Ballet Notes Giselle

Ballet Notes

Giselle May 27 – 31, 2009

Chan Hon Goh as Giselle. Photo by David Cooper. 2008/09 Orchestra Violins Clarinets • Fujiko Imajishi, • Max Christie, Principal Souvenir Book Concertmaster Emily Marlow, Lynn Kuo, Acting Principal Acting Concertmaster Gary Kidd, Bass Clarinet On Sale Now in the Lobby Dominique Laplante, Bassoons Principal Second Violin Stephen Mosher, Principal Celia Franca, C.C., Founder James Aylesworth, Jerry Robinson Featuring beautiful new images Acting Assistant Elizabeth Gowen, George Crum, Music Director Emeritus Concertmaster by Canadian photographer Contra Bassoon Karen Kain, C.C. Kevin Garland Jennie Baccante Sian Richards Artistic Director Executive Director Sheldon Grabke Horns Xiao Grabke Gary Pattison, Principal David Briskin Rex Harrington, O.C. Nancy Kershaw Vincent Barbee Music Director and Artist-in-Residence Sonia Klimasko-Leheniuk Derek Conrod Principal Conductor • Csaba Koczó • Scott Wevers Yakov Lerner Trumpets Magdalena Popa Lindsay Fischer Jayne Maddison Principal Artistic Coach Artistic Director, Richard Sandals, Principal Ron Mah YOU dance / Ballet Master Mark Dharmaratnam Aya Miyagawa Raymond Tizzard Aleksandar Antonijevic, Guillaume Côté, Wendy Rogers Chan Hon Goh, Greta Hodgkinson, Filip Tomov Trombones Nehemiah Kish, Zdenek Konvalina, Joanna Zabrowarna David Archer, Principal Heather Ogden, Sonia Rodriguez, Paul Zevenhuizen Robert Ferguson David Pell, Piotr Stanczyk, Xiao Nan Yu Violas Bass Trombone Angela Rudden, Principal Victoria Bertram, Kevin D. Bowles, Theresa Rudolph Koczó, Tuba Lorna Geddes,Tomas Schramek, Assistant Principal Sasha Johnson Hazaros Surmeyan* Valerie Kuinka Harp Johann Lotter + Lucie Parent, Principal Christopher Body, Keiichi Hirano, Tanya Howard , Beverley Spotton Stephanie Hutchison, Richard Landry, Larry Toman Timpany Etienne Lavigne, Patrick Lavoie, Michael Perry, Principal Stacey Shiori Minagawa, Rebekah Rimsay, Cellos Jillian Vanstone, Bridgett Zehr Maurizio Baccante, Percussion Principal Robert Comber, Principal Alexandra Golden, Tina Pereira, Alejandra Perez-Gomez, Olga Laktionova Mark Mazur + Jonathan Renna, Lisa Robinson , Avinoam Silverman Andrew McIntosh Orchestra Personnel Marianne Pack Wei Chen, Jordana Daumec, Krista Dowson, Nadine Drouin, Manager and Music Elaine Thompson Naoya Ebe, Selene Guerrero-Trujillo, Juri Hiraoka, Klara Houdet, Administrator Paul Widner Tamara Jones, Lise-Marie Jourdain, James Leja, Martin Lindinger, Jean Verch Elena Lobsanova, Noah Long, Alexandra MacDonald, Basses Elizabeth Marrable, Catherine Maitland, Antonella Martinelli, Assistant Orchestra Hans J.F. Preuss, Principal Chelsy Meiss, Tiffany Mosher, Amber Munro, Andreea Olteanu, Personnel Manager Marissa Parzei, Jenna Savella, James Shee, Christopher Stalzer, • Paul Langley Raymond Tizzard Robert Stephen, Brett van Sickle, Nan Wang, Joseph Welbes, Robert Speer Aarik Wells, Sarah Wolff Cary Takagaki Library Assistant Lucie Parent RBC Apprentice Programme / YOU dance: Ryan Booth, Flutes Mark Dennis, Sara Garbowski, Nikki Holck, Claire Maurey, Shino Mori, Ian Parsons, Brendan Saye, Julia Sedwick, Leslie J. Allt, Principal Extra Players Thomas Snee Maria Pelletier Anne Armstrong, Violin Shelley Brown, Piccolo Sonia Vizante, Violin Peter Ottmann Mandy-Jayne Thomas Hazlitt, Bass Oboes Senior Ballet Master Richardson Colleen Cook, Clarinet Mark Rogers, Principal Senior Ballet Mistress Jessie Brooks, Horn Karen Rotenberg Lorna Geddes Tomas Schramek Lesley Young, Pointe Shoe Manager/ Assistant Ballet Master English Horn • On Leave of Absence First Soloist Stephanie Hutchison. Assistant Ballet Mistress Photo by Sian Richards. Joysanne Sidimus Ernest Abugov Guest Repetiteur Jeff Morris Stage Managers Janelle Rainville Gillian Lewis Stage Manager, Assistant Stage Manager YOU dance

*Guest Artist-in-Residence +On maternity leave 2008/09 Orchestra Violins Clarinets • Fujiko Imajishi, • Max Christie, Principal Souvenir Book Concertmaster Emily Marlow, Lynn Kuo, Acting Principal Acting Concertmaster Gary Kidd, Bass Clarinet On Sale Now in the Lobby Dominique Laplante, Bassoons Principal Second Violin Stephen Mosher, Principal Celia Franca, C.C., Founder James Aylesworth, Jerry Robinson Featuring beautiful new images Acting Assistant Elizabeth Gowen, George Crum, Music Director Emeritus Concertmaster by Canadian photographer Contra Bassoon Karen Kain, C.C. Kevin Garland Jennie Baccante Sian Richards Artistic Director Executive Director Sheldon Grabke Horns Xiao Grabke Gary Pattison, Principal David Briskin Rex Harrington, O.C. Nancy Kershaw Vincent Barbee Music Director and Artist-in-Residence Sonia Klimasko-Leheniuk Derek Conrod Principal Conductor • Csaba Koczó • Scott Wevers Yakov Lerner Trumpets Magdalena Popa Lindsay Fischer Jayne Maddison Principal Artistic Coach Artistic Director, Richard Sandals, Principal Ron Mah YOU dance / Ballet Master Mark Dharmaratnam Aya Miyagawa Raymond Tizzard Aleksandar Antonijevic, Guillaume Côté, Wendy Rogers Chan Hon Goh, Greta Hodgkinson, Filip Tomov Trombones Nehemiah Kish, Zdenek Konvalina, Joanna Zabrowarna David Archer, Principal Heather Ogden, Sonia Rodriguez, Paul Zevenhuizen Robert Ferguson David Pell, Piotr Stanczyk, Xiao Nan Yu Violas Bass Trombone Angela Rudden, Principal Victoria Bertram, Kevin D. Bowles, Theresa Rudolph Koczó, Tuba Lorna Geddes,Tomas Schramek, Assistant Principal Sasha Johnson Hazaros Surmeyan* Valerie Kuinka Harp Johann Lotter + Lucie Parent, Principal Christopher Body, Keiichi Hirano, Tanya Howard , Beverley Spotton Stephanie Hutchison, Richard Landry, Larry Toman Timpany Etienne Lavigne, Patrick Lavoie, Michael Perry, Principal Stacey Shiori Minagawa, Rebekah Rimsay, Cellos Jillian Vanstone, Bridgett Zehr Maurizio Baccante, Percussion Principal Robert Comber, Principal Alexandra Golden, Tina Pereira, Alejandra Perez-Gomez, Olga Laktionova Mark Mazur + Jonathan Renna, Lisa Robinson , Avinoam Silverman Andrew McIntosh Orchestra Personnel Marianne Pack Wei Chen, Jordana Daumec, Krista Dowson, Nadine Drouin, Manager and Music Elaine Thompson Naoya Ebe, Selene Guerrero-Trujillo, Juri Hiraoka, Klara Houdet, Administrator Paul Widner Tamara Jones, Lise-Marie Jourdain, James Leja, Martin Lindinger, Jean Verch Elena Lobsanova, Noah Long, Alexandra MacDonald, Basses Elizabeth Marrable, Catherine Maitland, Antonella Martinelli, Assistant Orchestra Hans J.F. Preuss, Principal Chelsy Meiss, Tiffany Mosher, Amber Munro, Andreea Olteanu, Personnel Manager Marissa Parzei, Jenna Savella, James Shee, Christopher Stalzer, • Paul Langley Raymond Tizzard Robert Stephen, Brett van Sickle, Nan Wang, Joseph Welbes, Robert Speer Aarik Wells, Sarah Wolff Cary Takagaki Library Assistant Lucie Parent RBC Apprentice Programme / YOU dance: Ryan Booth, Flutes Mark Dennis, Sara Garbowski, Nikki Holck, Claire Maurey, Shino Mori, Ian Parsons, Brendan Saye, Julia Sedwick, Leslie J. Allt, Principal Extra Players Thomas Snee Maria Pelletier Anne Armstrong, Violin Shelley Brown, Piccolo Sonia Vizante, Violin Peter Ottmann Mandy-Jayne Thomas Hazlitt, Bass Oboes Senior Ballet Master Richardson Colleen Cook, Clarinet Mark Rogers, Principal Senior Ballet Mistress Jessie Brooks, Horn Karen Rotenberg Lorna Geddes Tomas Schramek Lesley Young, Pointe Shoe Manager/ Assistant Ballet Master English Horn • On Leave of Absence First Soloist Stephanie Hutchison. Assistant Ballet Mistress Photo by Sian Richards. Joysanne Sidimus Ernest Abugov Guest Repetiteur Jeff Morris Stage Managers Janelle Rainville Gillian Lewis Stage Manager, Assistant Stage Manager YOU dance

*Guest Artist-in-Residence +On maternity leave The 2008/09 season is presented by: Giselle’s friends Jillian Vanstone, Stacey Shiori Minagawa, Keiichi Hirano, Etienne Lavigne (May 27, 31) Wednesday May 27 at 7:30 pm Saturday May 30 at 2:00 pm and 7:30 pm Marissa Parzei, Tina Pereira, Richard Landry, Christopher Stalzer (May 28 mat) Thursday May 28 at 2:00 pm and 7:30 pm Sunday May 31 at 2:00 pm Elena Lobsanova, Chelsy Meiss, Naoya Ebe, Patrick Lavoie (May 28 eve) Friday May 29 at 7:30 pm Jenna Savella, Tina Pereira, Richard Landry, Brett van Sickle (May 29) Elena Lobsanova, Alexandra Golden, Naoya Ebe, Brett van Sickle (May 30 mat) Giselle Jenna Savella, Chelsy Meiss, James Shee, Patrick Lavoie (May 30 eve) Bathilde, Albrecht’s fiancée Choreography and Production: Peter Wright after the choreography of Jean Coralli, Alejandra Perez-Gomez (May 27, 29, 30 mat) Jules Perrot and Marius Petipa (Based on the book by Sarah Wolff (May 28 mat, 30 eve) Vernoy de Saint-Georges, Gautier and Coralli) Stephanie Hutchison (May 28 eve, 31) Music: Adolphe Adam, revised by Joseph Horovitz Set and Costume Design: Desmond Heeley Albrecht’s father, Duke of Silesia Lighting Design: Gil Wechsler Tomas Schramek (May 27, 28 eve, 30 mat, 31) Hazaros Surmeyan (May 28 mat, 29, 30 eve) Conductors: David Briskin, Music Director and Principal Conductor (May 27, 28 eve, 29, 30 mat, 31) A Nobleman Judith Yan, Assistant Conductor (May 28 mat, 30 eve) Aarik Wells (May 27, 28 eve, 31) Noah Long (May 28 mat, 30 eve) Giselle was produced as a memorial to the late William P. Walker and was made possible through Joseph Welbes (May 29, 30 mat) the courtesy of many generous friends of the National Ballet. Villagers, Pages and Courtiers In order of appearance. Artists of the Ballet

Act I Intermission Albrecht, Count of Silesia, disguised as Loys, a Villager Act II Zdenek Konvalina (May 27, 31) Myrtha, Queen of the Wilis Aleksandar Antonijevic (May 28 mat, 30 eve) Heather Ogden (May 27, 28 eve, 29) Guillaume Côté (May 28 eve, 30 mat) Stephanie Hutchison (May 28 mat, 30 eve) Ruben Martin+ (May 29) Juri Hiraoka (May 30 mat) Xiao Nan Yu (May 31) Wilfred, his squire Jonathan Renna (May 27, 30 mat, 31) Her Attendants, Moyna and Zulme Avinoam Silverman (May 28 mat, 30 eve) Stacey Shiori Minagawa, Jillian Vanstone (May 27, 29, 31) James Leja (May 28 eve, 29) Elena Lobsanova, Alejandra Perez-Gomez (May 28 mat, 30 eve) Tina Pereira, Jenna Savella (May 28 eve, 30 mat) Berthe, Giselle’s mother Victoria Bertram (May 27, 28 mat, 30 eve, 31) Wilis Lorna Geddes (May 28 eve, 29, 30 mat) Artists of the Ballet Hilarion, a forester + The appearance of Guest Artist Ruben Martin was made possible by a generous donation Piotr Stanczyk (May 27, 31) from the Frank Gerstein Charitable Foundation. Etienne Lavigne* (May 28 mat, 30 eve) * Debut Jonathan Renna* (May 28 eve) All casting is subject to change. Kevin D. Bowles (May 29, 30 mat)

Giselle, a peasant girl Chan Hon Goh (May 27, 31 mat) Bridgett Zehr (May 28 mat, 30 eve) Xiao Nan Yu (May 28 eve, 30 mat) Sonia Rodriguez (May 29)

Page 4 national.ballet.ca Page 5 The 2008/09 season is presented by: Giselle’s friends Jillian Vanstone, Stacey Shiori Minagawa, Keiichi Hirano, Etienne Lavigne (May 27, 31) Wednesday May 27 at 7:30 pm Saturday May 30 at 2:00 pm and 7:30 pm Marissa Parzei, Tina Pereira, Richard Landry, Christopher Stalzer (May 28 mat) Thursday May 28 at 2:00 pm and 7:30 pm Sunday May 31 at 2:00 pm Elena Lobsanova, Chelsy Meiss, Naoya Ebe, Patrick Lavoie (May 28 eve) Friday May 29 at 7:30 pm Jenna Savella, Tina Pereira, Richard Landry, Brett van Sickle (May 29) Elena Lobsanova, Alexandra Golden, Naoya Ebe, Brett van Sickle (May 30 mat) Giselle Jenna Savella, Chelsy Meiss, James Shee, Patrick Lavoie (May 30 eve) Bathilde, Albrecht’s fiancée Choreography and Production: Peter Wright after the choreography of Jean Coralli, Alejandra Perez-Gomez (May 27, 29, 30 mat) Jules Perrot and Marius Petipa (Based on the book by Sarah Wolff (May 28 mat, 30 eve) Vernoy de Saint-Georges, Gautier and Coralli) Stephanie Hutchison (May 28 eve, 31) Music: Adolphe Adam, revised by Joseph Horovitz Set and Costume Design: Desmond Heeley Albrecht’s father, Duke of Silesia Lighting Design: Gil Wechsler Tomas Schramek (May 27, 28 eve, 30 mat, 31) Hazaros Surmeyan (May 28 mat, 29, 30 eve) Conductors: David Briskin, Music Director and Principal Conductor (May 27, 28 eve, 29, 30 mat, 31) A Nobleman Judith Yan, Assistant Conductor (May 28 mat, 30 eve) Aarik Wells (May 27, 28 eve, 31) Noah Long (May 28 mat, 30 eve) Giselle was produced as a memorial to the late William P. Walker and was made possible through Joseph Welbes (May 29, 30 mat) the courtesy of many generous friends of the National Ballet. Villagers, Pages and Courtiers In order of appearance. Artists of the Ballet

Giselle, a peasant girl Chan Hon Goh (May 27, 31 mat) Bridgett Zehr (May 28 mat, 30 eve) Xiao Nan Yu (May 28 eve, 30 mat) Sonia Rodriguez (May 29)

Page 4 national.ballet.ca Page 5 Giselles Albrechts A note on the ballet

Giselle was originally created during the great Romantic era of ballet and premiered at the Paris Opera on June 28, 1841. The original scenario was conceived by Vernoy de Saint- Georges, a prolific librettist of the period, and Théophile Gautier, a noted critic and poet. The choreography was attributed to Jean Coralli, though dances for the lead role of Giselle have since been accredited to Jules Perrot.

The National Ballet of Canada has had Giselle in its repertoire since the company was founded in 1951. During the 1969/70 National Ballet season, Sir Peter Wright was invited by Celia Franca to mount a new version of Giselle for the company. It premiered on April 16, Chan Hon Goh Zdenek Konvalina 1970 at Toronto’s O’Keefe Centre (now the Sony Centre). This highly praised production has remained in the company’s active repertoire and has been performed across Canada and around the world. In 1975, Giselle was filmed by director Norman Campbell for the Canadian Broadcasting Corporation. The programme featured Karen Kain and Frank Augustyn in the roles of Giselle and Albrecht.

Bridgett Zehr Aleksandar Antonijevic Synopsis

Act I The first act is set in a Rhineland valley suspicious of Loys and thinks he is hiding surrounded by vine-clad hills in medieval some secret. Germany. A majestic castle looms in the Challenging Loys to a fight, Hilarion notices distance over the valley. It is autumn and the that Loys immediately clasps his right hand to peasants are enjoying a rich harvest. Among his left hip, as if he were about to draw a the many happy festivities is the crowning of sword. The astute Hilarion notes that such an the Queen of the Vintage. action would be the instinctive reaction of a Xiao Nan Yu Guillaume Côté Giselle is a young peasant girl who lives nobleman. Hilarion tries to warn Giselle that with her mother, Berthe. Their cottage is there is something suspicious about Loys but opposite one that has recently been occupied she refuses to believe him. by the handsome but mysterious Loys, a Soon a royal hunting party appears in the peasant farmer. Loys is really Count Albrecht village, led by Albrecht’s father, the Duke of of Silesia, who has disguised himself as a Silesia, and Countess Bathilde, who is peasant in order to win Giselle’s affections. engaged to Albrecht. The village welcomes Giselle has fallen in love with Loys, but the the noble visitors and Giselle presents flowers local forester Hilarion loves Giselle and has to the beautiful Bathilde. When it is revealed + Guest Artist always planned to marry her. Hilarion is that Giselle is engaged to be married, Bathilde Photos by David Allen, Sian Richards Sonia Rodriguez Ruben Martin + and Bruce Zinger.

Page 6 national.ballet.ca Page 7 Giselles Albrechts A note on the ballet

Bridgett Zehr Aleksandar Antonijevic Synopsis

Page 6 national.ballet.ca Page 7 gives Giselle a necklace as a gift. While Bathilde dawn to dance to his death. The Wilis are The Roles of Giselle and Albrecht and the Duke go to rest in Giselle’s cottage, gathering this night to prepare for the initiation Hilarion breaks into Loys’ cottage and of Giselle into their ranks. discovers his sword, which bears the family The Wilis momentarily leave the scene, and he longevity of Giselle is credited not light, ethereal and otherworldly on stage. The crest of the Duke of Silesia. He now has proof the melancholic Albrecht arrives at Giselle’s T only to its historical value but also to the introduction of calf-length, lightweight tulle of Loys’ true identity. grave to plead for forgiveness. To his universality of its tale — a story of love, class dresses with tight bodices also allowed for During the festivities that follow, when amazement, the ghost of the dead Giselle distinction, betrayal, remorse and forgiveness. greater freedom in leg movements and the Giselle is crowned Queen of the Vintage, appears before him and he follows her into the Like Romeo and Juliet, Giselle is a story of appearance of softer, “romantic” arms. Hilarion challenges Loys and, summoning the forest. Hilarion returns to Giselle’s grave, this lovers separated by the artificial barriers of The contrasting thematic concerns of royal party, reveals Loys’ true identity. time to be entrapped by the Wilis, who show society. For both dancers and audience Giselle also lent themselves to the Romantic Everyone is shocked and confused as they him no mercy. After forcing him to dance until members, the roles of Giselle and Albrecht fervour of the period. While many ballets dealt realize that Loys is really Count Albrecht. he is exhausted, Myrtha commands the Wilis prove a fascinating challenge, as they allow for either with an idealized peasant life or the Bathilde is shocked to see her fiancé dressed to fling Hilarion into the nearby lake. When multi-faceted psychological character fantastic, Giselle incorporated both. The ballet as a peasant. She then tells everyone that she Albrecht returns, the Wilis surround him and development. is set in two locales, which are set off in sharp is herself engaged to be married to the try to doom him to the same fate as Hilarion. The role of Giselle is unique, from its contrast. Act I takes place in the peasant duplicitous Albrecht. Giselle attempts to save Albrecht, warning him costuming to the complexity of its character village, which is contrasted with the moonlit When Giselle realizes that Albrecht has that he will be able to withstand the Wilis if he makeup. At the time of its creation in 1841, forest glade of Act II. As well, the realism of deceived her, she is overcome by grief and takes shelter by the cross on her grave, which Giselle was one of the first ballets to introduce Act I is contrasted with the fantasy elements of quickly loses her reason. Giselle recalls her he does. the female dancer in pointe shoes, a device Act II. The first act incorporates bright and moments of innocent happiness with Albrecht, To have her revenge, the Queen of the that allowed her wider possibilities of lively mime and musical leitmotifs that develop but then, in a frenzy of madness, she thrusts Wilis forces Albrecht and Giselle to dance on movement. The result was that she seemed the drama. Before the end of Act I, Giselle’s Albrecht’s sword toward her heart and dies and on into the night, until they are extremely in her mother’s arms. Albrecht runs off, filled exhausted. Albrecht collapses. Knowing that with guilt and despair for what he has done. the power of the Wilis is destroyed by daylight, Hilarion and the village grieve for Giselle. Giselle manages to sustain Albrecht until the chimes of a distant church bell announce the Act II arrival of dawn. The scene opens in a moonlit forest glade The Wilis vanish and Giselle must return to near the grave where Giselle has been buried. her grave. But as her love has transcended Since she took her own life, Giselle has been death, her spirit has now been freed from the laid to rest in unhallowed ground, unprotected power of the Wilis. As the curtain falls, from evil spirits. It is midnight and Hilarion is Albrecht, forlorn and reflective, is left alone in keeping vigil, but when the forest becomes his sorrow. haunted by Wilis (pronounced will-eez) he flees in terror. The Wilis are the spirits of betrothed young women who have died from grief after being betrayed by faithless lovers. Malicious in nature, these ghostly, nocturnal creatures are ruled by their queen, Myrtha, and seek revenge by forcing any man who Lorna Geddes as Berthe and Sonia Rodriguez as Giselle with Artists of the Ballet. crosses their path between midnight and

Page 8 national.ballet.ca Page 9 gives Giselle a necklace as a gift. While Bathilde dawn to dance to his death. The Wilis are The Roles of Giselle and Albrecht and the Duke go to rest in Giselle’s cottage, gathering this night to prepare for the initiation Hilarion breaks into Loys’ cottage and of Giselle into their ranks. discovers his sword, which bears the family The Wilis momentarily leave the scene, and he longevity of Giselle is credited not light, ethereal and otherworldly on stage. The crest of the Duke of Silesia. He now has proof the melancholic Albrecht arrives at Giselle’s T only to its historical value but also to the introduction of calf-length, lightweight tulle of Loys’ true identity. grave to plead for forgiveness. To his universality of its tale — a story of love, class dresses with tight bodices also allowed for During the festivities that follow, when amazement, the ghost of the dead Giselle distinction, betrayal, remorse and forgiveness. greater freedom in leg movements and the Giselle is crowned Queen of the Vintage, appears before him and he follows her into the Like Romeo and Juliet, Giselle is a story of appearance of softer, “romantic” arms. Hilarion challenges Loys and, summoning the forest. Hilarion returns to Giselle’s grave, this lovers separated by the artificial barriers of The contrasting thematic concerns of royal party, reveals Loys’ true identity. time to be entrapped by the Wilis, who show society. For both dancers and audience Giselle also lent themselves to the Romantic Everyone is shocked and confused as they him no mercy. After forcing him to dance until members, the roles of Giselle and Albrecht fervour of the period. While many ballets dealt realize that Loys is really Count Albrecht. he is exhausted, Myrtha commands the Wilis prove a fascinating challenge, as they allow for either with an idealized peasant life or the Bathilde is shocked to see her fiancé dressed to fling Hilarion into the nearby lake. When multi-faceted psychological character fantastic, Giselle incorporated both. The ballet as a peasant. She then tells everyone that she Albrecht returns, the Wilis surround him and development. is set in two locales, which are set off in sharp is herself engaged to be married to the try to doom him to the same fate as Hilarion. The role of Giselle is unique, from its contrast. Act I takes place in the peasant duplicitous Albrecht. Giselle attempts to save Albrecht, warning him costuming to the complexity of its character village, which is contrasted with the moonlit When Giselle realizes that Albrecht has that he will be able to withstand the Wilis if he makeup. At the time of its creation in 1841, forest glade of Act II. As well, the realism of deceived her, she is overcome by grief and takes shelter by the cross on her grave, which Giselle was one of the first ballets to introduce Act I is contrasted with the fantasy elements of quickly loses her reason. Giselle recalls her he does. the female dancer in pointe shoes, a device Act II. The first act incorporates bright and moments of innocent happiness with Albrecht, To have her revenge, the Queen of the that allowed her wider possibilities of lively mime and musical leitmotifs that develop but then, in a frenzy of madness, she thrusts Wilis forces Albrecht and Giselle to dance on movement. The result was that she seemed the drama. Before the end of Act I, Giselle’s Albrecht’s sword toward her heart and dies and on into the night, until they are extremely in her mother’s arms. Albrecht runs off, filled exhausted. Albrecht collapses. Knowing that with guilt and despair for what he has done. the power of the Wilis is destroyed by daylight, Hilarion and the village grieve for Giselle. Giselle manages to sustain Albrecht until the chimes of a distant church bell announce the Act II arrival of dawn. The scene opens in a moonlit forest glade The Wilis vanish and Giselle must return to near the grave where Giselle has been buried. her grave. But as her love has transcended Since she took her own life, Giselle has been death, her spirit has now been freed from the laid to rest in unhallowed ground, unprotected power of the Wilis. As the curtain falls, from evil spirits. It is midnight and Hilarion is Albrecht, forlorn and reflective, is left alone in keeping vigil, but when the forest becomes his sorrow. haunted by Wilis (pronounced will-eez) he flees in terror. The Wilis are the spirits of betrothed young women who have died from grief after being betrayed by faithless lovers. Malicious in nature, these ghostly, nocturnal creatures are ruled by their queen, Myrtha, and seek revenge by forcing any man who Lorna Geddes as Berthe and Sonia Rodriguez as Giselle with Artists of the Ballet. crosses their path between midnight and

Page 8 national.ballet.ca Page 9 mad scene begins the transition to Act II, in is also possible that he has grown alienated Leitmotifs in Giselle which the demonic world of the Wilis is from his wealth and is seeking a more spiritual, represented as dark, sombre and melancholic. simple and authentic existence. Or maybe he The character of Giselle also goes through is a restless dreamer who seeks a quaint leitmotif is a theme used recurrently Giselle’s theme a transformation, from light-hearted peasant diversion among the peasants. A to denote a specific person, object or There is one sequence of steps with girl to crazed woman and, finally, to a ghostly In falling in love with Giselle is Albrecht a feeling, either through music or movement. accompanying music that Giselle repeats at vision. Giselle is a challenge for ballerinas who cad? Is he a thoughtless nobleman and idle Giselle composer Adolphe Adam ingeniously various key moments in the drama. This series must combine dramatic ability and technical flirt? Or is he truly in love with Giselle but used musical leitmotifs in his score. Adam’s of ballonnes, piqués and pas de basque brilliance to bring about a convincing simply naive about the social implications of leitmotifs were complemented by dance denotes Giselle’s love for dance. They are very performance in a role that is both physically their liaison? Whether or not he is concerned movement leitmotifs created by choreographers simple steps, light and airy, that reflect Giselle’s and mentally exhausting. with the consequences of his actions, he is Jules Perrot and Jean Coralli, and are still simple peasant background and carefree One of the most powerful scenes in the soon confronted with them. incorporated in the ballet today, more than existence. When Bathilde asks Giselle what her ballet is Giselle’s death. Does she die of Already engaged to be married, Albrecht is 150 years after its premiere. favourite pastime is, Giselle executes this series madness or of a broken heart? Or does she prevented by his duty to his aristocratic family of steps, telling Bathilde that she loves to dance. commit suicide when she thrusts Albrecht’s from fulfilling his love for Giselle. Giselle’s sword toward her heart? Since early madness and subsequent death not only Flower theme documentation proves inconclusive on the awaken Albrecht’s moral sense, but also bring The flower theme in which Giselle plucks subject, the scene has been dealt with in to the fore his emotions, primarily love and guilt. the petals of a daisy (“he loves me, he loves various ways. The only clear fact is that Giselle Through Giselle’s love and forgiveness in Act II, me not”) is performed twice, once in a happy is not buried in a graveyard but in the depths of Albrecht gains new awareness, humility, and a duet with Albrecht, and again in the mad a forest in unhallowed ground. Only a suicide sense of responsibility. He is also made aware scene, as Giselle recalls her lover. would warrant such a burial. Choreographer of the gulf between reality and his ideals, and Sir Peter Wright has said he believes Giselle his inability to merge the two. He must fight for Huntsmen’s theme kills herself, but in his own productions dancers his life in this act, at the mercy of the powerful The huntsmen’s theme is the sound of have changed the scene to suit their own Wilis, who attempt with their supernatural horns that always precedes the arrival of the interpretations. In the late 1800s in Russia, powers to compel him to dance to his death. nobles and their hunting party. during Marius Petipa’s tenure as Ballet Master At the end of the ballet, Albrecht is left on of the Imperial Theatre, suicide was not stage, a solitary figure. Dancers’ interpretations Wili theme accepted on the stage, so Giselle invariably vary in these final moments, sometimes The Wili theme is first heard in Act I when was shown as dying from madness. walking into the distance, away from the Berthe, Giselle’s mother, warns her about The role of Albrecht provides male dancers audience or toward it; sometimes carrying a dancing too much; it acts as a premonition of with one of ballet’s most interesting and flower, the only tangible link with Giselle, at the tragedy that is to follow. The theme is complex characters. Far removed from the other times, allowing the flower to fall to the reintroduced in the second act with the arrival porteurs of most classical works, who simply ground; others end the ballet reaching out for of the Wilis, who surround Hilarion on his visit carry the ballerina, Albrecht is a fully rounded the elusive dream or kneeling in remorse. In the to Giselle’s grave. character capable of standing on his own and original production, this scene was taken one holding centre stage. step further, with Bathilde, Albrecht’s Hilarion’s theme There is no right or wrong way to portray betrothed, returning to his side. The audience Hilarion’s entrance is heralded by his own Albrecht. Because Albrecht is a nobleman in would have concluded that although he had distinct musical theme. For this music, Adolphe disguise, it might be assumed that he wishes savoured his ideal (Giselle), he was reconciled Chan Hon Goh as Giselle. Adam used an excerpt from the Fate theme to be freed from his elevated social position. It to return to reality. of Ludwig van Beethoven’s Fifth Symphony.

Page 10 national.ballet.ca Page 11 mad scene begins the transition to Act II, in is also possible that he has grown alienated Leitmotifs in Giselle which the demonic world of the Wilis is from his wealth and is seeking a more spiritual, represented as dark, sombre and melancholic. simple and authentic existence. Or maybe he The character of Giselle also goes through is a restless dreamer who seeks a quaint leitmotif is a theme used recurrently Giselle’s theme a transformation, from light-hearted peasant diversion among the peasants. A to denote a specific person, object or There is one sequence of steps with girl to crazed woman and, finally, to a ghostly In falling in love with Giselle is Albrecht a feeling, either through music or movement. accompanying music that Giselle repeats at vision. Giselle is a challenge for ballerinas who cad? Is he a thoughtless nobleman and idle Giselle composer Adolphe Adam ingeniously various key moments in the drama. This series must combine dramatic ability and technical flirt? Or is he truly in love with Giselle but used musical leitmotifs in his score. Adam’s of ballonnes, piqués and pas de basque brilliance to bring about a convincing simply naive about the social implications of leitmotifs were complemented by dance denotes Giselle’s love for dance. They are very performance in a role that is both physically their liaison? Whether or not he is concerned movement leitmotifs created by choreographers simple steps, light and airy, that reflect Giselle’s and mentally exhausting. with the consequences of his actions, he is Jules Perrot and Jean Coralli, and are still simple peasant background and carefree One of the most powerful scenes in the soon confronted with them. incorporated in the ballet today, more than existence. When Bathilde asks Giselle what her ballet is Giselle’s death. Does she die of Already engaged to be married, Albrecht is 150 years after its premiere. favourite pastime is, Giselle executes this series madness or of a broken heart? Or does she prevented by his duty to his aristocratic family of steps, telling Bathilde that she loves to dance. commit suicide when she thrusts Albrecht’s from fulfilling his love for Giselle. Giselle’s sword toward her heart? Since early madness and subsequent death not only Flower theme documentation proves inconclusive on the awaken Albrecht’s moral sense, but also bring The flower theme in which Giselle plucks subject, the scene has been dealt with in to the fore his emotions, primarily love and guilt. the petals of a daisy (“he loves me, he loves various ways. The only clear fact is that Giselle Through Giselle’s love and forgiveness in Act II, me not”) is performed twice, once in a happy is not buried in a graveyard but in the depths of Albrecht gains new awareness, humility, and a duet with Albrecht, and again in the mad a forest in unhallowed ground. Only a suicide sense of responsibility. He is also made aware scene, as Giselle recalls her lover. would warrant such a burial. Choreographer of the gulf between reality and his ideals, and Sir Peter Wright has said he believes Giselle his inability to merge the two. He must fight for Huntsmen’s theme kills herself, but in his own productions dancers his life in this act, at the mercy of the powerful The huntsmen’s theme is the sound of have changed the scene to suit their own Wilis, who attempt with their supernatural horns that always precedes the arrival of the interpretations. In the late 1800s in Russia, powers to compel him to dance to his death. nobles and their hunting party. during Marius Petipa’s tenure as Ballet Master At the end of the ballet, Albrecht is left on of the Imperial Theatre, suicide was not stage, a solitary figure. Dancers’ interpretations Wili theme accepted on the stage, so Giselle invariably vary in these final moments, sometimes The Wili theme is first heard in Act I when was shown as dying from madness. walking into the distance, away from the Berthe, Giselle’s mother, warns her about The role of Albrecht provides male dancers audience or toward it; sometimes carrying a dancing too much; it acts as a premonition of with one of ballet’s most interesting and flower, the only tangible link with Giselle, at the tragedy that is to follow. The theme is complex characters. Far removed from the other times, allowing the flower to fall to the reintroduced in the second act with the arrival porteurs of most classical works, who simply ground; others end the ballet reaching out for of the Wilis, who surround Hilarion on his visit carry the ballerina, Albrecht is a fully rounded the elusive dream or kneeling in remorse. In the to Giselle’s grave. character capable of standing on his own and original production, this scene was taken one holding centre stage. step further, with Bathilde, Albrecht’s Hilarion’s theme There is no right or wrong way to portray betrothed, returning to his side. The audience Hilarion’s entrance is heralded by his own Albrecht. Because Albrecht is a nobleman in would have concluded that although he had distinct musical theme. For this music, Adolphe disguise, it might be assumed that he wishes savoured his ideal (Giselle), he was reconciled Chan Hon Goh as Giselle. Adam used an excerpt from the Fate theme to be freed from his elevated social position. It to return to reality. of Ludwig van Beethoven’s Fifth Symphony.

Page 10 national.ballet.ca Page 11 Selected Biographies began his musical studies at solo ballet composition was Composition at the Paris boarding school and entered Faust, in 1833, for Conservatoire, a position he the Paris Conservatoire in choreographer André held until his death in 1856. Karen Kain, Artistic Director of the School. Two years later he 1821, studying organ and Deshayes. He is best When he died, Mr. Adam had C.C., LL.D., D.Litt., O.Ont., company. Ms. Kain has went to Stuttgart as Teacher harmonium, with the goal of remembered for Giselle, written 40 operas, 14 ballets Artistic Director received numerous and Ballet Master of the becoming a composer for which premiered at the Paris and numerous musicals and Acknowledged as one of the accolades and awards company being formed by the theatre. By 1823, at age Opera in 1841. After a falling- vaudevilles. leading classical ballerinas of throughout her career. She John Cranko. There he 20, he was writing songs for out with the Director of the her time, Karen Kain is also is a Companion of the Order choreographed several Parisian vaudeville houses Paris Opera, Mr. Adam Desmond Heeley one of Canada’s foremost of Canada, the first Canadian works, including The Mirror and by 1830 had completed invested his own money to Set and Costume arts advocates, bringing recipient of the Cartier Walkers and Quintet, and 28 theatre works including open the Théâtre National as Designer the same passion and Lifetime Achievement Award mounted his first production some dance pieces. Mr. a showcase for young Desmond Heeley’s set and dedication she exemplified and was named an Officer of Giselle. His other Adam’s first dramatic composers. It was not a costume designs have been as a dancer to her roles as a of the Order of Arts and interpretations of the classics composition was a one-act success and left Mr. Adam seen on the stages of the spokesperson for Canadian Letters by the government include The Sleeping Beauty, operetta, Pierre et Catherine, with many debts. He turned world’s major opera, ballet culture and as the Artistic of France. In 2002, she was Swan Lake, The Nutcracker which premiered to great to journalism to help pay his and theatre companies Director of The National honoured with a Governor and Coppélia. In 1969, he success at the Opera bills and was eventually during an international career Ballet of Canada. A native of General’s Award for Lifetime returned to The Royal Ballet Comique in 1829. His first appointed Professor of that has spanned more than Hamilton, Ontario, Ms. Kain Artistic Achievement and as Kenneth MacMillan’s studied at Canada’s National from 2004 to 2008 was Chair Associate Director. In 1977, Heather Ogden as Myrtha, Queen of the Wilis with Artists of the Ballet. Ballet School, graduating in of the Canada Council for the he was appointed Director of 1969 when she joined The Arts. In 2007, she received Sadler’s Wells Royal Ballet, National Ballet of Canada. the Barbara Hamilton taking the company to After quickly rising to the Memorial Award for Birmingham in 1990 when it rank of Principal Dancer, she demonstrating excellence became Birmingham Royal came to the attention of and professionalism in the Ballet. During his career, Sir international audiences when performing arts. Peter Wright has won many she won the Silver Medal at awards. He was made a the Moscow International Sir Peter Wright, CBE Commander of the British Ballet Competition in Choreographer Empire in 1985, was 1973. This led to a highly Sir Peter Wright made his knighted in 1993 and gained successful career on stages debut as a professional the title of Director Laureate throughout the world. Ms. dancer with the Ballets Jooss of Birmingham Royal Ballet Kain retired from dance in during World War II and in in 1995. 1997 and shortly afterwards the 1950s, appeared with assumed the position of several dance companies, Adolphe Adam Artist-in-Residence with the including Sadler’s Wells Composer National Ballet. In 1999, her Theatre Ballet. In 1959, he Born in Paris in 1803, role was expanded to that of was appointed Ballet Master Adolphe Adam was the son Artistic Associate and in June to Sadler’s Wells Opera and of a music professor at the of 2005, she was appointed Teacher at The Royal Ballet Paris Conservatoire. He

Page 12 national.ballet.ca Page 13 Selected Biographies began his musical studies at solo ballet composition was Composition at the Paris boarding school and entered Faust, in 1833, for Conservatoire, a position he the Paris Conservatoire in choreographer André held until his death in 1856. Karen Kain, Artistic Director of the School. Two years later he 1821, studying organ and Deshayes. He is best When he died, Mr. Adam had C.C., LL.D., D.Litt., O.Ont., company. Ms. Kain has went to Stuttgart as Teacher harmonium, with the goal of remembered for Giselle, written 40 operas, 14 ballets Artistic Director received numerous and Ballet Master of the becoming a composer for which premiered at the Paris and numerous musicals and Acknowledged as one of the accolades and awards company being formed by the theatre. By 1823, at age Opera in 1841. After a falling- vaudevilles. leading classical ballerinas of throughout her career. She John Cranko. There he 20, he was writing songs for out with the Director of the her time, Karen Kain is also is a Companion of the Order choreographed several Parisian vaudeville houses Paris Opera, Mr. Adam Desmond Heeley one of Canada’s foremost of Canada, the first Canadian works, including The Mirror and by 1830 had completed invested his own money to Set and Costume arts advocates, bringing recipient of the Cartier Walkers and Quintet, and 28 theatre works including open the Théâtre National as Designer the same passion and Lifetime Achievement Award mounted his first production some dance pieces. Mr. a showcase for young Desmond Heeley’s set and dedication she exemplified and was named an Officer of Giselle. His other Adam’s first dramatic composers. It was not a costume designs have been as a dancer to her roles as a of the Order of Arts and interpretations of the classics composition was a one-act success and left Mr. Adam seen on the stages of the spokesperson for Canadian Letters by the government include The Sleeping Beauty, operetta, Pierre et Catherine, with many debts. He turned world’s major opera, ballet culture and as the Artistic of France. In 2002, she was Swan Lake, The Nutcracker which premiered to great to journalism to help pay his and theatre companies Director of The National honoured with a Governor and Coppélia. In 1969, he success at the Opera bills and was eventually during an international career Ballet of Canada. A native of General’s Award for Lifetime returned to The Royal Ballet Comique in 1829. His first appointed Professor of that has spanned more than Hamilton, Ontario, Ms. Kain Artistic Achievement and as Kenneth MacMillan’s studied at Canada’s National from 2004 to 2008 was Chair Associate Director. In 1977, Heather Ogden as Myrtha, Queen of the Wilis with Artists of the Ballet. Ballet School, graduating in of the Canada Council for the he was appointed Director of 1969 when she joined The Arts. In 2007, she received Sadler’s Wells Royal Ballet, National Ballet of Canada. the Barbara Hamilton taking the company to After quickly rising to the Memorial Award for Birmingham in 1990 when it rank of Principal Dancer, she demonstrating excellence became Birmingham Royal came to the attention of and professionalism in the Ballet. During his career, Sir international audiences when performing arts. Peter Wright has won many she won the Silver Medal at awards. He was made a the Moscow International Sir Peter Wright, CBE Commander of the British Ballet Competition in Choreographer Empire in 1985, was 1973. This led to a highly Sir Peter Wright made his knighted in 1993 and gained successful career on stages debut as a professional the title of Director Laureate throughout the world. Ms. dancer with the Ballets Jooss of Birmingham Royal Ballet Kain retired from dance in during World War II and in in 1995. 1997 and shortly afterwards the 1950s, appeared with assumed the position of several dance companies, Adolphe Adam Artist-in-Residence with the including Sadler’s Wells Composer National Ballet. In 1999, her Theatre Ballet. In 1959, he Born in Paris in 1803, role was expanded to that of was appointed Ballet Master Adolphe Adam was the son Artistic Associate and in June to Sadler’s Wells Opera and of a music professor at the of 2005, she was appointed Teacher at The Royal Ballet Paris Conservatoire. He

Page 12 national.ballet.ca Page 13 Aleksandar Antonijevic as Albrecht the lighting of more than 60 2003 and to Principal Dancer Sandpaper Ballet. Mr. Martin and Greta Hodgkinson as Giselle with Artists of the Ballet. televised opera in 2006. He has danced placed second at Lucienne performances and tours major roles in several ballets Lamballe International Ballet throughout the US and choreographed by Helgi Competition in 1995. Japan. Preceding his Tomasson including Prince appointment to the Siegfried and von Rothbart in David Briskin Metropolitan Opera, Mr. Swan Lake, Albrecht in Music Director and Wechsler designed more Giselle and the Nutcracker Principal Conductor than 30 productions for Lyric Prince and Snow King in The A conductor renowned for Opera of Chicago. He has Nutcracker. He also danced the versatility of his repertoire also designed more than 60 the role of Espada in Don and the depth of his musical productions for the Stratford Quixote by Helgi Tomasson interpretations, David Briskin Shakespeare Festival and Yuri Possokhov. In joined The National Ballet of including Equus in 1997 and addition, Mr. Martin has Canada as Music Director Macbeth in 2004. Mr. danced principal roles in and Principal Conductor in Wechsler’s ballet designs are Tomasson’s Blue Rose, The 2006. Prior to his in the repertoires of American Fifth Season and Chi-Lin; appointment with The Ballet Theatre, The Royal George Balanchine’s Who National Ballet of Canada, Ballet, The Harkness Ballet, Cares?, The Four Mr. Briskin served as Pennsylvania Ballet, Temperaments and Conductor with American Canada’s Royal Winnipeg Diamonds from Jewels; Ballet Theatre for seven Ballet, the Berlin Opera Ballet Jerome Robbins’ Dybbuk, years, leading performances 50 years. He began his costume design in a single Irene Sharaff Lifetime and The National Ballet of Afternoon of a Faun, In the at the Metropolitan Opera career in 1948 with an production, is unsurpassed. Achievement Award in 1994. Canada. He has also lit Night, Fancy Free, West Side House, New York’s City apprenticeship at the Royal His creations for the National In 2005, Mr. Heeley received productions for the Paris Story Suite and Glass Center and in major opera Shakespeare Theatre in Ballet include the Sylvia pas an honorary doctorate from Opera, San Francisco Opera, Pieces; Julia Adam’s houses throughout the world. Stratford-upon-Avon. In de deux, Oiseaux Exotiques, the North Carolina School of Teatro Colón and the Sante imaginal disc; Christopher Mr. Briskin is a regular guest 1952 he embarked on a Don Quixote, The Merry the Arts. Fe Opera, as well as multiple Wheeldon’s Rush, conductor with New York freelance career in London Widow, Erik Bruhn’s Swan works on Broadway. Polyphonia, Continuum, and City Ballet and San Francisco and came to Canada in 1957 Lake and Sir Peter Wright’s Gil Wechsler Quaternary; Stanton Welch’s Ballet, and appeared with to design Hamlet for the Giselle. Mr. Heeley’s work is Lighting Designer Ruben Martin Naked and Tu Tu; and both companies this season. Stratford Shakespeare in museums and private Gil Wechsler attended Yale Guest Artist, Giselle William Forsythe’s in the In March, he conducted Festival, beginning an collections across Canada, University’s School of Drama Ruben Martin was born in middle, somewhat elevated Stanton Welch’s new full- association that continues the US and UK. A former and became the Metropolitan Reus, Spain, and trained at and Artifact Suite. He has length ballet Marie for to this day. His 1968 Professor of Design at the Opera’s first full-time Escuela Municipal de Danza also performed Lar Houston Ballet in New designs for Tom Stoppard’s Tisch School of the Arts at Resident Lighting Designer in and Estudio de Danza de Lubovitch’s Othello and Orleans. Mr. Briskin has also Broadway production New York University, he 1976. Throughout his 20- Maria de Avila. He performed Elemental Brubeck; conducted for The Joffrey of Rosencrantz and continues to teach and year tenure he designed the with English National Ballet Possokhov’s Magrittomania, Ballet of Chicago and Les Guildenstern Are Dead won lecture extensively. He has lighting for more than 100 prior to joining San Francisco Study in Motion and Fusion; Grands Ballets Canadiens him two Tony awards. This won numerous awards opera productions. His Ballet in 2000. Mr. Martin and Mark Morris’ Sylvia, de Montréal, among others. honour, for both set and including the prestigious responsibilities also included was promoted to Soloist in Joyride, A Garden and For 12 years he served as

Page 14 national.ballet.ca Page 15 Aleksandar Antonijevic as Albrecht the lighting of more than 60 2003 and to Principal Dancer Sandpaper Ballet. Mr. Martin and Greta Hodgkinson as Giselle with Artists of the Ballet. televised opera in 2006. He has danced placed second at Lucienne performances and tours major roles in several ballets Lamballe International Ballet throughout the US and choreographed by Helgi Competition in 1995. Japan. Preceding his Tomasson including Prince appointment to the Siegfried and von Rothbart in David Briskin Metropolitan Opera, Mr. Swan Lake, Albrecht in Music Director and Wechsler designed more Giselle and the Nutcracker Principal Conductor than 30 productions for Lyric Prince and Snow King in The A conductor renowned for Opera of Chicago. He has Nutcracker. He also danced the versatility of his repertoire also designed more than 60 the role of Espada in Don and the depth of his musical productions for the Stratford Quixote by Helgi Tomasson interpretations, David Briskin Shakespeare Festival and Yuri Possokhov. In joined The National Ballet of including Equus in 1997 and addition, Mr. Martin has Canada as Music Director Macbeth in 2004. Mr. danced principal roles in and Principal Conductor in Wechsler’s ballet designs are Tomasson’s Blue Rose, The 2006. Prior to his in the repertoires of American Fifth Season and Chi-Lin; appointment with The Ballet Theatre, The Royal George Balanchine’s Who National Ballet of Canada, Ballet, The Harkness Ballet, Cares?, The Four Mr. Briskin served as Pennsylvania Ballet, Temperaments and Conductor with American Canada’s Royal Winnipeg Diamonds from Jewels; Ballet Theatre for seven Ballet, the Berlin Opera Ballet Jerome Robbins’ Dybbuk, years, leading performances 50 years. He began his costume design in a single Irene Sharaff Lifetime and The National Ballet of Afternoon of a Faun, In the at the Metropolitan Opera career in 1948 with an production, is unsurpassed. Achievement Award in 1994. Canada. He has also lit Night, Fancy Free, West Side House, New York’s City apprenticeship at the Royal His creations for the National In 2005, Mr. Heeley received productions for the Paris Story Suite and Glass Center and in major opera Shakespeare Theatre in Ballet include the Sylvia pas an honorary doctorate from Opera, San Francisco Opera, Pieces; Julia Adam’s houses throughout the world. Stratford-upon-Avon. In de deux, Oiseaux Exotiques, the North Carolina School of Teatro Colón and the Sante imaginal disc; Christopher Mr. Briskin is a regular guest 1952 he embarked on a Don Quixote, The Merry the Arts. Fe Opera, as well as multiple Wheeldon’s Rush, conductor with New York freelance career in London Widow, Erik Bruhn’s Swan works on Broadway. Polyphonia, Continuum, and City Ballet and San Francisco and came to Canada in 1957 Lake and Sir Peter Wright’s Gil Wechsler Quaternary; Stanton Welch’s Ballet, and appeared with to design Hamlet for the Giselle. Mr. Heeley’s work is Lighting Designer Ruben Martin Naked and Tu Tu; and both companies this season. Stratford Shakespeare in museums and private Gil Wechsler attended Yale Guest Artist, Giselle William Forsythe’s in the In March, he conducted Festival, beginning an collections across Canada, University’s School of Drama Ruben Martin was born in middle, somewhat elevated Stanton Welch’s new full- association that continues the US and UK. A former and became the Metropolitan Reus, Spain, and trained at and Artifact Suite. He has length ballet Marie for to this day. His 1968 Professor of Design at the Opera’s first full-time Escuela Municipal de Danza also performed Lar Houston Ballet in New designs for Tom Stoppard’s Tisch School of the Arts at Resident Lighting Designer in and Estudio de Danza de Lubovitch’s Othello and Orleans. Mr. Briskin has also Broadway production New York University, he 1976. Throughout his 20- Maria de Avila. He performed Elemental Brubeck; conducted for The Joffrey of Rosencrantz and continues to teach and year tenure he designed the with English National Ballet Possokhov’s Magrittomania, Ballet of Chicago and Les Guildenstern Are Dead won lecture extensively. He has lighting for more than 100 prior to joining San Francisco Study in Motion and Fusion; Grands Ballets Canadiens him two Tony awards. This won numerous awards opera productions. His Ballet in 2000. Mr. Martin and Mark Morris’ Sylvia, de Montréal, among others. honour, for both set and including the prestigious responsibilities also included was promoted to Soloist in Joyride, A Garden and For 12 years he served as

Page 14 national.ballet.ca Page 15 Conductor of The Juilliard Europe, Asia and North he was appointed Director of Ernest Abugov Jeff Morris Director was George Crum School’s Dance Division. America and served for six Orchestral Studies at the Stage Manager Stage Manager who, along with Founder Equally at home on the years as the Music Director University of Toronto Faculty Ernest (Ernie) Abugov has Jeff Morris studied technical Celia Franca, was a pioneer concert stage and in the of the Masterwork Chorus of Music and Conductor of served as Stage Manager theatre production and of the company. Mr. Crum opera house, Mr. Briskin has and Orchestra, conducting the University of Toronto of The National Ballet of administration at Ryerson held the position from the conducted symphony annual performances of Symphony Orchestra. Canada since 1973, working Theatre School. He has company’s inception in 1951 orchestras and opera Handels’s Messiah at with every Artistic Director in worked as Production Stage to 1984, when he was productions throughout Carnegie Hall. In July 2008, Judith Yan the company’s history from Manager for Toronto Dance appointed Music Director Assistant Conductor Celia Franca to Karen Kain. Theatre and with the Fringe Emeritus. The orchestra was A native of Toronto, Judith He has traveled with the Festival of Independent led by Ermanno Florio from Yan joined The National Ballet company all over the world Dance Artists, in addition 1985 to 1990 and Ormsby of Canada as Assistant touring to Israel, Asia, to a broad range of Toronto’s Wilkins from 1990 to 2006. Conductor in 2007. As Europe, Mexico and independent dance artists. In The National Ballet Orchestra Staff Conductor of the San throughout North America. 1995, Mr. Morris joined The has toured extensively with Francisco Opera, Ms. Yan Mr. Abugov has worked with National Ballet of Canada the company through served as assistant to many of the world’s most and has since stage- Canada, the United States Donald Runnicles and as renowned choreographers managed a wide range of and Europe. Over the years, Cover/Rehearsal Conductor who have created original the company’s classical and the orchestra has received on 12 productions. For the works for the National Ballet contemporary repertoire, much acclaim from company, she conducted including John Neumeier, including world premieres of audiences and critics alike three productions, one of William Forsythe and Glen James Kudelka’s The Four and has recorded two CDs which was included in the Tetley. Mr. Abugov was Seasons, Cinderella and An of Michael Torke’s San Francisco Chronicle’s born in Montréal, Québec. Italian Straw Hat. He is also compositions for The Top Ten Performances of Before beginning his long an adjunct faculty member at Contract (The Pied Piper) 2005. Prior to her position association with the National the School of Toronto Dance and An Italian Straw Hat. at the SFO, Ms. Yan was Ballet, he worked with Theatre, where he teaches Conductor-in-Residence Les Feux Follets, The Production Elements for For more information, at the Canadian Opera Charlottetown Festival, La Dancers. visit national.ballet.ca Company. Appointed by Poudriere Theatre and The the late Richard Bradshaw, Studio Lab Theatre. He The National Ballet of Photos by David Cooper, Cylla von Tiedemann and Bruce Zinger. she worked on numerous worked at Expo ’67 in Canada Orchestra productions, recordings and Montréal, stage managing The National Ballet of concerts. Ms. Yan made her over 4,000 puppet shows. Canada is privileged to have German conducting debut Mr. Abugov also toured with its own full orchestra with with Mozart’s Idomeneo Harry Belafonte. In what little over 60 members. The in 2005, and her Italian spare time that he has, Mr. orchestra has performed in conducting debut with Abugov guest-lectures to each of the National Ballet’s Mozart’s Le Nozze di Figaro theatre students. 57 seasons and is led by in 2007. She recently Music Director and Principal Bridgett Zehr as Giselle. returned to Italy to conduct Conductor David Briskin. La Bohème. The company’s first Music

Page 16 national.ballet.ca Page 17 Conductor of The Juilliard Europe, Asia and North he was appointed Director of Ernest Abugov Jeff Morris Director was George Crum School’s Dance Division. America and served for six Orchestral Studies at the Stage Manager Stage Manager who, along with Founder Equally at home on the years as the Music Director University of Toronto Faculty Ernest (Ernie) Abugov has Jeff Morris studied technical Celia Franca, was a pioneer concert stage and in the of the Masterwork Chorus of Music and Conductor of served as Stage Manager theatre production and of the company. Mr. Crum opera house, Mr. Briskin has and Orchestra, conducting the University of Toronto of The National Ballet of administration at Ryerson held the position from the conducted symphony annual performances of Symphony Orchestra. Canada since 1973, working Theatre School. He has company’s inception in 1951 orchestras and opera Handels’s Messiah at with every Artistic Director in worked as Production Stage to 1984, when he was productions throughout Carnegie Hall. In July 2008, Judith Yan the company’s history from Manager for Toronto Dance appointed Music Director Assistant Conductor Celia Franca to Karen Kain. Theatre and with the Fringe Emeritus. The orchestra was A native of Toronto, Judith He has traveled with the Festival of Independent led by Ermanno Florio from Yan joined The National Ballet company all over the world Dance Artists, in addition 1985 to 1990 and Ormsby of Canada as Assistant touring to Israel, Asia, to a broad range of Toronto’s Wilkins from 1990 to 2006. Conductor in 2007. As Europe, Mexico and independent dance artists. In The National Ballet Orchestra Staff Conductor of the San throughout North America. 1995, Mr. Morris joined The has toured extensively with Francisco Opera, Ms. Yan Mr. Abugov has worked with National Ballet of Canada the company through served as assistant to many of the world’s most and has since stage- Canada, the United States Donald Runnicles and as renowned choreographers managed a wide range of and Europe. Over the years, Cover/Rehearsal Conductor who have created original the company’s classical and the orchestra has received on 12 productions. For the works for the National Ballet contemporary repertoire, much acclaim from company, she conducted including John Neumeier, including world premieres of audiences and critics alike three productions, one of William Forsythe and Glen James Kudelka’s The Four and has recorded two CDs which was included in the Tetley. Mr. Abugov was Seasons, Cinderella and An of Michael Torke’s San Francisco Chronicle’s born in Montréal, Québec. Italian Straw Hat. He is also compositions for The Top Ten Performances of Before beginning his long an adjunct faculty member at Contract (The Pied Piper) 2005. Prior to her position association with the National the School of Toronto Dance and An Italian Straw Hat. at the SFO, Ms. Yan was Ballet, he worked with Theatre, where he teaches Conductor-in-Residence Les Feux Follets, The Production Elements for For more information, at the Canadian Opera Charlottetown Festival, La Dancers. visit national.ballet.ca Company. Appointed by Poudriere Theatre and The the late Richard Bradshaw, Studio Lab Theatre. He The National Ballet of Photos by David Cooper, Cylla von Tiedemann and Bruce Zinger. she worked on numerous worked at Expo ’67 in Canada Orchestra productions, recordings and Montréal, stage managing The National Ballet of concerts. Ms. Yan made her over 4,000 puppet shows. Canada is privileged to have German conducting debut Mr. Abugov also toured with its own full orchestra with with Mozart’s Idomeneo Harry Belafonte. In what little over 60 members. The in 2005, and her Italian spare time that he has, Mr. orchestra has performed in conducting debut with Abugov guest-lectures to each of the National Ballet’s Mozart’s Le Nozze di Figaro theatre students. 57 seasons and is led by in 2007. She recently Music Director and Principal Bridgett Zehr as Giselle. returned to Italy to conduct Conductor David Briskin. La Bohème. The company’s first Music

Page 16 national.ballet.ca Page 17 Xiao Nan Yu as Giselle and Guillaume Côté as Albrecht with Artists of the Ballet. The Importance of Giving

ll of us at The National Ballet of Canada A are proud to be a part of this country’s largest dance company and we are whole- heartedly committed to staging productions that reflect our uncompromising standards of artistic excellence. In these challenging economic times, the National Ballet continues to be an influential and vibrant cultural institution that provides opportunities for the development and showcasing of our remarkably talented dancers, musicians, choreographers and artists. However, as an integral part of the fabric of our community, the National Ballet is not immune to the economic climate and has seen many of its revenue sources soften. As is the case with most not-for-profit organizations, The National Ballet of Canada draws its June 18 at the Four Seasons Centre income from a variety of sources: ticket sales (whitehotgala.com). account for only 44% of our operational At this time, the National Ballet has an revenue needs and we rely on fundraising unprecedented opportunity to generate to meet 30% of our costs. While we have additional, much-needed support through a enjoyed great artistic successes this season, recent, unanticipated gift. The Endowment the National Ballet is nonetheless facing an Foundation has agreed to use part of this operating deficit for the first time in years. donation to match new and increased We are more strongly committed than ever donations received before June 30 this to our mission of artistic excellence and year, doubling the impact of your gift. continuing to deliver the best ballet the world Please join our community of support and has to offer. This spring’s stellar programme is make a donation today by stopping by our a strong testament to our unwavering creative Friends Corps’ kiosk in the lobby, visiting us standards, with the beloved classic Giselle online at national.ballet.ca or by phoning us and two company premieres — the ravishing at 416 345 9595. Your generosity is more Carmen by Italian choreographer Davide essential now than ever. Bombana and Skin Divers by dynamic Thank you for your support! Canadian choreographer Dominique Dumais. We also invite you to join us at our annual Diana Reitberger, CFRE fundraising performance, WHITE HOT, on Director of Development

Page 18 national.ballet.ca Page 19