2016 // 17 SEASON

Northrop Presents EIFMAN BALLET Artistic Director

Wed, May 17, 7:30 pm Carlson Family Stage

Red Dear Friends of Northrop, Ardani Artists and Northrop at the University of Minnesota Present On Wednesday evening, April 8, 1998, Eifman Ballet St. Petersburg made its New York debut at City Center with Red Giselle. On Friday morning, The New York Times' Anna 40th Anniversary Kisselgoff proclaimed: A“ ballet world in search of a major choreographer need search no more. He is Boris Eifman…” She went on to praise the “blazing invention of his choreography…” and his “…stunning group of passionate dancers.” EIFMAN BALLET OF Sitting in the audience that evening, and likely in agreement with Kisselgoff, was former Northrop Director, Dale Schatzlein. He was scouting work for the Northrop Dance Series, and was so taken with Eifman Ballet that he became the first U.S. ST. PETERSBURG presenter to sign on for their next North American tour. The company presented Red Giselle on the Northrop stage for Artistic Director the first time in April of 2000, seventeen years ago. Tonight marks their sixth visit to Minneapolis, and I know they have BORIS EIFMAN Christine Tschida. Photo by Tim Rummelhoff. become audience favorites. I am certain there are some in the audience tonight who have seen each and every one of those performances! Company

Red Giselle is exciting because of the passion and energy that Mr. Eifman demands of his amazing dancers, MARIA ABASHOVA, LYUBOV ANDREYEVA, LILIA LISHCHUK, NATALIA POVOROZNYUK and for the unabashed theatricality that he brings to all of his productions. What’s especially delicious in this production is the blurred boundary between the staging of the classical Giselle and the life of our DMITRY FISHER, OLEG GABYSHEV, DMITRY KRYLOV, OLEG MARKOV, heroine, “the ballerina.” A full synopsis is included on pages 5-6 of this program. IGOR SUBBOTIN, SERGEY VOLOBUEV

But I think the story of how Red Giselle first came to play on the Northrop stage is an exciting one as well, ALINA FISHER, LEONID LEONTIEV, POLINA PETROVA, IGOR POLYAKOV, ANGELA PROKHOROVA, and it speaks to what we continually strive for in presenting dance to our audience. We’re continually on DARIA REZNIK, DMITRY SAVINOV, ALEXANDER SOLOVEY the lookout for new and exciting work. We maintain a commitment to ballet, but focus on new voices that are approaching classic works with new ideas and new vision. There’s a commitment to international DARIA BOCHKOVA, JAROSLAVNA BRYKOVA, MARIANNA CHEBYKINA, ELENA CHERNICHENKO, work—despite the ever-growing complexities of presenting foreign artists, and the risks that represents. ALINA DIANOVA, MARIA DOVICHEVA, YANA GORDIENKO, EVGENIYA HARUTYUNYAN, And, we are still willing to take artistic risks, as Dale was when he signed on for the Eifman Ballet tour ALEXANDRA KUZMICH, ANNA OSTAPENKO, POLINA PAVLENKO, ALINA PETROVSKAYA, back in 2000. NATALIA POZDNYAKOVA, POLINA RYASNAYA, ALEXANDRA SMOLENTSEVA, IRINA SPIRIDONOVA, ALINA SVINTINSKAYA, EVGENIYA VOLOBUEVA, MARGARITA YAKOVLEVA, ANASTASIA ZABEREZHNAYA Tonight marks the final production of our 2016 // 17 season. I hope that the 10 different companies that we’ve presented have enriched and inspired you. For those of you that have taken a risk with us, and tried IVAN ANDREYEV, ALEXEY BOYARINOV, VASIL DAUTOV, KIRILL EFREMOV, ALEXANDER IVANOV, something new, I applaud you. I extend my gratitude to our subscribers, and hope to see you again next DMITRY LUNEV, MAKSIM MIDYANKA, ROMAN NESTEROV, ILYA OLEYNIK, ARTUR PETROV, DANIEL RUBIN, season. And for everyone who has joined us—even if just once—thank you for being here and for making KONSTANTIN SAVCHENKO, DANIIL STARKOV, BOGDAN VOVKANICH, VIKENTY YASCOVETS dance a part of your life.

North-American Tour Management: Sincerely, Ardani Artists, Inc. 130 West 56th Street, Floor 5M New York, NY 10019

North-American Tour Sponsored by ALROSA Christine Tschida Director of Northrop

NEXT UP AT NORTHROP: Northrop’s 2017 // 18 Season begins October 10. Don’t miss a single event—join as a subscriber today! Details and video clips available at northrop.umn.edu

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund, Cover: Eifman Ballet in Red Giselle. and a grant from the Wells Fargo Foundation. Photo © Evgeny Matveev. 2 3 RED GISELLE

A ballet by BORIS EIFMAN “Our ballet is dedicated to , one of the greatest ballerinas of the 20th century. I was Music by PYOTR TCHAIKOVSKY, ALFRED SCHNITTKE, GEORGES BIZET shocked to learn the details of her life: this unique actress bathed in glory, worshipped by admirers and Sets and costumes by VYACHESLAV OKUNEV critics later spent 20 years in a mental clinic near New York, totally alone and deprived of all her rights! Lighting by BORIS EFIMAN And it was the deep and tragic sadness I felt when I learnt this that motivated me to produce the Red Giselle. The ballet is not an illustration for Spessivtseva’s biography, but an attempt to draw a generalized picture of her fate and of those of many talented people who were forced to leave Russia and finally came to a tragic end. CAST Spessivtseva was a brilliant Giselle. The ballerina was so deeply drawn into her heroine’s inner world that she eventually lacked the strength to return to real life: Giselle’s fate was to become her own. Ballerina International Ballet Competitions Laureate Spessivtseva, being a prima-ballerina, was to become involved in the bloody events of revolutionary Golden Mask Award Laureate Petrograd and this was also to play a fatal role in her life: this red omen, the symbol of her fate and Golden Soffit Award Laureate destiny, haunted and tormented her. Emigration was to bring disappointment both to her professional MARIA ABASHOVA and personal life; it filled her life with even greater tragedies which led eventually to a catastrophe.

LILIA LISHCHUK In creating this work, our goal was to pay a ballet-theatre tribute to the memory of Olga Spessivtseva—a great ballerina with a tragic fate.” International Ballet Competition Laureate DARIA REZNIK —Boris Eifman

Commissar IGOR SUBBOTIN

Laureate of the President’s Prize SERGEY VOLOBUEV

Teacher Laureate of the President’s Prize Golden Soffit Award Laureate DMITRY FISHER

Golden Soffit Award Laureate OLEG MARKOV

ALEXANDER SOLOVEY

Partner Honoured Artist of Russia Laureate of the President’s Prize Golden Mask Award Laureate Golden Soffit Award Laureate OLEG GABYSHEV

DMITRY KRYLOV

Eifman Ballet in Red Giselle. Photo © Evgeny Matveev. 4 5 SYNOPSIS MUSIC SELECION ABOUT THE COMPANY

ACT I ACT 1 St. Petersburg Eifman Ballet was established a spiritual liaison with the audience, to amaze by Boris Eifman in 1977 (the original name of viewers by the brilliance and dynamism of his Revolutionary Petrograd. A lesson of classical PYOTR TCHAIKOVSKY the company was the Leningrad New Ballet). plastique—all this has ensured a decades-long dance at the . Among all dancers Serenade for strings in C major, Op. 48. 4th The concept of the New Ballet was more than success of Eifman Ballet’s performances at leading a strict Teacher singles out one whose perfect movement: Finale (Tema russo) innovative for its time—from the first days of its venues around the globe. movements embody his ideal of beauty. The Tempest, Symphonic Fantasy after work it was conceived and developed as a ballet A applauds the Ballerina. Among her Shakespeare, Op. 18 theatre for one choreographer. Boris Eifman is a philosopher choreographer. admirers is a Commissar, who personifies a new Manfred Symphony in B minor, Op. 58. 4th He is earnestly concerned with the problems power. The Ballerina is attracted and suppressed movement The company’s first performances such as Two- of today and with the secrets of creativity. The by his power. Elegy in memory of Samarin Voice and Boomerang brought success and stirred choreographer speaks openly with his audience intense interest of the audience, and ballet about the complicated and dramatic aspects of The Commissar introduces her to his world where ALFRED SCHNITTKE critics began arguing about new tendencies in human life and defines his genre as “psychological destruction and chaos reign. However, Ballerina’s Ritual the . Advocates of the traditional ballet.” The New York Times calls Boris Eifman the euphoria fades away. She returns to the ballet Concerto grosso №2 for Violin, Cello and ballet school, however, were rather reluctant to leader among living choreographers: “The ballet class and to the Teacher. Orchestra. Part 2 acknowledge the young choreographer’s authority. world in search of a major choreographer need Gogol Suite. Overture Eifman’s novelty in how he chose literary basis search no more. He is Boris Eifman.” Within the walls of the theatre a new power is Gogol Suite. The Legacy and music for his ballets, the audacity of the established. It brings under control high art. The Gogol Suite. The Portrait body movement vocabulary secured for him the The company is distinguished by its brilliant Teacher is in desperation. His world is treaded reputation of “a choreographic dissident.” technique, unique dedication and high onstage down. intelligence. Today excellent dancers, winners ACT 2 In late 70s and early 80s Eifman’s theatre was of international ballet contests and laureates of The affair with the Commissar is painful for the working out its own individual approach to the President of Russia’s Prize for Young Cultural Ballerina. Fear intertwines with attraction. GEORGES BIZET repertoire formation. More and more new ballets Professionals and the Russian Government prize The Commissar allows the Ballerina to leave L’Arlésienne. Suite No. 2. 3rd movement: Minuet based on the world classical literature appear on in the field of culture, holders of the prestigious Russia. L’Arlésienne. Suite No. 1. 1st movement: Prélude the playbill. The choreographer and his company, Golden Mask and Golden Soffit awards, implement L’Arlésienne. Suite No. 1. 3rd movement: Adagietto characterized by an outstanding dance intellect, Boris Eifman’s ideas: Maria Abashova, Lyubov INTERMISSION L’Arlésienne. Suite No. 2. 4th movement: Farandole explore new genres. Boris Eifman created Andreyeva, Dmitry Fisher, Oleg Gabyshev, Sergey L’Arlésienne. Suite No. 2. 2nd movement: Intermezzo performances whose distinguishing feature is the Volobuev, and others. strikingly sharp choreographic patterns, intended ACT II ALFRED SCHNITTKE to express the fiery passions of ballets’ characters: An important period in the company’s life began Gogol Suite. The Bureaucrats The Duel, The Idiot, The Mad March Day, or the in 2011, when the Government of St. Petersburg Paris, Grand Opéra. A young choreographer offers Gogol Suite. The Legacy Marriage of Figaro, The Legend, The Twelfth Night, made a decision to launch the construction of the to the Ballerina a new plastique which is not (K)ein Sommernachtstraum for large orchestra Master and Margarita, Murderers etc... Boris Eifman Dance Academy—a project originally familiar to her. He becomes her Partner. Both will initiated by the choreographer himself. In achieve triumphant success. PYOTR TCHAIKOVSKY Today St. Petersburg Eifman Ballet is renowned September 2013 the Academy announced the start Francesca da Rimini, Symphonic Fantasy after among ballet lovers in Asia, Europe, the Americas of its first academic year. Another Eifman-initiated Ballerina’s arising feeling to the Partner doesn’t Dante, Op. 32 and in Australia for such ballets as I, Don Quixote, ballet institution is set to open in St. Petersburg become mutual. Unrequited love, loneliness in the Red Giselle, Russian Hamlet, Anna Karenina, in the near future—the Boris Eifman Dance Palace alien world increases psychic crisis. ADOLPHE ADAM The Seagull, Eugene Onegin, Rodin, Beyond Sin, envisioned by Boris Eifman as a new world center Giselle. Act 2: Lever du soleil et arrivée de la cour Requiem, Up & Down, Tchaikovsky, and PRO et of dance arts. Ballerina tries to forget herself by plunging CONTRA. These works were generally recognized into the atmosphere of Parisian spree. But the and represented the highest artistic level of Forming an original ballet repertoire of modern phantoms of the past still haunt her. achievements of the contemporary Russian ballet, Russia based upon the rich traditions of Russian turning the audience to the immortal spiritual psychological theatre, along with searching for Even her favorite role of Giselle, Ballerina’s best heritage of Russian and world culture that inspired and developing new forms of choreography of the part, doesn’t bring her a heartsease. The destiny of the choreographer and his dancers. 21st century are among the key priorities within Giselle awaits herself—betrayal of a loved man and the artistic mission of Boris Eifman and his brilliant madness. The mind of the heroine can’t endure Boris Eifman’s endeavor to engage his spectators company. the commotion. Ballerina’s image dissolves into in the infinite world of human passions, to form Malandainthe mirror-world. Ballet Biarritz in La Belle et la Bête. Photo © Olivier Houeix. 6 7 ARTISTIC DIRECTOR BORIS EIFMAN, People’s Artist of Russia, Laureate of the State Prize of the Russian Federation

Boris Eifman, the of choreography, whose fundamental principle meanings. In visual metaphors of movement, that When Eifman turns to the works of great writers founder and creator came into being as the troupe was formed by can be compared to a figurative cipher of dreams, or to the lives of geniuses and translates them into of his own theatre, his Eifman. in which hazy fantasies and impulses take on visual the language of ballet, this is immersion, through own style, and his own forms, Eifman externalizes what is at the heart of the physical, in the psychic, through the body, in ballet universe, who In the course of time, his ballet ensemble became a literary text or of an artist’s life history. Eifman’s the soul, through words, in ideas. His unique lexicon is called “one of the a ballet theatre, and this change in name reflects theatre is often called a psychological one. His and conceptual, authorial interpretations are a leading choreographers the essential formula of Eifman’s creative method. ballets can be named plastic psychoanalysis, in breakthrough into that fantastic dimension where in the world” and an As an artist whose natural inclination is toward the course of which the psychological depth of the the boundlessness of inner worlds comes to life. “amazing magician the theatre, he is interested in choreographing not characters and the stories—no matter fictional or of the theatre,” was only variations of movement but also transparent real—is being disclosed. Text by Tatiana Boborykina born in 1946 in Siberia. internal actions, and one or another overriding

Photo © Boris Yakovlevich. From early childhood idea connected with a performance. “I create he wanted to express ballets of a different kind, where self-expression his feelings and his becomes the subject and in which there is drama, thoughts in body language, in dance. He himself philosophy, characters and an idea. And I am sure would later say, “for me, ballet is more than a that this is the ballet of the future. Believe me, profession. It is a means of existence, my mission many of my young colleagues will follow the road on this earth. Using its resources, I am compelled that I have taken. This road leads eventually to man.” to convey what is given to me from on high. Most likely, I would simply suffocate on my emotions It’s a man who’s viewed by Eifman as the main if I didn’t have the possibility of expressing them subject and interest of art that has power over through art. For me, choreography is art that people’s hearts and is capable of addressing is deeply religious, in the broadest sense of the the soul. For Eifman, ballet is a means of word.” contemplation, or, as he puts it, an “opportunity, through movement, not only to express some The innate sense of movement and the sort of form and line, but to convey a flood of “instinct to compose” brought him to the emotions, energy, ideas…” Leningrad Conservatory, where he studied in the Choreography Department, and then to the A distinct feature of Eifman’s theatre, its Vaganova Academy of Russian Ballet, where trademark, is that almost all of his performances he worked for ten years as a choreographer, have a plot and, often, a literary source. This composing new works for student performances. corresponds fully to his artistic credo: “I am Finally, in 1977, he formed his own ballet ensemble. not saying that I don’t concern myself with the This is the moment when the Eifman story began, choreographic text itself and its level, as well as as, with his talent, with his blood and sweat, with the degree of imagination or the perfected form… his energy, dedicating himself a full 24 hours a day, But if I need a literary base, it means that I am he began to create his own theatre. looking for an opportunity to plunge into some sort of realm, one that is familiar to me and to my Eifman brilliantly combined cutting-edge audience, and, in the familiar, I try to discover and achievements in the world of ballet with what he reveal the unexplored…” learned in the academic school of classical Russian choreography, to which he traces his roots. “What It is this penetration into the realm of the I do can be called the dance of emotions, free unexplored—in the choreography and in the sphere dance, a new language, in which classical ballet, of ideas—that is arguably the hallmark of Boris modern dance, ecstatic impulses and many other Eifman. When he turns to the literary works, or to things are interwoven…,” he said at the time. the stories of life of Molière, Paul I (the Emperor of His dancers, who had an exclusively academic Russia), Tchaikovsky or Rodin, Eifman always sees grounding, had to acquire a new vocabulary of nuances that no one else has noticed, he finds that body movement. It was a completely different kind which is capable of astonishing, and detects new Eifman Ballet in Red Giselle. Photo © Evgeny Matveev. 8 9 PRINCIPAL ARTISTS

MARIA ABASHOVA OLEG GABYSHEV LILIA LISHCHUK DARIA REZNIK Born in Lviv, Ukraine, Maria Born in 1985 in Volgograd, Born in Donetsk, Ukraine, Born in 1997 in Vladivostok, Abashova was a soloist Oleg Gabyshev graduated Lilia Lishchuk graduated Daria Reznik graduated in 1997–98 with the Lviv from the Novosibirsk State from the Vaganova Ballet from the Vaganova Ballet National Academic Opera Choreographic College in Academy in St. Petersburg Academy in St. Petersburg in and Ballet Theatre. She 2003. Gabyshev has been in 2008. From 2008 to 2013 2016. She has been a soloist graduated in 2002 from the a soloist with the Eifman she was a member of the with the Eifman Ballet, St. Ballet Conservatoire Sankt- Ballet, St. Petersburg since Mariinsky . Petersburg since 2016. Poelten in Austria. Abashova 2004. Lishchuk has been a soloist has been a soloist with the with the Eifman Ballet, St. Featured roles since Eifman Ballet, St. Petersburg Featured roles since joining the Eifman Ballet Petersburg since 2014. joining the Eifman Ballet since 2002. include Basil, Patient who imagined himself to be include Anna (Anna Karenina); Ballerina (Red Don Quixote (I, Don Quixote); Don Juan (Don Juan, Featured roles since joining the Eifman Ballet Giselle); Antonina Milyukova, Tchaikovsky’s wife Featured roles since joining the Eifman Ballet or Moliere Passions); Vronsky (Anna Karenina); include Anna (Anna Karenina); Rose Beuret (Tchaikovsky. PRO et CONTRA). include Doctor, Girl from tavern/Dulcinea, Treplev (The Seagull); Onegin (Eugene Onegin); (Rodin); Rosemary Hoyt (Up & Down); Ballerina Reznik's honors include International Ballet Kitri (I, Don Quixote); Orthodox (My Jerusalem); Rodin (Rodin); Dmitry Karamazov (Beyond Sin); (Red Giselle); Nadezhda von Meck, The Countess, Competition Laureate. Madeleine, Elvira (Don Juan, or Moliere Passions); Man (Requiem); Dick Diver (Up & Down); Partner Tatyana (Tchaikovsky. PRO et CONTRA). Soloist (Musagete); Anna (Anna Karenina); Nina (Red Giselle); Tchaikovsky (Tchaikovsky. PRO et Zarechnaya, Arkadina (The Seagull); Tatyana CONTRA). Gabyshev's honors include Honoured ALEXANDER SOLOVEY (Eugene Onegin); Camille, Rose Beuret (Rodin); Artist of Russia, Laureate of the President’s Prize, OLEG MARKOV Born in 1991, Alexander Grushenka (Beyond Sin); Nicole Warren, Rosemary Golden Mask Award Laureate, and Golden Soffit Born in 1980 in Leningrad, Solovey graduated from the Hoyt (Up & Down); Ballerina (Red Giselle); Award Laureate. Oleg Markov graduated Perm State Choreographic Nadezhda von Meck, The Countess (Tchaikovsky. from the Vaganova Ballet College in 2009. From 2009 PRO et CONTRA). Abashova's honors include Academy in St. Petersburg in to 2014, he was a dancer International Ballet Competitions Laureate, DMITRY KRYLOV 1998. He has been a soloist with the Perm Tchaikovsky Golden Mask Award Laureate, and Golden Soffit Born in 1993 in Kazan, with the Eifman Ballet, St. Opera and Ballet Theatre. Award Laureate. Dmitry Krylov graduated Petersburg since 1998. Solovey has been a soloist from the Kazan with the Eifman Ballet, St. Choreographic College in Featured roles since joining Petersburg since 2014. DMITRY FISHER 2012. In 2012-13 Krylov was a the Eifman Ballet include Patient who imagined Born in 1984 in Perm, Dmitry dancer with the Tatar State himself to be Don Quixote (I, Don Quixote); Featured roles since joining the Eifman Ballet Fisher graduated from the Academic Opera and Ballet Commandore (Don Juan, or Moliere Passions); include Karenin (Anna Karenina); Ivan Karamazov Perm State Choreographic Theatre named after Musa Karenin (Anna Karenina); Trigorin (The Seagull); (Beyond Sin); Teacher (Red Giselle). College in 2002. Fisher has Jalil. From 2013 to 2015 he General (Eugene Onegin); Ivan Karamazov, Fyodor been a soloist with the was a soloist with the Perm Pavlovich Karamazov (Beyond Sin); Old man Eifman Ballet, St. Petersburg Tchaikovsky Opera and Ballet Theatre. Krylov (Requiem); Nicole’s father (Up & Down); Teacher since 2002. has been a soloist with the Eifman Ballet, St. (Red Giselle); Tchaikovsky (Tchaikovsky. RPO et Petersburg since 2016. CONTRA). Markov's honors include Golden Soffit Featured roles since joining Award Laureate. the Eifman Ballet include Gamache, the rich Featured roles since joining the Eifman Ballet nobleman (I, Don Quixote); Hebrew (My Jerusalem); include Vronsky (Anna Karenina); Lensky (Eugene Alex (Who’s Who); Treplev (The Seagull); Lensky Onegin); Partner (Red Giselle); Prince, Lensky, Joker (Eugene Onegin); Rodin (Rodin); Alexey Karamazov (Tchaikovsky. PRO et CONTRA). (Beyond Sin); Old man (Requiem); Nicole’s father, Tommy (Up & Down); Tchaikovsky (Tchaikovsky. PRO et CONTRA). Fisher's honors include Laureate of the President’s Prize and Golden Soffit Award Laureate.

10 11 PRINCIPAL ARTISTS EIFMAN BALLET STAFF

IGOR SUBBOTIN SERGEY VOLOBUEV Artistic Director, People’s Artist of Russia, Laureate of the State Prize, BORIS EIFMAN Born in 1991, Igor Born in 1986 in Kovel, Subbotin graduated from Ukraine, Sergey Volobuev Choreographer’s assistants: LYUBOV ANDREYEVA, DMITRY FISHER, OLEG GABYSHEV the Belarusian State graduated from the Kiev Assistant ballet masters and tutors: People’s Artist of Russia VALENTINA MOROZOVA, Choreographic College in State Choreographic School Honored Artists of Russia OLGA KALMYKOVA, VALERY MIKHAILOVSKY, ANDREY IVANOV, ANTON 2011. From 2007 to 2009 in 2004. He has been a LABUNSKAS, ILYA OSIPOV, OLEG PARADNIK, OXANA TVERDOKHLEBOVA, EKATERINA ZHIGALOVA he was a member of the soloist with the Eifman Dnepropetrovsk State Ballet, St. Petersburg since Managing Director, Honored Artist of Russia: GENNADY ALBERT Academic Opera and Ballet 2004. Director of touring and external affairs: GERMAN GUREEV Theatre. In 2011–12 Subbotin Company manager: ANDREY POPOV was a soloist with the Imperial Russian Ballet and Featured roles since joining the Eifman Ballet Associate company manager: MAYA YANSON in 2012–13 he was a soloist with the Russian State include Patient who imagined himself to be Don Head of PR: SERGEY ILCHENKO Ballet Theatre of Moscow. He has been a soloist Quixote (I, Don Quixote); Commandore (Don Juan, Chief administrator: DENIS BELOKHVOSTIKOV with the Eifman Ballet, St. Petersburg since 2013. or Moliere Passions); Vronsky (Anna Karenina); Production manager: ALEXEY DONDE Trigorin (The Seagull); Onegin, General (Eugene Stage manager: SERGEY BARABANOV Featured roles since joining the Eifman Ballet Onegin); Rodin (Rodin); Ivan Karamazov (Beyond Light group: SERGEY IVANOV, VLADISLAV POTAPOV, VLADIMIR SEDELKIN, ALEXANDER YURYEV include Vronsky, Karenin (Anna Karenina); General Sin); Husband (Requiem); Dick Diver, Nicole’s Sound engineer: TATIANA CHAKAROVA (Eugene Onegin); Dmitry Karamazov (Beyond father (Up & Down); Commissar (Red Giselle); Sound production: LEONID EREMIN Sin); Husband (Requiem); Tommy (Up & Down); Tchaikovsky’s Double, von Rothbart, Drosselmeyer, Stagehands: ANDREY DASHKOV, ILYA DUKHOV, DMITRY GUL, SERGEY GRIGORYEV, MIKHAIL IVANKOV, Commissar (Red Giselle); Tchaikovsky’s Double, Onegin, Herman (Tchaikovsky. PRO et CONTRA). EVGENY LUKYANCHIKOV, DMITRY YAKOBSON von Rothbart, Drosselmeyer, Onegin, Herman Volobuev's honors include Laureate of the Wardrobe: ELENA BELYAVSKAYA, ALLA KAZAKOVA, TATIANA SMIRNOVA, EKATERINA ZIMINA (Tchaikovsky. PRO et CONTRA). President’s Prize. Make-up: ANNA BERNARD, YULIA SEMYONOVA Masseurs: ALEXANDER MESHCHERIN, NATALIA SAMOYLENKO

Staff for Ardani Artists: SERGEI DANILIAN, President & CEO GAIA GINA DANILIAN ARDANI, Vice-President MICHAEL VOOL, Production Manager ANDREY GONYAEV, Tour Manager

Eifman Ballet in Red Giselle. Photo © Evgeny Matveev. 12 13 NORTHROP 2017 // 18 SEASON

TUE, OCT 10 SAT-SUN, APR 7-8 Malpaso Dance Company with special guest Zenon Dance Company with live orchestra

SAT, OCT 28 SAT, APR 14 Ballet MOVES KEIGWIN + COMPANY with live music Celebrates Bernstein with the University Symphony Orchestra THU, NOV 2 ODC/Dance TUE, MAY 1 boulders and bones Alonzo King LINES Ballet with live music on stage

SAT, JAN 27 Hubbard Street Dance Chicago SPECIAL EVENTS SAT, NOV 4 TUE-WED, FEB 27-28 The Velveteen Rabbit Les Ballets de Monte-Carlo performed by ODC/Dance Romeo and Juliet by Jean-Christophe Maillot SAT-SUN, NOV 18-19 56th Annual U of M Marching Band SAT, MAR 3 Indoor Concert Company Wang Ramirez Borderline

Series packages and groups on sale now! Stop by the box office during intermission to place your order.

Alonzo King LINES Ballet in SAND. Single tickets on sale June 5. Photo © R.J. Muna. 14 15 At the Center for Spirituality & Healing, Wellbeing permeates everything we do. Wellbeing is a state of balance or alignment in body, mind and spirit. In this state, we feel content; connected to purpose, people and community; peaceful and energized; resilient and safe. In short, we are flourishing.

Our personal wellbeing - as well as the wellbeing of our loved ones, the organizations in which we work, and the communities in which we live - © Mary Jo Kreitzer, PhD, RN, FAAN University of Minnesota is influenced by many factors illustrated in our Wellbeing Model.

Learn more at: Jun 16-17, 2017 • 8pm • Jun 18, 2017 • 2pm CSH.UMN.EDU Ted Mann Concert Hall

TCGMC celebrates 50 years since the Summer of Love with a return engagement of The Beatles! Revisit audience favorites from our 2015 concert Here Comes the Sun like Revolution, Imagine and With a Little Help from My Friends. Take a deeper dive into the Lennon/McCartney songbook with new songs – from their early days to the imaginative White Album. UPCOMING EVENTS The Beatles provided the soundtrack for the tumultuous ‘60s – from the AT NORTHROP protest movements to the love-ins. “You say you want a Revolution?” We say “Imagine all the people, living life in peace.” Now more than NORAH JONES DIANA ROSS ever, it’s time to revisit the timeless music of The Beatles. Day Breaks World Tour In the Name of Love Tour with The Candles with Rhonda Ross Sat, Jun 3, 8:00 pm Tue, Jul 11, 8:00 pm

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U of M Tickets & Events: Chorus: 612-339-7664 612-624-2345 or tickets.umn.edu tcgmc.org Adults: $25-$53 • 12 & Under: 50% off Diana Ross. Photo courtesy of the Artist.

16 17 :   MIXTAPE May 19–21 $22–25 MIXTAPE is a collaboration of seven artists whose differences in upbringing, generation, and relationship to Hip Hop have evoked important questions around “What is Hip Hop?”

This dynamic performance juxtaposes dance styles like Breaking, House, Rocking, Urban, Street, and more to demonstrate Hip Hop’s importance within and across cultures and communities.

TICKETS: thecowlescenter.org | 612.206.3600

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20 21 GUEST SERVICES FRIENDS OF NORTHROP Ground Level East & West Coat Check MAKE LEGENDARY PERFORMANCES HAPPEN! A special thank you to our patrons whose generous support makes Northrop's transformative cultural Guest Services Provide: At Northrop, we believe in sharing great artists and experiences possible. Make your mark on Northrop's future by becoming a Friend today, learn more by visiting Listening devices, large print programs, coat check, ideas with a new generation of audiences. Your support northrop.umn.edu/support-northrop. lost and found, and taxi calling service helps make extraordinary arts experiences accessible to everyone through outreach to diverse communities, DIRECTORS CIRCLE Corey and Denise Holtz Milton L. Aus Darlene M. Sholtis Surdyk’s Café rich and varied programming, and subsidized student D. and L. Moore Family Ananta Bangdiwala Cherie Shoquist Surdyk’s Café is on the first floor, west side of Northrop. tickets. Our Friends are at the center of Northrop’s 10,000+ Foundation Tom and Jill Barland Andrew Simons Carlson Family Foundation Regan B. Palmer Sue B. Beckham Mary Skelley Hours: 7:30 am–6:00 pm, Mon–Thu, and 7:30 am–5:00 biggest ideas and brightest moments on stage. Derrill M. Pankow Allen Beers Barbara Sletten pm, Fri. Surdyk’s concessions (including wine and beer) 5,000+ Anne B. and Bill Parker Bill Bertram Joan T. Smith Anonymous Tom and Mary Racciatti Rebecca Biderman and Ursel and Mark Smith are available before and during performances. Become a Friend of Northrop today! Donate online Drs. Robert Bruininks and David A. and Margaret Kathleen David Fraher Arne C. Sorenson at northrop.umn.edu/support-Northrop or contact Susan Hagstrum Rothenberger Jeanne Blaskowski Jane A. Starr ATM Richard S. Gregory Gordon Rouse and Jerome and Patricia Boge Gary Summerville Cynthia Betz to learn more about supporting Northrop! Jo-Ida Hansen Sylvia Beach Bill and Julie Brady Cindy B. Tong An ATM is located near the elevator on the ground Voigt & Mary Jean Lenmark Barbara Stoll Joan Bren and Stephen Nelson Katharine Tyler floor, West. In Loving Memory of Jeff Stout and Ron Overlid Desirae Butler Dr. Cheryl Wall and Cynthia Betz Voigt and Catherine Lenmark Susan Tracy Nancy Corcoran Ellen Westenburg [email protected] // 612-626-7554 Robert Lunieski Victoria Veach Brent A. Cosgrove Kathy Walstead-Plumb Restrooms Richard M. Schulze Family Rick and Denise Vogt Susan Crawford John and Ellen Walthour Restrooms are located on every level and side of the Foundation John Wald and Liz Danielson Dr. Jeanie Watson building, including family restrooms (except on the THE NORTHROP ADVISORY BOARD Jennifer Marrone and Marianne Remedios Beverly Dusso Paula J. Webster David Short Mark and Carol Weitz William Durfee and David C. West fourth floor, where there is a women’s restroom on the The Northrop Advisory Board is committed to the Antone and Genevieve David West and Kristen Devorah Goldstein Cathy Westrum and West side, and a men’s restroom on the East side only). growth and awareness of Northrop’s mission, vision, and Melton-Meaux Schoephoerster George Ehrenberg Annelynn Westrum Sarah Ellingson Barbara E. Wiener the continued future of presenting world-class dance in 2,500+ 250+ Heather Faulkner Stephen M. Wilbers General Ticket Information our community. Bringing unique resources in advocacy, Catherine L. Agee Anonymous Beverly Fink Ann Wilcox For any ticketing questions, visit U of M Tickets and Jerry L. Artz Albachten Charitable Fund Majel Fletty Millie Woodbury development, and network building, this group helps Susan H. DeNuccio Mary Ellen and Peter Alden In Memory of Nancy Mohs Genie Zarling Events on the ground floor of West and East sides of the to ensure Northrop’s programming for generations to Randy Hartten and Ron Lotz Jeanne Andre Daniel Froiland building, visit northrop.umn.edu for the most current come. If you would like more information about this Glenn Lindsey Janice Apple Patricia A. Gaarder OTHER Emily D. Maltz Ted H. Bair and John and Joanne Gordon Atashi Acharya listing of events, or call 612-624-2345. committee and its work, please contact Cynthia Betz, Shawn Monaghan and Harvey A. Filister Mitzi and Richard Gramling David S. Anderson Director of Development, at 612-626-7554. Greg Plotnikoff Sharon and Albert Bigot Ernest D. Gray Dennis and Kathleen Anderson Replacing Lost Tickets Thomas and Conchy Morgan Dominic Cecere Sarah Gross Deborah P. Boughton For your convenience, U of M Tickets and Events keeps In Memory of Karen and Bill Christopherson Joan Growe Michael Bromer Antone Melton-Meaux Cari Hatcher Sylvia and Henry Frisch Will and Ginny Craig Richard Gwynne Kathryn Cahill record of your purchase, should you lose or forget Chair Robert Lunieski Sandy and Bob Morris Stephen Davis and John and Joan Haldeman James P. Callahan your tickets. Dale Schatzlein and Emily Murray Thomas Annemarie Herrlich Janet A. Carlson Dr. Robert Bruininks Gary Reetz Maltz Fund Stephen and Sally Dischinger Kimberly Hutchens Betty C. Clark Cynthia Betz Christine Tschida Sally and Kenneth Spence David Gerdes Ramona Jacobs Nancy L. Claussen Accommodating Special Needs Donald Williams and Pamela Charlie Johnson Ann C. Jaede Tomkin Coleman Northrop has accessible seating; please ask an usher Susan DeNuccio Donald Williams Neuenfeldt Lance and Jan Johnson Dwayne King Margaret H. Cords Heather Faulkner Julia Kaemmer Darlene Kirch Barbara H. Couture for assistance. Elevators are located on both the East Gail and Jack Kochie Barbara and Jeff Land Joy Davis and West sides of the building. Accessibility services, FRIENDS CIRCLE Kathryn Anna Kolesar Rob and Colleen Langford Lorinda Fraboni including parking information, are available upon request. Sanford Lipsky Mary Lansing Ann M. Gifford 1,000+ Bill Lough and Barbara Pinaire William Larson and Duane G. Googins NORTHROP STAFF Karen Bachman David and Peggy Lucas Annalee P. Gray Alek Buzhaker Richard Space If a guest wishes to transfer from their wheelchair to Cal Lueneburg Delores and Sheldon Levin Hildi J. Hagedorn Brian Ahlm, Digital Media Manager Ellie Crosby Holly MacDonald Keith A. Hamberg fixed seats, the wheelchair will be taken to the outer The Longview Foundation James W. Lewis Tom Archibald, Event Manager Tony Manzara Joan Liaschenko Eugene W. Haselman lobby to comply with local fire code regulations. At Cynthia Betz, Director of Development Fran Davis Mayfield Fund Kimberly Hutchens Nancy Gossell Elise M. Linehan the end of the performance an usher will return the Justin Burke, Technical Director W. E. McConaghay and Holly Manning Michael Jones Bruce and Judith Hadler Margaret T. Telfer Jane S. Kalin wheelchair to the guest. Laura Durenberger-Grunow, Systems Configuration Assistant Gail and Stuart Hanson Judy and Ken Matysik Ken Hahn, Systems Configuration Assistant Mark and Cece Morrow Brian McDonald Jason Kappel Provost Karen Hanson and Gwen and Mason Myers Carolyn R. Knutson Cari Hatcher, Marketing & Public Relations Director Dennis Senchuk Katherine McGill Cameras and Cell Phones Averial E. Nelson James and Mary Ann McKenna Ann Kuitunen Shayna Houp, Assistant to the Director Sarah and Bill Kling Jenny Nilsson George and Orla McClure Use of cameras and recording equipment are not The Knox Foundation Robert and Susanna McMaster Rahfat Hussain, Financial Analyst Ann L. Piotrowski Toni McNaron Margaret A. Michaelson permitted in the theater. Please be considerate and Brian F. Lammers Joseph F. Pulice Jennifer J. and William Neujahr Brad Kern, Stage Manager & Audio Video Supervisor Sally and Richard Leider Frida G. Mindrum turn off your cell phones or other electronic devices Grace Lansing, Student Supervisor John S. Reay Patricia Mitchell Susan J. Noakes Kathleen and Allen Lenzmeier Mike and Kathy Ruhland Sandra Olson Megan Livingston, Finance Jennifer Martin Val Moeller during the performance. Karen T. Scholl Tracy Napp Catharine C. Reid Candy Lord, Principal Specialist Medtronic Foundation Kathryn J. Sedo John and Sheila Robertson David Mohr Michael and Lisa Rahne Nekich Motorist Assistance Kristina Meanley, Special Projects Jacky & Jim Sherohman Brian J. Neil Jenny R. Schmid Allana Olson, Stage Manager & Lighting Supervisor Leni and David Moore Jan and Alan Sickbert Barbara J. Schultz The Roife-Nissenbaum Sarah L. Nordstrom University of Minnesota provides free jump starts, Chris Olson, Front of House & Events Manager Marilyn and Dale Simmons Andrew and Francie O’Brien Anita Siegel Foundation Megan Sorenson Jethra Spector vehicle unlocking, and flat tire changes to vehicles in Holly Radis-McCluskey, Director, U of M Tickets & Events Capt. Buddy Scroggins and Lance Olson Bridget Reddan, Group Sales Coordinator John and Susan Steffen Barbara Owens Elizabeth A. Steblay University parking facilities Mon–Fri, 7:00 am–10:00 pm. Kelly Schroeder Craig and Bonnie Sommerville Claudia A. Parliament Gary E. Turgeon Call 612-626-PARK (7275) for assistance. Daniel Ringold, Graphic Designer Michael Symeonides and Elizabeth Parker Elizabeth A. Walton Danielle Robinson-Prater, Grants and Sponsorship Manager 500+ Mary Pierce Maureen Pearo Michael and Kimberly Whelan Eve Roycraft, Business Analyst Mark Baumgartner John and Kelly Wheaton William and Eleanore Pederson Jacquelyn J. Wicklund Campus Security Escort Frederick L. Betz David Russell, Audience Services Manager Kenneth and Nina Wise Karyn Pierce Trained security monitors are available 24/7 to walk Kurt and Susan Bjorklund Steven M. Pincus Megan Sangster, Front of House & Events Manager R. and J. Cameron This listing is current as of 5/1/17. or bike with anyone on campus. This free service Robin Sauerwein, Business Manager/Accountant 100+ Marcos H. Pinto Colleen Carey and A 36-year Subscriber James Pratt Please contact Cynthia Betz at is provided by the University of Minnesota Police Kari Schloner, General Manager Pamela Endean Anonymous Holly Radis-McCluskey [email protected] if you have any Department. Please call 612-624-WALK (9255) or ask Rob Schmidt, Stage Manager Rob Carlson and Gregg Larson Peter and Susan Ahn Marilyn Reichman corrections or questions. Julie Strothman, Event Manager John and Page Cowles Richard Aizpuru Beverly Rhodes an usher to contact them for you. Mary Jean and John DeRosier Mira Akins Kathryn L. Roach Abby Taylor, Student Engagement Coordinator Goodale Family Foundation Trisha Taylor, Development Associate Margaret Albrecht Judy Rohde Questions? Karen Johnson Arthur Allen Jon L. Schasker Christine Tschida, Director of Northrop Kevin Nosbisch and If you have any questions or concerns, please ask an Marty Allen Stephanie Scheu and Miranda Woehrle, Creative Director Kim Leventhal Marcia G. Anderson Claire Hanson usher or anyone with a Northrop name tag. Dan Wozney, Data Manager Danita McVay Greene Paul J. Aslanian 22 23 2017 // 18 SEASON

Experience a season of innovative, exuberant, and often fearless performances

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Single tickets on sale June 5.

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Alonzo King LINES Ballet. Photo © R.J. Muna.