shelly’s early life. Peel will them young, and many of them American. comment on how the novel has managed Chief among these artists is Justin Peck, a to play so powerfully on our wishes and dancer with and now fears for two centuries, becoming a myth its resident choreographer. Writer Claudia continually reborn in new avatars, now La Rocco shares her thoughts on Peck and including a ballet. his colleagues. Mar 8 | Program 4 Feb 1 | Program 2 Thomas F. DeFrantz, dance researcher How do production elements contribute and Chair of African and African American to the overall look and feel of new ballets? Studies at Duke University, offers a history Dance Educator Mary Wood talks with of the African-American presence in Anita Paciotti, Production American ballet. Focusing on the historical Director and Lighting Designer Christopher moments that predicted a growing Dennis, and Set Designer Alexander presence, DeFrantz considers how African- Nichols about Yuri Possokhov’s world American audiences, dancemakers, and premiere Optimistic Tragedy. performing artists have shifted and revised ballet’s possibilities as an art form. Feb 22 | Frankenstein Litquake, the Bay Area’s literary festival, Mar 15 | Program 5 and San Francisco Ballet co-present Contemporary music offers choreographers Frankenstein at the Ballet: Mary Shelley the chance to explore new sonic worlds and and Her “Hideous Progeny.” Professor take audiences into new states of artistic Ellen Peel from the Comparative and consciousness. Musicologist Jim Steichen World Literature Department at SF and Music Director and Principal Conductor State University reflects on the origin Martin West discuss the strategies that the of Frankenstein. Shelley was often asked, conductor and musicians use to prepare

10 SAN FRANCISCO BALLET SFBALLET.ORG Erik Tomasson © Left: Rubén Martín Cintas leads adult students in a Ballet 101 class; Left: Both // Dance Family Workshop; Right: Let's

music that many in the audience — and on BALLET APPRECIATION stage — are hearing for the first time. Are you looking to deepen your BALLET 201: Apr 5 | Program 7 knowledge of SF Ballet and the art Feb 27, Mar 6, and Mar 13, 6–8 pm Dance Educator Mary Wood and Rubén form in general? This unique, in-depth A deep dive into the tradition of the Martín Cintas, a former SF Ballet principal series explores both the inspiration for art form dancer who is currently SF Ballet School the magic you see onstage and the Why does San Francisco Ballet continue faculty and teacher, discuss intricacies of how we get it there. Take to do the classics and how is classical the art of pas de deux. San Francisco one course or take them all; you’ll come ballet different than School Trainees demonstrate the away with an inside look into ballet in ballet? How has ballet changed through intricacies of partnering. the 21st century. For more information: the years and what does it mean for sfballet.org/ballet-appreciation. a dancer to have classical training? Apr 12 | Swan Lake Join us for this new course to learn the Dance Scholar Carrie Gaiser Casey BALLET 101: SAN FRANCISCO BALLET answers. In three class sessions, you’ll speaks with the people who make attend a coaching session for a classical the magic happen backstage. Former Jan 23, Jan 30, and Feb 6, 6–8 pm ballet and hear how dancers are guided Company dancers and current backstage A beginner’s guide to SF Ballet to attain the perfection required when production crew Laurie Cowden and Curious about life behind the curtain performing a classical role. Sedley Chew talk about their professional at SF Ballet? Ballet 101 is three class lives in the wardrobe and stage crew sessions designed to harness the departments and their transition from knowledge of Company artists and BALLET 202: CONTEMPORARY BALLET dancer to backstage production crew. staff to give you an overview of the Aug 14, Aug 21, and Aug 28, 6–8 pm art form and access to individuals that The future of ballet © May 3 | Cinderella make SF Ballet one of the world’s most Why does San Francisco Ballet value new Ballet Master Betsy Erickson and artists celebrated ballet companies. You’ll also work and what exactly is contemporary from the Company speak with dance get to take (or watch) a ballet class with ballet? Does it require different training educator Mary Wood on preparing a faculty member from SF Ballet School or skills to dance new works? This new to dance Christopher Wheeldon’s and you’ll receive a comprehensive course provides the answers to these © Cinderella . What makes this ballet as overview of the 2017 Repertory Season. questions in three class sessions. Plus, thrilling for the artists to dance as it is for you’ll get to speak with a choreographer the audience to watch? who is creating a new work for SF Ballet’s 2018 Repertory Season.

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 11 Explore Ballet

DANCE FOR ALL AGES

LET’S DANCE advance. Children ages 8–14 must be Classes fill quickly — reserve your spot accompanied by an adult, and those under today. For more information: FAMILY WORKSHOP 8 are not allowed. For more information: sfballet.org/adultballet Cinderella© sfballet.org/masterclasses. Apr 9, 2:30–3:30 pm Beginner Ballet 1 Series (8 weeks) An enchanted day awaits your family Sunday, Jan 29, 10 am–noon Jan 11–Mar 1 when you join us for our Let’s Dance Contemporary Ballet, SF Ballet Style Wednesdays, 9:30–11 am, Family Workshop for Cinderella©. Kids SF Ballet Soloist James Sofranko and Ballet taught by Jeffrey Lyons and adults alike will discover the magical Master Katita Waldo take you on a journey It’s never too late to start taking ballet. This story, choreography, music, and costumes through the fascinating choreography of eight-session beginner series is for those of Cinderella© during our 60-minute Forsythe’s Pas/Parts 2016. who are new to ballet and those who feel workshop. Kids will even get to learn like they would like to get a handle on the excerpts from Christopher Wheeldon’s Sunday, Mar 12, 10 am–noon basics. Instruction will be broken down Cinderella© from an SF Ballet School Balanchine Rep at SF Ballet to the core elements and then built each faculty member. Whether or not your School Faculty Member Tina LeBlanc week so that you’ll finish feeling confident family has seen our production onstage and Company Ballet Master Felipe Diaz and excited to continue your training. at the Opera House, our Cinderella© Let’s give an inside look at preparing to dance Students must be at least 16 years old to Dance Family Workshop is sure to spark Balanchine ballets. participate. your child’s imagination. Sunday, Apr 9, 10 am–noon Let’s Dance Family Workshops are Tomasson’s Swan Lake BALLET FOR YOUNG CHILDREN recommended for families with children Getting to the core of the corps de ballet, Give your child the gift of dance! Learning ages 6–12. You are welcome to attend join Ballet Master Betsy Erickson and two the joy of movement begins with Pre-Ballet this Family Workshop even if you do not artists of the Company (TBD based on classes at San Francisco Ballet School. We have performance tickets to Cinderella.© casting) for an insightful look at corps de introduce young children ages 4–7 to the Children must be accompanied by an ballet roles in Swan Lake. fundamentals of classical ballet, focusing adult. Tickets are $20 for children and on proper body alignment, basic ballet adults, with a minimum purchase of one technique and terminology, and musicality. child and one adult ticket. Everyone OPEN CLASSES AT Audition not required. Fall 2017 classes will participates and everyone needs a ticket, SF BALLET SCHOOL be open for enrollment beginning in April. regardless of age. For the safety of our Look for more information about free trial young visitors, adults unaccompanied Let your spirit soar as you experience the classes on our website. by a child will not be allowed into the joy of moving in our beautiful studios. Family Workshop. Children should wear comfortable clothes that allow ADULT BALLET WORKSHOP for movement, but ballet shoes are not ADULT BALLET CLASSES June 5–9 required. Children are welcome to wear Our open classes are inclusive and fun, Why do kids always get to have all the their favorite ballet costume. a good workout that stretches your fun? For the first time, SF Ballet School artistry as well as your muscles. Open to is organizing a summer dance workshop MASTER CLASSES adults and teens over the age of 16 with just for adults. Join acclaimed faculty and basic ballet experience, classes start special guests in daily ballet technique REGISTER TO DANCE OR OBSERVE at the barre, then move to the center and repertory classes in our beautiful Master Classes provide an in-depth look through traditional ballet exercises and studios with live accompaniment. Dance at one particular ballet or choreographer. combinations. Be prepared to sweat lovers from across the country will unite Designed for advanced-level dancers ages (at least a little) and to have a good in San Francisco this summer to share in 15–25, Master Classes also welcome up time. It is recommended that true ballet a one-week experience of a dancer’s life to 75 observers, and offer an intimate, beginners start with our Beginner Ballet at SF Ballet. Early bird discount available behind-the-scenes look at the rigor and 1 series. We want to make sure you get through Feb 28. For more information: craft of ballet. To participate in or observe the full attention of our teachers, so we sfballet.org/adultworkshop. a Master Class, you must register in limit enrollment to 30 students per class.

12 SAN FRANCISCO BALLET SFBALLET.ORG San Francisco Ballet Leadership

HELGI TOMASSON GLENN MCCOY Artistic Director & Executive Director Principal Choreographer Glenn McCoy’s career in the Helgi Tomasson, one of the supreme performing arts spans more than classical dancers of his generation, 30 years of operations management has led San Francisco Ballet for 32 and marketing. After working for years. Born in Iceland, he danced with San Francisco Opera and the Harkness Ballet, The , Metropolitan Opera, he joined San and New York City Ballet, where he Francisco Ballet in 1987. He served (© Chris Hardy) distinguished himself as a dancer (© Chris Hardy) as company manager and general of technical purity, musicality, and intelligence. Tomasson manager before being appointed executive director in April assumed leadership of SF Ballet in 1985. Under his guidance, 2002. McCoy has overseen the production of more than SF Ballet has developed into a Company widely recognized as 60 new repertory and full-length ballets and more than 45 one of the finest in the world. Tomasson has balanced devotion domestic and international tours, including engagements in to the classics with an emphasis on new work, cultivating Paris, London, New York, Beijing, and Washington, DC. He frequent collaborations and commissions with renowned supervised SF Ballet’s operations for the critically acclaimed choreographers such as William Forsythe, Christopher international dance festival, UNited We Dance, in 1995 and SF Wheeldon, Alexei Ratmansky, and Mark Morris, among others. Ballet’s 75th Anniversary Season in 2008. He has overseen Tomasson has choreographed more than 50 works for the tapings of Lubovitch’s Othello, Tomasson’s Nutcracker, and Company, including full-length productions of Swan Lake, Neumeier’s The Little Mermaid, which have been broadcast Sleeping Beauty, Romeo & Juliet (taped for at on PBS by Thirteen/WNET New York’s performing arts series the Movies), Giselle, and Nutcracker (taped for PBS’s Great Great Performances, as well as Tomasson’s Romeo & Juliet, Performances). He conceptualized the 1995 UNited We Dance which premiered in Lincoln Center at the Movies’ Great festival, in which SF Ballet hosted 12 international companies; American Dance series in 2015. and the 2008 New Works Festival, which included 10 world premieres by 10 acclaimed choreographers. Tomasson has also connected SF Ballet to the world, through co-commissions with , , and ; and major tours to Paris, London, New York City, China, and his native Iceland.

MARTIN WEST PATRICK ARMAND Music Director & Principal Conductor Associate Director, SF Ballet School

Martin West leads an Orchestra Born in Marseille, France, Patrick that is as musically excellent as it Armand studied with Rudy Bryans, is adventurous. Under his direction his mother Colette Armand, and at the Orchestra has greatly expanded the École de Danse de Marseille. He its catalog of recordings. Born in won the in 1980 and Bolton, England, he studied math continued his studies at the School (© David Allen) at Cambridge. After studying music of American Ballet. In 1981, he joined (© David Allen) at the Royal Academy of Music in (© Chris Hardy) the Ballet Théâtre Français de Nancy London and St. Petersburg Conservatory of Music, he made his and was promoted to principal dancer in 1983. The following debut with and was appointed resident year he joined the English National Ballet, where he danced for conductor. As a guest conductor, he has worked with New York six years before joining in 1990. A frequent guest City Ballet, National Ballet of Canada, and The Royal Ballet. teacher for schools and companies in Amsterdam, Florence, He was named music director of SF Ballet in 2005. West’s London, Naples, Tokyo, and , Armand was appointed recordings with SF Ballet Orchestra include the complete teacher and ballet master of the Teatro alla Scala in Milan in score of Tchaikovsky’s Nutcracker and an of suites from 2006. In 1998 and 2009, he served as a jury member of the Prix Delibes’ and Coppélia. He also conducted for the award- de Lausanne and since 2010 has been the competition’s official winning DVD of Neumeier’s The Little Mermaid as well as SF male coach and teacher. In 2010, he was appointed principal of Ballet’s televised recording of Nutcracker for PBS and the 2015 the SF Ballet School Trainee Program, and in September 2012, in-cinema release of Romeo & Juliet for Lincoln Center at the Armand became SF Ballet School associate director. Movies’ Great American Dance.

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 13 ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER Helgi Tomasson

PRINCIPAL DANCERS Dores André Luke Ingham Sofiane Sylve Frances Chung Davit Karapetyan Yuan Yuan Tan John and Barbara Osterweis Richard C. Barker Sasha De Sola Principal Dancer Principal Dancer Carlo Di Lanno Maria Kochetkova Sarah Van Patten Taras Domitro Herbert Family Diana Dollar Knowles Lorena Feijoo Principal Dancer Principal Dancer Mathilde Froustey Vitor Luiz Joseph Walsh Carlos Quenedit Vanessa Zahorian Jaime Garcia Castilla Diane B. Wilsey Tiit Helimets Aaron Robison Principal Dancer

PRINCIPAL CHARACTER DANCERS Ricardo Bustamante† Val Caniparoli† Rubén Martín Cintas Anita Paciotti†

SOLOISTS Daniel Deivison-Oliveira†, Koto Ishihara†, Angelo Greco, Francisco Mungamba†, Julia Rowe†, James Sofranko, Jennifer Stahl†, Lauren Strongin, Anthony Vincent†, Wei Wang†, Hansuke Yamamoto, WanTing Zhao†

CORPS DE BALLET Kamryn Baldwin† Benjamin Freemantle† Steven Morse† Natasha Sheehan† Sean Bennett† Jordan Hammond† Kimberly Marie Olivier† Henry Sidford† Ludmila Bizalion† Jillian Harvey Sean Orza† Miranda Silveira† Samantha Bristow† Esteban Hernandez Lauren Parrott† John-Paul Simoens† Max Cauthorn† Ellen Rose Hummel† Elizabeth Powell† Myles Thatcher† Thamires Chuvas† Blake Kessler† Alexander Reneff-Olson† Mingxuan Wang† Diego Cruz† Elizabeth Mateer Rebecca Rhodes† Lonnie Weeks Isabella DeVivo† Norika Matsuyama† Emma Rubinowitz† Maggie Weirich† Megan Amanda Ehrlich Lee Alex Meyer-Lorey† Skyla Schreter Ami Yuki† Jahna Frantziskonis

APPRENTICES Alexandre Cagnat†, Shené Lazarus†, Davide Occhipinti†, Nathaniel Remez†, Isabella Walsh†

BALLET MASTER & ASSISTANT TO THE ARTISTIC DIRECTOR Ricardo Bustamante†

BALLET MASTERS Felipe Diaz†, Betsy Erickson†, Anita Paciotti†, Katita Waldo†

COMPANY TEACHERS Helgi Tomasson, Patrick Armand, Ricardo Bustamante†, Felipe Diaz†

CHOREOGRAPHER IN RESIDENCE MUSIC DIRECTOR & PRINCIPAL CONDUCTOR Yuri Possokhov Martin West

14 SAN FRANCISCO BALLET SFBALLET.ORG †Received training at San Francisco Ballet School Principal Dancers

DORES ANDRÉ MATHILDE FROUSTEY Born in Vigo, Spain, Dores André Mathilde Froustey was born in trained with Antonio Almenara and at Bordeaux, France, and trained at Estudio de Danza de Maria Avila. She the Marseille National School of joined the Company in 2004, was Ballet and School. promoted to soloist in 2012, and to She danced with Paris Opera Ballet principal dancer in 2015. before joining SF Ballet as a principal dancer in 2013.

FRANCES CHUNG JAIME GARCIA CASTILLA Born in Vancouver, Canada, Jaime Garcia Castilla was born in Frances Chung trained at Goh Madrid, Spain, and studied at the Royal Ballet Academy before joining SF Conservatory of Professional Dance. Ballet in 2001. She was promoted He was named an SF Ballet apprentice to soloist in 2005 and principal in 2001 and joined the Company as a dancer in 2009. corps de ballet member the following year. He was promoted to soloist in 2006 and to principal dancer in 2008.

SASHA DE SOLA TIIT HELIMETS Born in Winter Park, Florida, Born in Viljandi, Estonia, Tiit Helimets Sasha De Sola trained at the Kirov trained at Tallinn Ballet School. He Academy of Ballet. She was named danced with Estonian National Ballet an SF Ballet apprentice in 2006 and and before joined the Company in 2007. She joining San Francisco Ballet as a was promoted to soloist in 2012 and principal dancer in 2005. principal dancer in 2017.

CORPS DE BALLET

CARLO DI LANNO LUKE INGHAM Carlo Di Lanno was born in Naples, From Mount Gambier, South Australia, Italy, and trained at La Scala Ballet Luke Ingham trained at the Australian School in Milan. He danced with La Ballet School. He danced with The Scala Ballet and Staatsballett Berlin Australian Ballet and before joining San Francisco Ballet as before joining SF Ballet as a soloist in a soloist in 2014. He was promoted to 2012. He was promoted to principal principal dancer in 2016. dancer in 2014.

TARAS DOMITRO DAVIT KARAPETYAN Born in Havana, Cuba, Taras Domitro Born in Yerevan, Armenia, Davit trained at Provincial School of Ballet, Karapetyan trained at the Armenian Alejo Carpentier and the National School of Ballet and Schweizerische Ballet School of Cuba. He performed Ballettberufsschule. After dancing as a principal dancer with Ballet with Zurich Ballet, he joined SF Ballet Nacional de Cuba prior to joining SF as a principal dancer in 2005. He Ballet as a principal dancer in 2008. was appointed John and Barbara Osterweis Principal Dancer in 2013.

LORENA FEIJOO MARIA KOCHETKOVA Born in Havana, Cuba, Lorena Feijoo Born in Moscow, Russia, Maria trained at the National Ballet School of Kochetkova trained at the Bolshoi Cuba. She danced with Ballet Nacional Ballet School in Moscow and danced de Cuba, Ballet of Monterrey, Royal with The Royal Ballet and English Ballet of Flanders, and The Joffrey National Ballet before joining SF Ballet prior to joining SF Ballet as a Ballet as a principal dancer in 2007. principal dancer in 1999. She was appointed Herbert Family Principal Dancer in 2012.

Dancer headshots // © Chris Hardy and David Allen PROGRAMS 01 & 02 SAN FRANCISCO BALLET 15 Principal Dancers

VITOR LUIZ YUAN YUAN TAN Born in Juiz de Fora, Brazil, Vitor Luiz Yuan Yuan Tan was born in Shanghai, trained at The Royal Ballet School. He China, and trained at Shanghai danced with Birmingham Royal Ballet Dancing School and Stuttgart’s John and Ballet do Theatro Municipal do Cranko School. She joined SF Ballet Rio de Janeiro prior to joining SF as soloist in 1995 and was promoted Ballet as a principal dancer in 2009. to principal dancer in 1997. She was appointed Richard C. Barker Principal Dancer in 2012.

CARLOS QUENEDIT SARAH VAN PATTEN Born in Havana, Cuba, Carlos Quenedit Sarah Van Patten, born in Boston, trained at the National Ballet School Massachusetts, danced with of Cuba. He began his career at Ballet Massachusetts Youth Ballet and the Nacional de Cuba and has danced with before joining SF , Ballet de Monterrey, Ballet as a soloist in 2002. She was , and The Joffrey promoted to principal dancer in 2007. Ballet. He joined SF Ballet as a soloist She was appointed Diana Dollar in 2012 and was promoted to principal Knowles Principal Dancer in 2013. dancer in 2014.

AARON ROBISON JOSEPH WALSH Born in Coventry, England, Aaron Robison Born in Doylestown, Pennsylvania, trained at the Institut del Teatre in Barcelona Joseph Walsh trained at Walnut and at The Royal Ballet School. He danced Hill School of the Arts and Houston with Birmingham Royal Ballet, Ballet Corella, Ballet II. He danced with Houston and Houston Ballet prior to joining SF Ballet Ballet before joining SF Ballet as a as a principal dancer in 2016. soloist in 2014. He was promoted to principal dancer that same year.

SOFIANE SYLVE VANESSA ZAHORIAN Sofiane Sylve was born in Nice, Born in Allentown, Pennsylvania, France, where she studied at the Vanessa Zahorian trained at the Académie de Danse. She danced Kirov Academy of Ballet and Central with Germany’s Stadttheater, Dutch Pennsylvania Youth Ballet. She National Ballet, and New York City joined SF Ballet in 1997. She was Ballet prior to joining SF Ballet as a promoted to soloist in 1999 and to principal dancer in 2008. principal dancer in 2002. She was appointed Diane B. Wilsey Principal Dancer in 2014.

16 SAN FRANCISCO BALLET SFBALLET.ORG †Received training at San Francisco Ballet School Principal Character Dancers

RICARDO BUSTAMANTE† RUBÉN MARTÍN CINTAS Born in Medellín, Colombia Born in Reus, Spain Joined in 1980 Joined in 2000 Named principal character dancer in 2007 Named principal character dancer in 2014

VAL CANIPAROLI† ANITA PACIOTTI† Born in Renton, WA Born in Oakland, CA Joined in 1973 Joined in 1968 Named principal character dancer in 1987 Named principal character dancer in 1987

Soloists

DANIEL DEIVISON-OLIVEIRA† FRANCISCO MUNGAMBA† Born in Rio de Janeiro, Brazil Born in Madrid, Spain Joined in 2005 Joined in 2011 Promoted to soloist in 2011 Promoted to soloist in 2016

ANGELO GRECO JULIA ROWE† Born in Nuoro, Sardinia, Italy Born in Elizabethtown, PA Joined as a soloist in 2016 Joined in 2013 Promoted to soloist in 2016

KOTO ISHIHARA† JAMES SOFRANKO Born in Nagoya, Japan Born in Marion, IN Joined in 2010 Joined in 2000 Promoted to soloist in 2014 Promoted to soloist in 2007

Dancer headshots // © Chris Hardy and David Allen PROGRAMS 01 & 02 SAN FRANCISCO BALLET 17 Soloists

JENNIFER STAHL† WEI WANG† Born in Dana Point, CA Born in Anshan, Liaoning, China Named apprentice in 2005 Named apprentice in 2012 Joined in 2006 Joined in 2013 Promoted to soloist in 2013 Promoted to soloist in 2016

LAUREN STRONGIN HANSUKE YAMAMOTO Born in Los Gatos, CA Born in Chiba, Japan Joined as a soloist in 2015 Joined in 2001 Promoted to soloist in 2005

ANTHONY VINCENT† WANTING ZHAO† Born in Phoenix, AZ Born in Anshan, Liaoning, China Named apprentice in 2004 Joined in 2011 Joined in 2006 Promoted to soloist in 2016 Promoted to soloist in 2008

Corps de Ballet

KAMRYN BALDWIN† LUDMILA BIZALION† Born in Honolulu, Hawai’i Born in Rio de Janeiro, Brazil Joined in 2015 Named apprentice in 2006 Joined in 2007 Returned in 2016

SEAN BENNETT† SAMANTHA BRISTOW† Born in San Francisco, California Born in Media, Pennsylvania Named apprentice in 2011 Named apprentice in 2014 Joined in 2012 Joined in 2015

18 SAN FRANCISCO BALLET SFBALLET.ORG †Received training at San Francisco Ballet School Corps de Ballet

MAX CAUTHORN† BENJAMIN FREEMANTLE† Born in San Francisco, California Born in New Westminster, Named apprentice in 2013 British Columbia, Canada Joined in 2014 Named apprentice in 2014 Joined in 2015

THAMIRES CHUVAS† JORDAN HAMMOND† Born in Rio de Janeiro, Brazil Born in Irvine, California Named apprentice in 2014 Joined in 2010 Joined in 2015

DIEGO CRUZ† JILLIAN HARVEY Born in Zaragoza, Spain Born in Hollidaysburg, Pennsylvania Joined in 2006 Named apprentice in 2012 Joined in 2012

ISABELLA DEVIVO† ESTEBAN HERNANDEZ Born in Great Neck, New York Born in Guadalajara, Mexico Joined in 2013 Joined in 2013

MEGAN AMANDA EHRLICH ELLEN ROSE HUMMEL† Born in Charleston, South Carolina Born in Greenville, South Carolina Named apprentice in 2011 Named apprentice in 2011 Joined in 2012 Joined in 2012 Returned in 2017

JAHNA FRANTZISKONIS BLAKE KESSLER† Born in Tucson, Arizona Born in Jacksonville, Florida Joined in 2015 Named apprentice in 2015 Joined in 2016

Dancer headshots // © Chris Hardy and David Allen

Dancer headshots // © Chris Hardy and David Allen PROGRAMS 01 & 02 SAN FRANCISCO BALLET 19 Corps de Ballet

ELIZABETH MATEER LAUREN PARROTT† Born in Boca Raton, Florida Born in Palm Harbor, Florida Joined in 2016 Named apprentice in 2012 Joined in 2013

NORIKA MATSUYAMA† ELIZABETH POWELL† Born in Chiba, Japan Born in Boston, Massachusetts Joined in 2014 Named apprentice in 2011 Joined in 2012

LEE ALEX MEYER-LOREY† ALEXANDER RENEFF-OLSON† Born in Zurich, Switzerland Born in San Francisco, California Named apprentice in 2003 Named apprentice in 2012 Joined in 2004 Joined in 2013 Returned in 2013

STEVEN MORSE† REBECCA RHODES† Born in Harbor City, California Born in , Illinois Joined in 2009 Named apprentice in 2008 Joined in 2009

KIMBERLY MARIE OLIVIER† EMMA RUBINOWITZ† Born in New York, New York Born in San Francisco, California Named apprentice in 2009 Named apprentice in 2012 Joined in 2010 Joined in 2013

SEAN ORZA† SKYLA SCHRETER Born in San Francisco, California Born in Chappaqua, New York Named apprentice in 2007 Joined in 2014 Joined in 2008

20 SAN FRANCISCO BALLET SFBALLET.ORG †Received training at San Francisco Ballet School NATASHA SHEEHAN† MINGXUAN WANG† Born in San Francisco, California Born in Qingdao, China Joined in 2016 Named apprentice in 2013 Joined in 2014

HENRY SIDFORD† LONNIE WEEKS Born in Marblehead, Massachusetts Born in Los Alamos, New Mexico Named apprentice in 2011 Joined in 2010 Joined in 2012

MIRANDA SILVEIRA† MAGGIE WEIRICH† Born in Rio de Janeiro, Brazil Born in Portland, Oregon Named apprentice in 2013 Named apprentice in 2014 Joined in 2014 Joined in 2015

JOHN-PAUL SIMOENS† AMI YUKI† Born in Omaha, Nebraska Born in Saitama, Japan Named apprentice in 2014 Named apprentice in 2014 Joined in 2015 Joined in 2015

MYLES THATCHER† Born in Atlanta, Georgia Named apprentice in 2009 Joined in 2010

Dancer headshots // © Chris Hardy and David Allen PROGRAMS 01 & 02 SAN FRANCISCO BALLET 21 22 SAN FRANCISCO BALLET SFBALLET.ORG JAN 24 – FEB 4 01 THE JOY OF DANCE

HAFFNER SYMPHONY

Composer: Wolfgang Amadeus Mozart World Premiere: June 25, 1991 — San Francisco Ballet, Choreographer: Helgi Tomasson Mozart & His Time Bicentennial Celebration, War Memorial Opera House; San Francisco, California Scenic and Costume Design: Santo Loquasto These performances of Haffner Symphony are made Lighting Design: Thomas R. Skelton possible by Lead Sponsor Donald F. Houghton, Major Sponsor Kathleen Scutchfield, and Sponsor Almaden Press.

FRAGILE VESSELS WORLD PREMIERE Composer: Sergei Rachmaninov World Premiere: January 24, 2017 — San Francisco Ballet, Choreographer: Jiří Bubeníček War Memorial Opera House; San Francisco, California Scenic Design: Otto Bubeníček The 2017 world premiere of Fragile Vessels is made possible by Lead Sponsor Gaia Fund, with additional support from Costume Design: Uroš Belantič the Osher New Work Fund of the San Francisco Ballet Lighting Design: Jim French Endowment Foundation.

IN THE COUNTENANCE OF KINGS

Composer and Original Orchestrations: World Premiere: April 7, 2016 — San Francisco Ballet, War Memorial Opera House; San Francisco, California Orchestration for San Francisco Ballet: These performances of In the Countenance of Kings Michael P. Atkinson are made possible by Sponsor San Francisco Ballet Choreographer: Justin Peck Allegro Circle. Costume Design: Ellen Warren The 2016 world premiere of In the Countenance of Kings was made possible by Lead Sponsors Mr. Richard C. Barker, Lighting Design: Brandon Stirling Baker Gaia Fund, David and Kelsey Lamond, Yurie and Carl Pascarella, and The Seiger Family Foundation, with additional support from the Byron R. Meyer Choreographers Fund and Osher New Work Fund of the San Francisco Ballet Endowment Foundation.

Vanessa Zahorian and Davit Karapetyan in Tomasson's Haffner Symphony // © Erik Tomasson PROGRAMS 01 & 02 SAN FRANCISCO BALLET 23 Left: SF Ballet in Tomasson's Haffner Symphony Right: Lauren Strongin and Henry Sidford in Peck's In the Countenance of Kings Both // © Erik Tomasson

HAFFNER SYMPHONY BIOGRAPHIES

WOLFGANG AMADEUS MOZART Orchard (1977), Grand Hotel (1990), and Cafe Crown (1989). Composer Loquasto has worked with most major international dance Wolfgang Amadeus Mozart (1756–1791) was one of the most companies and has collaborated with , influential and prolific composers of the Classical period. He is , Agnes de Mille, Paul Taylor, Mark Morris, known for his genius as well as his range: his more than 600 , James Kudelka, and Helgi Tomasson. Loquasto is works of symphonic, chamber, operatic, and choral music are also known for his work in , notably with Woody Allen. He enduringly popular. A legendary musical prodigy, he started received Academy Award nominations for his work on Radio touring Europe, performing and composing for European Days, Bullets over Broadway, and Zelig. Loquasto was inducted royalty, at age 6. After working as a musician in the Salzburg into the American Theater Hall of Fame in 2004. court, in 1781 he moved to Vienna, where he achieved fame but not financial security. Mozart continued to write music THOMAS R. SKELTON at a tremendous pace, composing many of his best-known Lighting Designer symphonies, concertos, and , and portions of his Thomas R. Skelton (1927–1994) was a prolific lighting designer . He died at age 35 and was buried in an unmarked known for his work in dance and theater. Born in North grave. According to Albert Einstein, Mozart’s music was “so Bridgeton, Maine, Skelton graduated from Middlebury College’s pure that it seemed to have been ever-present in the universe, theater department and moved to New York to study dance with waiting to be discovered by the master.” Martha Graham and José Limón. He started as an apprentice in lighting design at American Dance Festival, then worked HELGI TOMASSON with ’s new company. In his long career, Skelton Choreographer worked with New York City Ballet, American Ballet Theatre, Please see page 13. Joffrey Ballet, Boston Ballet, Ballet, Paul Taylor Dance Company, and Ohio Ballet, where he was associate SANTO LOQUASTO director. His method was published as “The Handbook for Costume Designer Dance Stagecraft” in Dance Magazine in 1955 and 1956. Santo Loquasto is a Tony Award winning designer for theater, Skelton also designed lighting for more than 60 Broadway film, dance, and opera. Born in Wilkes-Barre, PA, he started shows and received three Tony Award nominations. At SF working in summer stock as a teenager. Since his first Broadway Ballet, he designed Helgi Tomasson’s Romeo & Juliet, Haffner show (Sticks and Bones, in 1972), he has designed the sets and/ Symphony, and Meistens Mozart, and Val Caniparoli’s Tryst. or costumes for more than 60 Broadway productions, garnering 18 Tony Award nominations and three wins, for The Cherry

24 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAM NOTES by Cheryl A. Ossola

Haffner Symphony blends classical elegance with the you have the connection with lightheartedness of a garden party. This buoyant ballet, your partner in the first and final HAFFNER SYMPHONY created by San Francisco Ballet Artistic Director and Principal movements, but you’re courted PRODUCTION CREDITS Choreographer Helgi Tomasson, is a celebration, as if the through the second movement,” Music: Symphony No. 35 in D Major, K. 385 (Haffner principal couple invited their best friends to an afternoon of she says. “You end up dancing Symphony). Costumes dance and everyone is having a grand time. with everyone. [Haffner] has a nice, constructed by Barbara Matera, Ltd., New York, New York. communal kind of feel, which is Scenery constructed by San Tomasson created Haffner Symphony in 1991, for the Mozart & rare in tutu ballets.” Francisco Opera and Ballet His Time Bicentennial Celebration in San Francisco. In fact, he Scene Shop. made two ballets for the occasion, so he searched for contrasting In translating Mozart’s music into music. For Haffner he chose Mozart’s Symphony No. 35 in D movement, Tomasson has created Major (also called the Haffner Symphony) because of its jubilatory a dance with vigor and complexity, nuance and sensitivity. An feeling; for the second ballet, Meistens Mozart, he selected overhead sweep of the arms, echoing a musical embellishment, songs by Mozart and others. Choreographing two ballets in might finish with a small burst; lifts eat up floor space, lingering the same time frame was a new experience for Tomasson that in the air. De Sola calls the choreography a nod to classicism, he says was “very refreshing — and interesting to discover that adding that “there’s a lot of pure classical technique.” you could really do two different things [at once].” Though the process of choreographing is “never relaxing,” he says, he liked But physicality isn’t everything — a big part of the onstage being able to change gears, returning to each ballet-in-progress picture is how the dancers relate. At one point, when the three feeling fresh. men lift De Sola, they present her like a gift-wrapped treasure. (She peeks out sweetly from beneath her upheld arm.) And “Fresh” is a fitting description of Haffner Symphony. The music when Corps de Ballet member Max Cauthorn walks out and contains no adagio movement, which is typically where a grand matches Principal Dancer Maria Kochetkova’s stance in a deep pas de deux (a duet that also includes solos for both dancers) lunge, it’s like he’s starting a conversation. You can almost hear occurs in classical ballet. For that reason, Tomasson skipped the garden-party chatter around them. the duet and used the second and third musical movements for back-to-back quartets, one for a woman and three men, one In rehearsal, Music Director and Principal Conductor for a man and three women. “It was an interesting structure,” Martin West coaches Company Pianist Nina Pinzarrone on he says. “Why not put three women with a guy and have them interpretation: “It’s an aria; everything is singing.” Tomasson complement him? Visually, that was more interesting for me uses the same word, often, asking the dancers to move than giving her a long solo.” more. “I really like when people use the space and don’t rein [themselves] in. When I say to sing it, with Mozart it’s so The second-movement quartet is something that Soloist Sasha easy — just let the music carry you.” De Sola says she particularly enjoys dancing. “Not only do

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 25 Imagery often plays a role in dancemaking or conveying a movement INSTANT IMAGERY AS quality. In setting movement, choreographers might find inspiration in EXPERT images recalled from fine art, books or photographs, nature, or anything else that suggests an idea or emotion. In rehearsals they often use imagery INSPIRATION to convey what they want to the dancers — for example, the sculptures Jiří Bubeníček references in Fragile Vessels, or the feeling of moving underwater Yuri Possokhov described in creating Optimistic Tragedy.

FRAGILE VESSELS BIOGRAPHIES

SERGEI VASILIEVICH RACHMANINOV ballets Unerreichbare Orte (, 2005), Ai No Composer Yukue (premiere in Sapporo, Japan, 2005), Le Souffle de Sergei Vasilievich Rachmaninov (1873–1943) was a Russian l’Esprit (Zurich Ballet, 2007), and Toccata (New York City Ballet, pianist, composer, and conductor of the late Romantic period. 2009). Otto has designed sets and/or costumes and worked Regarded as one of the major composers of the 20th century, as a librettist for more than a dozen of Jiří’s works that have his works remain popular in the classical repertory. Born into premiered all over the world. The twins have also created the an aristocratic, musical family, Rachmaninov started piano full-length Les Bubeníček Ballet, which has been performed in as a child and enrolled in the Moscow Conservatory at age Italy, the Czech Republic, and Japan. 12. At the home of his teacher, Nikolai Zverev, he met Peter Ilyich Tchaikovsky, who became a mentor. In the early 1900s, UROŠ BELANTIČ Rachmaninov was in constant demand as a conductor, pianist, Costume Designer and composer. After the Russian Revolution, he moved with Uroš Belantič is a fashion and costume designer based his family to the United States, where he toured extensively as in Paris. Born in the former Yugoslavia, Belantič grew up a concert pianist. In later years, he composed Rhapsody on a in Slovenia, attending the High School of Design and Theme of Paganini, Symphony No. 3, and Symphonic . Photography in Ljubljana. He continued to study fashion design at the University of Applied Arts in Vienna, under the JIŘÍ BUBENÍČEK mentorship of Helmut Lang and JC de Castelbajac. In 2003 he Choreographer introduced the first collection of his own brand, Oktober and, Czech choreographer Jiří Bubeníček was an acclaimed since 2008, has designed for the fashion brand Plein Sud in dancer before he retired in 2015 to focus on choreography. Paris. Belantič also works as a costume designer in theater, Born into a family of circus acrobats, Jiří and his twin brother film, and advertising. He has collaborated with Slovenian Otto trained in ballet at the Prague Dance Conservatory. In contemporary dance groups and, in 2014–15, designed 1992, they both received awards at the prestigious Prix de costumes for the ballets of the Slovenian National Opera. Lausanne ballet competition. A year later, they joined Hamburg Ballet, and in 1997, both twins were named principal dancers. JIM FRENCH Jiří moved to Dresden’s Semperoper Ballett as a principal Lighting Designer in 2006. He choreographed his first work, entitled La Foule, Jim French, lighting supervisor for San Francisco Ballet, for Hamburg Ballet in 1999, and has choreographed steadily designs lighting for a broad range of performing arts and since then, creating more than 40 ballets for many of the live events. Following extended stints with the Martha world’s great theaters and opera houses, including Toccata for Graham Dance Company and Twyla Tharp Dance, French New York City Ballet, Le Souffle de l´Esprit for Zurich enjoyed nine years as resident designer for New York’s Ballet, Unerreichbare Orte for Hamburg Ballet, Outrenoir for Cedar Lake Contemporary Ballet. In dance, his design work , and Dr. Zhivago for Ljubljana Slovene includes collaborations with Bandaloop, , National Theatre Opera and Ballet. Ballett Basel (Switzerland), Carte Blanche (Norway), Joe Goode Performance Group, Post:Ballet, Richmond Ballet, OTTO BUBENÍČEK and choreographers Amy Seiwert, Jessica Lang, Crystal Pite, Scenic Designer Pascal Rioult, and Val Caniparoli. In theater, he has designed Otto Bubeníček is twin brother to choreographer Jiří lighting for Marin Theatre Company, Pittsburgh Irish and Bubeníček. After an illustrious career as a principal dancer Classical Theatre, Shotgun Players, Just Theater, and New with Hamburg Ballet, Otto in recent years has turned his York’s Playwrights Horizons and Primary Stages. He has focus to composing music, designing costumes and sets, and been a house lighting designer at SF Jazz, and volunteers for making short . He has written music for Jiří Bubeníček’s Dancers Responding to AIDS and Bike East Bay.

26 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAM NOTES by Cheryl A. Ossola

When you commission a ballet from Czech choreographer Jiří Dancer Dores André and Soloist Bubeníček, you get a package deal: Jiří and his twin brother, Francisco Mungamba in a pas FRAGILE VESSELS Otto, collaborate when they create works for companies de deux, he says, “The body PRODUCTION CREDITS can move in so many ways. I in North America, Europe, and Asia. In choreographing Music: Piano Concerto No. 2, Fragile Vessels for San Francisco Ballet, Jiří had Otto at his want to see three-dimensional Op. 18 by Sergei Rachmaninov, bodies, not two-dimensional.” Costumes constructed by Žolna side, as designer, assistant, and advisor. What this prolific šport, Ljubljana, Slovenia. Scenic choreographer has created is a ballet that carries tremendous His choreography, filled with construction and painting by San counterbalances, unconventional Francisco Ballet Carpentry and emotional weight for him, in both music and concept. Scenic Departments. lifts, and imaginative partnering, You can track the evolution of Fragile Vessels back to a day in unfolds in a complex structure 1993 when Bubeníček, newly hired as a dancer by Hamburg peppered with geometric Ballet, went to a music store while on tour in Tokyo. Coming formations. Describing Bubeníček’s movement quality as full from a communist country, he was stunned by the freedom to would be an understatement; it is lush, fluid, lugubrious — as buy whatever he wanted. What he wanted that day was a CD the choreographer puts it, juicy. “I like to see the body moving of Sergei Rachmaninov playing his own music, including Piano as it is built, not to give it any limitations,” he says. Concerto No. 2. “I just loved it,” Bubeníček says, and thought he might make a ballet to this concerto someday. Eight years “His movement is his own,” Tomasson says. “It’s very much based later he entered a competition for choreographers in Hamburg, in the classical idiom, and both brothers were exceptionally creating a pas de trois (trio), a love triangle that mirrored events good dancers. They’re also good partners, and both of them are in his personal life, set to the concerto’s second movement. He very strong. I think that comes into the choreography.” SF Ballet realized he wanted to choreograph to the complete concerto, dancers “learned a different take on partnering or movement. and he got his chance when Helgi Tomasson called. Bubeníček's style is not like anybody else’s.”

Tomasson, SF Ballet’s artistic director and principal Fragile Vessels has three themes, most visible in the second choreographer, says he was “aware of [Bubeníček] movement pas de trois but present throughout: love, choreographing in Europe and had heard some very good separation, and forgiveness. Working from a concept, not things.” He asked to see some of his work. One piece was from specific movement ideas, is a skill he had to develop, “very contemporary,” Tomasson says. “Another was neoclassic Bubeníček says. “When I was a young choreographer I was dancing that moved beautifully, very musical. I thought it would more shy, so I would prepare every step.” But, he discovered, be wonderful to have him do something for us.” the movement he created on himself didn’t necessarily fit the dancers. “I don’t prepare any steps anymore; I prefer to work At SF Ballet, Bubeníček wanted to take risks. “I wanted to make with people, to be creative,” he says. “Also I think the dancers something demanding,” he says. “I had strong dancers; this is feel better when it’s something made on them, and they can what I want to do for them — use their ability.” Once he started inspire me as well.” choreographing, he found that he wanted “to make them move even more and enhance the classical vocabulary.” He says he When Fragile Vessels begins, a chaotic rush of movement likes to be “very musical, but I also think that the dance and the quickly becomes ordered. Bubeníček knows how to pace a music [are] in the same level. I’m not trying to always follow the ballet, allowing dense passages of embellished movement music; sometimes the choreography is leading the music, so to transition into quiet moments. The corps de ballet dances there’s this dynamic as well.” many of the same steps as the principal dancers, echoing and building on them. There’s depth in the relationships too — a According to Music Director and Principal Conductor Martin pas de deux for Principal Dancers Sofiane Sylve and Joseph West, the Rachmaninov concerto gives Bubeníček plenty to Walsh involves romance but also a sense of discovery, as if work with. “It’s a great piece,” West says, “a true concerto in the they’re sharing a new experience. It’s an equal partnership, sense that the orchestra and piano have big voices. Everybody not a man presenting a woman in the traditional classical loves playing Rachmaninov. He reminds me of Gershwin in that way. Many moments reveal an emphasis on human dynamics he was a completely unique voice.” His music is “so deep, it’s and communication; often the dancers move in response to so clever, it’s so unique — like Gershwin, all those melodies he someone else. For example, in a pas de deux for André and wrote. You think, ‘Oh, anybody could do that.’ No, they couldn’t. Soloist Wei Wang, he pushes her flexed leg into extension, as if He was a genius, and so was Rachmaninov.” to show how intimately they are connected.

Rachmaninov’s big voice demands movement that equals it. Bubeníček often finds inspiration in fine art, so look closely — you “He’s a Russian composer, so I want Bolshoi [movement]; that might see poses that reference Auguste Rodin’s The Thinker means huge, big,” Bubeníček tells the dancers, demonstrating and 18th-century Italian sculptor Antonio Canova’s Orfeo ed a downward sweep of his arms that seems to use every Euridice. For Bubeníček, inspiration also comes from the not-so- muscle. “You have to lick the floor.” Working with Principal continued on page 29

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 27 IN THE COUNTENANCE OF KINGS BIOGRAPHIES

SUFJAN STEVENS New York Times. Originally from San Diego, Peck trained at Composer the School of American Ballet, joined New York City Ballet Sufjan Stevens is a singer-songwriter multi-instrumentalist in 2006, and was promoted to soloist in 2013. His ascent known for his often autobiographical work in a variety of as a choreographer has been breathtakingly rapid: Peck genres. Born in , he ventured into music as a member choreographed his first work in 2009. Since then he has been of the folk-rock band Marzuki. A Sun Came, his debut solo commissioned by Miami City Ballet, , album, appeared in 2000, followed in 2001 by the heavily Paris Opera Ballet, and San Francisco Ballet, among many electronic , a song cycle centered around others, and was named resident choreographer of NYCB in the animals of the Chinese zodiac. In 2003 he released the 2014. His Year of the Rabbit (2013) and Rodeo: Four Dance album Michigan, a 15-track conceptual piece on which he Episodes (2015) were both nominated for Benois de la Danse played more than 20 instruments. Two years later, he released awards. Peck was the subject of the 2014 documentary Ballet the critically acclaimed album Illinois. In 2007, Stevens 422, which chronicled his creation of Paz de la Jolla, NYCB’s created the instrumental film project The BQE, a symphonic 422nd original work. and cinematic exploration of the infamous - Expressway, commissioned by Brooklyn Academy of Music’s ELLEN WARREN Next Wave Festival. Stevens teamed up with Yarn/Wire in 2014 Costume Designer to compose and perform the soundtrack to Round-Up, an Ellen Warren is a dancer and up-and-coming costume impressionistic documentary film about rodeo riders. In 2015, designer. Born in Portland, Oregon, Warren studied ballet at Stevens released Carrie & Lowell, a personal album inspired the School of and School of American by the death of his mother. Ballet before joining New York City Ballet in 2003. After nine seasons with the company, she returned to the West Coast MICHAEL P. ATKINSON as a freelance dancer while also developing her sewing Orchestrator and design skills. Her custom pieces caught the eye of Michael P. Atkinson is a Brooklyn-based hornist, composer, choreographer Justin Peck. In 2015, he asked her to create conductor, and arranger known for his thoughtful costumes for his Osso Duet, which premiered at the Nantucket orchestrations for ballet. A frequent collaborator with Sufjan Atheneum Dance Festival. Warren was next invited to design Stevens, Atkinson prepared the score for his award-winning and ultimately construct the costumes for Justin Peck’s In symphonic film suite The BQE and conducted its world the Countenance of Kings for San Francisco Ballet. Warren premiere in 2007. His work with Stevens captured the attention continues to perform as a freelance dancer while launching of New York City Ballet Resident Choreographer Justin Peck, her custom leotard and swimsuit brand, Louise Apparel. who later selected them to create the scores of his ballets Year of the Rabbit and Everywhere We Go. Atkinson conducted BRANDON STIRLING BAKER the premiere performances of both works at Lincoln Center. Lighting Designer With composer Mikael Karlsson, he also co-orchestrated A Brandon Stirling Baker is an award-winning lighting designer Swan Lake (2014) and Cow (2016) for Royal Norwegian Ballet for dance and theater who has collaborated extensively with and Blanc (2016) for Vienna State Opera Ballet. Atkinson, who choreographer Justin Peck. A graduate of the California trained at Juilliard, performs as an orchestral and chamber Institute for the Arts, Baker also studied at the Royal musician and as solo hornist of The Knights, a trailblazing Scottish Academy of Music & Drama in Glasgow, Scotland. He group of young musicians. has designed lighting for an extensive internationally, including New York City Ballet, Miami City JUSTIN PECK Ballet, Dutch National Ballet, Staatsballett Berlin, Pacific Choreographer Northwest Ballet, The Joffrey Ballet, , and Justin Peck, a soloist at New York City Ballet, is a young and Houston Ballet, among others. Baker is the winner of the prolific choreographer who has been hailed as “the most 2016 Lotos Foundation Prize in the Arts and Sciences, as an eminent choreographer of ballet in the United States” by The Emerging Artist.

28 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAM NOTES by Cheryl A. Ossola

In the Countenance of Kings, the first work created for San The score, part of a mixed-media Francisco Ballet by Justin Peck, takes its name from part of project that premiered as an IN THE COUNTENANCE its score, The BQE by Sufjan Stevens. Like the music, the original film with live orchestra OF KINGS PRODUCTION ballet is big, cinematic, energetic, and joyful. That might seem accompaniment, has been CREDITS Music: “The BQE” by Sufjan surprising to anyone who thinks of the BQE (Brooklyn-Queens shortened and re-orchestrated to fit Stevens used by Expressway) as a symbol of urban blight. But as Peck says, for the San Francisco Ballet Orchestra. with New Jerusalem Music Publishing, publisher and Sufjan the BQE “inspired great composition. Sometimes what’s It’s “very multilayered,” says Music copyright owner. Music of not necessarily the most obviously beautiful thing will inspire Director and Principal Conductor Sufjan Stevens orchestrated for San Francisco Ballet by something beautiful.” Martin West. “I find it almost a Michael P. Atkinson. Costumes throwback to the ’60s psychedelic constructed by Ellen Warren, Twenty-nine-year-old Peck, a soloist and, since 2014, resident stuff — lots of things going on all at Portland, Oregon. choreographer at New York City Ballet, has choreographed more once; you don’t quite know what’s than 30 ballets. When SF Ballet Artistic Director and Principal next. It’s like the BQE, I suppose, coming from all directions.” Choreographer Helgi Tomasson saw Peck’s work, he immediately thought it “was not the average or the ordinary. There was a major For this ballet, Peck visualized a protagonist, and that idea talent there.” led him to name the rest of the cast. (The corps de ballet, for example, is “The School of Thought.”) He says he was working Peck’s interest in choreography arose early. “When I first came conceptually with “how we perceive the world around us. It’s to SAB [the School of American Ballet in New York City] I didn’t not a narrative, but it’s like a semi-story.” Motifs of awakening know a lot about ballet as an art form,” he says. “It wasn’t until and seeing infiltrate the ballet, and relationships are evident I was exposed to the works by [George] Balanchine, [Jerome] everywhere — these people know one another, and they play, Robbins, and some new choreographers too that I saw how tease, tend, challenge, and run. The dancers seem to explore movement and music could interrelate and that there can be a new world, and in setting them to this task Peck makes great something just in that relationship.” use of the stage: movements bursting with opposing energy, suspension, and expansiveness; freeze-frame “Kodak moments;” Athleticism is a quality that appealed to Peck as a dance student, and languid movements he calls “gooey.” And that athleticism he and it’s a predominant quality in his choreography. In the loves? It colors much of the ballet. “Take it up a notch,” he calls to Countenance of Kings has breath and suspension, complexity one dancer in rehearsal. “Like your limbs are going to separate and contrast: stillness and speed, quick changes of direction. from your body.” Yet beneath this contemporary, jazzy, exuberant Peck describes his aesthetic as not only athletic but also “a dancing, ballet’s classical foundation is there, and Peck calls for it musically sensitive one, and a bright, punctuated way of moving. over and over. “We want to start from a classical position,” he tells All the while still using a classical vocabulary when I can.” the dancers, “then slowly decompose.”

In this ballet, everything he does comes from the music. “Sufjan The result, says Tomasson, is that Peck “captured the energy wrote such a huge piece of music, with so much energy and this company has. He did beautiful things for us.” speed and athleticism and changes in rhythm that it would be impossible not to create something similar in scale. I’m riding the wave of the music.”

FRAGILE VESSELS PROGRAM NOTES continued distant past, and from people you might not expect, like 1920s told, and for dancers to create magic with this ballet, to supermodel . If you’ve ever admired the statue “give it soul,” he says. As Otto explains to André, Walsh, and of a woman that towers above San Francisco’s Union Square or Wang about a point when they run downstage in a triangle stands in many places in New York City (including atop Grand formation, “You’re not human anymore; you’re something Central Station), “a kind of heroic woman, [with a] beautiful Greek bigger, the world.” face,” Bubeníček says, you’ve seen Audrey Munson. Fleetingly, Sylve and Walsh imitate the pose she struck in modeling for Sometimes dancers “just want to dance the best,” Jiří Adolph Alexander Weinman’s sculpture Descending Night. Bubeníček says, and we viewers come to the theater expecting top-notch technique. “Somehow we forget what it is about — the Interesting as these nods to art are, they’re not essential to feeling and the love.” He puts his hand over his heart. In order the viewing experience. More important, Bubeníček says, is for dance to become art, he says, “it should always come first for audiences to decide for themselves what story is being from here.”

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 29 30 SAN FRANCISCO BALLET SFBALLET.ORG JAN 26 – FEB 5 02 MODERN MASTERS

SEVEN SONATAS

Composer: Domenico Scarlatti World Premiere: October 2, 2009 — American Ballet Theatre, Choreographer: Alexei Ratmansky The Richard B. Fisher Center for the Performing Arts at Bard College; Annandale-on-Hudson, New York Staged by: Nancy Raffa Costume Design: Holly Hynes These performances of Seven Sonatas are made possible by Lighting Design: Brad Fields Sponsor Kathleen Grant, M.D. and Thomas Jackson, M.D.

OPTIMISTIC TRAGEDY WORLD PREMIERE Composer: Ilya Demutsky World Premiere: January 26, 2017 — San Francisco Ballet, Choreographer: Yuri Possokhov War Memorial Opera House; San Francisco, California

Scenic and Projection Design: The 2017 world premiere of Optimistic Tragedy Alexander V. Nichols is made possible by Lead Sponsors Mr. Richard C. Barker, Costume Design: Mark Zappone Yurie and Carl Pascarella, and Miles Archer Woodlief, Lighting Design: Christopher Dennis with additional support from the TeRoller Fund for New Productions of the San Francisco Ballet Endowment Foundation.

PAS/PARTS 2016

Composer: Thom Willems World Premiere: March 31, 1999 — Paris Opera Ballet, Choreographer: William Forsythe Palais Garnier; Paris, France

Staged by: Jill Johnson and Christopher Roman San Francisco Ballet Version, Premiere: January 24, 2016 — Scenic and Lighting Design: William Forsythe War Memorial Opera House; San Francisco, California Costume Design: Stephen Galloway These performances of Pas/Parts 2016 are made possible Technical Supervisor, Forsythe Productions: by support from the Phyllis C. Wattis Fund of the Tanja Rühl San Francisco Ballet Endowment Foundation.

Maria Kochetkova and Francisco Mungamba in Forsythe's Pas/Parts 2016 // © Erik Tomasson PROGRAMS 01 & 02 SAN FRANCISCO BALLET 31 Left: San Francisco Ballet rehearses Possokhov's Optimistic Tragedy Right: SF Ballet in Ratmansky's Seven Sonatas Both // © Erik Tomasson

SEVEN SONATAS BIOGRAPHIES

DOMENICO SCARLATTI NANCY RAFFA Composer Stager Giuseppe Domenico Scarlatti (1685–1757) was a Baroque Nancy Raffa, a former dancer and ballet mistress at American composer whose music was also influential in the Ballet Theatre (ABT), has worked closely with choreographer development of the Classical style. Scarlatti was born Alexei Ratmansky since he became artist in residence in 2009. in Naples the same year as and Born in Brooklyn, New York, Raffa trained with Madame Gabriela . His father Alessandro Scarlatti Darvash. When she was 15 years old, she became the youngest was a music teacher who encouraged his son’s prodigious and first American female to win the Gold Medal at the Prix de musical gifts. At the age of sixteen, Scarlatti became a Lausanne competition in Switzerland. After joining Makarova musician at the Chapel Royal, and two years later he settled and Company on Broadway, Raffa became a member of the in Rome where he became the pupil of some of the most corps de ballet of ABT. She also danced with Ballet de Santiago, eminent musicians in Italy. Scarlatti is best known for his Ballet National Française de Nancy, and Miami City Ballet. She 555 keyboard sonatas, single movements written mostly retired from dancing to become a teacher, coach, and ballet for the harpsichord or the earliest pianofortes. He also mistress. Raffa has worked closely with choreographers Twyla composed a number of operas and cantatas, symphonias, Tharp and Ratmansky and has set many of Ratmansky’s works and liturgical pieces. His better-known works include the for ABT on companies around the globe. Stabat Mater of 1715 and the Salve Regina of 1757, thought to be his last composition. HOLLY HYNES Costume Designer ALEXEI RATMANSKY Holly Hynes is an accomplished costume designer with more Choreographer than 250 ballets to her credit. Her designs have been worn by Alexei Ratmansky, currently artist in residence at American acclaimed companies around the world including American Ballet Theatre, is an internationally acclaimed Theatre, New York City Ballet, Paris Opera Ballet, National choreographer who has revitalized narrative ballet through Ballet of Canada, , the , Houston his thoughtful remounting of classics and his shorter, more Ballet, and The Royal Ballet. She has been the resident designer abstract works. Born in St. Petersburg, Russia, he trained for The Ballet based at Kennedy Center for at the Bolshoi Ballet School in Moscow and performed as more than 15 years. For 21 years, she was the director of a principal dancer with Ukrainian National Ballet, Royal costumes for the New York City Ballet. She is also a leading Winnipeg Ballet, and Royal Danish Ballet. An invitation to costume consultant helping major companies to recreate create a work for the Bolshoi Ballet led him to become original designs for iconic ballets in the Jerome Robbins and artistic director of that company in 2004. As Artistic Director, George Balanchine repertories. Seven Sonatas is the twelfth Ratmansky remounted several Soviet-era ballets, most Hynes design to join the San Francisco Ballet repertory. notably The Bright Stream, for which he earned a Critic’s Circle Award in London. BRAD FIELDS Lighting Designer SF Ballet commissioned Ratmansky’s first American premiere, Brad Fields has traveled extensively throughout the Le Carnaval des Animaux in 2003 and has since acquired six world as a lighting designer for ballet and additional works in the repertory. He has also choreographed companies. Since 1995 he has worked with American Ballet ballets for the Mariinsky Ballet, the , Theatre, designing lighting for ballets by Alexei Ratmansky, Dutch National Ballet, New York City Ballet, The Australian Christopher Wheeldon, , and Twyla Tharp, Ballet, and many others. Ratmansky joined American Ballet among others. Fields frequently collaborates with Spanish Theatre as artist in residence in January 2009. Named a choreographer Nacho Duato, lighting contemporary works 2013 MacArthur Foundation Fellow, Ratmansky has also set on Compañía Nacional de Danza in Spain and full-length served as a choreographic mentor to SF Ballet Corps de works for in St. Petersburg. He has also Ballet member Myles Thatcher through the Rolex Mentor & worked with Boston Ballet, The Royal Ballet, Lyon Opera Ballet, Protégé Arts Initiative. Houston Ballet, and Netherlands Dance Theater.

32 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAM NOTES by Cheryl A. Ossola

Alexei Ratmansky choreographed Seven Sonatas in 2009, his playful way. And then you see men first year as artist in residence at American Ballet Theatre (ABT). together with their very masculine SEVEN SONATAS He’d just left the Bolshoi Ballet where, as artistic director, he humor, very Alexei humor, and the PRODUCTION CREDITS had made his mark by choreographing full-length ballets and women mocking them — it’s very Music: Domenico Scarlatti: Keyboard Sonatas, K. 474, restaging the classics and Soviet-era ballets. Seven Sonatas, folkloric in a way.” 198, 481, 39, 547, 450, and his second work for ABT, is ballet on a more intimate scale. 30. Costumes constructed by Cygnet Studios, New York, It’s “a jewel of a piece,” says Helgi Tomasson, San Francisco In the studio at SF Ballet, Raffa New York. Ballet’s artistic director and principal choreographer. “Just gives detailed feedback to the beautiful — and the quality of it, the inventiveness!” dancers as they rehearse. “Breathe with the body, not the arms,” she says about a moment in the An ensemble piece for six dancers, Seven Sonatas is set finale. “Find different ways to do it, some stronger, some softer.” to seven of Domenico Scarlatti’s 555 keyboard sonatas, Emphasizing the need for precision, she reminds the dancers performed by an onstage pianist. The ballet is “a study of the that “we see everything — every detail, every transition. The music with a human element woven into it,” says Nancy Raffa, floor is grey, the backdrop is blue, the piano and wings are an ABT ballet master and stager of Ratmansky’s works. “It black and you’re in white.” gives the dancers an opportunity to be individual, to be free, to make their spirit move through their body and be the music. Raffa says Ratmansky asked her to convey to the dancers the They have to stay in the margin of what Alexei is asking for, but idea that the music is playing because of what the dancers feel there’s a lot of artistic freedom there.” and do. “He’s saying, ‘Create music with your bodies. Don’t dance to the music; be the music.’” The piece premiered in a small venue at Bard College; Ratmansky played off that intimacy in creating a chamber ballet. The dancers move through solos, duets, and trios. “Then the “He wanted it to be as if this dance was happening, this life was tone becomes very heavy and serious. They go on this journey happening, and the audience was looking through a peephole as individuals, then as couples, then as trios, then as a whole in the door,” says Raffa. Rather than projecting to the audience, community together. It actually is quite dramatic.” By ending “the dancers are bringing us into their world.” with everybody in unison, she adds, the ballet is saying “that the human condition is like a common language that all human Using painting as a metaphor for the choreographic process, beings share. Alexei never loses that notion of ‘We need to Raffa says the dancers “come out of the canvas as individuals. say something with this art form or it doesn’t mean anything.’ Then they come out of the canvas as couples, with different And he manages to do that with Seven Sonatas in a really ways of expressing love — a conflictive way, a joyous way, a simple way.”

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 33 OPTIMISTIC TRAGEDY BIOGRAPHIES

ILYA DEMUTSKY Exodus, and Lääz Rockit, and his Broadway credits include Composer Hugh Jackman: Back on Broadway, Nice Work If You Can Get Ilya Demutsky is an award-winning Russian composer, It, and Carrie Fisher’s Wishful Drinking. He is a recipient of a performer, and conductor. After graduating from Glinka Choral San Francisco Certificate of Honor for his work at American College in St. Petersburg, Demutsky earned a master’s degree Conservatory Theater and has received four Isadora Duncan in choral from State Conservatory Awards, four Bay Area Critics Circle Awards, and three Dean and, through a Fulbright scholarship, a master’s in composition Goodman Awards. from San Francisco Conservatory of Music, where he studied with David Conte. The Bolshoi Ballet commissioned Demutsky MARK ZAPPONE to compose music for Yuri Possokhov’s 2015 ballet, A Hero Costume Designer of Our Time, for which he won the Golden Mask Russian As a costume designer, Mark Zappone is known for thoughtful National Theatre Award for Best Composer in Musical Theatre. design, beautiful fit, and careful attention to detail. He started Demutsky has written music for two 2017 premieres: SF his career at Pacific Northwest Ballet (PNB) in 1983 as costume Ballet’s Optimistic Tragedy and the Bolshoi Ballet’s full-length designer, shop supervisor, and wardrobe master. After a year at ballet Nureyev. Recently, Demutsky has won the European Ballet du Nord, he moved to Monte Carlo, where he managed Film Award for Best Composer 2016 for his score of Kirill costume shops for Les Ballets de Monte-Carlo and Le Cabaret Serebrennikov's film The Student. Demutsky is also an artistic de Monte-Carlo. He also worked with Holiday on Ice, Miss USA, director of the award-winning Cyrillique Vocal Ensemble. Miss Universe, and new productions for the Lido and the Moulin Rouge in Paris. Zappone has collaborated with renowned YURI POSSOKHOV choreographers and designers such as Lucinda Childs, Yuri Choreographer in Residence Possokhov, Twyla Tharp, Molissa Fenley, Christopher Wheeldon, Known for his thoughtful and wide-ranging choreography, Mark Morris, Martin Pakledinaz, , Helgi beautiful dancing, and strong partnering skills, Ukranian-born Tomasson, James Kudelka, Christopher Stowell, and Nicolo Yuri Possokhov is choreographer in residence for San Francisco Fonte. As well as his numerous designs for PNB’s repertory, he Ballet. After training at the Bolshoi Ballet Academy, he danced has designed for San Francisco Ballet, New York City Ballet, for a dozen years with the Bolshoi Ballet and Royal Danish Ballet Pennsylvania Ballet, Pittsburgh Ballet Theatre, Oregon Ballet before moving to the US and joining SF Ballet as a principal Theatre, Teatro Zinzanni, and Wear Moi Dancewear of London. dancer in 1994. Over the next 12 years, he performed leading roles while also beginning to choreograph and set up short CHRISTOPHER DENNIS tours with colleagues. When Possokhov retired from the stage, Lighting design he was named SF Ballet’s choreographer in residence. He Christopher Dennis, production director at San Francisco has created 14 ballets for SF Ballet, including Magrittomania, Ballet, is an accomplished lighting designer known for his which won an Isadora Duncan Dance Award for outstanding memorable and evocative designs for classical as well as choreography; RAkU; and Swimmer. His full-length ballet A contemporary works. He served as the resident lighting Hero of Our Time debuted at the Bolshoi Ballet in 2015 and was designer and lighting coordinator at The National Ballet of awarded a Benois de la Danse for choreography. Possokhov Canada for 14 seasons, before joining San Francisco Ballet has also created ballets for The Joffrey Ballet, Oregon Ballet as Technical Director in 2010. In 2012, he was appointed Theatre, and The Georgia State Ballet. Production Director. Dennis created lighting designs for many of the The National Ballet of Canada’s productions, including ALEXANDER V. NICHOLS Aszure Barton’s Watch Her, James Kudelka’s Cinderella, Scenic Design Matjash Mrozewski’s A Delicate Battle, and Jean-Pierre Alexander Nichols designs lighting, scenery, costumes, and Perreault’s The Comforts of Solitude. His work for SF Ballet projections for theater, opera, music, and dance. Born in includes Yuri Possokhov’s RAkU, , and Berkeley, California, he started out designing scenery and Francesca da Rimini; as well as Helgi Tomasson’s Trio and lighting for Berkeley Ballet Theater, where his mother, Sally Caprice. Dennis’ lighting designs are in the repertories of Streets, was artistic director, and his sister, New York City former ballet companies around the world, including The Joffrey Ballet Principal Kyra Nichols, made guest appearances. His Ballet, American Ballet Theatre, Boston Ballet, and West designs for San Francisco Ballet include Death of a Moth, Later, Australia Ballet. In addition to his work in dance, Dennis has Thread, RAkU, Trio, Francesca da Rimini, and Swimmer. Nichols designed lighting for the Shaw and Stratford Festivals as has been resident lighting designer for Pennsylvania Ballet, well as other regional opera, theater and film productions Hartford Ballet, and American Repertory Ballet and lighting throughout Canada. He served as lighting director for Mikhail supervisor for American Ballet Theatre. Beyond ballet, Nichols Baryshnikov’s White Oak Dance Project and was assistant worked in lighting design in the garage band days of Metallica, resident lighting designer for the Metropolitan Opera.

34 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAM NOTES by Cheryl A. Ossola

When Choreographer in Residence Yuri Possokhov the very beginning of the work,” commissioned music from Russian composer Ilya Demutsky, he Demutsky says. “I was given carte OPTIMISTIC TRAGEDY had no idea he would end up making a ballet about revolution. blanche with this work. Yuri’s only PRODUCTION CREDITS desire was that I had to compose Music: Original composition Demutsky hadn’t anticipated it either. But when Possokhov by Ilya Demutsky. Costumes told him the music brought to mind the 1933 play An Optimistic deeply emotional music. While I was constructed by Mark Zappone composing the piece I was thinking et Co., Seattle, Washington. Tragedy about the 1917 Russian Revolution, Demutsky Scenic construction and immediately understood the connection. Possokhov was about love, melancholy, passion, painting by San Francisco fear, pride, doubt, resoluteness, Ballet Carpentry and inspired by the play and by Sergei Eisenstein’s 1925 silent film Scenic Departments. Battleship Potemkin, creating a dramatic ballet driven equally tenderness — everything that can by emotion and aesthetics. be materialized in Yuri’s stunning choreography.” Possokhov explains that “optimistic tragedy” refers to the idea of death for a worthy cause. “People who believed in the Also serendipitous, given the use of silent-film-type projections Revolution believed in the best futures [for everyone]. But it’s in the ballet, is the cinematic quality of the score, which tragic because revolution often brings death and misery for Demutsky says comes from using various forms, such as people.” On a navy ship soon after the end of World War I, a a march, a waltz, an adagio, and a bolero. “There is much captain heads a crew made up of communists and anarchists. in common between ballet and cinema — music serves a Then the ship’s new commissar arrives — a woman, whose functional role in these art forms,” he says. “At the same time I presence stirs the soldiers’ emotions and libidos and deepens am convinced that my music is self-sufficient. Here I agree with the divide between the two factions. The play hints at romance Stravinsky, who liked to listen to his ballet music in concert.” between the Captain and the Commissar, but Possokhov expands upon the idea, pitting the Captain and the leader of the There’s no denying the music’s Russian roots. “Russian and anarchists against each other in pursuit of the Commissar. The Soviet music — Tchaikovsky, Prokofiev, Stravinsky, Rachmaninov, Commissar dies — but before she does, Possokhov gives her a and Shostakovich — had a profound impact on me,” Demutsky romantic, tension-filled pas de deux with the Captain. The rest says. “When I was studying at San Francisco Conservatory of of his ballet, presented in a black-and-white palette like the films Music, my composition teacher, David Conte, said, ‘Ilya, never that inspire it, is “emotional feelings of the play — just dance, lose your composer’s voice. Save the so-called Russianness nothing else,” Possokhov says. in your music.’” Demutsky’s extensive choral background also influences his work, he says. “Particularly this is reflected in a Choreographically, Possokhov is well suited to telling this kind vocal nature of melodic lines. I see an orchestra as a choir with of heightened dramatic story. When he creates, says Artistic extended features in terms of timbres, range, etc.” Director and Principal Choreographer Helgi Tomasson, “he brings the classical ballet he came from, the Bolshoi — that larger-than- For his ballets, Possokhov often draws on art, literature, and life approach to dance — and with that comes theatricality. At the history from various cultures, but Optimistic Tragedy is purely same time, having been so long in the West, he’s influenced by Russian in story, imagery, and emotion. When the music is other things. But he doesn’t let go of his roots.” percussive, lines of sailors move like Cossacks — masculine, militant, sexual. When the music surges, the men gather in Like all of Possokhov’s ballets, Optimistic Tragedy evolved from wavelike formations that evoke the ocean. At several points in the music, which Music Director and Principal Conductor Martin the pas de deux, Possokhov wants more fluidity, less definition, West calls “a terrific piece, intensely dramatic.” Possokhov has telling Principal Dancer Lorena Feijoo not to match the music’s worked with Demutsky before, when the composer was assigned rhythm but to freeze for a moment, “then go, make freedom.” In by the Bolshoi to compose music for Possokhov’s full-length group sections, he creates shapes and steps drawn from statues ballet A Hero of Our Time in 2015. Admiring Demutsky’s music and structures in Moscow. “You see in Russia a lot of monuments, for its emotion and symphonic qualities, Possokhov asked him especially with the marines, with sailors,” he says. The most to write a score for his next SF Ballet premiere, planned as an visible depiction of these monuments comes when the sailors lift abstract, plotless ballet. In listening to what Demutsky had written, the Commissar high above their heads in a running stag position; “I understand that there’s no way to make abstract [ballet],” then they run, holding her aloft for us to admire. The group of Possokhov says. The music is “rich, so powerful, and it’s little men is the foundation and the Commissar is the object of glory. bit — there’s a word pathétique, in French. In Russia pathétique “It’s powerful,” Possokhov says. “That’s why I like it.” means full of emotion, full of everything. Almost right away, I thought about revolution — Russian, French, even contemporary.” Those Russian monuments are in the constructivist style, a And that led him to think of the play An Optimistic Tragedy. modern art movement (embraced by many artists who believed in the ideals of the Revolution) that favored the idea of construction The timing for a ballet about the Russian Revolution is over composition, the concreteness of materials and forms over fortuitous, as 2017 marks its 100th anniversary. Serendipitously, the abstract and conceptual. This aesthetic, characterized by the music has a military quality that “emerged accidentally from continued on page 37

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 35 PAS/PARTS 2016 BIOGRAPHIES

THOM WILLEMS dancer and researcher with Frankfurt Ballet and has staged Composer Forsythe’s work worldwide, for Paris Opera Ballet, La Scala Ballet, Thom Willems’ music is predominately created for dance. He American Ballet Theatre, Batsheva Dance Company, Norwegian has worked with choreographer William Forsythe since 1985; National Ballet, National Ballet of Canada, and Netherlands together they have created more than 65 works. Willems' Dance Theater. Johnson has served on the faculties of Princeton, music is used in Forsythe’s most celebrated works, including In Columbia, New York University, School, and The the middle somewhat elevated (1987), The Loss of Small . She has choreographed 11 works for Harvard Detail (1991), Impressing the Czar (1988), Eidos/Telos (1995) One students. Recent projects include performances of a new duet flat thing, Reproduced (2000), and Study #3 (2013). Willems' and European tour of Catalogue (First Edition) by Forsythe; an music for Forsythe’s work is featured in the repertory of 69 dance artistic advisorship for ’s Restless Creature; and companies in 26 countries, including The Mariinsky Ballet, the movement direction for David Michalek’s film for fashion designer Bolshoi Ballet, New York City Ballet, National Ballet of Canada, Dries Van Noten at the Louvre’s Musée des Arts Décoratifs. Paris Opera Ballet, and The Royal Ballet, among many others. CHRISTOPHER ROMAN Forsythe’s short film Solo, with Willems' music, was presented Stager at the 1997 Whitney Biennial. His work is also used by fashion Christopher Roman is an award-winning dancer, teacher, designers, including Issey Miyake and Gianni Versace, and was and choreographer who has performed all over the world. performed at the opening of Tate Modern, London in 2000. In Roman trained with The School of and The 2007, he was involved with Tadao Ando’s 21_21 Design Sight School of American Ballet in New York City and has danced in Tokyo, and in 2008 with Matthew Ritchie’s installation The with Pacific Northwest Ballet, Miami City Ballet, Les Grands Morning Line for Thyssen-Bornemisza Art Contemporary. Ballets Canadiens, Pennsylvania Ballet, Frankfurt Ballet, and The Forsythe Company. Roman was associate artistic WILLIAM FORSYTHE director of the Forsythe Company and is currently a trustee of Choreographer, Scenic and Lighting Design the Forsythe Foundation. As a ballet master, choreographic For a half century, choreographer William Forsythe has assistant, and administrator, Roman has staged Forsythe’s explored the boundaries of classical and contemporary work on , La Scala Ballet, Lyon Opera movement, collaborating with dancers, musicians, designers, Ballet, Paris Opera Ballet, and The Juilliard School, among and other artists to create some of the most innovative work in others. In November 2015, he became the artistic director contemporary performance. Born in New York, William Forsythe and a core dancer for Dance On, a Berlin-based company danced with The Joffrey Ballet before joining , for dancers over the age of 40. He was awarded The Faust where he was appointed resident choreographer in 1976. Over Theater Prize, Germany’s highest theater honor, as best the next seven years, he created new works for the Stuttgart performer in William Forsythe’s I don’t believe in outer space. ensemble and ballet companies in Munich, The Hague, London, Berlin, Frankfurt, Paris, New York, and San Francisco. STEPHEN GALLOWAY Costume Designer In 1984, he began a 20-year tenure as director of Frankfurt Stephen Galloway is a dancer, award-winning costume designer, Ballet, where he created works such as Artifact, Impressing and creative consultant who has worked extensively with the Czar, and Eidos:Telos. His early choreography extended William Forsythe. Born in Erie, Pennsylvania, Galloway joined and accelerated traditional ballet movement, an electrifying William Forsythe’s Frankfurt Ballet at age 17, and performed as leap forward that had a profound and lasting impact on a principal dancer with that company for the next 18 years. As a contemporary ballet. Forsythe’s works have been performed choreographer and performer, he also collaborated with many by ballet companies around the world. After the closure leading companies and directors, including Christian Moeller, of Frankfurt Ballet in 2004, he established The Forsythe Jan Lauwers, and Jan Fabre. Galloway was appointed head Company, running that company until 2015. He is currently costume designer and style coordinator at Frankfurt Ballet in a professor at the University of Southern California’s newly 2000. His designs have been featured in productions by the created Glorya Kaufman School of Dance. Mariinsky Ballet, American Ballet Theatre, Paris Opera Ballet, La Scala Ballet, , and Finnish National Ballet. JILL JOHNSON Stager Galloway has also worked extensively in the world of fashion, Jill Johnson is an acclaimed dancer, choreographer, and teacher collaborating with Yves Saint Laurent, Versace, Issey Miyake, who is director of dance at Harvard University. An honors Calvin Klein, and Vogue. He was invited to act as creative graduate from The National Ballet School of Canada, Johnson consultant to Mick Jagger in 1997 and has worked closely with was a soloist with The National Ballet of Canada. A 28-year The Rolling Stones ever since, consulting on all aspects of the collaborator and protégé of William Forsythe, she was a principal band’s creativity.

36 SAN FRANCISCO BALLET SFBALLET.ORG When the world premiere of a ballet comes with the world premiere COMMISSIONED of a music score, the result is an artistic exchange involving INSTANT choreographer and dancers, composer and musicians. In writing a EXPERT commissioned score, a composer might complete it before rehearsals MUSIC start or compose while the ballet is being created. In either case, during rehearsals the composer makes changes as needed or desired — an extra 10 seconds here, more percussion there.

PROGRAM NOTES by Cheryl A. Ossola

William Forsythe was one of the first choreographers Helgi is onstage only in the finale. “What Tomasson engaged after becoming San Francisco Ballet’s I like,” Forsythe says, “is that first PAS/PARTS 2016 artistic director and principal choreographer in 1985. The you think it’s about a few people. PRODUCTION CREDITS Music: “Pas/Parts” by former director of Frankfurt Ballet and The Forsythe Company Then they diminish as others take Thom Willems, used by made New Sleep for SF Ballet in 1987, and though Tomasson over, and then near the end another arrangement with Boosey & Hawkes, Inc. publisher and wanted to bring him back to create another work, 15 years went group takes over, people you didn’t copyright owner. Costumes by before their schedules aligned. When they did, Forsythe see at the beginning.” constructed by Christopher Read, Toronto, Canada. Scenic remade Pas/Parts, created for Paris Opera Ballet in 1999, for construction by San Francisco the 2016 SF Ballet Repertory Season. In so doing, he revised Forsythe works fast, and his Ballet Carpentry and Scenic the work so significantly that what was to have been a North output is voluminous. “He can only Departments. American premiere was, in effect, a world premiere. choreograph really quickly; his brain works that fast,” says Principal Dancer Frances Chung. Forsythe says that being able to re-create this ballet on this “Trying to keep up with that for two weeks, six hours a day, particular company was worth the long wait. “I wanted to do was hard.” Along with accommodating the pace, the dancers it at San Francisco Ballet because of this musical quality I’ve had to radically change things they’d memorized, and do so on seen here for 30 years. It’s something that Helgi has insisted the spot. In experimenting with movement for the new finale, upon.” Forsythe wanted the ballet to be more classical — “it was for example, Forsythe called on one dancer to do her part in a unnecessarily modern in some respects,” he says — and with duet — but alone, and double time, leaving out all the repeats the Company’s dancers and their musicality, he “found new and adding a cha-cha rhythm. “I have a solo that changed every freedom in it by revisiting the classicism.” time I worked with him on it,” says Chung, laughing. “A lot.”

For audiences, perhaps the most familiar aspects of Forsythe’s The choreographer encourages dancers to work in this works are his use of syncopation and counterpoint and the three- collaborative way. “Don’t be afraid to offer yourselves,” he dimensionality of his movement. In Pas/Parts 2016, he uses stylistic said during rehearsals. The electronic score by his longtime differences to enhance the counterpoint. “I’m trying to alternate collaborator, Thom Willems, uses repeated musical phrases between very symmetrical classical counterpoints and more or rhythms “with not a lot of information that’s structurally amorphous counterpoints that flow,” he says. Those differences helpful,” Forsythe says. So he asked the dancers to help him are what creates visual rhythm, which in turn generates tension, build the structure by adding pauses to a movement phrase, and curiosity on the part of the viewer. “People are trying to predict doing a phrase backward, or trying “not to stop in the most what’s happening,” he explains. “If you can satisfy that, that’s good; logical place.” This collaboration gives the dancers a sense of but you should also try to confound people a bit.” ownership. “That’s very important,” Forsythe says. “That’s what creates a performing community: ‘These are your steps. They The ballet’s name suggests a series of parts, visible in the flow were made for you.’” of solos, duets, trios, and mercurial groupings; the entire cast

OPTIMISTIC TRAGEDY PROGRAM NOTES continued clean lines and geometric shapes, dominates the film Battleship Constructivism was the art form that marked “the escape from Potemkin and, in turn, Possokhov’s ballet, which he describes as Revolution,” Possokhov says. Transitions of any kind can foster “aesthetically at the beginning of the last century, constructivism.” creativity, and out of this period of violence, of political and Throughout the ballet, projections help to illuminate the story and social upheaval, came beauty. “[Constructivism] was first in enhance the shipboard setting. Describing the set, Possokhov the arts [after the Revolution], especially in architecture. Many says, “I love it — simple but strong. Everything [is] gray; there’s no poets, many painters came from revolutionary feelings,” he color at all. Even [the] flag is gray.” says. “The socialist Revolution brought art to the world.”

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 37 SF Ballet Orchestra’s 40th Anniversary celebration // © Erik Tomasson

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San Francisco Ballet Orchestra © Erik Tomasson

For more than 40 years, the Grammy Award–winning San Francisco Ballet Orchestra has made the music that propels our movement. With a core group of 49 regular members that expands to 65 players for certain productions, the Orchestra’s repertory extends from classics such as Tchaikovsky’s Swan Lake and Nutcracker to the more abstract and contemporary of ballet and symphonic works. The Orchestra’s artistry has also been featured in orchestral performances, mostly recently at a special 40th anniversary concert held at Herbst Theatre in March 2016. Our musicians are as brilliant as individual artists as the orchestra is as an ensemble. Please visit sfballet.org/orchestra for photos of each of SF Ballet Orchestra’s musicians.

Martin West, Music Director and Principal Conductor Ming Luke, Guest Conductor

VIOLIN I VIOLA HORN TIMPANI Cordula Merks Yi Zhou Barbara Chaffe Kevin Rivard James Gott Concertmaster Principal Principal Principal Principal Wenyi Shih Anna Kruger Julie McKenzie Keith Green Associate Concertmaster** Associate Principal PERCUSSION PICCOLO Brian McCarty Beni Shinohara Joy Fellows Associate Principal David Rosenthal Assistant Concertmaster Assistant Principal Principal Barbara Chaffe William Klingelhoffer Heidi Wilcox Caroline Lee Julie McKenzie Todd Manley* Mia Kim Paul Ehrlich Peter Thielen* Robin Hansen Elizabeth Prior* TRUMPET/CORNET Richard Kvistad* Adam Luftman Brian Lee Laura Griffiths Principal CELLO Principal HARP Mariya Borozina Joseph Brown** Lev Rankov* Eric Sung Marilyn Coyne Annabelle Taubl Principal John Pearson* Principal Carla Picchi* Jonah Kim ENGLISH HORN Associate Principal Marilyn Coyne TROMBONE KEYBOARDS VIOLIN II Victor Fierro Jeffrey Budin Natalia Feygina* Marianne Wagner Assistant Principal CLARINET Principal Principal Thalia Moore Hall Goff Craig Reiss Natalie Parker *Extra Player Nora Pirquet Principal Associate Principal **Season Substitute Rebecca Jackson Ruth Lane* Andrew Sandwick BASS TROMBONE Assistant Principal** Scott Thornton Tracy Davis CONTRABASS E-FLAT CLARINET Principal Patricia Van Winkle Orchestra Personnel Manager Clifton Foster Steve D’Amico Natalie Parker and Music Administrator Principal TUBA Jeanelle Meyer** BASS CLARINET Matthew Naughtin Shinji Eshima Peter Wahrhaftig Music Librarian Katherine Button* Associate Principal Andrew Sandwick Principal Julie Kim* Jonathan Lancelle Assistant Principal BASSOON Mark Drury Rufus Olivier Principal Patrick Johnson-Whitty

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 39 San Francisco Ballet Staff

HELGI TOMASSON ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER ADMINISTRATION TICKET SERVICES GLENN MCCOY CECELIA BEAM, Human Resources Manager BETSY LINDSEY, Associate Director, EXECUTIVE DIRECTOR LAURA SIMPSON, Board Relations Manager Ticket and Patron Services ROCIO SALAZAR, Human Resources Generalist JENNIFER PETERIAN, Box Office Manager/ Treasurer KATHARINE CHAMBERS, Assistant to MARK HOLLEMAN, Sales & Service Supervisor ARTISTIC Senior Executive Staff ELENA RATTO, Patron Services Specialist RICARDO BUSTAMANTE, Ballet Master JULIA NOTTEBOHM, Special Events Consultant & Assistant to the Artistic Director JOLE MENDOZA, Ticketing Database Specialist DAVID CLARK, Box Office Supervisor FELIPE DIAZ, BETSY ERICKSON, ANITA PACIOTTI, KATITA WALDO, MICHELLE HUGHES, JERICHO LINDSEY, Ballet Masters DEVELOPMENT PATRICIA PEARSON, CHERRYL USI, YURI POSSOKHOV, Choreographer in Residence JENNIFER MEWHA, Associate Director Ticket Services Associates of Development CAROLINE GIESE, Artistic Administrator FERMIN NASOL, Senior Manager, ALAN TAKATA-VILLAREAL, Logistics Manager Capital and Principal Gifts FINANCE ABBY MASTERS, Assistant to the Artistic Staff ELIZABETH LANI, Planned Giving Manager KIM ONDRECK CARIM, Chief Financial Officer JIM SOHM, Research Manager NATALIE QUAN, Controller SARAH WARNER, Major Gifts Officer VALERIE RUBAN, Accounting Supervisor OPERATIONS EMILY MARKOE, Membership Manager NICOLE MARKOVICH, Senior Accountant DEBRA BERNARD, General Manager INGRID ROMAN, Special Events Manager ANNETTE ORTEGA, Payroll Manager LAUREN CHADWICK, Company Manager ARI LIPSKY, Christensen Society Manager MARIE MORROW-WRIGHT, Staff Accountant JULIETTE LEBLANC, Production Analyst AMY DREW, Corporate Giving Officer & Interim Institutional Giving Officer JACQUELYN LEE, Staff Accountant NICOLE LUGTU, Christensen Society Officer JENNIFER KOVACEVICH, Lean Ops Project Manager PRODUCTION ASHLEY RITS, Development Database Coordinator CHRISTOPHER DENNIS, Production Director

DANIEL THOMAS, Technical Manager HALEY O’NEIL, Individual Gifts Associate FACILITIES KATE SHARE, Manager of Wardrobe, Wig, RYAN ENGSTROM, Major Gifts Associate Make-Up, and Costume Construction CATHERINE DAVIS, Special Events Associate NATHAN BRITO, Facilities Manager JIM FRENCH, Lighting Supervisor ESTHER LIM, Special Events Assistant ZACHARY HUFFAKER, Facilities Supervisor JANE GREEN, Production Stage Manager LYNN NOONAN, Principal Gifts Consultant ADRIAN RODRIGUEZ, Facilities Coordinator JESSICA BARKER, Stage Manager TODD MARTIN, STANLEY WONG, NIXON BRACISCO, Master Carpenter Facilities Assistants KELLY CORTER KELLY, Master Electrician MARKETING & COMMUNICATIONS TAMARA DE LA CRUZ, NICOLE DRYSDALE, YANA VINCENT, Receptionists KENNETH M. RYAN, Master of Properties MARY BETH SMITH, Director of SENG SAECHAO, Weekend Facilities Assistant KEVIN KIRBY, Audio Engineer Marketing & Communications JOHN O’DONNELL, Flyman KYRA JABLONSKY, Associate Director, Communications GEORGE ELVIN, Wardrobe Manager THOMAS WEITZ, Associate Director, INFORMATION TECHNOLOGY PATTI FITZPATRICK, Head of Women’s Wardrobe Digital Strategy MURRAY BOGNOVITZ, Director of RICHARD BATTLE, Head of Hair and Makeup MARY GOTO, Senior Manager, Information Technology Marketing and Sales THOMAS RICHARDS, Assistant Head of STACY DESIMINI, IT Operations & Project Manager Hair and Makeup VALERIE MEGAS, Senior Manager, Retail Operations KAREN IRVIN, Application Administrator SHERRI LEBLANC, Company Shoe Administrator & Help Desk Coordinator APRIL JOHNSTON, Marketing & Promotions Manager JOSH MARSHALL, Web Administrator

NICHOLAS ASHBY, Web & Digital JIAPENG JIANG, IT Specialist MUSIC Platforms Manager MARTIN WEST, Music Director & Principal JAMES HOSKING, Video Producer/Editor Conductor ERIK ALMLIE, Media Asset Administrator MUNGUNCHIMEG BURIAD, NATAL’YA FEYGINA, NINA PINZARRONE, OLIVIA RAMSAY, Social Media Producer Company Pianists CAITLIN SIMS, Publications Editor TRACY DAVIS, Orchestra Personnel Manager MONICA CHENG, Graphic Designer & Music Administrator NANNETTE MICKLE, Group Sales Representative MATTHEW NAUGHTIN, Music Librarian RENA NISHIJIMA, Communications Associate EMILY MUNOZ, Marketing Associate

40 SAN FRANCISCO BALLET SFBALLET.ORG Dance in Schools and Communities FRONT OF HOUSE Accompanists JAMYE DIVILA, House Manager DAVID FRAZIER MARIALICE DOCKUS, Head Usher OMAR LEDEZMA RODNEY ANDERSON, DANICA BURT, ZEKE NEALY ANTHONY CANTELLO, LAURENT DELA CRUZ, WADE PETERSON MARTIN DIAS, STARSKY DIAS, JONATHAN DROGIN, CHIP HEATH, BONGO SIDIBE ELAINE KAWASAKI, EILEEN KEREMITSIS, RYSZARD KOPROWSKI, BILL LASCHUK, Education and Training Administration SHARON LEE, LENORE LONG, DOUG LUYENDYK, EVELYN MARTINEZ, LEONTYNE MBELE-MBONG, ANDREA YANNONE, Director of Education DALE NEDELCO, WAYNE NOEL, BETH NORRIS, and Training JAN PADOVER, JULIE PECK,ROBERT REMPLE, CHRISTINA GRAY RUTTER, Assistant Administrative BILL REPP, RILLA REYNOLDS, ROBYN SANDBERG, Director JOE SAVIN, KELLY SMITH, STEPHANIE SOMERSILLE, JASMINE YEP HUYNH, Manager of THERESA SUN, TOM TAFFEL, RICHARD WAGNER, Youth Programs and Teacher Support STEVE WEISS, JOANNE WESTFALL, ELAINE YEE, Ushers JENNIFER BAKANE, School Operations Manager ELIZABETH RODDY, School Programs Coordinator TAI VOGEL, School Registrar and Summer Session Coordinator EDUCATION AND TRAINING CECELIA BEAM, Adult Education Seminar Coordinator San Francisco Ballet School LAUREN CHERTUDI, Administrative Assistant, HELGI TOMASSON, Director Education & Training PATRICK ARMAND, Associate Director NICOLE SIKORA, Education Assistant MAPLE LAW, School Assistant School Faculty NAIMA MCQUEEN, Residence Manager PATRICK ARMAND ELIZABETH IAN, WILL REESE, Resident Assistants KRISTI DECAMINADA LESLIE DONOHUE, CHRIS FITZSIMONS, School Physical Therapists KAREN GABAY YUKO KATSUMI

TINA LEBLANC COMPANY PHYSICIANS JEFFREY LYONS RUBÉN MARTÍN CINTAS, Lee R. Crews RICHARD GIBBS, M.D. & ROWAN PAUL, MD, Endowed Faculty Member Supervising Physicians ILONA MCHUGH MICHAEL LESLIE, PT, Director, Dancer Wellness Center PASCAL MOLAT KRISTIN WINGFIELD, M.D., Primary Care WENDY VAN DYCK, Trainee Program Assistant Sports Medicine JAIME DIAZ, Strengthening FREDERIC BOST, M.D., On-site Orthopedist BRIAN FISHER, Contemporary Dance PETER CALLANDER, M.D., KEITH DONATTO, M.D., DANA GENSHAFT, Contemporary Dance JON DICKINSON, M.D., Orthopedic Advisors and Conditioning to the Company HENRY BERG, Conditioning KARL SCHMETZ, Consulting Physical Therapist LEONID SHAGALOV, Character Dance ACTIVE CARE, LISA GIANNONE, Director, Off-site JAMIE NARUSHCHEN, DANIEL SULLIVAN, Music Physical Therapy & Conditioning Classes SOFIANE SYLVE, Principal Guest Faculty LEONARD STEIN, D.C., Chiropractic Care HENRY BERG, Rehabilitation Class Instructor School Pianists KELSEY ANDERSON, Wellness Program Manager JAMIE NARUSHCHEN, School Pianist Supervisor, Lee R. Crews Endowed Pianist

ELLA BELILOVSKAYA, RITSUKO MICKY KUBO, The artists employed by San Francisco Ballet are members of DANIEL SULLIVAN, the American Guild of Musical Artists, AFL-CIO, the Union of GALINA UMANSKAYA, BILLY WOLFE, professional dancers, singers, and staging personnel in the United School Pianists States. The San Francisco Ballet Association is a member of Dance/USA; American Arts Alliance; the Greater San Francisco Chamber of Commerce; and the San Francisco Convention and Dance in Schools and Communities Visitors Bureau. Teaching Artists Legal Services provided by Adler & Colvin; Fallon Bixby Cheng & Lee; Fettmann Ginsburg, PC; Epstein Becker & Green, PC; Littler ALISA CLAYTON Mendelson, PC; Miller Law Group; and Pillsbury Winthrop Shaw SAMMAY DIZON Pittman LLP. Audit services provided by Grant Thornton LLP. Insurance brokerage services provided by DeWitt Stern Group. CYNTHIA PEPPER The Centers for Sports and Dance Medicine at Saint Francis PHOENICIA PETTYJOHN Memorial Hospital are the official health care providers for the San JOTI SINGH Francisco Ballet School. Special thanks to Dr. James G. Garrick, Dr. Susan Lewis, Dr. Jane Denton, Dr. Selina Shah, Dr. Rémy GENOA SPERSKE Aridizzone, Chris Corpus, Joseph Levinson, and the Physical MAURA WHELEHAN Therapy Department for generously providing their service.

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 41 Calendar of 2017 Repertory Season Donor Events

We’ve designed a wonderful variety of JANUARY events for our supporters during our SUN MON TUE WED THU FRI SAT 2017 Repertory Season. Listed at right 15 16 17 18 19 20 21 5pm are events through March for members Opening Night Gala Dinner of the Artistic Director’s Council (ADC), 22 23 24 25 26 27 25 Chairman’s Council (CHM), Christensen 5pm Pre-Curtain 10pm Dinner* (CHO+) Cast Party* Society (CS), The Jocelyn Vollmar (CHM+) 10pm CS Cast Legacy Circle (VLC), and Friends of San Party* (ASO+) Francisco Ballet. Christensen Society 7:30pm: 01 7:30pm: 01 7:30pm: 02 8pm: 01 2pm/8pm: 02 members and above will receive 29 30 31 invitations to events that correspond 2pm: 01 7:30pm: 02 with their performance dates. These events are marked with an asterisk (*). FEBRUARY For more information, please visit our SUN MON TUE WED THU FRI SAT website at sfballet.org/donor-events, or 1 2 3 4 contact Christensen Society Manager 7:30pm: 02 7:30pm: 01 8pm: 02 2pm/8pm: 01 Ari Lipsky at [email protected] or 5 6 7 8 9 10 11 2pm: 02 415 865 6635. 12 13 14 15 16 17 18 12pm ADC 11pm CS Cast Frankenstein Party* (ASO+) PROGRAM 01 Preview Event 8pm: 03 2pm/8pm: 03 Haffner Symphony 19 20 21 22 23 24 25 2pm: 03 7:30pm: 03 7:30pm: 03 7:30pm: 03 8pm: 03

Fragile Vessels (World Premiere) 26 27 28 In the Countenance of Kings 5:30pm CS ADC Private Warehouse Rehearsal and Event (ASO+) Dinner with Arthur Pita PROGRAM 02 2pm: 03 Seven Sonatas Optimistic Tragedy (World Premiere) MARCH Pas/Parts 2016 SUN MON TUE WED THU FRI SAT 1 2 3 4 5:30pm Legacy 11:30am Studio Rehearsal Orchestra PROGRAM 03 (VLC) Rehearsal Frankenstein (North American Premiere) (PAT+/VLC) 5 6 7 8 9 10 11 1pm Open Dress 10pm CS Cast Rehearsal and Party* (ASO+) PROGRAM 04 Reception (PAT+)

Stravinsky Violin Concerto 7:30pm: 04 7:30pm: 04 7:30pm: 05 8pm: 04 2pm/8pm: 05

Prodigal Son 12 13 14 15 16 17 18 Diamonds 11am VLC 11am Luncheon and Company Class Student Matinee Observation w/ (VLC) Reception PROGRAM 05 (CON+) Fusion 2pm: 04 7:30pm: 05 7:30pm: 05 7:30pm: 04 8pm: 05 2pm/8pm: 03 Salome (World Premiere) 19 20 21 22 23 24 25 5:30pm CS 5:30pm Legacy Fearful Symmetries Studio Rehearsal Studio Rehearsal (DAN+) (VLC) 5:30pm ADC 2018 Season PROGRAM 06 2pm: 05 Preview Event Swan Lake 26 27 28 29 30 31 5:30pm 1pm Open Dress Worklight Rehearsal Rehearsal and (CON+) PROGRAM 07 Reception Trio (ASO+) 8pm: 06 Myles Thatcher World Premiere Within the Golden Hour© MEMBERSHIP LEVEL KEY ADC – Artistic Director’s CHRISTENSEN SOCIETY FRIENDS OF SF BALLET VLC – Jocelyn Vollmar Council ($100,000+) Legacy Circle CHO – Choreographer’s PAT – Patron PROGRAM 08 CHM – Chairman’s Council Council ($7,500–$14,999) ($1,000–$2,499) ($15,000–$99,999) Cinderella© DAN – Dancer’s Council SUP – Supporter ($5,000–$7,499) ($500–$999) ASO – Associate’s Council CON – Contributor ($2,500–$4,999) ($200–$499)

42 SAN FRANCISCO BALLET SFBALLET.ORG Event dates, times, and locations are subject to change. Sponsor and Donor News

A LAND OF DREAMS

The holiday season got off to a festive start with Benefit Luncheon: Land of Dreams, a brand new, family-friendly event held on December 11, 2016 in conjunction with the opening weekend of Helgi Tomasson’s beloved Nutcracker.

San Francisco City Hall’s North Light Court was magically transformed into a dazzling “Land of Sweets” for the lunchtime festivities. As carolers sang, children and their families enjoyed a Build-A-Bear pop-up station, a Flipbook photo booth, ice cream sundae bar, crafts, and visits by SF Ballet dancers and School students as Nutcracker characters.

After lunch, Santa Claus arrived to lead guests across the street to the War Memorial Opera House, where they attended a Nutcracker matinee. The magic continued with holiday sweets at intermission for those who had purchased the Snow Queen’s Court and Nutcracker Suite tickets. Following the performance, Nutcracker Suite level ticket holders were invited to join cast members on-stage and experience firsthand the wonder of Nutcracker’s magical “falling snow” accompanied by the SF Ballet Orchestra playing beloved carols.

Proceeds from this exciting new fundraiser supported SF Ballet School, Youth Education Programs, and the SF Ballet School Scholarship Fund, which provides $1 million in need- and merit- based scholarships to talented young students every year.

Our heartfelt thanks goes to Nutcracker Benefit Luncheon Co-Chairs, Kelsey Lamond and Christine Leong Connors, both members of the San Francisco Ballet Association Board of Trustees, as well as the Host Committee: Amy Burnett, Hannah Comolli, Beth Grossman, Pierre and Christine Lamond, Randee Seiger, Catherine Slavonia, David and Susan Viniar, and Diane B. Wilsey.

SF Ballet would like to additionally extend its sincere appreciation to the event sponsor, Brunello Cucinelli, and to Party Partners Miette, diptyque, and Ghirardelli Chocolate Company. Wines were generously provided by Bouchaine Vineyards.

Left, top-bottom: Playing in the snow backstage; Land of Dreams Host Committee (partial committee list, not all are pictured): Trustees Randee Seiger, Beth Grossman, Kelsey Lamond, Christine Leong Connors, Amy Burnett (former Trustee), and Hannah Comolli; Backstage tour after Nutcracker. Right: Nutcracker Benefit Luncheon Co-Chairs Kelsey Lamond and Christine Leong Connors. // © Drew Altizer Photography and Devlin Shand for Drew Altizer Photography

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 43 Sponsor and Donor News

THIS SEASON, SF BALLET MEMBERS GET EVEN MORE BENEFITS

Last spring, we invited donors of $75 or more to participate in a survey about donor benefits. We received more than 600 responses and invaluable feedback. We spent the summer compiling the results, thinking about what we learned, and dreaming up ways to make our donors’ experience even better. We’re thrilled to introduce several new benefits for our Friends of SF Ballet and Christensen Society members. You can find the full list of benefits at sfballet.org/membership, but here are few exciting highlights:

— More rehearsals than ever before for CHRISTENSEN SOCIETY HONOREE: everyone at the Contributor level ($200) JOHN OSTERWEIS and above, including our highly sought-after studio rehearsals and We recognized longtime board member John Osterweis as a Christensen Society dress rehearsals. Honoree at this year’s Chairman’s Council Dinner on November 17, 2016 at the Four Seasons Hotel San Francisco. Each year, the Christensen Society honors a — For the first time ever, Christensen dedicated individual for commitment and service to San Francisco Ballet. Osterweis Society, Chairman’s Council, and has served in leadership positions on both the San Francisco Ballet Association Artistic Director’s Council members Board and the San Francisco Ballet Endowment Foundation Board for more than will enjoy cast parties following select three decades. performances where dancers and donors can enjoy bites and bubbly Osterweis became involved with SF Ballet when his daughter Ariel was a student together as we celebrate their at SF Ballet School. SF Ballet became his great passion, and thirty years later he onstage achievements. remains an active volunteer. Affable, straightforward, and conscientious, Osterweis has been a stalwart on the SF Ballet Association Board since 1987, serving as — We are also introducing ticketing chair from 2012–2016. He also served as president of the Endowment Foundation benefits, including special reserved Board for nearly 25 years, during which the endowment grew through estate gifts, CS House Seats for Dancer’s Council fundraising, and strong investment performance. In recognition of his service with members ($5,000) and above, and the Endowment Foundation, the Board of Directors elected Osterweis President exclusive donor flash sales for everyone Emeritus in 2011. in the Friends of SF Ballet ($75) and higher. All Christensen Society, Beyond his sage advice and valuable time, he is a major contributor to SF Ballet. In Chairman’s Council, and Artistic Director’s 2008 he was named a Great Benefactor, a title given to donors whose cumulative Council members will continue to receive gifts equal $1 million or more. A founding member of the Artistic Director’s Council, he subscription renewal priority and ticket has also joined the Jocelyn Vollmar Legacy Circle by including San Francisco Ballet in concierge service. his estate plans. In 2013, he established one of the first endowed dancer positions for a male principal, creating the John and Barbara Osterweis Principal Dancer position. We hope you will take the time to immerse John and his wife Barbara were members of the 75th Anniversary Sponsor’s Council yourself in everything SF Ballet has to and Honorary Co-Chairs of the Cinderella Ball in 2013. In 2015, John was Honorary offer. Please let us know what you think as Chair of An Invitation to Dance: SF Ballet Student Showcase Dinner. we continue to work to improve your SF Ballet experience. Interested in becoming His generous and loyal support over the past three decades has helped SF Ballet a member? Visit sfballet.org/donate or develop into an institution that is respected worldwide as a leader in artistic contact Membership Manager Emily Markoe and administrative excellence. We salute Osterweis for his contribution and feel at [email protected] or 415 865 6628. incredibly fortunate to have him as a member of the SF Ballet Family.

44 SAN FRANCISCO BALLET SFBALLET.ORG SAN FRANCISCO BALLET WELCOMES 2017 REPERTORY SEASON NEW GREAT BENEFACTORS LEAD SPONSOR: O.J. AND GARY SHANSBY STEPHANIE AND JIM MARVER

To stage the classics, unveil adventurous new work, and Steadfast supporters of San Francisco Ballet for many years, develop the next generation of dancers, we rely on the Stephanie and Jim Marver are the Lead Sponsor of our 2017 generous support of donors. In 2005, we created the honor of Repertory Season. We are especially grateful to acknowledge their Great Benefactor to recognize those dedicated donors whose generous support. Their 2017 sponsorship allows us to present an cumulative giving to SF Ballet is $1 million or more. We are incredibly diverse and demanding repertory encompassing both pleased to acknowledge O.J. and Gary Shansby as our newest beloved classics and five cutting-edge premieres. Great Benefactors. The Marvers are Great Benefactors, a special group of donors The Shansbys have been SF Ballet subscribers for more than whose cumulative giving to SF Ballet is $1 million or more. 20 years. Dedicated to supporting the creation of new work, In addition to their generous sponsorship, the Marvers have they have sponsored numerous new productions from the dedicated their time, both serving in leadership positions with world’s leading choreographers. Their generosity has extended SF Ballet. Jim currently serves as President of the SF Ballet to all areas of our organization through fundraising events, the Endowment Foundation Board and as a Vice Chair on the SF Endowment Foundation, and the planned giving program. They’re Ballet Association Board. Stephanie, who has also served on the always willing to help, even in unique ways: when our student Association Board, was recently named Trustee Emeritus. She residence opened in 2003, the Shansbys donated furniture so the was Co-Chair of the Cinderella Ball in 2013 and Honorary Chair students would feel at home. A dedicated community volunteer, of the 31st SF Ballet Auxiliary Fashion Show in 2012. Together O.J. served on the SF Ballet Board from 1998 through 2015 and the Marvers were Honorary Chairs of the SF Ballet 2015 was the Honorary Chair of the 32nd SF Ballet Auxiliary Fashion Opening Night Gala. Show in 2013. As Sponsor’s Council members, the Shansbys have dedicated their support this year to sponsorship of Christopher “We have been attending SF Ballet performances for many Wheeldon’s elegant ballet Within the Golden Hour©. years, and our love of the art form deepens each season,” says Jim. “While firmly rooted in classicism and tradition, this Supporting SF Ballet is more than just a donation for the Company also strives to redefine what ballet will be in the future. Shansbys; they are investing where their heart is, says O.J. “We We are thrilled to be a part of that journey — and to support this have enjoyed our friendships with the dancers through the company in becoming the very best.” years, and also being a part of the Ballet family.”

Opposite page, l-r: SF Ballet Board Chair Carl Pascarella, Immediate Past Chair John Osterweis, Artistic Director & Principal Choreographer Helgi Tomasson // © Nikki Ritcher Above left: O.J. and Gary Shansby // © Drew Altizer Photography Above right: Stephanie and Jim Marver // © Drew Altizer Photography

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 45 Great Benefactors

Our most loyal donors are dedicated to supporting exquisite art and also understand that a contribution to San Francisco Ballet is an investment in the cultural life of the Bay Area. Our growth and evolution as a company and school is due in large part to the steadfast and generous support of patrons in the Bay Area and beyond. In 2005, we created the honor of Great Benefactor to recognize donors whose cumulative giving to SF Ballet is $1 million or more. We are pleased to welcome O.J. and Gary Shansby as our newest Great Benefactors.

American Airlines The Herbert Family Kenneth Rainin Estate of Helen Anderton William and Flora Hewlett Foundation Mr. George R. Roberts AT&T The Edward E. Hills Fund Arthur and Toni Rembe Rock Bank of America Foundation Donald F. Houghton Bob Ross Richard C. Barker Estate of Dora Donner Ide Gordon Russell Bingham McCutchen LLP The James Irvine Foundation San Francisco Ballet Auxiliary BRAVO The William G. Irwin Charity Foundation The San Francisco Foundation Fang and Gary Bridge G. William Jewell Kathleen Scutchfield Jennifer Caldwell and John H. N. Fisher George F. Jewett Foundation O.J. and Gary Shansby California Arts Council George F. Jewett, Jr. 1965 Trust Shubert Foundation, Inc. The State of California Lucy and Fritz Jewett The Smelick Family Estate of Lewis and Emily Callaghan Estate of Mildred Johnson Estate of Natalie H. Stotz Mrs. Daniel H. Case III JPMorgan Chase & Co. The Swanson Foundation Chevron Corporation Maurice Kanbar Richard J. Thalheimer Deloitte Dr. and Mrs. Jerome Ormond Kirschbaum Ms. Susan A. Van Wagner Susan and John Diekman Diana Dollar Knowles Visa Inc. Suzy Kellems Dominik Estate of Diana Dollar Knowles Wallis Foundation Rudolph W. Driscoll Koret Foundation Phyllis C. Wattis Sonia H. Evers Mary Jo and Dick Kovacevich Wells Fargo First Republic Bank The Charles Henry Leach, II Foundation, The E. L. Wiegand Foundation Ford Foundation Jennifer Jordan McCall, Foundation Diane B. Wilsey Trustee Diana Stark and J. Stuart Francis Akiko Yamazaki and Jerry Yang Catherine Lego Estate of Georg L. Frierson The Zellerbach Family Paul Lego Gaia Fund Marie and Barry Lipman Stephen and Margaret Gill Family Foundation Mrs. Jeannik Méquet Littlefield Richard and Rhoda Goldman Fund The Marver Family Grants for the Arts Stephanie and James Marver Estate of Richard B. Gump Alison and Michael Mauzé Evelyn & Walter Haas, Jr. Fund Andrew W. Mellon Foundation Mimi Haas Nicola Miner and Robert Mailer Anderson Colleen and Robert D. Haas National Endowment for the Arts Walter & Elise Haas Fund The Bernard Osher Foundation Estate of Katharine Hanrahan John Osterweis and Barbara Ravizza Dr. and Mrs. Jeffrey P. Hays Pacific Gas and Electric Company William Randolph Hearst Foundation Yurie and Carl Pascarella The Hellman Foundation The Thomas J. and Gerd Perkins Foundation The Hellman Family Pillsbury Winthrop Shaw Pittman LLP

46 SAN FRANCISCO BALLET SFBALLET.ORG Artistic Director’s Council

San Francisco Ballet gratefully acknowledges the members of the Artistic Director’s Council. Their generous annual support of $100,000 or more has been instrumental to the success of SF Ballet, SF Ballet School, and SF Ballet’s education programs. Council members receive customized benefits including special access to performances, exclusive events, and rehearsals. For more information, please contact Senior Manager, Capital and Principal Gifts Fermin Nasol at 415 865 6622 or [email protected].

GRAND BENEFACTORS ARTISTIC DIRECTOR’S COUNCIL GIFTS OF $250,000 AND ABOVE GIFTS OF $100,000–$249,999 Mr. Richard C. Barker Anne T. and Robert M. Bass Bently Foundation Fang and Gary Bridge Grants for the Arts Ms. Laura Clifford The Hellman Family Kate and Bill Duhamel Lucy Jewett First Republic Bank Mr. and Mrs. James D. Marver Gaia Fund Mr. and Mrs. John S. Osterweis Shelby and Frederick Gans E. L. Wiegand Foundation The Hearst Foundations The William and Flora Hewlett Foundation George F. Jewett Foundation Koret Foundation David and Kelsey Lamond Marie and Barry Lipman Christa and Mark Lopez Alison and Michael Mauzé The Bernard Osher Foundation Yurie and Carl Pascarella Arthur and Toni Rembe Rock The Seiger Family Foundation Denise Littlefield Sobel VISIT THE SHOP David H. Spencer AT SF BALLET The Swanson Foundation You’ll find a spectacular assortment Judy C. Swanson of SF Ballet-branded merchandise, Diane B. Wilsey beautiful jewelry, and wonderful gifts.

Miles Archer Woodlief The Shop is open one hour before curtain time, during intermission, and for thirty minutes following weekend matinees.

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 47 2016–2017 Season Sponsors

2016 NUTCRACKER PROGRAM 03 PROGRAM 06 Lead Sponsors Frankenstein Swan Lake The Herbert Family LEAD SPONSORS LEAD SPONSOR The Swanson Foundation Bently Foundation Diane B. Wilsey The Hellman Family Sponsors MAJOR SPONSORS Yurie and Carl Pascarella COSTUME SPONSOR Sonia H. Evers E. L. Wiegand Foundation Stephen and Margaret Gill Family Foundation Kathleen Scutchfield Marissa Mayer and Zachary Bogue SPONSORS The Smelick Family Ms. Laura Clifford SPONSORS Official Airline of Nutcracker Stephanie and James Marver Katherine and Gregg Crawford United Airlines Anonymous Joseph and Marianne Geagea Richard Thalheimer Family with additional support from Elisabeth Pang Fullerton Marie and Barry Lipman 2017 REPERTORY Karl and Holly Peterson SEASON PROGRAM 07 Trio Lead Sponsors PROGRAM 04 MAJOR SPONSOR Mrs. Henry I. Prien Stephanie and James Marver Stravinsky Violin Concerto Saturday Night Subscription Series Myles Thatcher | World Premiere SPONSOR Lucy and Fritz Jewett Ms. Jeri Lynn Johnson LEAD SPONSORS Saturday Night Series Fang and Gary Bridge Prodigal Son David and Kelsey Lamond The Seiger Family Foundation MAJOR SPONSOR Sue and John Diekman SPONSOR PROGRAM 01 Byron R. Meyer Choreographers Fund* Diamonds Haffner Symphony Within the Golden Hour© SPONSORS LEAD SPONSOR Michel and Mekhala Oltramare LEAD SPONSOR Donald F. Houghton Michael and Mary Schuh Marie and Barry Lipman MAJOR SPONSOR BRAVO MAJOR SPONSORS Kathleen Scutchfield Hannah and Kevin Comolli Catherine and Mark Slavonia SPONSOR Almaden Press PROGRAM 05 SPONSORS O.J. and Gary Shansby Fragile Vessels | World Premiere PROGRAM SPONSOR ENCORE! The Bernard Osher Foundation LEAD SPONSOR Gaia Fund Fusion SPONSOR MAJOR SPONSORS PROGRAM 08 Osher New Work Fund* Athena and Timothy Blackburn Jennifer and Steven Walske Cinderella© In the Countenance of Kings SPONSOR LEAD SPONSORS SPONSOR Kacie and Michael Renc Alison and Michael Mauzé San Francisco Ballet Allegro Circle San Francisco Ballet Auxiliary Salome | World Premiere MAJOR SPONSORS LEAD SPONSOR Innovation Global Capital PROGRAM 02 Denise Littlefield Sobel Nancy A. Kukacka SPONSOR SPONSORS Seven Sonatas Osher New Work Fund* Ms. Laura McCabe-Edgar SPONSOR Barbara and Stephan Vermut Kathleen Grant, M.D. and Thomas Jackson, M.D. Fearful Symmetries MAJOR SPONSOR Optimistic Tragedy | World Premiere Charles and Kara Roell LEAD SPONSORS SPONSORS Mr. Richard C. Barker Brenda and Alexander Leff Yurie and Carl Pascarella Larissa Roesch and Jason Crethar Miles Archer Woodlief SPONSOR TeRoller Fund for New Productions*

Pas/Parts 2016 *Endowed Fund of the San Francisco Ballet SPONSOR Endowment Foundation Phyllis C. Wattis Fund*

48 SAN FRANCISCO BALLET SFBALLET.ORG 2016–2017 Season Sponsors 2017 OPENING NIGHT GALA PRESENTING SPONSOR PATRON DINNER SPONSOR INVITATION SPONSOR Osterweis Capital Management JPMorgan Chase & Co. Pacific Union–Christie’s International Real Estate GRAND BENEFACTOR DINNER SPONSOR AFTER PARTY SPONSOR Tiffany & Co. La Perla BENEFACTOR DINNER SPONSOR COCKTAIL RECEPTION SPONSOR KPMG Gibson, Dunn & Crutcher LLP

TOURING Festival Napa Valley, Napa, CA | July 2016 The Music Center, Los Angeles, CA | October 2016 The Kennedy Center, Washington, DC | October 2016

The following funds LEAD UNDERWRITERS Bob Ross Foundation Touring Fund of the San Francisco Osher Touring Fund Akiko Yamazaki and Jerry Yang Touring Fund G. William Jewell Touring Fund UNDERWRITERS Ballet Endowment The Hellman Family Touring Fund Foundation provide Davidson Bidwell-Waite and Edwin A. Waite Touring Fund MAJOR UNDERWRITERS Glenn McCoy Touring Fund permanent support Frannie and Mort Fleishhacker Touring Fund Vinie and J. Sanford Miller Touring Fund for touring by San Stephen and Margaret Gill Family Foundation Touring Fund Phyllis W. Nelson Touring Fund Francisco Ballet: Teri and Andy Goodman Touring Fund Anne and Michelle Shonk Touring Fund Pamela J. Joyner and Alfred J. Giuffrida Touring Fund

GENERAL

San Francisco Ballet’s performances are made possible in part by grants from Grants for the Arts, The William and Flora Hewlett Foundation, and the National Endowment for the Arts. Kryolan Professional Make-up is the preferred make-up provider of San Francisco Ballet.

EDUCATION AND TRAINING

THE HEARST FOUNDATIONS Principal Sponsor of San Francisco Ballet’s Education Programs

Lead Sponsors of San Francisco Ballet’s Education Programs Additional support is provided by Major Sponsor Kaiser Permanente and Sponsors Gap Foundation and the Zellerbach Family Foundation. The Dance in Schools and Communities program is supported by Major Sponsor The Charles Henry Leach, II Fund, an advised fund of the Silicon Valley Community Foundation. The Student Matinee Series is supported by the Gaia Fund of the San Francisco Ballet Endowment Foundation.

Lead Sponsor of San Francisco Ballet School

MEDIA

Nutcracker Media Sponsors Repertory Season Media Sponsors

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 49 The Chairman’s Council

Kacie and Michael Renc The Chairman’s Council brings PRODUCER'S COUNCIL Mr. and Mrs. Edward Roach+ together a like-minded community of GIFTS OF $75,000–$99,999 Larissa Roesch and Jason Crethar Mr. Gordon Russell and Dr. Bettina McAdoo+ business leaders and philanthropists Chaomei Chen and Yu Wu Michael and Mary Schuh+ who share the goal of bringing Donald F. Houghton+ Mrs. Avé M. Seltsam and Mr. James D. Seltsam, Jr. O.J.* and Gary Shansby+ world-class ballet to a world-class PRESENTER’S COUNCIL Tom Steyer and Kat Taylor+ city. San Francisco Ballet gratefully Mr. and Mrs. William Truscott GIFTS OF $50,000–$74,999 Ms. Susan A. Van Wagner+ acknowledges the generous support Rosemary B. Baker+ Barbara and Stephan Vermut of Chairman’s Council members, Athena and Timothy Blackburn+ Dr. Jan and Mr. Jonathan Zakin+ Grady and Amy* Burnett Anonymous who contributed gifts of $15,000 Hannah and Kevin Comolli or more to the annual fund as of David and Vicki Cox+ Sue and John Diekman+ CHAIRMAN’S COUNCIL December 15, 2016. In addition Mrs. Suzy Kellems Dominik*+ GIFTS OF $15,000–$24,999 to receiving Christensen Society Sonia H. Evers+ Brenton and Lysbeth Warren Anderson+ benefits, members of the Chairman’s Mr. and Mrs. Greg Flynn Eleonore Aslanian in memory of Richard and Elizabeth Fullerton Edward Aslanian Council receive benefits tailored to Family Foundation Dr. Margaret Bates and Scott Johnson+ their individual interests, such as the Margaret and Stephen Gill+ Ms. Susan Blake+ Beth and Brian Grossman Bruce Braden+ opportunity to sponsor a ballet or Cecilia and Jim Herbert+ Rachel Brass and Richard Foster enjoy an exclusive viewing of a ballet Mr. Hiro Iwanaga Ron and Susan Briggs+ Mr. and Mrs. James C. Katzman Mr. John G. Capo+ rehearsal. If you would like more Mary Jo and Dick Kovacevich+ Paula and Bandel Carano information about the Chairman’s Nancy A. Kukacka J. and J. Chang Dr. and Mrs. Stephen Leavitt in honor of Mr. and Mrs. Christopher Cohan Council, please contact Senior John Osterweis and Christine Russell Robert and Laura Cory Manager, Capital and Principal Gifts Irv H. Lichtenwald and Stephen R. Ripple+ Dr. and Mrs. Jordan Deschamps-Braly Ms. Karla Martin* Paula M. Elmore* Fermin Nasol at [email protected] or Marissa Mayer and Zachary Bogue Lynn Feintech and Tony Bernhardt+ 415 865 6622. Mr. and Mrs. Kurt Mobley Mrs. Mortimer Fleishhacker+ Mrs. Henry I. Prien+ Tim and Amanda Garry Mr. George R. Roberts+ James C. Gries+ We are pleased to give special Joan E. Roebuck+ Brian and Elizaveta Gustafson Charles and Kara Roell Mr. Isaac Hall recognition to donors who have been Kathleen Scutchfield+ Brian and Rene Hollins+ honored as ten-year members of the Catherine and Mark Slavonia James C. Hormel and Michael P. Nguyen+ Joyce L. Stupski+ Mr. Basheer Janjua Chairman’s Council or Christensen Mr. Richard J. Thalheimer+ John G. Kerns*+ Society. Their names are followed by Jennifer and Steven Walske William and Gretchen Kimball Fund Maja Kristin a plus sign (+) in this section. Former SPONSOR’S COUNCIL Patrice and Walther Lovato SF Ballet Trustees and Associate Ms. Susan Marsch GIFTS OF $25,000–$49,999 Timothy Marten, M.D.+ Trustees are noted with an asterisk (*). John and Gioia Arrillaga+ Mr. Gregg Mattner Courtney Benoist and Jason M. Fish*+ Justin T. McBaine Karen S. Bergman Jane and Roger McCarthy Ms. Eliza M. Brown+ Stewart McDowell Brady and Philip Brady The Dan and Stacey* Case Family Foundation+ Nion T. McEvoy Dr. Nancy Chang Ms. Jean A. McIntyre Mr. and Mrs. Scott Connors Mary Mewha* Colette V.A. Cornish Mr. Ronald W. Miller Katherine and Gregg Crawford+ Mrs. Stuart G. Moldaw+ Dana and Robert Emery+ Mr. David Oldroyd and Mr. Ronnie Genotti Carol Emory and The Wingate Foundation+ Roland G. Ortgies and Jacqueline* and Christian P. Erdman+ Carmela C. Anderson-Ortgies+ Diana Stark and J. Stuart Francis+ Marc Sinykin and Kevin Osinski Joseph and Marianne Geagea Mr. James Parsons and Ms. Andrea Hong Drs. Richard D. and Patricia Gibbs Mr. and Mrs. Norman C. Pease Teri and Andy Goodman+ Alex & Maria Raitz Kathleen Grant, M.D. and Dave and Judy Redo+ Thomas Jackson, M.D.+ Glenn H. Reid and Frank S. Lanier+ Thomas E. Horn+ Christine Sherry and Lawson Fisher+ Mr. Soul Htite The Honorable and Mrs. George P. Shultz+ Ms. Jeri Lynn Johnson+ Mr. and Mrs. Robert M. Smelick+ Christine and Pierre Lamond+ Michael and Susanna Steinberg Brenda and Alexander Leff Alan and Patricia Tai+ Peter and Melanie Maier Adam J. Thaler Ms. Laura McCabe-Edgar Mr. and Mrs. William R. Timken+ Alexander R. Mehran*+ Mr. and Mrs. Thomas Tuttle+ Mr. James E. Milligan* The Whitman Family Foundation Michel and Mekhala Oltramare Ms. Patricia Wyrod Karl and Holly Peterson Diane and Howard Zack+ Megan Ray Anonymous

50 SAN FRANCISCO BALLET SFBALLET.ORG The Christensen Society

The Christensen Society, named for the three brothers whose artistic vision pioneered San Francisco Ballet, offers a foundational connection to the heritage of the Company. Christensen Society member donations enable SF Ballet to underwrite season productions, acquire contemporary and classical works for our repertory, conduct national and international tours, train hundreds of young dancers at SF Ballet School, and share the love of dance with underserved children and families throughout the Bay Area.

SF Ballet gratefully acknowledges the generous support of Christensen Society members, who contributed gifts of $2,500 to $14,999 to the annual fund as of December 15, 2016. For more information about the Christensen Society please contact Christensen Society Manager Ari Lipsky at [email protected] or 415 865 6635.

We are pleased to give special recognition to donors who have been honored as ten-year members of the Christensen Society. Their names are followed by a plus sign (+) in this section. Former SF Ballet Trustees and Associate Trustees are noted with an asterisk (*).

CHOREOGRAPHER’S COUNCIL Miriam Sedman and Ralph Nyffenegger Dr. Paula Campbell Melanie and Rob Pedrick+ Mr. and Mrs. Donald Chaiken+ GIFTS OF $7,500–$14,999 Beth Price+ Dr. Annie Chang and Prof. Frederik Mooi Mr. Joseph W. Alegre Leslie and Nick Podell+ Robert Clegg*+ Ms. Susan Anderson-Norby Mr. and Mrs. Neal I. Powers Ms. Robin Collins Kristen A. Avansino+ Mr. and Mrs. Fred Roberts Ms. Phoebe Cowles Chris and Janet Bajorek Julian Robertson Mary B. Cranston*+ Lydia and Steven Bergman Mr. N. D’Arcy Roche and Ms. Nancy Curtiss Claire and Jared Bobrow Mrs. Stephanie Twomey Roche Ms. Bonnie De Clark Mr. and Mrs.* William S. Brandenburg Kamran and Helena Shamsavari+ Ms. Carole A. Demsky Kelly and Samuel* Bronfman II Mr. and Ms. Robert Shaw Earl Diskin+ Mr. and Mrs. Kent F. Brooks Mr. and Mrs. Roderick W. Shepard Mr. and Mrs. Theodore S. Dobos+ Ms. Carolyn Chandler Dr. and Mrs. Stephen Sherwin+ Robert and Judith Duffy+ Drs. Valerie and Devron Char Anne and Michelle Shonk+ Samantha DuVall and Darren Bechtel Antoinette Chatton+ Ms. Cherida Collins Smith+ Diane and Joseph Ehrman III+ Ms. Karen K. Christensen+ Mr. and Mrs. George H. Sollman Douglas and Barbara* Engmann+ Jack and Gloria Clumeck The Streets Family+ Mr.* and Mrs. Irwin Federman Mr. and Mrs. Sol Coffino Mrs. Dwight V. Strong+ Brent and Sandra Fery Dr. Charles Connor+ Arlene H. Sullivan* Ms. Katherine M. Fines and Mr. Henry Heines+ Ms. Phyllis Cook+ Mr. and Mrs. Charles V. Thornton+ Mr. and Mrs. David Fleishhacker+ Michele Beigel Corash and Laurence Corash+ Helgi and Marlene Tomasson Mr. Dennis N. Fluet+ Jill Daly Drs. Oldrich and Silva Vasicek+ Camille and Sean Flynn+ Mr. and Mrs. James A. Davidson Mrs. and Mr. Joanne K. Vidinsky Sally L. Glaser and David Bower Juanita and Manuel Del Arroz The Watkins Family+ Mrs. Vincent Golde Mr. and Mrs. Kevan Del Grande Mr. Tim Westergren and Ms. Smita Singh William J. Gregory Ms. Paulette Doudell+ Helena and William Wheeler Linda Groah Mr. Frank J. Espina and Mrs. Andrea Valo-Espina Cynthia and Edgar Whipple+ Mr. and Mrs. John and Lucie Hall Buck Farmer and Leida Schoggen Mr. Tim C. Wu and Mr. Eric Murphy Ms. Claudia Hardin Mr. and Mrs. John L. Field+ Kenneth and Anna Zankel, The Grove Dr. Birt Harvey Doris Fisher+ Anonymous (4) Joan and Alan Henricks Louella C. Fung Ms. Laura Miller and Mr. Matthew Herold Ms. Sally Garbarino Mr. and Mrs. John S. Hoch John and Marcia Goldman DANCER’S COUNCIL Mr. and Mrs. Christopher Hollenbeck James K. and Helen L. Goodwine+ GIFTS OF $5,000–$7,499 Susan and Lyman Hurd Mary and Nicholas Graves+ Ms. Andrea Jacoby Ann M. Griffiths+ Ms. Diane K. Aaron Mrs. Barbara Johnson Dr. Nahum Guzik Mr. and Mrs. Tarang Amin Mr. Campbell C. Judge and Ms. Kim Ellis Alicia* and Philip Hammarskjold Judy and David Anderson Mr. Laurence Jurdem and Ms. Jorie Waterman Mr. and Mrs. David M. Haskin+ Mr. Scott Anthony and Ms. Christine DeSanze Bruce and Dasa Katz, Katz Family Foundation+ Mr. and Mrs. A. Grant Heidrich III+ Mr. and Mrs. Greer Arthur+ Mr. and Mrs. Jim Kautz Mr. Kenneth Hitz Mr. and Mrs. Hiroki Asai Mr. and Mrs. Mark Kostic Mr. and Mrs. Terry Houlihan Ms. and Mr. Ann K. Baer Linda Kurtz Ms. Kathryn Huber Dr. Thomas and Julie Ballard Ms. Gladys Kwong Ms. Kimberly M. Hughes Ms. Deborah Taylor Barrera Mr. and Mrs. Jude Laspa+ Robert G. Hulteng+ Mr. Charles Barrett Laube Family Foundation Mr. and Mrs. Richard Jasen Jeanne and William Barulich Ms. Betsy A. Linder+ Dana and Larry Klamecki Mr.* and Mrs. Joachim Bechtle+ Mr. and Mrs. Allen Luniewski Ms. Micki Klearman Valli Benesch and Bob Tandler Mr. and Mrs. Laurence R. Lyons Linda and Robert Klett+ Philanthropic Fund Mr. Michael Manning Arlene and Steve Krieger+ Davidson Bidwell-Waite and Edwin A. Waite+ Mr. Patrick McCabe Captain Witold Klimenko and Mrs. Jan Birenbaum Jennifer J. McCall Dr. Darlene Lanka-Klimenko+ Mr. Charles Alden Black, Jr. and Joan and Robert McGrath+ Mark and Debra Leslie+ Mr. C. Grisham, Jr. Mr. and Mrs. John A. McQuown Mark and Lori Litwin+ Ms. Martha E. Blackwell Mr. Robert B. Meadows Carol and Hal Louchheim+ Mr. and Mrs. Ronald Borelli Mr. Wallace Mersereau Mrs. Rhondalee Mahendroo Dr. Thomas and Janice Boyce+ Byron R. Meyer*+ Lori and David F. Marquardt+ Dr. Odelia Braun Fred and Carole Middleton+ Dr. Jack McElroy and Dr. Mary Ann Skidmore+ Cynthia and Fred Brinkmann+ Mrs. Toni R. Miller Dr. Maya Meux Ms. Barbara Brown+ Mrs. Janet Morris+ Marta L. Morando+ James R. and Melinda M. Brown Ms. Alexandra Moses+ Michael Moritz and Harriet Heyman Peggy and Donald Burns+ Mr. Andrew Myrick Manfred K. Mundelius+ Kelli and Steve Burrill+ Ms. Donna Neff

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 51 The Christensen Society

Mr. and Mrs. Robert L. Newman+ Mr. Carroll Benter Rev. Richard Fabian Peggy and Willis Newton Christopher and Camille Bently Tawna and John Farmer+ Ms. Carla Oakley and Mr. Kevin McCarthy Miss Carol L. Benz Mr. Robert S. Fisher*+ Mr. Richard Oppenheimer Mrs. LaVerne Beres Mr. William E. Fisher+ Ms. Mindy Owen Ms. Catherine Bergstrom Ms. Linda Jo Fitz Ms. Elizabeth A. Peace Mr. and Mrs. Andrew and Nina Berman Mr. Thomas W. Flynn Patricia Sanderson Port Ms. Sandra Moore Berrey Ms. Mayhill Fowler Mr. Gordon L. Radley+ Tom and Sandy Bertelsen Mr. and Mrs. Roy A. Francies Jr Ursula Ralph Mr. Phil Bettens Mr. David B. Franklin and Ruedi F. Thoeni Reach-A-Star Foundation Arthur and Roslyn Bienenstock Mr. Douglas Frantz Dr. and Mrs. Robert E. Richardson+ RADM and Mrs. John W. Bitoff+ Ms. Baerbel Freytag Mr. and Mrs. Sanford R. Robertson+ Amos and Carla Blackmon Dr. and Mrs. A. W. Fricke Ms. Marianne B. Robison+ Ms. Phyllis Blair Mr. Ian Friedland Ms. Patricia Rock and Mr. John Fetzer Mr. Noel T. Blos Ms. Ellen Fujikawa Ms. Susan Rosin and Mr. Brian Bock Ms. Janet M. Bollier Dr. Kim Fullerton-Nelson Mr. and Mrs. Mark J. Ryan+ Bon Air Center Mrs. Ayumi Funaki Dorothy Saxe+ Mr. William Bonville Penny and Gregory Gallo Mr. Michael Scagliotti and Mrs. Miya R. Peard Dr. Stephen C. Born Ms. Mary Gallo Kathleen Schiebold Ms. Carolyn J. and Mr. David W. Brady Ms. Jane L. Gazzola Mrs. Michelle D. Smith Germaine Brennan Foundation+ Nora L. Gibson and William L. Hudson Mrs. Linda Snyder Ms. Marilyn Brennan Ms. Joy Gim The Spero Family Gordon Brody and Beatrice Bienaime Sandra and Yuen Gin Mr. and Mrs. Mathew Spolin+ Catherine Brown and Gerald Gwathney Nora Goldschlager Mr. Matthew Stepka Ed and Carole Brown+ Drs. Meryl Gordon and Robert Schermer Lisa J. Stern-Hazlewood+ Mrs. Kathleen M. Brown* Phillip and Philippa Newfield Gordon+ Susanne Stevens Josephine Brownback Ms. Shelley Gordon Ms. Fran A. Streets+ Katie Budge Mr. James Gosling+ Maureen and Craig Sullivan Betty C. Bullock and Robert Murray Mr. Michael Grady Mr. and Mrs. Jim Swartz+ Mr. and Mrs. Thomas H. Burkhart Richard L. Grant and James L. Miller+ Darian and Rick Swig+ Julie and David Burns Donald W. and Patricia L. Green Roselyne C. Swig*+ Mr. and Mrs. Adrian Byram Ms. Joan Green Ms. Trecia Knapp and Mr. Bruno Tapolsky Mrs. John Callander+ Judy and Josh Green Mrs. Bente Tellefsen+ Libi Cape+ Nonie H. Greene and Todd Werby+ Ms. Jody K. Thelander John and Carol Carlson+ Mrs. Robert M. Greenhood Mr. and Mrs. William L. Thornton Mr. Damian S. Carmichael Mr. and Mrs. Colin Greenspon Mr. Harry Tierney+ Ms. Linda Carson Ms. Doris Grimley Mr. and Mrs. Edward Tortorici Dr. Heidi H. Cary Claude and Nina Gruen+ Janet Sassoon-Upton and John R. Upton, Jr.+ Dr. and Mrs. George Cassady+ Duncan and Jeanie Gurley Paul A. Violich Mr. and Mrs. Robert Cauthorn Mimi Haas+ Ms. Susan Warble Jon B. Chaney+ Stephen Halprin+ Emily and Bob Warden Mr. Marvin Charney Mr. and Mrs. Robert C. Hamer III+ Daniel and Marie Welch Mr. Philip Chou Ms. Maria Hilakos Hanke Mr. and Mrs. Wallace Wertsch+ Mr. Paul Clifford Alexander and Catherine Hargrave+ Karen and Stephen Wiel+ Douglas Clough and Erin Uesugi Sara and Catherine Harkins Marilyn Wolper Ms. Annelle Clute Ms. Lori Harmon Mr. and Mrs. Michael Woodall Ms. Margaret Coblentz Mr. and Ms. Joseph Harris Travis and Jim Wright+ Susan and Mitchell Cohen+ Dr. Elizabeth A. Harrison Dr. Keith R. Yamamoto+ Ms. Claudia Coleman+ Mr. Christoph Hartmann Sharon and Robert Yoerg Richard and Sylvia Condon+ Michael and Julie Hawkins Anonymous (4) Jane A. Cook Mr. and Mrs.* Kenneth Hecht Mr. Thomas J. Cooney John F. Heil+ Alice M. Corning Miranda Heller and Mark Salkind+ ASSOCIATE’S COUNCIL Joan and Victor Corsiglia Troy and Alysia Helming GIFTS OF $2,500–$4,999 Ms. Sandi Covell+ Helts Foundation James Abrams and Thomas Chiang Ron and Shahla Cowan+ Ms. Mary Herman Michael C. Abramson+ Ms. Nora C. Cregan Ms. Kristine T. Hernandez and Norman Abramson and David Beery Ms. Lilly Creighton Mr. Michael R. Glaser Mr. Amir Adibi Ms. Jennifer Crutchfield Mrs. Cynthia Hersey Molly and Stewart Agras+ Mrs. Mary A. Culp+ Virginia Hind Hodgson Ms. Kirsti Aho and Mr. Dale Underwood Juliet and Roggie Dankmeyer+ Mr. Michael Hoffman Mr. Bruce Albert and Dr. Chady F. Wonson+ Mr. Stephen Danko Hank J. Holland* Sig and Susan Anderman Ms. Susan J. Davenport Sunny Holland and Alan Pryor+ Mrs. Diane E. Anderson Mr. Dan Davies Ms. Carol Ann Holley Jola and John M. Anderson+ Dr. and Mrs. R.L. Davis+ John and Gina Hook Mr. and Mrs. Jon T. Anderson Mr. Thomas L. Davis and Mrs. Marden N.Plant+ Dr. Ray Hsu and Dr. Joanna Lin Dr. and Mrs. Joseph S. Andresen+ Dr. Richard M. Delfs Dr. Serena Hu Ms. Gigi Anthony Marvin Dennis+ Ms. Marie L. Hurabiell Asmus Family Julie Desloge and George A. Newhall Ms. Margaret Hutchins Mr. Stephen A. Bansak III Mr. and Mrs. David Dossetter+ Mr. and Mrs. Ronald W. Hutton Mr. Stephen J. Barber Mr. and Mrs. William H. Draper III Ms. Karen J. Irvin Mr. Michael Barrientos Michael E. Dreyer and Harry B. Ugol Jackson Family+ Karen Bartholomew Mr. Alan S. Driscoll Mr. Dennis Jaffe Marie-José and Kent Baum+ Mrs. Jennifer M. Duarte Guyton Jinkerson+ Mr. and Mrs. David W. Beach Mr. Fritz Eberly Ms. Gayle Johnson Mr. and Mrs. Gene Becker Anita C. Eblë Mr. Todd Jolly and Ms. Judith Murio Dr. George Becker Dr. Robert Elfont and Ms. V'Anne Singleton Debra and Blake Jorgensen Ms. Lydia Beebe Mr. Greg Evans Mr. Peter Joshua Ms. Desa C. Belyea Mrs. Mickey Evans Ms. Roberta Kameda

52 SAN FRANCISCO BALLET SFBALLET.ORG Ms. Daru H. Kawalkowski+ Drs. Andrew and Lynn Newman+ Ms. Nadine Tang Mr. Kris Kazaks Diana Nichols+ Mr. James Teter Ms. Lisa A. Keith Ms. Allison Nielsen Ms. Holli P. Thier Rev. Keenan C. Kelsey Patricia and Hayes Noel Judy and Harold Ticktin Drs. Douglas and Carol Kerr Mr. Paul Nordine Mr. Dana Tom Ms. Kathryn Kersey Mr. Hiromichi Nozaki Lowell Tong and Alasdair Neale Ms. Jennifer H. Kilpatrick Ms. Linda L. Olson and Mr. David Polnaszek Ms. Christine Z. Tooby Dr. Robert S. King Mr. and Mrs. Philip Ouyang+ Ms. Amanda Topper+ Mrs. Jerome Ormond Kirschbaum+ Mr. Bijan Pajoohi Suzanne M. Tucker and Timothy F. Marks Ms. Nancy Kittle Ms. Ann Paras Gayla Tyson and Dan Cotter Mr. and Mrs. Alan F. Klein Mr. William D. Parent+ Mr. Herbert Uetz Ms. Patricia D. Knight Dr. Eugene H. Peck Patricia Unterman and Tim Savinar Mr. and Mrs. Mark S. Koenig The Phillips Family Ms. Lida Urbanek Mr. and Mrs. Martin M. Koffel Mr. and Mrs. Julien R. Phillips Larry M. Vales Hal and Iris Korol+ Hilary C. Pierce and Keir J. Beadling Dr. Conrad Vial Reiko and Yasunobu Kyogoku Edward and Linda Plant+ Mr. Richard A. Votava Mrs. Carla L. Labat Melissa and Ritchie Post Mrs. Virginia Wade Jim and Anne Lairmore Tanya Marietta Powell+ Ms. Adrian Walker Sharon Lambert and Charles Cohen+ Dale and Danielle Power Mr. Richard Walsh Mr. Bryan Lamkin Ms. Sandra Price Rosalie V. Weaver Patricia Lekas and John Wentz+ Mr. John Pringle Eitan Fenson and Barbara Weinstein Mr. and Mrs. Christopher E. Lenzo Louis Ptacek and Ying-Hui Fu Dr. Dana Weisshaar Mr. and Mrs. Edward M. Leonard Mr. Fritz Quattlebaum Daphne and Stuart Wells Mr. and Mrs. Mark R. Lepper+ Ms. Ruth Quigley David and Kay Werdegar Mrs. Mona Lessing-Harroch+ Barbara Rambo* and Thomas A. Goossens+ Benjamin and Mary Ann Whitten Mr. Robert Levenson James Deveney and Steve Rausch Melanie and Ronald Wilensky Mr. Roy Levin Drs. Garry and Kathy Rayant+ David and Karima Wilner Rhoda Levinthal Ms. Teresa Remillard Mr. and Mrs. Terry Winograd Ms. Ardelle Levy Louise and Paul Renne Ms. Muriel Wolverton Pam G. Lewis Jon Q. and Ann S. Reynolds Celeste and Darryl Woo Ms. Debra A. Leylegian+ Mrs. Lisa A. Rhodes Sharon* and Dr. Russell Woo+ Claire and Herbert Lindenberger+ Mrs. Polly Rich Beatrice Wood Carol and Bill Lokke Thomas C. Rindfleisch and A. Carlisle Scott+ Laureen Woodruff+ Mr. and Mrs. Steve Love Mr. Jeremy Rishel Mr. Babak Yazdani Ms. Pirkko Lucchesi Mr. Chip Roame Jacqueline Young Mr. and Mrs. Lawrence Ludgus+ L.L. Roberts and A.R. Wilbanks+ Mr. James Zawada Dr. and Mrs. G. Karl Ludwig, Jr.+ Ms. Marcia A. Rodgers Mr. John Ziegler Mrs. Chelsea D. Lynch Ms. Jeanne Rose Mrs. Richard E. Zimmerman Ms. Joan Mann Ms. Patricia Rosenberg Anonymous (9) Dr. and Mrs. David Joseph Martin Mr. and Mrs. David E. Rosenkrantz Ms. Virginia Martin Mr. and Mrs. Herbert Rosenthal Ms. Anita Martinez Mr. Paul L. Rowe and Mr. Michael Sereno Ms. Connie V. Martinez Mr. Roberto Ruiz and Mr. Kevin Lee Ms. Mary E. Massee Paul Sack and Shirley Davis+ Holly and Stephen Massey Ms. Deborah Sagues Ms. Dosia Matthews Dr. Ellen Salwen Niko and Steven Mayer+ Louise Adler Sampson Dr. and Mrs. W. D. McCallum+ Mr. Warren H. Sandell Mr. Glenn McCoy Ms. Letitia Sanders Dan McDaniel, M.D. Donald and Terry Sarver Ms. Kathleen McEligot+ Mr. and Mrs. Richard Saveri Lisa and Jason McPhate Gwendy and Anthony Scampavia+ Dr. and Mrs. Bruce Mebine William and Linda Schieber Mr. Martin Melia Peter Lotnar Schmidt Dr. Beryl Mell+ Mr. and Mrs. Andrew Schwab+ Mr. Steve Merlo Mrs. S. D. Schwabacher+ Mr. and Mrs. James J. Messemer+ Joan and Lynn Seppala Mr. and Mrs. Lou Meylan Ms. Teresa Serata Richard Miller and John Vinton+ Mr. and Mrs. Gary J. Shapiro Dr. Shokooh Miry Mrs. Edith Sheffer Mr. Ted E. Mitchell+ Dr. David Tai-Man Shen and Mrs. Elaine Shen Susan and Jack Molinari+ Mrs. Harriet J. Simpson Mr. and Mrs. Ken Moonie+ Marietta and Earl Singer Mr. and Mrs. Dennis W. Moorhead Mr. Aaron Sittig Mr. and Mrs. Donald Morgan Dr. Dale Skeen+ Gary and Eileen Morgenthaler Karen L. Skidmore Mr. Hokuto Morita Ms. H. Marcia Smolens+ Mrs. Dianne S. Morton Mr. James Sokol Mr. Milton J. Mosk and Mr. Thomas Foutch+ Mr. Scott C. Sollers Kathleen Much and Stanley Peters Mary Ann Somerville Mrs. Jane S. Mudge+ Rosemary G. Southwood Ms. Sharon S. Muir Ms. Ellice Sperber and Ms. Emma Elizalde Mr. John Murphy Mrs. Rosmary R. Spitzer Mr. Roger Murray Mr. and Mrs. Philip Strause Peter Johnson Musto+ Shelby T. Strudwick Ms. Vija Hovgard Nadai Joseph J. Sturkey+ Mrs. Shirley Negrin+ Mr. and Mrs. Peter Swartz Dr. Alex Nellas Ms. Lita Swiryn

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 53 Corporate and Foundation Support

Forward-thinking organizations CORPORATE COUNCIL understand the need to create ARTISTIC DIRECTOR’S COUNCIL CHAIRMAN’S COUNCIL a vibrant civic life in the places GIFTS OF $100,000–$249,999 GIFTS OF $15,000–$24,999 they do business. Leading corporations — local, national, First Republic Bank Brunello Cucinelli and international — enhance their Osterweis Capital Management Dodge & Cox Pacific Union - Christie’s International reputations by supporting SF Ballet PRESENTER’S COUNCIL performances, touring, special events, GIFTS OF $50,000–$99,999 Real Estate and our community engagement Bank of America CHOREOGRAPHER’S COUNCIL programs. And when they do, they Chevron GIFTS OF $10,000–$14,999 are able to promote their brand to an Innovation Global Capital Almaden Press audience of opinion makers, entertain JPMorgan Chase & Co. Gap Foundation clients at performances, and receive KPMG Integnology other special benefits as part of a Pacific Gas and Electric Company Mechanics Bank Wealth Management customized benefits package. Giving Tiffany & Co. Saks Fifth Avenue from private, family, and community Wells Fargo Foundation Willis Towers Watson foundations helps us commission new works; design and build sets and SPONSOR’S COUNCIL DANCER’S COUNCIL costumes; take the Company on tour; GIFTS OF $25,000–$49,999 GIFTS OF $5,000–$9,999 and engage our communities. Freed of London B|O|S (Bingham, Osborn & Gibson, Dunn & Crutcher LLP Scarborough, LLC) To learn more, contact Corporate Kaiser Permanente Delta Dental of California Giving Officer & Interim Institutional La Perla Denning and Company Giving Officer Amy Drew at Wells Fargo Private Bank SpotHero [email protected] or 415 865 6616.

IN-KIND DONORS GRAND BENEFACTOR’S COUNCIL CHAIRMAN’S COUNCIL GIFTS OF $250,000 AND ABOVE GIFTS OF $15,000–$24,999 Bay Area Rapid Transit Ernest Vineyards KGO-TV The Fairmont San Francisco San Francisco Chronicle Nob Hill Gazette Sutter Securities Incorporated ARTISTIC DIRECTOR’S COUNCIL GIFTS OF $100,000 AND ABOVE CHOREOGRAPHER’S COUNCIL KCBS GIFTS OF $10,000–$14,999 KPIX Almaden Press KNTV DotheBay KQED TV Kryolan Professional Make-up San Francisco magazine Miette

PRESENTER’S COUNCIL DANCER’S COUNCIL GIFTS OF $50,000–$99,999 GIFTS OF $5,000–$9,999 Bay Area Reporter Ashley Morgan Designs J Riccardo Benavides Patina Catering McCalls Catering & Events UpOut Pillsbury Winthrop Shaw Pittman LLP ASSOCIATE’S COUNCIL SPONSOR’S COUNCIL GIFTS OF $2,500–$4,999 GIFTS OF $25,000–$49,999 Epi Center MedSpa Avissi Prosecco Bouchaine Vineyards Folie à Deux United Airlines

54 SAN FRANCISCO BALLET SFBALLET.ORG CORPORATE COUNCIL FOUNDATION AND GOVERNMENT SUPPORT GRAND BENEFACTOR CHOREOGRAPHER’S COUNCIL GIFTS OF $250,000 AND ABOVE GIFTS OF $10,000–$14,999 Bently Foundation Crankstart Foundation Grants for the Arts John and Marcia Goldman Foundation E. L. Wiegand Foundation The Guzik Foundation Mimi and Peter Haas Fund ARTISTIC DIRECTOR’S COUNCIL GIFTS OF $100,000–$249,999 Heising-Simons Foundation Scutchfield and Daughter Gaia Fund The Wingate Foundation The Hearst Foundations K.A. Zankel Foundation The William and Flora Hewlett Foundation Zellerbach Family Foundation George F. Jewett Foundation Koret Foundation DANCER’S COUNCIL The Bernard Osher Foundation GIFTS OF $5,000–$9,999 The Seiger Family Foundation Nancy & Joachim Bechtle Foundation The Swanson Foundation Mervyn L. Brenner Foundation, Inc. Chang Mooi Family Foundation PRESENTER’S COUNCIL GIFTS OF $50,000–$99,999 Clumeck Foundation Fleishhacker Foundation Edward Baker Foundation Edward And Marjorie Goldberger Foundation Cox Family Foundation Lisa and Douglas Goldman Fund Flora Family Foundation Walter S. Johnson Foundation Stephen and Margaret Gill Family Foundation The Kingsley Foundation Grossman Family Foundation Laube Family Foundation The Diana Dollar Knowles Foundation Reach-A-Star Foundation National Endowment for the Arts Jeanne and Sanford Robertson Fund The Shubert Foundation, Inc. Storm Castle Foundation Wallis Foundation The Laney Thornton Foundation SPONSOR’S COUNCIL The Vasicek Foundation GIFTS OF $25,000–$49,999 The Whitman Family Foundation

Arrillaga Foundation ASSOCIATE’S COUNCIL The Frank H. and Eva B. Buck Foundation GIFTS OF $2,500–$4,999 Dan and Stacey Case Family Foundation The Amphion Foundation The Hellman Foundation The Donald and Carole Chaiken Foundation H. B. and Lucille Horn Foundation Dorrance Family Foundation The William G. Irwin Charity Foundation Katz Family Foundation Lamond Family Foundation Lakeside Foundation The Charles Henry Leach, II Fund Laube Family Foundation MSB Cockayne Fund Post Family Foundation The Walske Charitable Foundation Springcreek Foundation CHAIRMAN’S COUNCIL Urbanek Family Foundation GIFTS OF $15,000–$24,999 Wender Weis Foundation for Children Crescent Porter Hale Foundation Walter & Elise Haas Fund John Brockway Huntington Foundation Roberts Foundation

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 55 San Francisco Ballet Endowment Foundation

The San Francisco Ballet Endowment ENDOWED FUNDS FOR NEW WORKS Foundation is a separate nonprofit public benefit corporation that Ernest A. Bates New Works Fund holds and manages endowment Burnett Family New Works Fund funds, with the goal of supplying Dan and Stacey Case New Works Fund a reliable source of support while Robert Clegg New Works Fund protecting its investments against Columbia Foundation New Works Fund inflation and wide swings in the Mary B. Cranston New Works Fund capital markets. Each year, a transfer Suzy Kellems Dominik New Works Fund from the Endowment Foundation Sonia H. Evers New Works Fund provides support for a variety of SF Ford Foundation New Works Fund Ballet needs, including the creation Diana Stark and J. Stuart Francis New Works Fund of new works, touring, financial aid Stephen and Margaret Gill New Works Fund for SF Ballet School students, and Evelyn & Walter Haas, Jr. New Works Fund community education and outreach Mimi Haas New Works Fund programs. It is now the third largest Mimi & Peter Haas New Works Fund source of revenue for SF Ballet Walter & Elise Haas New Works Fund after ticket sales and contributions. Sally and William Hambrecht New Works Fund Donors who make gifts of $25,000 The Hellman Family New Works Fund or more to the endowment have a Cecilia and James Herbert New Works Fund fund created in their name. Named The William and Flora Hewlett Foundation New Works Fund funds can provide general support or John E. and Jeanne Hulse New Works Fund support designated for specific uses George B. James New Works Fund at SF Ballet, SF Ballet School, and SF Lucy and Fritz Jewett New Works Fund Ballet’s education programs. For more Catherine P. Lego New Works Fund information on endowed funds or Paul G. Lego New Works Fund the San Francisco Ballet Endowment Irv H. Lichtenwald and Stephen R. Ripple New Works Fund Foundation, please contact Senior The Marver Family New Works Fund Manager, Capital and Principal Gifts Byron R. Meyer Choreographers Fund Fermin Nasol at [email protected] or Berit and Robert A. Muh New Works Fund 415 865 6622. National Endowment for the Arts New Works Fund Osher New Work Fund SF Ballet is honored to list the Barbara Ravizza and John Osterweis New Works Fund following named funds that contribute Kenneth Rainin New Works Fund* support for the creation and Bob Ross New Works Fund performance of new works. Those Kate and George W. Rowe New Works Fund highlighted with an asterisk (*) were The Smelick Family New Works Fund fully or primarily funded through Gail and Robert M. Smelick New Works Fund bequests and other planned gifts. TeRoller Fund for New Productions* Richard J. Thalheimer New Works Fund Helen Von Ammon New Works Fund Karen and David Wegmann New Works Fund Akiko Yamazaki and Jerry Yang New Works Fund Anonymous

56 SAN FRANCISCO BALLET SFBALLET.ORG Your Legacy, Our Future

Beloved as a ballerina at San Francisco Ballet from the 1940s to the 1970s, Jocelyn Vollmar has also been a longtime mentor to students at SF Ballet School. She epitomizes the strength, grace, and artistry at the heart of SF Ballet. Jocelyn has played an important role in developing a cultural legacy in this world-class city—and so can you, by including our organization in your will or trust.

When you let us know that you’ve included SF Ballet in your estate plans, we’re pleased to invite you to join the Jocelyn Vollmar Legacy Circle. As a member, you’ll become a special part of the SF Ballet family FOR MORE INFORMATION and will be invited to exclusive events throughout the year. Contact SF Ballet Planned Giving Manager Elizabeth Lani at 415 865 6623 or [email protected].

Jocelyn Vollmar in “Black Swan” costume outside the Palace of Fine Arts, Golden Gate Park, May 31, 1962 The Jocelyn Vollmar Legacy Circle

Your estate gift to San Francisco Michael C. Abramson Shelby and Frederick Gans Norman Abramson and David Beery John Garfinkle Ballet enrolls you in very special Sophie and Ted Aldrich Stephen and Margaret Gill company: the Jocelyn Vollmar Anthony J. Alfidi S. Bradley Gillaugh Cal Anderson Jane Gitschier Legacy Circle. Jocelyn Vollmar’s David and Judith Preves Anderson Teri and Andy Goodman career extended from performing Steven D. Arias Meryl Gordon, M.D. Roulhac and Tom Austin Michael W. Grady roles in SF Ballet’s first Nutcracker Nancy R. Axelrod Lawrence Grauman, Jr. and Swan Lake to training ML Baird, in memory of Travis & Marion Baird Joan and Michael Green Rosemary B. Baker Patricia Lindsay and Donald W. Green generations of dancers in SF Ballet Richard C. Barker Roger W. Green School. We created the Jocelyn Valera Ferrea Barnhart James Gries Marie Schoppe Bartee Martin C. Hamilton Vollmar Legacy Circle to recognize Margaret Bates, M.D. Rosemary (Rosie) Hayes and thank those individuals who, as Richard and Kathy Beal Terry Hynes Helm Cecelia Beam Cecilia and Jim Herbert a part of their own legacy, make an Dr. and Mrs. Walter E. Berger Linda K. Hmelo investment in the future of SF Ballet. Karen S. Bergman Betty Hoener Davidson Bidwell-Waite and Edwin A. Waite Thomas E. Horn Arthur Bienenstock Donald F. Houghton Members gain special insight into Patricia Ellis Bixby Mr. and Mrs. Terry Houlihan Phyllis B. Blair Vija M. Hovgard SF Ballet and the creative process Aviva Shiff Boedecker Harold D. and Jocelyn P. Hughes of dance through an annual Jon Borset Marie Louise Hurabiell Dr. Carol Bowden Dorothy and Bradford Jeffries celebratory luncheon and other Bruce Braden Berdine Jernigan behind-the-scenes events. Legacy Lisa K. Breakey Mrs. Barbara Johnson Ron and Susan Briggs Mark G. Jones gifts come in all sizes and include Leonard Brill and Richard Sanjour Mrs. René Jopé gifts from wills and living trusts; gifts Cynthia and Frederick Brinkmann Dr. Devorah Joseph in memory of Nerrissa Joseph Ms. Agnes Chen Brown David A. Kaplan that return lifetime income, such as James R. and Melinda M. Brown Rose Adams Kelly charitable gift annuities; our pooled Marjorie and Gerald Burnett John Kerns Julie and David Burns Mrs. Jerome Ormond Kirschbaum income fund; and other planned Patricia Butler Linda and Robert Klett gifts. For information about Legacy Adrian and Carol Byram Ms. June Kronberg Patricia J. Campbell Joan Shelbourne Kwansa Circle membership and estate gift Jack Capito Sharon Lampton options, please contact Planned Linda Parker Cassady Kimun Lee Michaela Cassidy Marcia Lowell Leonhardt Giving Manager Elizabeth Lani at Annag Rose Chandler Irv Lichtenwald and Stephen R. Ripple [email protected] or 415 865 6623. Antoinette Chatton Betsy Lim Larry Chow and Ralph Wolf Susan R. Lin Diane and William Clarke Carol and Hal Louchheim Robert Clegg Barbara Lowe Bette Jean Clute James J. Ludwig Michael Q. Cohen and Carol Berman Cohen Mr. and Mrs. Laurence R. Lyons Maggie Collins Susan Adair Malecki Jane A. Cook Jo Markovich Mary Ellen Copner John Robert Martin Colette V.A. Cornish Connie V. Martinez Sandi Covell Mr. James D. Marver Deborah Pearson Cowley Erika-Marie Matthes Kenneth and Diane Cox Dosia Matthews Lynda Meyer Cronin Gwen and Hamp Mauvais Gerald Currier Mrs. Alice T. May Ramona Manke Davis Steven and Niko Mayer Cornelia Y. de Schepper Kathlyn McDonough and Dennis Yamamoto Martha Debs Donald L. McGee David and Alaina DeMartini Mrs. William L. McGee Karel and Mark Detterman Dr. Terri McGinnis Charles Dishman Betsy and Ed McGuigan Earl Diskin James H. McMurray Christine H. Dohrmann Susan J. Meadows Sam Alicia Duke Robert L. Merjano Joseph Ehrman III Steve Merlo Carol Emory Karl Meyer and Kelly Hails Ms. Frances Eubanks J. Sanford Miller Joan Falender Ms. Joyce E. Miller Merritt and Mary Lou Fink Mr. Sidney F. Mobell Richard Fitzgerald Nancy and Larry Mohr Victoria Flavell Patricia Mok Frannie Fleishhacker Milton J. Mosk Mr. and Mrs. Thomas W. Foote Kathleen Much Mary Jo Francis Tom and Anne Muller Douglas Frantz Peter Johnson Musto Sandra and Alfred Fricke Virginia Mylenki and James J. Pidgeon Joseph and Antonia Friedman Mr. and Mrs. Robert L. Newman Connie Marie Gaglio Tom Nicoll

58 SAN FRANCISCO BALLET SFBALLET.ORG Jeffrey A. Nigh Norman and Hillevi Null Peter Nye and James Marks Marc Sinykin and Kevin Osinski John S. Osterweis James O. Pearson, Jr. Rudy Picarelli Karen Posner Steve and Cleo Postle Roger and Deborah Potash Mr. and Mrs. Albert M. Price Jane Radcliffe Dave and Judy Redo Glenn H. Reid and Frank S. Lanier M.A. Rey-Bear Trust Mr. and Mrs. Richard D. Ringe Pat Roberts Elsie Robertson Pauline and Richard Roothman Renee and Dennis Ross Renee Rubin Karl Ruppenthal and Jo Maxon Pat Sanderson R. L. Sauer Dorothy Saxe Norman Schlossberg Ms. Catherine Schmidt Walter and Sharon Schneider Al Schroeder Leonard C. Schwab

Harold E. Segelstad // © Erik Tomasson Lake Swan in Tomasson’s Feijoo and Vitor Luiz Lorena Mr. and Mrs. Jack Self Christine Selle Michael and Daryl Shafran J. Gary and O.J. Shansby Foundation John-Luke Sheridan Mrs. Carter Parrish Sherlin Carol R. Sholin Edward M. Silva Charles G. Smith Cleveland M. Smith JOIN FRIENDS OF Dr. W. Byron Smith M. Eileen Soden, Ph.D. Scott C. Sollers SAN FRANCISCO BALLET Sue Sommer Sharon St. James Stephen B. Steczynski FOR BEHIND-THE-SCENES ACCESS Nancy Stern Susanne Stevens Mrs. Dwight V. Strong Celebrate your love of ballet by becoming a Friend of SF Ballet. Jane and Jay Taber Tom Taffel and Bill Repp Starting this Season, our Friends get closer than ever before. Watch Mr. and Mrs. Alan Tai a ballet come to life in an open dress rehearsal, get early access to Jack Eugene Teeters Sam Thal, M.D. purchase tickets, and meet fellow donors and Company artists at Richard J. Thalheimer special events. Loyal supporters like you ensure that the Ballet will Suzanne and Charles Thornton Jazz Tigan be around for future generations to enjoy. Mr. and Mrs. Howard Timoney Michael E. Tully Janet Sassoon-Upton and John R. Upton, Jr. Carolyn and Terry Voet Mrs. Katherine Wallin Mrs. Barbara W. Wanvig JOIN US, WON’T YOU? Rosalie V. Weaver Just visit sfballet.org/donate or call 415 865 6628 to make your Dr. Frieda Weiner Ingrid M. Weiss gift and receive exclusive benefits designed to enhance your Daphne and Stuart Wells SF Ballet experience. Benjamin and Mary Ann Whitten Karen and Stephen Wiel Mr. Burlington Willes Miles Archer Woodlief Laureen Woodruff Dr. Robert and Sharon Yoerg Janice Hansen Zakin Kristine A. Zeigler Mrs. Stephen A. Zellerbach Anonymous (35)

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 59 Business, meet Balanchine.

Encore Media Group connects businesses and brands to the best of arts & culture in the Bay Area and Seattle. We’re proud to have published programs with the San Francisco Ballet for fifteen years. From finance and fine art museums to jewelers and schools, smart business owners know Encore is the best way to get their brand in the spotlight.

To learn what Encore can do for your business, visit encoremediagroup.com.

emg_sfb_full.indd 1 1/4/17 12:17 PM Thank You to Our Volunteers

The San Francisco Ballet “family” extends beyond the stage to include a large community of dedicated and generous volunteers who are personally involved in the Company’s success. The tireless efforts of these volunteers contribute greatly to SF Ballet’s accomplishments. AUXILIARY Vibrant, energetic, and passionately committed to the success of each new ballet season, Ballet Auxiliary members comprise an exclusive group of women who leverage their talents in fundraising events that each year raise more than $2 million for SF Ballet.

Ms. Alexander Leff, President ACTIVE MEMBERS Ms. Claire Stewart Kostic SUSTAINING MEMBERS Mrs. William N. Keller Ms. Blanca Aguirre Ms. Betsy A. Linder Jola Anderson Mrs. Robert D. Kroll Mrs. Judy Anderson Mrs. Carol Louie Mrs. James P. Anthony Mrs. William D. Lamm Ms. Donna Bachle Mrs. Rhonda Mahendroo Mrs. Thomas G. Austin Ms. Jean Larette Mrs. Bartley B. Baer Mrs. Heather Cassady Martin Ms. Rosemary B. Baker Miss Elizabeth Leep Ms. Deborah Taylor Barrera Ms. Laura V. Miller Ms. Katherine Banks Ms. Debra A. Leylegian Ms. Alletta Bayer Dr. Shokooh Miry Ms. Harriet L. Barbanell Mrs. Barry R. Lipman Miss Carol Benz Mrs. Elizabeth Robinson Mitchell Mrs. Patrick V. Barber Ms. Sheila M. Lippman Mrs. Steven Bergman Ms. Margaret Mitchell Mrs. Kent T. Baum Mrs. John C. Lund Ms. Catherine Bergstrom Mrs. Monika Moscoso-Riddle Mrs. Peter Berliner Mrs. Robert W. Maier Mrs. Ashley Berman Mrs. Sarah Newmarker Mrs. John W. Bitoff Ms. Susan A. Malecki Ms. Linda Bettencourt Mrs. Michael O’Sullivan Mrs. Athena Blackburn Ms. Sandra Mandel Ms. Beverley Siri Borelli Mrs. Jack Preston Mrs. Richard A. Bocci Mrs. Michael L. Mauzé Ms. Giselle Bosc Ms. Virginia Leung Price Mrs. Caroline Krawiec Brownstone Mrs. Mark A. Medearis Mrs. William S. Brandenburg Ms. Maria K. Ralph Mrs. Donald W. Carlson Mrs. James J. Messemer Mrs. Kent F. Brooks Ms. Megan Ray Mrs. Walter Carpeneti Ms. Alison Morr Mrs. G. Steven Burrill Ms. Kacie Renc Mrs. Charles E. Clemens Mrs. Jane S. Mudge Mrs. David Byers Mrs. Patricia Dale Roberts Miss Robin Collins Ms. Vickie Nelson Mrs. Kathleen Coffino Ms. René Rodman Ms. Christine Leong Connors Mrs. Robert L. Newman Ms. Rebecca Cooper Ms. Stephanie B. Russell Mrs. Daniel P. Cronan Mrs. Peggy L. Newton Mrs. Angelos J. Dassios Ms. Meg Ruxton Ms. Gail De Martini Ms. Carole A. Obley Ms. Carole A. Demsky Mrs. James D. Seltsam, Jr. Mrs. Theodore S. Dobos Mrs. Edward Plant Ms. Christine DeSanze Ms. V’Anne Singleton Mrs. David Dossetter Mrs. Nick Podell Mrs. Samara Diapoulos Ms. Grace Nicolson Sorg Mrs. Happy Dumas Dame Tanya Marietta Powell Ms. Patricia Ferrin Ms. Holli Thier Dr. DiAnn Ellis Mrs. Todd G. Regenold Mrs. John E. Fetzer Mrs. Andrea Valo-Espina Mrs. Douglas J. Engmann Ms. Lorrae Rominger Ms. Jane Gazzola Mrs. Patrick Walravens Mrs. Christian P. Erdman Ms. Dara C. Rosenfeld Mrs. Vincent Golde Ms. Amy Wender-Hoch Ms. Lorre Erlick Mrs. Jay Ryder Mrs. James M. Goodman Mrs. Aimee West Ms. Dixie D. Furlong Ms. Isabel M. Sam-Vargas Ms. Shelley Gordon Ms. Freddi Wilkinson Mrs. Stephen Ghiselli Ms. Ellen Sandler Mrs. David Grove Mrs. Eric Wold Mrs. William E. Grayson Mrs. Thomas Schiff Ms. Lori Harmon Mrs. Robert W. Wood Ms. Nonie H. Greene Mrs. Elaine Wong Shen Mrs. Joseph Harris, Jr. Ms. Patricia Wyrod Mrs. John P. Grotts Ms. Merrill Randol Sherwin Mrs. Ronald R. Heckmann Miss Carla Wytmar Ms. Catherine D. Hargrave Ms. Karen L. Skidmore Mrs. Christopher Hemphill Mrs. Ronald Zaragoza Mrs. Michael R. Haswell Mrs. Susan Solinsky Mrs. Holly Hollenbeck Mrs. Terrence M. Hazlewood Mrs. Mathew Spolin Ms. Kathryn A. Huber Mrs. Helgi Tomasson Ms. Terry Hynes Helm Mrs. Jerome J. Suich II Honorary Member Mrs. Judy Swanson Ms. Marie Louise Hurabiell Ms. Mindy Henderson Ms. Jody K. Thelander Mrs. Richard Jasen Ms. Kelli Hill Mrs. Charles V. Thornton Mrs. Jonathan Kaufman Mrs. Kurt Hoefer Ms. Elizabeth W. Vobach Mrs. James C. Kelly Mrs. Michael F. Jackson Mrs. Gregg von Thaden Mrs. Trecia Knapp Ms. Daru H. Kawalkowski Ms. Barbara Waldman Mrs. Carolyn Koenig Ms. Lisa A. Keith Mrs. Wallace Wertsch ALLEGRO CIRCLE ENCORE! Allegro Circle is one of our newest organizations — a small If you’re a young professional who loves dance and a great party, and mighty group of donors who also volunteer their networks dust off the tux, get out that gown, and join our 300 plus ENCORE! and their professional expertise to SF Ballet. There’s a start-up members as they go behind the scenes and share their love of ballet mentality to the way they work, lending their support and their with other young people at a wide variety of social, educational, and entrepreneurial spirit to ensure SF Ballet’s success. For more, networking events. For more, visit sfballet.org/encore. visit sfballet.org/allegrocircle. LEADERSHIP STEERING COMMITTEE Christopher Correa Alex Christie President Lena Gikkas Stewart McDowell Brady and Patrice Lovato Vanessa Jn-Baptiste Co-Chairs Susan Lin Kelcie Lee Paula Elmore Vice President Elizabeth Sgarrella Amanda Garry Angela Zhang Jamie Taylor Susan Marsch Secretary Maggie Winterfeldt Clark Gregg Mattner Patricia Wyrod Daniel Cassell Treasurer Emily Hu Immediate Past President

PROGRAMS 01 & 02 SAN FRANCISCO BALLET 61 Thank You to Our Volunteers

BRAVO

BRAVO is a group of more than 300 dance enthusiasts whose services and support are vital to the ongoing success of San Francisco Ballet. Each year BRAVO members contribute a collective total of more than 10,000 hours of volunteer assistance, striving behind the scenes to bring the wonder of ballet to life. In the process they get a personal close encounter with the inner workings of the world of SF Ballet. For more information and to apply for membership, visit sfballet.org/bravo.

Patricia D. Knight, President VOLUNTEER HOURS DURING THE 2015–2016 SEASON

250+ Hours Elmira Lagundi Suzanne Johnson 40–54 Hours Corine Assouline John Mazurski Kathy Judd Edie Bazjanac Paulette Cauthorn Betsy McGuigan Laura Kerepesi Monique Bouskos Joan Green Roberta McMullan Carrie Kost Emmy Diep Julie Hawkins Patricia Nelson David Lau Inna Edwards Giovanna Jackson Deric Patrick Aldona Lidji Tariq El-Amin Patricia Knight Howard Perkins Steve Loving Bettina Graf Suzanne Knott Sue Plasai Margaret McCormack Wilcox Susan Kalian Pirkko Lucchesi Twyla Powers Linda Miyagawa Kiyoshi Kimura Dosia Matthews Pauline Roothman Keiko Moore Robin Kinoshita Steve Merlo Lacy Steffens Gale Niess Melissa Lee-Gardner Kathryn Roberts Steve Wong Deborrah Ortego Cyndy Lee Daphne Wray Johanna Payne Tani Nagaoka 100–249 Hours Jill Zerkle Sara Pope Marthe Nyborg Margaret Anderson Anne Snowball Jazmine Paniagua Jenny Au-Yeung 55–99 Hours Tracy Stoehr Cynthia Sides Carolyn Balsley Jon Borset Sherrie Szalay Joshua Theaker Marilyn Breen Mary Davi Leslie Tsirkas Gina Thoma-Peterson Thomas Brown Doris Duncan Karen Wiel Desmond Torkornoo Martha Debs Roslyn Eng Michael Williams Steve Trenam Philip Fukuda Keiko Golden May Yasui Audrey Tse Treanor Roger Green Piers Greenhill Stas Yurkevich James Gries Michael Hart

San Francisco War Memorial and Performing Arts Center

War Memorial Opera House is owned and operated by the city and county of San Francisco through the board of trustees of the War Memorial of San Francisco, The Honorable Edwin M. Lee, Mayor.

TRUSTEES

Thomas E. Horn, President Nancy H. Bechtle, Vice President

Belva Davis Lt. Col. Wallace I. Levin CSMR (Ret.) Gorretti Lo Lui Mrs. George R. Moscone MajGen J. Michael Myatt, USMC (Ret.) Paul F. Pelosi Charlotte Mailliard Shultz Vaughn R. Walker Diane B. Wilsey

Elizabeth Murray, Managing Director Jennifer E. Norris, Assistant Managing Director/Executive Secretary

62 SAN FRANCISCO BALLET SFBALLET.ORG 2017 Season Infinite Worlds

FEB 17 – 26 NORTH AMERICAN PREMIERE Frankenstein

“Everything an audience expects and wants: intrigue, shock, choreography that is beautifully constructed, performances that will transport you and spectacular theatre.”

– Dance Europe

Vitor Luiz // © Erik Tomasson Vitor Luiz

BUY TICKETS TODAY A co-production with The Royal Ballet sfballet.org The 2017 North American premiere of Frankenstein is 415 865 2000 | Mon–Fri, 10 am–4 pm made possible by Lead Sponsors Bently Foundation and The Hellman Family; Costume Sponsor E. L. Wiegand Foundation; and Sponsors Ms. Laura Clifford, Stephanie and James Marver, and an anonymous donor.

2017 Season Media Sponsors

Frankenstein Media Sponsor OBJECTS FOR LIFE

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