Notes

Onegin March 19 – 23, 2014

Sonia Rodriguez and Piotr Stanczyk. Photo by Bruce Zinger. Orchestra Violin 1 Oboes Jeremy Mastrangelo, Mark Rogers, Principal Guest Concertmaster Karen Rotenberg Lynn Kuo, Assistant Lesley Young, English Horn Concertmaster Clarinets James Aylesworth Max Christie, Principal Jennie Baccante Colleen Cook+ Bethany Bergman+ Gary Kidd, Bass Clarinet Sheldon Grabke Emily Marlow * Celia Franca, C.C., Founder Nancy Kershaw Sonia Klimasko-Leheniuk Bassoons George Crum, Music Director Emeritus Yakov Lerner Stephen Mosher, Principal Karen Kain, C.C. Barry Hughson Jayne Maddison Jerry Robinson Artistic Director Executive Director Wendy Rogers Elizabeth Gowen, David Briskin Rex Harrington, O.C. Paul Zevenhuizen Contra-Bassoon Music Director and Artist-in-Residence Violin 2 Horns Principal Conductor Dominique Laplante, Gary Pattison, Principal Magdalena Popa Lindsay Fischer Principal Second Violin Vincent Barbee* Principal Artistic Coach Artistic Director, Aaron Schwebel, Derek Conrod YOU dance / Ballet Master Assistant Principal Diane Doig+ + Peter Ottmann Mandy-Jayne Xiao Grabke Christine Passmore Senior Ballet Master Richardson Hiroko Kagawa+ Scott Wevers Senior Ballet Mistress Csaba Koczo Trumpets Rene London+ Aleksandar Antonijevic, Guillaume Côté, Richard Sandals, Principal Matthew Golding+, Greta Hodgkinson, Evan McKie*, Ron Mah Mark Dharmaratnam *, Heather Ogden, Sonia Rodriguez, Aya Miyagawa Robert Weymouth Piotr Stanczyk, Jillian Vanstone, Xiao Nan Yu Filip Tomov Trombones Kevin D. Bowles, Lorna Geddes, Joanna Zabrowarna David Archer, Principal Alejandra Perez-Gomez, Rebekah Rimsay, Violas Tomas Schramek, Hazaros Surmeyan Robert Ferguson Angela Rudden, Principal Dave Pell, Bass Trombone Naoya Ebe, Keiichi Hirano, Tanya Howard, Josh Greenlaw Stephanie Hutchison, Etienne Lavigne, Assistant Principal * Tuba Patrick Lavoie, Elena Lobsanova, McGee Maddox, Sasha Johnson, Principal Stacey Shiori Minagawa, Tina Pereira, Beverley Spotton, Acting Jonathan Renna, Robert Stephen Assistant Principal Harp Carolyn Blackwell+ Skylar Campbell, Jordana Daumec, + Lucie Parent, Principal Alexandra MacDonald, Chelsy Meiss, Ivan Ivanovich Tiffany Mosher, Jenna Savella, Brendan Saye, Valerie Kuinka Tympani Christopher Stalzer, Dylan Tedaldi Johann Lotter Michael Perry, Principal James Applewhite, Jack Bertinshaw, Trygve Cumpston, Larry Toman Percussion Shaila D’Onofrio, Krista Dowson, Nadine Drouin, Jackson Dwyer, Tim Francom, Principal Hannah Fischer, Francesco Gabriele Frola, Giorgio Galli, Cellos Selene Guerrero-Trujillo, Emma Hawes, Juri Hiraoka, Maurizio Baccante, Kristofer Maddigan Ji Min Hong, Kathryn Hosier, Rui Huang, Harrison James, Principal Mark Mazur Lise-Marie Jourdain, Larissa Khotchenkova, Miyoko Koyasu, James Leja, Elizabeth Marrable, Shino Mori, Jaclyn Oakley, Marianne Pack Orchestra Personnel + Andreea Olteanu, Asiel Rivero, Joseph Steinauer, Nan Wang, Peter Cosbey Manager and Music + Aarik Wells, Sarah Elena Wolff Mary-Katherine Finch Administrator RBC Apprentice Programme / YOU dance: Olga Laktionova* Raymond Tizzard Rhiannon Fairless, Liana Macera, Elenora Morris, Felix Paquet, Elaine Thompson Meghan Pugh, Ben Rudisin, Kota Sato. Martin ten Kortenaar, Andrew McIntosh Librarian Mimi Tompkins, Ethan Watts Paul Widner Lucie Parent Robert Binet Lorna Geddes Basses Assistant to the Music Guillaume Côté Pointe Shoe Manager / Hans. J.F. Preuss, Director Choeographic Associates Assistant Ballet Mistress Principal Jean Verch Ernest Abugov Joysanne Sidimus Paul Langley * On Leave of Absence Jeff Morris Guest Balanchine Robert Speer + Additional Musician Stage Managers Répétiteur Cary Takagaki Peter Sherk Flutes Stage Manager, YOU dance Leslie J. Allt, Principal * Principal Guest Artist Maria Pelletier +Guest Artist Shelley Brown, Piccolo  Maternity leave

Page 2 national.ballet.ca Wednesday, March 19 at 7:30 pm Thursday, March 20 at 2:00 pm and 7:30 pm Friday, March 21 at 7:30 pm Saturday, March 22 at 2:00 pm and 7:30 pm Sunday March 23 at 2:00 pm

Conductor: David LaMarche, Guest Conductor Choreography: Staged by: Reid Anderson Based on the poem by Copyright: Dieter Graefe Music: Arrangement and Orchestration: Kurt-Heinz Stolze Set and Costume Design: Santo Loquasto Lighting Design: James F. Ingalls Répétiteurs: Magdalena Popa, Peter Ottmann and Rex Harrington World Premiere: , Stuttgart, Germany: April 13, 1965 The National Ballet of Canada Premiere: June 14, 1984 This production entered the repertoire on June 19, 2010. Onegin is generously supported by an anonymous friend of the National Ballet.

Artists of the Ballet. Photo by Aleksandar Antonijevic.

Jonathan Renna with Artists of the Ballet. Photo by Nancy Paiva.

Page 3 The Cast

Eugene Onegin Olga, another daughter McGee Maddox (Mar 19, 20 eve, 22 mat) Elena Lobsanova* (Mar 19, 20 eve, 22 mat) Aleksandar Antonijevic (Mar 20 mat, 22 eve) Jillian Vanstone (Mar 20 mat, 21, 22 eve, 23) Guillaume Côté (Mar 21, 23) Nurse to Tatiana and Olga Lensky, his friend Lorna Geddes Evan McKie+ (Mar 19, 20 eve, 22 mat) Piotr Stanczyk (Mar 20 mat, 22 eve) Prince Gremin, friend to the Larina family Naoya Ebe* (Mar 21, 23) Patrick Lavoie (Mar 19, 20 eve, 22 mat) Jonathan Renna (Mar 20 mat, 22 eve) Madame Larina, a widow Etienne Lavigne (Mar 21, 23) Alejandra Perez-Gomez (Mar 19, 20 eve, 22 mat) Relatives, countryfolk, members Rebekah Rimsay (Mar 20 mat, 21, 22 eve, 23) of St. Petersburg nobility Artists of the Ballet Tatiana, her daughter Xiao Nan Yu (Mar 19, 20 eve, 22 mat) * Debut Sonia Rodriguez (Mar 20 mat, 22 eve) + Principal Guest Artist Greta Hodgkinson (Mar 21, 23) All casting is subject to change.

Evan McKie’s appearance as Principal Guest Artist is made possible by a generous donation from The Frank Gerstein Charitable Foundation.

Greta Hodgkinson and Guillaume Côté. Photo by Sian Richards.

Page 4 national.ballet.ca Synopsis

Act I Prince Gremin, a distant relation, appears. Scene 1: Madame Larina’s Garden He is in love with Tatiana and Madame Larina Madame Larina, Olga and the nurse are finishing hopes for a brilliant match but Tatiana, troubled the party dresses and gossiping about Tatiana’s with her own heart, hardly notices her kindly, upcoming birthday festivities. Madame Larina older relation. speculates on the future and reminisces about Onegin, in his boredom, decides to provoke her own lost beauty and youth. Lensky by flirting with Olga who light-heartedly Lensky, a young poet engaged to Olga, joins in his teasing. But Lensky takes the matter arrives with a friend from St. Petersburg. He with passionate seriousness. He challenges introduces Onegin, who, bored with the city, Onegin to a duel. has come to see if the country can offer him any distraction. Tatiana, full of youthful and Scene 2: The Duel romantic fantasies, falls in love with the elegant Tatiana and Olga try to reason with Lensky stranger, so different from the country people but his high romantic ideals are shattered by she knows. Onegin, on the other hand, sees the betrayal of his friend and the fickleness in Tatiana only a naive country girl who reads of his beloved; he insists that the duel take too many romantic novels. place. Onegin kills his friend and for the first time his cold heart is moved by the horror of Scene 2: Tatiana’s Bedroom his deed. Tatiana realizes that her love was Tatiana, her imagination aflame with impetuous an illusion and that Onegin is self-centred first love, dreams of Onegin and writes him a and empty. passionate love letter, which she gives to her nurse to deliver.

Intermission

Act II Scene 1: Tatiana’s Birthday The provincial gentry have come to celebrate Tatiana’s birthday. They gossip about Lensky’s infatuation with Olga and whisper prophecies of a dawning romance between Tatiana and the newcomer. Onegin finds the company boring. Stifling his yawns, he finds it difficult to be civil to them; furthermore he is irritated by Tatiana’s letter which he regards merely as an outburst of adolescent love. In a quiet moment, he seeks out Tatiana and, telling her that he cannot love her, tears up the letter.

Tatiana’s distress, instead of awakening pity, Aleksandar Antonijevic and Sonia Rodriguez. merely increases his irritation. Photo by Bruce Zinger.

Page 5 Intermission Scene 2: Tatiana’s Nursery Tatiana reads a letter from Onegin, which Act III reveals his love for her. Suddenly he stands Scene 1: St. Petersburg before her, impatient to know her answer. Onegin, having travelled the world for many Tatiana sorrowfully tells him that although she years in an attempt to escape his own futility, still feels her passionate girlhood love for him, returns to St. Petersburg where he is received she is now a woman and she could never find at a ball in the palace of Prince Gremin. happiness with him or have respect for him. Gremin has recently married and Onegin is She orders him to leave her forever. astonished to recognize in the stately and elegant young princess, Tatiana, the Running Time uninteresting little country girl whom he once Act I 40 minutes turned away. The enormity of his mistake Intermission 20 minutes and loss engulfs him. His life now seems ACT II 30 minutes even more aimless and empty. Intermission 20 minutes ACT III 30 minutes The performance will run approximately 2 hours and 20 minutes.

Tatiana’s Letter

“I write to you – no more confession you find the country godforsaken; is needed, nothing’s left to tell. though we... don’t shine in anyway, I know it’s now in your discretion our joy in you is warmly taken. with scorn to make my world a hell. Why did you visit us, but why? But, if you’ve kept some faint impression Lost in our backwoods habitation of pity for my wretched state, I’d not have known you, therefore I you’ll never leave me to my fate. would have been spared this laceration. At first I thought it out of season In time, who knows, the agitation to speak; believe me: of my shame of inexperience would have passed, you’d not so much as know the name, I would have found a friend, another, if I’d possessed the slightest reason and in the role of virtuous mother to hope that even once a week and faithful wife I’d have been cast. I might have seen you, heard you speak on visits to us, and in greeting Another!... No, another never I might have said a word, and then in all the world could take my heart! thought, day and night, and thought again Decreed in highest court forever... about one thing, till our next meeting. heaven’s will – for you I’m set apart; But you’re not sociable, they say: and my whole life has been directed

Page 6 national.ballet.ca and pledged to you, and firmly planned; Oh, this could all be false and vain, I know, Godsent one, I’m protected a sham that trustful souls work out; until the grave by your strong hand: fate could be something else again... you’d made appearance in my dreaming; unseen, already you were dear, So let it be! For you to keep my soul had heard your voice ring clear, I trust my fate to your direction, stirred at your gaze, so strange, so gleaming, henceforth in front of you I weep, long, long ago...no, that could be I weep, and pray for your protection... no dream. You’d scarce arrived, I reckoned Imagine it: quite on my own to know you, swooned, and in a second I’ve no one here who comprehends me, all in a blaze, I said: it’s he! and now a swooning mind attends me, dumb I must perish, and alone. You know, it’s true, how I attended, My heart awaits you: you can turn it drank in your words when all was still – to life and hope with just a glance – helping the poor, or while I mended or else disturb my mournful trance with balm of prayer my torn and rended with censure – I’ve done all to earn it! spirit that anguish had made ill. At this midnight of my condition, I close. I dread to read this page... was it not you, dear apparition, for shame and fear my wits are sliding... who in the dark came flashing through and yet your honour is my gauge, and, on my bed-head gently leaning, and in it boldly I’m confiding with love and comfort in your meaning, spoke words of hope? But who are you: the guardian angel of tradition, Excerpt from by or some vile agent of perdition Alexandre Pushkin, translated by Charles sent to seduce? Resolve my doubt. Johnston (Penguin Books, England)

Jillian Vanstone. Photo by Sian Richards.

Page 7 Historical Note

John Cranko was one of the 20th-century’s greatest narrative choreographers. Cranko’s output was prodigious and he has left the ballet world with a rich repertoire of story . Onegin was originally created by Cranko in 1965 for Stuttgart Ballet, the company of which he was Artistic Director. A dazzling and powerful dance-drama, Onegin has become one of the most important and sought-after full-length ballets. The ballet is based on the Frank Augustyn and Sabina Allmann in the 1984 narrative poem Eugene Onegin by Alexander National Ballet premiere. Photo by Andrew Oxenham. Pushkin and on Tchaikovsky’s opera of the same name. It is a tale of unrequited love in Onegin was staged for the National Ballet the tragic meeting of an innocent young girl in 1984 by Reid Anderson. Anderson was with a cynical aristocrat. Artistic Director of the company from 1989 to During the 1964/65 Stuttgart Ballet season, 1996 and is now Artistic Director of Stuttgart Cranko concentrated all his efforts on the Ballet. Onegin was first performed by the creation of Onegin, his third full-length ballet. National Ballet at Toronto’s O’Keefe Centre It was first performed by Stuttgart Ballet on (now the Sony Centre) on June 14, 1984 April 13, 1965 at the Wurttemburgische with Sabina Allemann as Tatiana and Frank Staatstheatre with Marcia Haydée as Tatiana, Augustyn as Onegin. The production was later as Onegin, Egon Madsen as filmed by CBC TV and Primedia and was Lensky and Ana Cardus as Olga. Cranko later directed by Norman Campbell. The film produced a revised version of Onegin for garnered international praise and received the Stuttgart Ballet in 1967 and it is this revised Silver Medal in the Performance Arts category version that we see today. at the Houston International Film Festival.

Selected Biographies

Karen Kain, C.C., LL.D, The National Ballet of Canada on a remarkable international D. Litt., O.Ont. in 1969. She was quickly career during which she Artistic Director promoted to Principal Dancer performed many of ballet’s Long recognized as one of the with the company after her greatest roles with such most gifted classical dancers sensational debut as the companies as Paris Opéra of her era, noted for her Swan Queen in . In Ballet, Roland Petit’s Le Ballet compelling characterizations 1971, Ms. Kain was awarded de Marseilles, the Bolshoi and versatility as a performer, the Silver Medal in the Ballet, London Festival Ballet Artistic Director Karen Kain Women’s Category at the and Vienna State Opera is one of Canada’s most prestigious International Ballet Ballet. Throughout her career renowned and committed Competition in Moscow she also developed a close advocates for the arts. Born and, along with her frequent creative partnership with Rudolf in Hamilton, Ontario, Ms. Kain partner at the time, Frank Nureyev and often performed received her training at Augustyn, received a special with him. A favourite of some Canada’s National Ballet prize for Best Pas de Deux. of the world’s most prominent School in Toronto, joining Subsequently, she embarked choreographers, she premiered

Page 8 national.ballet.ca many new and important he was named Resident choreographers of the 20th works during her time as a Choreographer and during century including, among dancer. Ms. Kain retired from this time, he created some of others, John Cranko, Kenneth dancing following a farewell his finest early ballets. Through MacMillan, Glen Tetley, John tour in 1997 and took up the the 1950s, Mr. Cranko created Neumeier, Jiˇrí Kylián and position of Artist-in-Residence works for both the Covent William Forsythe. Mr. Anderson with the National Ballet, a role Garden and Sadler’s Wells retired from the stage in that was later expanded to branches of , 1986 and became the Artistic that of Artistic Associate. In notably Antigone, Bonne Director of Ballet British 2004, she restaged Rudolf Bouche and The Lady and Columbia in 1987, a position Nureyev’s landmark version the Fool. In 1957, Mr. Cranko he held until 1989. From 1989 of The Sleeping Beauty for the choreographed his first full to 1996, he was Artistic company and the following length ballet, The Prince of the Director of The National Ballet year was named Artistic Pagodas. Shortly thereafter, of Canada before returning Director. Ms. Kain has he created La Belle Hélène to Stuttgart Ballet as Artistic received many Canadian and for the Paris Opéra Ballet and Director in September 1996. international awards through- Romeo and Juliet for La Scala. Since then, he has reshaped out her career, testifying to In 1960, he went to Stuttgart the company and its repertoire her accomplishments both as to restage Prince of the considerably, resulting in sold- an artist and an advocate for Pagodas and was asked to out houses and increased the arts. She is a Companion assume the directorship of international touring. In addition of the Order of Canada, the Stuttgart Ballet in 1961. There to his duties as Artistic Director first Canadian recipient of the he created the full-length at Stuttgart Ballet, Mr. Cartier Lifetime Achievement ballets Onegin, Carmen and Anderson has staged the Award and was named an The Taming of the Shrew, works of John Cranko around Officer of the Order of Arts while continuing to create the world since 1984. and Letters by the Government short works and restage of France. In 1997, Ms. Kain classics. Mr. Cranko died Kurt-Heinz Stolze was honoured with a Governor tragically on an airplane Arrangement and General’s National Arts Centre bringing his company home Orchestration Award and received a Governor from New York in 1973. Kurt-Heinz Stolze was born in General’s Award for Lifetime Germany in 1926. He received Artistic Achievement in 2002. Reid Anderson his musical training at the From 2004 to 2008, she was Staging Conservatory in Hamburg Chair of the Canada Council Artistic Director of Stuttgart where he studied piano, organ, for the Arts. In 2007, she was Ballet since 1996, Reid conducting and composition. presented with the Barbara Anderson has had a long and Upon graduating, he became Hamilton Memorial Award distinguished career in the Rehearsal Coach at the opera for demonstrating excellence world of dance as a dancer, in Hamburg and later at the and professionalism in the teacher, coach, producer Royal Swedish Opera in performing arts. In 2008, the and Artistic Director. Born . From 1959, he Karen Kain School for the in New Westminster, British was Kapellmeister at the Arts officially opened, a tribute Columbia, Mr. Anderson Wurttemberg State Theatre to Ms. Kain’s ongoing received his dance training in Stuttgart. Mr. Stolze both contributions to the cultural in Canada and at The Royal composed and arranged life of her country, and in Ballet School in London, music for ballet. Working in 2011, Ms. Kain was honoured England. At the invitation close collaboration with John by the International Society for of the choreographer and Cranko, he arranged the the Performing Arts with the Director John Cranko, he Tchaikovsky music for Onegin Distinguished Artist Award. joined Germany’s Stuttgart and the Scarlatti for The Ballet in 1969. Throughout his Taming of the Shrew. John Cranko 17-year career with Stuttgart Mr. Stolze also orchestrated Choreographer Ballet, Mr. Anderson danced Stuttgart Ballet’s productions Born in South Africa, John leading roles in a wide range of Les Sylphides and Kyrie Cranko moved to London of classical and contemporary Eleisas and conducted the in 1946 to join Sadler’s Wells productions and worked orchestra for Stuttgart Ballet Ballet. Within four years, with some of the leading on numerous occasions. In

Page 9 l963, he composed original for Canadian Opera Company idiom, from works steeped music for Mr. Cranko’s Wir and The House of Martin in tradition to cutting edge Reisen Nach Jerusalem. Guerre for Canadian Stage modern compositions, Mr. Mr. Stolze died in Stuttgart Company. Mr. Ingalls’ other Briskin brings a sure hand and in 1970 at the age of 39. work in ballet includes Twyla a sensitive understanding to Tharp's Waiting at the Station the dramatic and choreographic Santo Loquasto and Alexi Ratmansky's Don life of the music he conducts. Set and Costume Designer Quixote for Pacific Northwest Before joining The National Santo Loquasto is a designer Ballet; Three New Works, Ballet of Canada in 2006, Mr. for dance, theatre and film. and Coppélia for Het Briskin served as conductor He has collaborated with Nationale Ballet; Giselle for with choreographers Jerome Den Norske Ballett; Celts, in New York City for seven Robbins, Mikhail Baryshnikov, The Four Seasons and years, directing performances Kenneth MacMillan, Agnes Resurrection for ; at the Metropolitan Opera de Mille, James Kudelka and and Helgi Tomasson’s Don House, City Center and Mark Morris. Twyla Tharp’s Quixote and The Nutcracker numerous ballet and opera Push Comes to Shove marked as well as ten new pieces for houses around the world. In the beginning of a long-term the New Works Festival demand as a guest conductor, relationship with American celebrating San Francisco Mr. Briskin has worked most Ballet Theatre. As designer Ballet’s 75th season. For Mark recently with such companies for the Paul Taylor Dance Morris, his designs include as and Company, he has designed Romeo and Juliet, On Motifs . He a total of 49 pieces. Mr. of Shakespeare, Mozart recently made his debut at Loquasto received his first Tony Dances, Dido and Aeneas, Covent Garden in London in 1977 for costume designs The Hard Nut and L’Allegro, conducting The Royal Ballet for The Cherry Orchard. In il Penseroso ed il Moderato. and returns to conduct the 1989, he won both the Tony He designed the original White world premiere of Christopher and Drama Desk Awards for Oak Dance Project tour with Wheeldon’s The Winter’s Tale his set design of the New York Mikhail Baryshnikov; Radiant (a co-production with The Shakespeare Festival’s Café Dawn and To Make Crops National Ballet of Canada) Crown and, in 1990, he again Grow for Paul Taylor Dance featuring an original score won both awards for his Company; Bitter Suite and by Joby Talbot in April 2014. costume design for Grand counter/part for Hubbard He has appeared with The Hotel. For his other work in Street Dance; and Fluid of Chicago, theatre, he has received an Canvas and Split Sides for , Les Grands Obie, the Joseph Maharam Merce Cunningham Dance Ballets and Alberta Ballet, Award, both Outer Critics Company. His work in opera among others. For three Circle and Drama Desks includes the world premieres seasons, Mr. Briskin served Awards and a total of 17 Tony of John Adams’ Nixon in as Music Director of Pittsburgh nominations. For film, Mr. China, The Death of Ballet Theatre and was Loquasto has received Klinghoffer and Dr. Atomic Conductor for The Juilliard Academy Award nominations and Kaija Saariaho’s L’Amour School’s Dance Division from for production design for de Loin and Adriana Mater, 1993 to 2005. In 2008, Woody Allen's Bullets Over all directed by Peter Sellars. Mr. Briskin was appointed Broadway and Radio Days He often collaborates with Assistant Professor and and for costume design for Melanie Rios Glazer and the Director of Orchestral Studies Allen's Zelig. Other film credits Wooden Floor dancers in at the University of Toronto include Desperately Seeking Santa Ana, California. Faculty of Music. Mr. Briskin’s Susan, Big and, most recently, versatility has also seen him Blue Jasmine. David Briskin conduct symphony and opera Music Director and productions throughout the James F. Ingalls Principal Conductor Americas, Europe and Asia, Lighting Designer One of the foremost ballet with such orchestras as the James F. Ingalls made his conductors at work today, Pittsburgh, Detroit, Baltimore, National Ballet of Canada David Briskin is renowned Indianapolis and Windsor debut with Onegin in 2009. for the scope of his repertoire Symphony Orchestras, the His other work in Toronto and the depth and beauty of Shanghai Symphony Orchestra includes Tristan und Isolde, his interpretations. Whether in and the National Symphony The Magic Flute and Rigoletto the classical or contemporary Orchestra of Costa Rica, and

Page 10 national.ballet.ca with such opera companies Franca to Karen Kain. He has contemporary repertoire, as Calgary Opera, Manitoba traveled with the company including the world premieres Opera, Opera Carolina, Lake all over the world touring to of James Kudelka’s The Four George Opera and Sarasota Israel, Asia, Europe, Mexico Seasons, Cinderella, and An Opera. In addition, he served and throughout North America. Italian Straw Hat, Jean-Pierre for six years as Music Director Mr. Abugov has worked with Perreault’s The Comforts of the Masterwork Chorus many of the world’s most of Solitude, Crystal Pite’s and Orchestra in New York. renowned choreographers Emergence, and Alexei who have created original Ratmansky’s Romeo and David LaMarche works for the National Ballet Juliet. Company premieres Guest Conductor including Alexei Ratmansky, include John Neumeier’s David LaMarche has been John Neumeier, William Nijinsky and Christopher working as a conductor in the Forsythe and Glen Tetley. Mr. Wheeldon’s Alice’s dance field for over twenty Abugov was born in Montréal, Adventures in Wonderland. years. He served as Music Québec. Before beginning Director for the Dance Theatre his long association with the The National Ballet of of Harlem from 1993 to 1998 National Ballet, he worked Canada Orchestra and conducted many of the with Les Feux Follets, The The National Ballet of Canada company’s premieres. In Charlottetown Festival, is privileged to have its own addition, he composed and La Poudriere Theatre and The full orchestra with over 60 arranged several scores for Studio Lab Theatre. He worked members. The orchestra has the repertoire. As a guest, he at Expo ’67 in Montréal, stage performed in each of the has conducted for New York managing over 4000 puppet National Ballet’s seasons and City Ballet, San Francisco shows. Mr. Abugov also is led by Music Director and Ballet, The National Ballet of toured with Harry Belafonte. Principal Conductor David Canada, Houston Ballet, In what little spare time that Briskin. The company’s first Joffrey Ballet, The Paul Taylor he has, Mr. Abugov guest- Music Director was George Dance Company, L’Opera di lectures to theatre students. Crum who, along with Roma, Het National Ballet, Les Founder Celia Franca, was Grands Ballets, Ballet British Jeff Morris a pioneer of the company. Columbia and . Stage Manager Mr. Crum held the position The orchestras he has directed Born in Toronto, Jeff Morris from the company’s inception include the Houston Symphony, studied technical theatre in 1951 to 1984, when he the Lyric Opera Orchestra of production and administration was appointed Music Director Chicago, the Pacific Symphony, at Ryerson’s Theatre School. Emeritus. The orchestra was St. Luke’s Orchestra, the After leaving Ryerson, he led by Ermanno Florio from National Arts Center Orchestra became Production Stage 1985 to 1990. Ormsby of Canada, the Tokyo Manager for Toronto Dance Wilkins was Music Director Philharmonic, the Hong Kong Theatre (1990 – 1995). With and Principal Conductor from Philharmonic, the Moscow Toronto Dance Theatre he 1990 to 2006. The National Radio Orchestra, the Tivoli toured extensively, stage Ballet of Canada Orchestra Festival Orchestra, and the managing the company’s has toured extensively with Orchestre Lamoreux of Paris. debuts in Berlin, Warsaw, the company through Canada, He is currently in his fourteenth Beijing, Tokyo, and at the the US and Europe. Over year on the staff of American Joyce Theater, New York. the years, the orchestra has Ballet Theatre and is Music He was Production Stage received much acclaim from Director of the José Limón Manager for Dancers For Life audiences and critics alike Company. Mr. LaMarche is a (AIDS Committee of Toronto, and has recorded two CDs of graduate of Boston University 1991 – 1997), Stage Manager Michael Torke’s compositions and resides in New York City. for Theatre Passe-Muraille for The Contract (The Pied (Never Swim Alone, Piper) and An Italian Straw Ernest Abugov Metamorphosis of a Shadow) Hat. The orchestra made their Stage Manager and for the Fringe Festival of concert debut at Koerner Ernest (Ernie) Abugov has Independent Dance Artists. Hall on April 3, 2012, in served as Stage Manager of Mr. Morris joined The National celebration of the company’s The National Ballet of Canada Ballet of Canada in 1995 and 60th anniversary. since 1973, working with has since stage-managed a every Artistic Director in the wide range of the company’s For more information, visit company’s history from Celia unique classical and national.ballet.ca

Page 11 Onegin

is presented by

Aleksandar Antonijevic in Onegin. Photo by Sian Richards.

Page 12 national.ballet.ca