2019 SEASON | PROGRAMS 02 / 03 KALEIDOSCOPE / IN SPACE & TIME The people you trust, trust City National. Top Ranked in Client Referrals*

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*Based on interviews conducted by Greenwich Associates in 2017 with more than 30,000 executives at businesses across the country with sales of $1 million to $500 million. City National Bank results are compared to leading competitors on the following question: How likely are you to recommend (bank) to a friend or colleague? City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. ©2018 City National Bank. All Rights Reserved. cnb.com 7275.26 February 2019 PROGRAM 02 | KALEIDOSCOPE / Volume 96, No. 4 PROGRAM 03 | IN SPACE & TIME TABLE OF CONTENTS

0 3 Greetings from the Artistic Director Paul Heppner & Principal Choreographer President 0 4 Board of Trustees Mike Hathaway Senior Vice President Endowment Foundation Board

Kajsa Puckett 0 5 SF Ballet Leadership Vice President, Sales & Marketing 0 7 Timeline Genay Genereux Accounting & Office Manager 0 8 For Your Information 03 Production 0 9 Season News Susan Peterson Vice President, Production 1 0 Ballet as a Respite from Parkinson's Jennifer Sugden Assistant Production Manager 1 2 Explore Ballet

Ana Alvira, Stevie VanBronkhorst 1 6 Artists of the Company Production Artists and Graphic Designers 2 4 PROGRAM 02 Kaleidoscope Sales Divertimento No. 15 Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Appassionata

Devin Bannon, Brieanna Hansen, Hurry Up, We're Dreaming Amelia Heppner, Ann Manning Seattle Area Account Executives 3 2 PROGRAM 03 In Space & Time FP 1 The Fifth Season Carol Yip EMG Sales Coordinator Snowblind Etudes CITY NATIONAL BANK MarketingMASTHEAD Shaun Swick 40 SF Ballet Orchestra Senior Designer & Digital Lead 4 2 SF Ballet Staff 32 Ciara Caya Marketing Coordinator 4 4 Donor Events and News

Encore Media Group 4 8 SF Ballet Donors 425 North 85th Street 6 2 Thank You to Our Volunteers Seattle, WA 98103 p 800.308.2898 | 206.443.0445 6 4 Last Words on Snowblind f 206.443.1246 [email protected] www.encoremediagroup.com FOLLOW US BEFORE AND AFTER THE PERFORMANCE!

Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events facebook.com/sfballet twitter.com/sfballet in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2019 Encore Media Group. Reproduction without youtube.com/sfballet instagram.com/sfballet written permission is prohibited.

San Francisco Ballet | Program Book | Vol. 26, No. 4 2019 Repertory Season All editorial material © , 2019 Chris Hellman Center for Dance 455 Franklin Street, San Francisco, CA 94102 415 861 5600 | sfballet.org Cover: Dores André and Joseph Walsh in Peck's Hurry Up, We're Dreaming // © Erik Tomasson

Above, top to bottom: Helgi Tomasson; Yuan Yuan Tan and Tiit Helimets in Tomasson's The Fifth Season // Both © Erik Tomasson

PROGRAMS 02 / 03 | SFBALLET.ORG | 1 SAN FRANCISCO BALLET AUXILIARY FASHION SHOW

WEDNESDAY, MARCH 20, 11 AM The Bently Reserve Presented by Sam Malouf Authentic Luxury

Featuring the Fall 2019 Collection from acclaimed designer Jason Wu

Don’t miss this exclusive opportunity to view the Fall 2019 collection of world-renowned designer Jason Wu. The event includes a cocktail reception, runway show, and an invitation to a trunk show featuring Wu’s collection immediately following the show. Guests who purchase at the VIP level will join Wu for an intimate dinner the night before.

Tickets to this event are extremely limited and we anticipate selling out quickly.

Proceeds will benefit a wide range of San Francisco Ballet initiatives, including new works, scholarships for San Francisco Ballet School students, and community outreach programs.

TICKET PRICES START AT $500

415 865 6620 or sfballet.org/fashionshow

Ann Kathryn Baer Ms. Andi Valo-Espina Ms. Patricia Dassios San Francisco Ballet 2019 Fashion Show VIP Dinner Chair Auxiliary President Chair

FASHION SHOW PRESENTED BY SPONSOR GREETINGS FROM THE ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER

Welcome to Kaleidoscope and In Space and Time, the second and third programs of our 2019 Repertory Season. I’m delighted you’ve joined us at the Opera House.

Each year, when I plan the next Season, I look to create an interesting blend of classic story ballets, more recently created neoclassical and contemporary ballets, and new works. All are important: the beloved 19th-century classics like the upcoming The Sleeping Beauty hone the dancers’ technique, while newer works keep the art form vibrant and SAN FRANCISCO BALLET relevant. The six ballets of Kaleidoscope and In Space and Time offer a multifaceted look at the way choreographers express different ideas AUXILIARY FASHION SHOW through classical ballet, and how the art form is growing and changing. Program 02, Kaleidoscope, showcases three wonderful pairings of WEDNESDAY, MARCH 20, 11 AM choreography and music. ’s Divertimento No. 15, The Bently Reserve set to Mozart’s sparkling score of the same name, brilliantly illuminates Presented by Sam Malouf Authentic Luxury the intricacies of the music. San Francisco Ballet danced this ballet beautifully in last fall and I’m pleased to bring it back Featuring the Fall 2019 Collection from acclaimed to the Opera House. ’s Appassionata matches the designer Jason Wu maelstrom of Beethoven’s piano sonata with a work featuring three couples over the course of one passionate evening. When I saw this ballet, I immediately knew that our Company would be wonderful dancing in it. The third ballet in this program, ’s Hurry Up, We're Dreaming, premiered in our Unbound Don’t miss this exclusive opportunity to view the Fall 2019 festival last season. In his second commission for SF Ballet, this talented choreographer created an athletic piece collection of world-renowned designer Jason Wu. The event with a contemporary feel and a strong sense of community. includes a cocktail reception, runway show, and an invitation to a trunk show featuring Wu’s collection immediately following Program 03, In Space and Time, also brings back an Unbound favorite—Cathy Marston’s Snowblind, based on the show. Guests who purchase at the VIP level will join Wu for Edith Wharton’s story of a tragic love triangle, Ethan Frome. Cathy is talented at transforming literary source material an intimate dinner the night before. into compelling dance, highlighting the motivation and desire of each character to draw us deeper and deeper into the Tickets to this event are extremely limited and we anticipate story. Also on this program is Harald Lander’s Etudes, always an audience favorite. Etudes starts with the most basic steps selling out quickly. of a ballet class and builds and builds into a thrilling display of technique that showcases more than half the Company. Proceeds will benefit a wide range of San Francisco Ballet Rounding out this program is The Fifth Season, a ballet I created in 2005 after being inspired by the music of Karl Jenkins. initiatives, including new works, scholarships for San Francisco Ballet School students, and community outreach programs. Our Season continues through May with The Sleeping Beauty and The Little Mermaid; world premieres by Yuri Possokhov and Liam Scarlett; Alexei Ratmansky’s Shostakovich Trilogy, and much more. I hope you’ll join us once again this spring as TICKET PRICES START AT $500 we explore the full range of what ballet can be. 415 865 6620 or sfballet.org/fashionshow Sincerely,

Ann Kathryn Baer Ms. Andi Valo-Espina Ms. Patricia Dassios San Francisco Ballet 2019 Fashion Show VIP Dinner Chair Auxiliary President Chair

Helgi Tomasson Artistic Director & Principal Choreographer

FASHION SHOW PRESENTED BY SPONSOR

PROGRAMS 02 / 03 | 415 865 2000 | 3 SAN FRANCISCO BALLET ASSOCIATION BOARD OF TRUSTEES | 2018–19

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

John S. Osterweis†, Immediate Past Chair Lisa Daniels Christine E. Sherry David A. Kaplan Margaret G. Gill, Vice Chair Susan P. Diekman Charlotte Mailliard Shultz Mary Jo Kovacevich James H. Herbert, II†, Vice Chair Sonia H. Evers Catherine Slavonia James J. Ludwig† Lucy Jewett, Vice Chair Shelby M. Gans David Hooker Spencer Stephanie Marver James D. Marver, Vice Chair Joseph C. Geagea Fran A. Streets Nancy H. Mohr Diane B. Wilsey, Vice Chair Richard Gibbs, M.D. Judy C. Swanson Marie-Louise Pratt Nancy Kukacka, Treasurer Beth Grossman Richard J. Thalheimer George R. Roberts Jennifer J. McCall, Secretary Matthew T. Hobart Miles Archer Woodlief Kathleen Scutchfield Susan S. Briggs, Assistant Secretary Patrick M. Hogan Timothy C. Wu Robert M. Smelick Thomas E. Horn Zhenya Yoder Susan A. Van Wagner Helgi Tomasson, Artistic Director Hiro Iwanaga Janice Hansen Zakin Dennis Wu & Principal Choreographer Thomas M. Jackson, M.D. Akiko Yamazaki Glenn McCoy*, Executive Director Elaine Kartalis James C. Katzman

Yasunobu Kyogoku TRUSTEES EMERITI Kelsey Lamond Michael C. Abramson ASSOCIATE TRUSTEES Jola Anderson Brenda Leff Thomas W. Allen Ann Kathryn Baer, President,

Kristen A. Avansino Marie O’Gara Lipman Marjorie Burnett San Francisco Ballet Auxiliary President Richard C. Barker† Alison Mauzé Charles Dishman Steve Merlo, , BRAVO President Karen S. Bergman Marissa Mayer Garrettson Dulin, Jr.† Daniel Cassell, , ENCORE! Gary Bridge John T. Palmer Millicent Dunham Stewart McDowell Brady, Chaomei Chen Kara Roell J. Stuart Francis† Patrice Lovato, Hannah Comolli Sally Hambrecht Christine Russell Co-Chairs, Allegro Circle Christine Leong Connors Randee Seiger Ingrid von Mangoldt Hills David C. Cox Robert G. Shaw Pamela J. Joyner†

SAN FRANCISCO BALLET ENDOWMENT FOUNDATION BOARD OF DIRECTORS | 2018–19

James D. Marver, President

John S. Osterweis, President Emeritus J. Stuart Francis, Vice President

Thomas E. Horn, Treasurer Richard C. Barker Hilary C. Pierce Kevin Mohr‡, Chief Financial Officer Susan S. Briggs Larissa K. Roesch Elizabeth Lani‡, Assistant Secretary Nancy Kukacka

†Past Chair *Non-Trustee ‡Non-Director

4 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 SAN FRANCISCO BALLET LEADERSHIP

HELGI TOMASSON GLENN MCCOY ARTISTIC DIRECTOR & EXECUTIVE DIRECTOR PRINCIPAL CHOREOGRAPHER Helgi Tomasson, one of the supreme SF Ballet pays tribute to Glenn McCoy classical dancers of his generation, this season, which is his 31st and final has led San Francisco Ballet for 34 years season with San Francisco Ballet and is the longest-serving sole artistic before retirement. After working director of a major . Born for San Francisco Opera and the in Iceland, he danced with Harkness Metropolitan Opera, McCoy joined Ballet, The , and New York San Francisco Ballet in 1987. He served City Ballet, where he distinguished himself as a dancer of technical as company manager and general manager before being appointed purity, musicality, and intelligence. Tomasson assumed leadership of executive director in April 2002. McCoy has overseen the production SF Ballet in 1985. Under his direction, SF Ballet has developed into a of more than 130 new repertory and full-length ballets and more than Company widely recognized as one of the finest in the world. Tomasson 50 domestic and international tours, including engagements in , has balanced devotion to the classics with an emphasis on new work, , New York, Beijing, and Washington, DC. He supervised cultivating frequent collaborations and commissions with renowned SF Ballet’s operations for the critically acclaimed international dance choreographers such as William Forsythe, , festival, UNited We Dance, in 1995; SF Ballet’s 75th Anniversary Alexei Ratmansky, and Mark Morris, among many others. He has Season in 2008; and the 2018 Unbound festival. He has overseen choreographed more than 50 works for the Company, including tapings of Lar Lubovitch’s Othello, Helgi Tomasson’s Nutcracker, full-length productions of , The Sleeping Beauty, Romeo & and John Neumeier’s The Little Mermaid, which have been broadcast Juliet (taped for at the Movies’ Great American Dance), on PBS by Thirteen/WNET New York’s performing arts series Great , and Nutcracker (taped for PBS’s Great Performances). He Performances, as well as Tomasson’s Romeo & Juliet, which premiered conceptualized the 1995 UNited We Dance festival, in which SF Ballet in Lincoln Center at the Movies’ Great American Dance series in 2015. hosted 12 international companies; the 2008 New Works Festival, His incredible contribution to the past, present, and future of SF Ballet which included 10 world premieres by 10 acclaimed choreographers; is profoundly admired throughout the organization. and the 2018 Unbound: A Festival of New Works. Tomasson has also connected SF Ballet to the world, through co-commissions with , , and ; and major tours to Paris, London, New York City, China, and his native Iceland.

MARTIN WEST PATRICK ARMAND MUSIC DIRECTOR & DIRECTOR, PRINCIPAL CONDUCTOR SAN FRANCISCO BALLET SCHOOL Martin West leads an orchestra that is as Born in Marseille, , Patrick Armand musically excellent as it is adventurous. studied with Rudy Bryans, his mother Under his direction the SF Ballet Orchestra Colette Armand, and at the École de has greatly expanded its catalog of Danse de Marseille. He won the Prix recordings. Born in Bolton, , de Lausanne in 1980 and continued his he studied math at Cambridge. After studies at the School of American Ballet. studying music at the Royal Academy In 1981, he joined the Ballet Théâtre of Music in London and St. Petersburg Conservatory of Music, he made Français de Nancy and was promoted to principal dancer in 1983. his debut with and was appointed resident The following year he joined the English National Ballet, where he conductor. As a guest conductor, he has worked with New York City danced for six years before joining in 1990. A frequent Hilary C. Pierce Ballet, The National Ballet of Canada, and The Royal Ballet. He was guest teacher for schools and companies in Amsterdam, Florence, Larissa K. Roesch named music director of SF Ballet in 2005. West’s recordings with London, Naples, Tokyo, and Toronto, Armand was appointed teacher SF Ballet Orchestra include the complete score of Tchaikovsky’s and ballet master of the Teatro alla Scala in in 2006. In 1998 Nutcracker and an album of suites from Delibes’ and Coppélia. and 2009, he served as a jury member of the Prix de Lausanne and He also conducted for the award-winning DVD of Neumeier’s The Little since 2010 has been the competition’s official male coach and teacher. Mermaid as well as SF Ballet’s televised recording of Nutcracker for He was appointed principal of the SF Ballet School Trainee Program PBS and the 2015 in-cinema release of Romeo & Juliet for Lincoln in 2010, SF Ballet School associate director in 2012, and director of Center at the Movies’ Great American Dance. SF Ballet School in 2017.

Headshots // © Erik Tomasson and Chris Hardy

PROGRAMS 02 / 03 | SFBALLET.ORG | 5

Leadership headshots // © Erik Tomasson and Chris Hardy “First Republic shares our passion for innovation and world-class performance.” ANDREA MILLER Founder, Artistic Director and Choreographer, Gallim Dance 2017-2018 Artist in Residence, Th e Metropolitan Museum of Art

(855) 886-4824 | fi rstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER

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A tradition of innovation flows through the history of San Francisco Ballet. As America’s oldest professional ballet company, SF Ballet builds upon strong classical roots, while continually exploring and redefining where the art form is headed. Key moments in the history of the six ballets that appear on Programs 02 and 03 are interwoven with SF Ballet milestones in this timeline. For a complete history of San Francisco Ballet, please visit sfballet.org/history. 1933 The San Francisco Opera Ballet performs the first all-dance performance at the new 1944 San Francisco Ballet dances the first complete Opera House. San Francisco Ballet School production of Nutcracker in the United States. is established. Celina Cummings and Joaquin Felsch in Design for Adolph Bolm’s Le Ballet Mecanique Willam Christensen's Nutcracker 1948 Harald Lander choreographs Etudes George Balanchine choreographs for the . 1956 Divertimento No. 15 for . 1957 SF Ballet is the first American 1960 ballet company to tour Asia. Ballet ’60 is one of the first choreographers’ workshops in America. Over the next 13 years, SF Ballet in Yangon, Myanmar 43 choreographers create more than 100 new works. FP 2 Bruce Bain's Structures, created for Ballet ’71 SF Ballet establishes Dance in Schools FIRST REPUBLIC and Communities (DISC) to offer arts 1979 instruction in public schools. 1985 1995 Helgi Tomasson becomes artistic director. SF Ballet hosts 12 international Helgi Tomasson “First Republic shares our passion for innovation ballet companies for UNited We Dance: An International Festival. and world-class performance.” Sabina Allemann and Eric Hoisington in Tomasson's ANDREA MILLER When We No Longer Touch 2006 Founder, Artistic Director and Choreographer, Gallim Dance Helgi Tomasson choreographs 2017-2018 Artist in Residence, Th e Metropolitan Museum of Art 2008 The Fifth Season for SF Ballet. The New Works Festival marks the Company’s 75th anniversary, with 10 premieres by 10 choreographers.

Sarah Van Patten and Unbound: A Festival of New Works Gennadi Nedvigin in Morris’ Joyride premieres 12 ballets by 12 international choreographers, including Cathy Marston’s Snowblind and Justin Peck’s Hurry Up, Benjamin Millepied choreographs We're Dreaming.

Appassionata for 2016 Natasha Sheehan (855) 886-4824 | fi rstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER

Historic photos: Courtesy of the Museum of Performance + Design 2018 Unbound photo: © Erik Tomasson 2018

PROGRAMS 02 / 03 | 415 865 2000 | 7

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IN THE OPERA HOUSE DINING and refreshment options are offered pre-show and THE SHOP at SF Ballet is open one hour before each performance, at intermissions throughout the War Memorial Opera House during intermissions, and after weekend matinees, even if you’re by Global Gourmet. For reservations, call 415 861 8150, email not attending the performance itself (visit the Box Office for a [email protected], or visit opentable.com. special pass). The Shop is also online at sfballet.org/shop.

Beverages in the auditorium are allowed if they are purchased RESTROOMS are located on all floors except Main Lobby level in the Opera House and are in the approved compostable cup (first floor). with a lid. COAT AND PARCEL CHECK ROOMS are located on the north and south side of the Main Lobby. All parcels, backpacks, and luggage must be checked. IMPORTANT POLICIES OPERA GLASSES are available for $5 rental at the north lobby coat check room and require a valid ID as a deposit. Late seating isn’t allowed while a performance is in progress. You’ll be asked to stand until a break in the COURTESY TELEPHONES, for local calls only, are on the action, which might be at intermission. Main Lobby level, across from the elevators. TAXIS line up after performances at the Grove Street Taxi Ramp Occupying a seat other than the seat for which you hold on the south side of the Opera House. Taxis are provided on a a ticket isn't allowed. Please sit only in your ticketed seat. first-come, first-served basis. Our staff will assist you. Audio/visual recordings of any kind of the performance WALKING TOURS of the San Francisco War Memorial and are strictly forbidden. Performing Arts Center are available most Mondays at select hours. Mobile devices should be turned off and put away before For information, call 415 552 8338. the performance; the lights and sounds are a distraction. ACCESSIBILITY Children attending a performance must have a ticket SF Ballet is committed to providing access for all of our patrons. and occupy that seat; no infants or lap sitting, please. Please contact Ticket Services at 415 865 2000 prior to the Children need to be at least five years old to attend performance with questions so that we can ensure your comfort. Repertory Season performances. Wheelchair-accessible entrances are available on the north, east, Management reserves the right to remove any patron and south sides of the Opera House. who is creating a disturbance. Wheelchair seating positions are on the Orchestra and Dress Circle levels.

Smoking is not permitted in the Opera House. Wheelchair accessible stalls in restrooms can be found on all floors except the Main Lobby and fifth floor Balcony level. A lockable single user/special Emergency services are available in the Opera House needs restroom is located on Floor 3. Please see the usher closest to this Lower Lounge level, where an EMT is on duty. location for access. Accessible drinking fountains are located on all floors Lost & Found is located at the north coat check room. except the Balcony level. Call 415 621 6600, Mon–Fri, 8:30–11:30 am, or email Assistive listening devices (Sennheiser model infrared sound amplification [email protected]. headsets) are available at both coat check locations in the Main Lobby. A major credit card or driver’s license is required for deposit.

PURCHASING TICKETS You can order online at sfballet.org or call Ticket Services at 415 865 2000 , Monday–Friday, 10 am–4 pm. On performance dates, phones are open from 10 am until the performance begins. The SF Ballet Box Office in the Opera House is open only on performance dates and opens four hours prior to each performance. During the hour prior to curtain, the Box Office only handles business for the upcoming show.

Groups of 10 or more can save up to 30 percent. For information, visit sfballet.org/groups or call 415 865 6785.

8 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 2019 SEASON NEWS

SAN FRANCISCO BALLET AUXILIARY FASHION SHOW FEATURING JASON WU The San Francisco Ballet Auxiliary Fashion Show makes its long-awaited return on March 20. Internationally acclaimed designer Jason Wu will show his iconic designs against the stunning backdrop of the Bently Reserve. Sam Malouf Authentic Luxury is presenting the show, UBS is sponsoring, and Andi Valo-Espina is chairing the event. Jason Wu will showcase his Fall 2019 Collection for the first time on the West Coast. He will also present a special archival segment that will only be seen at this event. This additional segment will consist of pieces chosen by Wu himself as some of his all-time favorite designs. The afternoon will begin with a reception, followed by the runway show and a post- show reception and trunk show. Guests who purchase VIP tickets to the event will also have the opportunity to join Wu for an exclusive dinner to be held the evening prior to the event at Ken Fulk's SoMa studio, The Magic Factory, and enjoy front row seating at the runway show. Grand Benefactor tickets include cocktails with Wu the night before the show. Tickets range in price from $500 to $5,000. Seats are extremely limited and are selling quickly. The Fashion Show will benefit a wide range of San Francisco Ballet initiatives, including new works, scholarships for San Francisco Ballet School students, and community outreach programs. For more: sfballet.org/fashionshow

THREE PERFORMANCES + PARTIES FOR THE LGBTQ COMMUNITY San Francisco Ballet will once again host Nite Out—a series of three Friday evening performances and post-show parties celebrating the LGBTQ community. Each evening (February 15, March 29, and April 19) begins with a SF Ballet performance. After the performance, guests are invited to the lower level of the Opera House for specialty cocktails, passed hors d’oeuvres, guest entertainment, music, and dancing. For more: sfballet.org/niteout

SF BALLET SCHOOL SPRING FESTIVAL See the next generation of professional dancers at SF Ballet School’s spring presentation of student work. Formerly called Student Showcase, the SF Ballet School Spring Festival will include three nights of performances, a dinner on opening night, and new interactive activities. Performances will be held May 22–24 at Yerba Buena Center for the Arts Theater. Following the May 22 performance, SF Ballet Auxiliary hosts the SF Ballet School Spring Festival Dinner at the Four Seasons Hotel San Francisco to benefit the School’s scholarship fund, which gives more than $1 million annually in need- and merit-based grants to students. For more: sfballet.org/schoolfestival

SENSORIUM IS BACK Sensorium, an evening of dance, art, fashion, and music, returns to the Opera House on Tuesday, February 26. Designed to introduce young adult audiences to ballet, the evening begins with interactive pop-ups in the Opera House. A program of two short ballets are then followed by a dance party (aka selfie central). Tickets, which go on sale Feb 1, start at $29. For more: sfballet.org/sensorium

Top to bottom, counterclockwise: Jason Wu // © Laurence Ellis; Myles Thatcher and Solomon Golding at SF Ballet's 2018 Nite Out // © Nikki Ritcher Photography; SF Ballet's 2017 Sensorium event // © Nikki Ritcher Photography; SF Ballet School Students in Tomasson's Blue Rose // © Lindsay Thomas

PROGRAMS 02 / 03 | SFBALLET.ORG | 9 SAN FRANCISCO BALLET IN THE COMMUNITY

BALLET AS A RESPITE FROM PARKINSON'S by Lynn Mundell Four days a week, Richard, 72, takes an express bus from his home in San Francisco’s Richmond district to his downtown job as a bank teller. There, he’s on his feet for five hours. Richard’s routine would be impressive for any senior. But especially so for someone now three years into a Parkinson’s Disease diagnosis. Then there are his Saturdays—taking a dance movement class at San Francisco Ballet School sponsored by Kaiser Permanente.

Ballet is Beneficial

Parkinson’s Disease affects the nerve cells in the brain that produce dopamine. Symptoms include changes in speech and gait, fatigue, and balance issues—all symptoms Richard suffers—as well as muscle rigidity and tremors. Approximately half a million Americans have the disease. There is no cure, but treatments can help relieve symptoms. That is what motivated the SF Ballet School Director Patrick Armand. His mother was the director of Marseille’s national ballet school. She received a very early diagnosis of the disease that eventually included dementia. Armand watched his mother’s long, painful decline, and it made an imprint. “There is something I can do now for those with Parkinson’s that I couldn’t do then for her,” he says. “Ballet can be concretely beneficial. It’s a fantastic way for people to keep moving— an hour where they can just get away from everything and concentrate on their bodies.”

“Certain types of exercise and certain types of dance slow the progression of Parkinson’s symptoms,” adds Meaghan Lynch, MD, a Kaiser Permanente physical medicine and rehabilitation physician and former ballet dancer. “Ballet—with its musicality, broad expansive movements, and poise—really lends itself to helping balance, gait stability, and mobility in these individuals.”

Dr. Lynch and Rima Ash, MD, a movement disorder neurologist, collaborated on the class structure with Cecelia Beam, a longtime San Francisco Ballet employee and dance instructor. Beam modelled the class after those developed by the Mark Morris Dance Group and Brooklyn Parkinson Group, and brought in her own love of folkloric dance.

Richard was prepared to not like the class. He was already enjoying “rock steady” boxing elsewhere. But he changed his mind quickly. “By the time the very first class was ending, I said, ‘You know what? I’m going to be back here next week. There’s something different about this.’”

San Francisco Ballet School Class for Parkinson's Patients // © Chris Hardy

10 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 Let’s Dance Nutcracker

In a large, sunny studio at San Francisco Ballet School in December, a pianist plays as we lift our arms and move our legs, emulating Beam’s slow and graceful movements. She is a wonderful, patient teacher who has said she finds leading this class “hugely gratifying.”

A visitor is readily welcomed and soon we are sliding and high-stepping our feet. We count and add in arm movements. Some participants hold on to the ballet barre. There are dances with partners, with leaders to follow, and a snaking dance for all.

About 30 people today imitate Beam, some from the safety of their seats, if the disease is advanced, or helped by family members, caregivers, or volunteers. While the dancing often prompts laughter, it is also clearly intended to loosen limbs, stretch bodies, and promote balance. Since Parkinson’s can weaken the voice, everyone joins in singing a Shaker folk song. We do a seated version of the Russian dance from Nutcracker, folding our arms in front of our chests and tapping 2/3V our toes out in front and to the side. Across the room, retired psychiatrist Reza, SF TOWERS 80, smiles joyfully. His days are full—playing with his 3-year-old granddaughter, reading in multiple languages while learning French, writing a blog, and going to boxing along with Richard, but he rarely misses the class that he said leaves him relaxed but not tired. “I have Parkinson’s, but I am not handicapped.”

Rebecca is a veteran journalist in her 60s who attends class for both the exercise and her many friendships. She describes dance as having “a transcendent quality” that takes her somewhere else—reasons why she keeps coming. “If this class was every day, I would take it every day.”

Kaiser Permanente supports San Francisco Ballet in bringing regular dance-inspired movement classes to people with Parkinson’s Disease. For more information or to join a class: sfballet.org/community

PROGRAMS 02 / 03 | 415 865 2000 | 11 EXPLORE BALLET

MEET THE ARTIST INTERVIEWS (AND PODCASTS) 1–1:30 PM BEFORE SUNDAY MATINEES; 7–7:30 PM BEFORE FRIDAY EVENING PERFORMANCES; 1 HOUR PRIOR TO CURTAIN ON OPENING NIGHTS AND AFTER SELECT SATURDAY MATINEES For details: sfballet.org/mta FREE and open to all ticket holders for selected performances For an inside look at the performance you’re about to see, come a bit early. Perfect for newcomers, balletomanes, and everyone in between, Meet the Artist Interviews (MTAs) feature a conversation with an artist who worked on the performance. Curious about what our artists have to say? An archive of previous MTAs is available on all podcast players, including Apple Podcasts, and at sfballet.blog.

POINTES OF VIEW LECTURES WEDNESDAYS, 6–6:45 PM FREE and open to the public. For details: sfballet.org/pov PROGRAM 02 Kaleidoscope February 13 SF Ballet dancers discuss the art of partnering and how male dancers build the necessary strength and stamina.

PROGRAM 03 In Space and Time February 20 Etudes is a ballet about ballet class, so join students of SF Ballet School to learn about the steps you’ll see performed.

PROGRAM 04 The Sleeping Beauty March 13 SF Ballet principal dancers discuss The Sleeping Beauty’s three pivotal dance challenges: the Rose Adagio, the wedding pas de deux, and the Bluebird pas de deux.

PROGRAM 05 Lyric Voices March 27 Join SF Ballet’s 2019 Visiting Scholar Clare Croft, PhD as she asks the question: How might ballet help us imagine “American” as an identity that can be reimagined and inhabited by many?

PROGRAM 06 Space Between April 3 SF Ballet’s Production Director Christopher Dennis and Company Manager Juliette LeBlanc discuss Arthur Pita’s spectacular Björk Ballet and how they’ll bring it and 11 other ballets on tour to London.

PROGRAM 07 The Little Mermaid April 24 Company dancers discuss how they prepare to perform the dramatic roles in John Neumeier’s ballets.

PROGRAM 08 Shostakovich Trilogy May 8 Carrie Gaiser Casey, PhD presents an in-depth analysis of Alexei Ratmansky’s Chamber Symphony, the centerpiece of his stunning Shostakovich Trilogy.

[ DISCUSS & EXPLORE >> KALEIDOSCOPE ] Whether over a glass of champagne at intermission or on the car ride back home, part of the fun of seeing live performance is getting to discuss it with your date, your best friend, or your new friend sitting next to you in the audience. A few questions about tonight’s performance to get your discussion started:

1. One of the ballets on the program tonight, Divertimento No. 15, was choreographed in 1956, while Appassionata and Hurry Up, We're Dreaming were created in 2016 and 2018, respectively. Did this fact change how you watched them? Did one feel more “old-fashioned” than the others? Was it the one you expected? 2. Benjamin Millepied and Justin Peck both spent time dancing the works of George Balanchine as members of New York City Ballet. Do the three ballets you saw tonight seem related to one another in any way? Or, do you notice distinct differences between them? 3. One ballet on the program tonight features only a pianist, one a full orchestra, and the third a recorded score. How does this change your experience of the ballet?

12 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 Looking to deepen your knowledge of SF Ballet and the art form in general? From classes to lectures to social events, we have a wide variety of opportunities to explore the method behind the magic you see onstage as well as to meet the artists who are creating ballet today. For more: sfballet.org/events BALLET BOOK CLUB February 16, 5–6:30 pm: Snowblind / Ethan Frome March 16, 5–6:30 pm: The Sleeping Beauty April 20, 5–6:30 pm: The Little Mermaid Ever wondered about the literature behind the ballets? Or wanted an excuse to delve a little deeper into everyone’s favorite story ballets? We’ll do exactly that: read the story, compare it to the ballet, and, of course, have a glass of wine. Cost: $20 /$15 (subscribers & donors)

BALLET CHAT February 17, 4:30–6 pm: Kaleidoscope February 24, 4:30–6 pm: In Space and Time March 31, 4:30–6 pm: Lyric Voices April 7, 4:30–6 pm: Space Between Wei Wang and Joseph Walsh rehearsing Possokhov's ". . . two united in a single soul . . ." // © Erik Tomasson May 12, 4:30–6 pm: Shostakovich Trilogy BALLET TALK You’ve just seen an inspiring performance. Now what? Rather than heading home, channel that insight and creative energy. Have a February 23, 5–6:30 pm: The Sleeping Beauty glass of wine, mingle with fellow ballet fans, and participate in an March 19, 6–7:30 pm: Your Flesh Shall Be a Great Poem informal moderated conversation. Cost: $10 and Bound To©

May 11, 5–6:30 pm: Creating New Work with Marc Brew EXPLORING BALLETS These lively events include a 60-minute talk and Q & A, March 24, 2–4 pm: Exploring Rodeo: Four Dance as well as a wine-and-cheese reception with the speaker. Take a closer look at Rodeo: Four Dance Episodes. In this intensive Cost: $35/$30 (subscribers & donors) one-day course, you’ll learn more about this ballet and hear from the artists who perform it. Cost: $50/$45 (subscribers & donors) OPERA HOUSE TOUR March 11, 6:30–8:30 pm All Audience Engagement Programs are subject to change. The views, opinions, and information expressed are strictly those of the participants, Go behind the scenes with Dennis Hudson, former SF Ballet master and do not necessarily represent or imply any official position of San Francisco electrician. You’ll learn about the quirky secrets and unique technical Ballet Association. For more information about these programs, visit and structural elements of this 1932 Beaux-Arts theater. Cost: $75 sfballet.org/explore or email [email protected].

4. The costumes in these three ballets are very different from one another. Divertimento No. 15 features tutus and traditional ballet costuming, Appassionata’s costumes resemble street clothing, and Hurry Up, We're Dreaming’s dancers wear athletic wear and sneakers. How did the costumes impact your experience of viewing the ballets? How would Divertimento have seemed different if the dancers were wearing the costumes from Appassionata? Or from Hurry Up, We're Dreaming?

[ >> IN SPACE & TIME ] 1. The Fifth Season, Snowblind, and Etudes each represent a different style of ballet: abstract neoclassicism, dance-drama, and classical ballet. Did one of them appeal to you more than the others? If so, can you put your finger on why? 2. Snowblind is based on the Edith Wharton short story Ethan Frome. Have you read the story? If so, did it deepen your understanding of the ballet? If not, did seeing the ballet make you want to read it? 3. Etudes is a ballet about classical ballet and ballet class. Have you ever taken a ballet class? If so, did you recognize elements of ballet class organized for the stage? If not, what questions did this ballet raise for you?

PROGRAMS 02 / 03 | SFBALLET.ORG | 13 EXPLORE BALLET CONTINUED

DANCE FOR ALL AGES BALLET FOR CHILDREN Let your spirit soar as you experience the joy of moving in our Share a love of dance with the beautiful studios. next generation.

ADULT BALLET CLASSES CHILDREN’S AUDITIONS FOR Our open classes are inclusive and fun, a good workout that stretches your artistry SF BALLET SCHOOL as well as your muscles. Open to adults and teens over the age of 16 with basic ballet Pursue a love of dance. For children with an experience, classes start at the barre, then move to the center through traditional ballet interest in dance or the dream of becoming exercises and combinations. Be prepared to sweat (at least a little) and to have a good a ballet dancer, San Francisco Ballet School time. Gentle Ballet, True Beginner, Beginner/Intermediate, and Intermediate/Advanced offers a training program of unqualified classes are offered. For more information:sfballet.org/adultballet excellence. We’re holding auditions for our 2019–20 school-year program on June 2. ADULT BEGINNER BALLET SERIES To be eligible to audition, students must March 16–May 11, Saturdays, 3:00–4:20 pm be age 8–11 by September 1, 2019. Taught by Cecelia Beam For more information and to register: It’s never too late to start taking ballet. This eight-session beginner series is for those sfballet.org/school/audition who are new to ballet and those who feel like they would like to get a handle on the basics. Instruction will be broken down to the core elements and then built each week BALLET FOR YOUNG CHILDREN so that you’ll finish feeling confident and excited to continue your training. Learning the joy of movement begins with Pre-Ballet classes at SF Ballet School. We ADULT BALLET WORKSHOP introduce young children ages 4–7 to the June 10–15 fundamentals of classical ballet, focusing on Why do kids always get to have all the fun? SF Ballet School is organizing the third-annual proper body alignment, basic ballet technique summer dance workshop just for adults. Join acclaimed faculty and special guests in daily and terminology, and musicality. Audition ballet technique and repertory classes in our beautiful studios with live accompaniment. not required. Fall 2019 classes will be open Dance lovers from across the country will unite in San Francisco this summer to share in for enrollment beginning in April. For more a one-week experience of a dancer’s life at SF Ballet. information about free trial classes: FP 3 DANCE SERIES FOR INDIVIDUALS WITH PARKINSON’S DISEASE sfballet.org/preballet In partnership with Kaiser Permanente, we're offering free dance classes designed for people with Parkinson’s Disease to develop individual artistic expression while honoring SUMMER BALLET CLASSES June 8–29 and July 6–27 UNION BANK PD concerns such as balance, flexibility, coordination, isolation, and depression. Classes take place Saturdays at 1 pm, beginning January 20. For more information, contact Students ages 4–13 welcome. For more: Cecelia Beam at [email protected]. sfballet.org/school/summer-classes

SF BALLET SCHOOL AT FITNESS SF SUMMER DANCE CAMP 1455 Fillmore Street, San Francisco, CA Summer 2019 (June dates to be announced) SF Ballet School Faculty now teach classes at FITNESS SF. Ballet 101 is a four-session Boys & Girls Clubs of San Francisco (BGCSF) beginner series, Tuesdays 12:00–1:30 pm, intended for adults (ages 16+) who are new and SF Ballet are partnering to offer the to ballet. Ballet 101 series run Feb 12–Mar 5, Mar 12–Apr 2, and Apr 9–May 7, and the annual Summer Dance Camp. At this free, class fee includes a day pass to Fitness SF. NEW: Ballet 201, ongoing Wednesdays weeklong dance program, BGCSF members 6:00–7:30pm, an open beginner/intermediate ballet class. will take classes in a range of dance styles from professional teaching artists at SF Ballet School. Enrollment begins in April. For more information: sfballet.org/dancecamp

Students from San Francisco Ballet School // © Chris Hardy

14 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 My legacy. My partner.

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Untitled-2 1 12/17/18 4:39 PM SAN FRANCISCO BALLET ARTISTS OF THE COMPANY 2018–19 SEASON

ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER Helgi Tomasson

PRINCIPAL DANCERS Dores André Mathilde Froustey Aaron Robison Sarah Van Patten Ulrik Birkkjaer Jaime Garcia Castilla Ana Sophia Scheller Diana Dollar Knowles Principal Dancer Frances Chung Angelo Greco Jennifer Stahl† Joseph Walsh Herbert Family Principal Dancer Tiit Helimets Sofiane Sylve John and Barbara Osterweis Principal Dancer Sasha De Sola Luke Ingham Diane B. Wilsey Principal Dancer Carlo Di Lanno Vitor Luiz Yuan Yuan Tan Wei Wang† Richard C. Barker Principal Dancer

PRINCIPAL CHARACTER DANCERS Ricardo Bustamante† Val Caniparoli† Anita Paciotti†

SOLOISTS Max Cauthorn† Esteban Hernandez Elizabeth Powell† Lonnie Weeks Daniel Deivison-Oliveira† Koto Ishihara† Julia Rowe† Hansuke Yamamoto Isabella DeVivo† Vladislav Kozlov Henry Sidford† WanTing Zhao† Jahna Frantziskonis Steven Morse† Lauren Strongin Benjamin Freemantle† Wona Park†

CORPS DE BALLET Kamryn Baldwin† Lucas Erni† Norika Matsuyama† Skyla Schreter Sean Bennett† Solomon Golding Carmela Mayo† Natasha Sheehan† Ludmila Bizalion† Gabriela Gonzalez Swane Messaoudi† Miranda Silveira† Samantha Bristow† Nicolai Gorodiskii Davide Occhipinti† John-Paul Simoens† Alexandre Cagnat† Anatalia Hordov† Kimberly Marie Olivier† Myles Thatcher† Ethan Chudnow† Ellen Rose Hummel† Sean Orza† Mingxuan Wang† Thamires Chuvas† Blake Johnston† Lauren Parrott† Joseph Warton† Cavan Conley Madison Keesler† Nathaniel Remez† Maggie Weirich† Diego Cruz† Shené Lazarus† Alexander Reneff-Olson† Ami Yuki† Megan Amanda Ehrlich Elizabeth Mateer Emma Rubinowitz†

APPRENTICES Estéban Cuadrado† Jasmine Jimison† Leili Rackow† Max Föllmer† Joshua Jack Price† Jacob Seltzer†

BALLET MASTERS & ASSISTANTS TO THE ARTISTIC DIRECTOR Ricardo Bustamante† Felipe Diaz†

BALLET MASTERS Betsy Erickson† Anita Paciotti† Katita Waldo†

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

CHOREOGRAPHER IN RESIDENCE Yuri Possokhov

MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR Martin West †Received training at San Francisco Ballet School Dancer head shots // © Chris Hardy and David Allen 16 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 PRINCIPAL DANCERS

DORES ANDRÉ JAIME GARCIA CASTILLA Born in Vigo, Spain, Dores André Jaime Garcia Castilla was born in trained with Antonio Almenara and at Madrid, Spain, and studied at the Estudio de Danza de Maria de Avila. Royal Conservatory of Professional She joined the Company in 2004, Dance. He was named an SF Ballet SASHA DE SOLA LUKE INGHAM was promoted to soloist in 2012, apprentice in 2001 and joined the and to principal dancer in 2015. Born in Winter Park, Florida, Company the following year. He was From Mount Gambier, South Australia, Sasha De Sola trained at the Kirov promoted to soloist in 2006 and to Luke Ingham trained at the Australian Academy of Ballet. She was named principal dancer in 2008. Ballet School. He danced with an SF Ballet apprentice in 2006 and and Houston joined the Company in 2007. She Ballet before joining SF Ballet as a was promoted to soloist in 2012 soloist in 2012. He was promoted and principal dancer in 2017. to principal dancer in 2014.

ULRIK BIRKKJAER ANGELO GRECO Born in Copenhagen, Denmark, Born in Nuoro, , Angelo Greco Ulrik Birkkjaer trained at the Royal trained at La Scala Ballet School Danish Ballet School. He danced in Milan. He danced with La Scala with the Royal Danish Ballet before Ballet before joining SF Ballet as a joining San Francisco Ballet as a soloist in 2016. He was promoted principal dancer in 2017. CARLO DI LANNO to principal dancer in 2017. VITOR LUIZ Carlo Di Lanno was born in Naples, Born in Juiz de Fora, Brazil, Vitor Luiz Italy, and trained at La Scala Ballet trained at The Royal Ballet School. School in Milan. He danced with He danced with Birmingham Royal La Scala Ballet and Staatsballett Ballet and Ballet do Theatro Municipal before joining San Francisco do Rio de Janeiro prior to joining Ballet as a soloist in 2014. He was SF Ballet as a principal dancer promoted to principal dancer in 2016. in 2009.

FRANCES CHUNG TIIT HELIMETS Born in Vancouver, Canada, Born in Viljandi, Estonia, Tiit Helimets Frances Chung trained at Goh Ballet trained at Tallinn Ballet School. Academy before joining SF Ballet He danced with Estonian National in 2001. She was promoted to soloist Ballet and in 2005 and principal dancer in 2009. before joining San Francisco Ballet She was appointed Herbert Family as a principal dancer in 2005. Principal Dancer in 2018. MATHILDE FROUSTEY AARON ROBISON Mathilde Froustey was born in Born in Coventry, England, Aaron Bordeaux, France, and trained at Robison trained at the Institut del the Marseille National School of Teatre in Barcelona and at the Royal Ballet and Paris Opera Ballet School. Ballet School. He has danced with She danced with Paris Opera Ballet Birmingham Royal Ballet, Ballet before joining SF Ballet as a principal Corella, , and English dancer in 2013. National Ballet. Robison joined SF Ballet as a principal in 2016 and returned in 2018.

PROGRAMS 02 / 03 | 415 865 2000 | 17 PRINCIPAL DANCERS

ANA SOPHIA SCHELLER SARAH VAN PATTEN Born in Buenos Aires, Argentina, Sarah Van Patten, born in Boston, Ana Sophia Scheller trained at the Massachusetts, danced with Instituto Superior de Arte del Teatro Massachusetts Youth Ballet and the Colón and the School of American Royal Danish Ballet before joining SOFIANE SYLVE WEI WANG† Ballet. She danced with New York City SF Ballet as a soloist in 2002. She Ballet before joining SF Ballet as a Sofiane Sylve was born in Nice, was promoted to principal dancer in Born in Anshan, China, Wei Wang principal dancer in 2017. France, where she studied at the 2007. She was appointed Diana Dollar trained at Beijing Dance Academy Académie de Danse. She danced Knowles Principal Dancer in 2013. and SF Ballet School. He was named with ’s Stadttheater, Dutch apprentice in 2012, and joined the National Ballet, and New York City Company as a corps de ballet Ballet prior to joining SF Ballet as member in 2013. He was promoted a principal dancer in 2008. She was to soloist in 2016 and to principal appointed Diane B. Wilsey Principal dancer in 2018. Dancer in 2017.

JENNIFER STAHL† JOSEPH WALSH Born in Dana Point, California, Born in Doylestown, Pennsylvania, Jennifer Stahl trained at Maria Lazar’s Joseph Walsh trained at Walnut Hill Classical Ballet Academy and SF School of the Arts and Houston Ballet II. Ballet School. She was named an SF He danced with Houston Ballet before Ballet apprentice in 2005 and joined joining SF Ballet as a soloist in 2014. the corps de ballet in 2006. She YUAN YUAN TAN He was promoted to principal dancer was promoted to soloist in 2013 and Yuan Yuan Tan was born in Shanghai, that same year. He was appointed principal dancer in 2017. China, and trained at Shanghai Dancing John and Barbara Osterweis Principal School and Stuttgart’s John Cranko Dancer in 2017. School. She joined SF Ballet as a soloist in 1995 and was promoted to principal dancer in 1997. She was appointed Richard C. Barker Principal Dancer in 2012. PRINCIPAL CHARACTER DANCERS

RICARDO BUSTAMANTE† VAL CANIPAROLI† ANITA PACIOTTI† Born in Medellín, Colombia Born in Renton, Washington Born in Oakland, California Joined in 1980 Joined in 1973 Joined in 1968 Named principal character dancer Named principal character dancer Named principal character dancer in 2007 in 2007 in 1987

18 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 SOLOISTS

MAX CAUTHORN† ESTEBAN HERNANDEZ Born in San Francisco, California Born in Guadalajara, Mexico Named apprentice in 2013 Joined in 2013 Joined in 2014 Promoted to soloist in 2017 Promoted to soloist in 2017 JAHNA FRANTZISKONIS VLADISLAV KOZLOV Born in Tucson, Arizona Born in Saratov, Russia Joined in 2015 Joined as a soloist in 2018 Promoted to soloist in 2017

DANIEL DEIVISON-OLIVEIRA† KOTO ISHIHARA† Born in Rio de Janeiro, Brazil Born in Nagoya, Japan Joined in 2005 Joined in 2010 Promoted to soloist in 2011 Promoted to soloist in 2014

BENJAMIN FREEMANTLE† STEVEN MORSE† Born in New Westminster, Canada Born in Harbor City, California Named apprentice in 2014 Joined in 2009 Joined in 2015 Promoted to soloist in 2017 Promoted to soloist in 2018

ISABELLA DEVIVO† Born in Great Neck, New York Joined in 2013 Promoted to soloist in 2017

†Received training at San Francisco Ballet School Dancer head shots // © Chris Hardy and David Allen

PROGRAMS 02 / 03 | SFBALLET.ORG | 19 SOLOISTS

WONA PARK† LAUREN STRONGIN Born in Seoul, South Korea Born in Los Gatos, California Joined in 2017 Joined as a soloist in 2015 Promoted to soloist in 2018 JULIA ROWE† HANSUKE YAMAMOTO Born in Elizabethtown, Pennsylvania Born in Chiba, Japan Joined in 2013 Joined in 2001 Promoted to soloist in 2016 Promoted to soloist in 2005

ELIZABETH POWELL† LONNIE WEEKS Born in Boston, Massachusetts Born in Los Alamos, New Mexico Named apprentice in 2011 Joined in 2010 Joined in 2012 Promoted to soloist in 2018 Promoted to soloist in 2018

HENRY SIDFORD† WANTING ZHAO† Born in Marblehead, Massachusetts Born in Anshan, China Named apprentice in 2011 Joined in 2011 Joined in 2012 Promoted to soloist in 2016 Promoted to soloist in 2018

†Received training at San Francisco Ballet School Dancer head shots // © Chris Hardy and David Allen

20 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 CORPS DE BALLET

KAMRYN BALDWIN† CAVAN CONLEY Born in Honolulu, Hawai’i Born in Bozeman, Montana Joined in 2015 Joined in 2018

ALEXANDRE CAGNAT† LUCAS ERNI† Born in Cannes, France Born in Santo Tomé, Argentina Named apprentice in 2016 Joined in 2018 Joined in 2017

SEAN BENNETT† DIEGO CRUZ† Born in San Francisco, California Born in Zaragoza, Spain Named apprentice in 2011 Joined in 2006 Joined in 2012

ETHAN CHUDNOW† SOLOMON GOLDING Born in Napa, California Born in London, United Kingdom Named apprentice in 2017 Joined in 2017 Joined in 2018

LUDMILA BIZALION† MEGAN AMANDA EHRLICH Born in Rio de Janeiro, Brazil Born in Charleston, South Carolina Named apprentice in 2006 Named apprentice in 2011 Joined in 2007 Joined in 2012 Returned in 2016 Returned in 2017

THAMIRES CHUVAS† GABRIELA GONZALEZ Born in Rio de Janeiro, Brazil Born in Mérida, Mexico Named apprentice in 2014 Joined in 2017 Joined in 2015

SAMANTHA BRISTOW† †Received training at San Francisco Ballet School Born in Media, Pennsylvania Dancer head shots // © Chris Hardy and David Allen Named apprentice in 2014 Joined in 2015

PROGRAMS 02 / 03 | 415 865 2000 | 21 CORPS DE BALLET

NICOLAI GORODISKII NORIKA MATSUYAMA† Born in Lviv, Born in Chiba, Japan Joined in 2018 Joined in 2014

MADISON KEESLER† DAVIDE OCCHIPINTI† Born in Carlsbad, California Born in Rome, Italy Joined in 2009 Named apprentice in 2016 Returned in 2017 Joined in 2017

ANATALIA HORDOV† CARMELA MAYO† Born in Santa Clarita, California Born in Las Vegas, Nevada Named apprentice in 2017 Named apprentice in 2017 Joined in 2018 Joined in 2018

SHENÉ LAZARUS† KIMBERLY MARIE OLIVIER† Born in Durban, South Africa Born in New York, New York Named apprentice in 2016 Named apprentice in 2009 Joined in 2017 Joined in 2010

ELLEN ROSE HUMMEL† SWANE MESSAOUDI† Born in Greenville, South Carolina Born in Aix-en-Provence, France Named apprentice in 2011 Named apprentice in 2017 Joined in 2012 Joined in 2018

ELIZABETH MATEER SEAN ORZA† Born in Boca Raton, Florida Born in San Francisco, California Joined in 2016 Named apprentice in 2007 Joined in 2008

BLAKE JOHNSTON† Born in Charlotte, North Carolina Joined in 2017 †Received training at San Francisco Ballet School Dancer head shots // © Chris Hardy and David Allen

22 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 CORPS DE BALLET

LAUREN PARROTT† JOHN-PAUL SIMOENS† Born in Palm Harbor, Florida Born in Omaha, Nebraska Named apprentice in 2012 Named apprentice in 2014 Joined in 2013 Joined in 2015

SKYLA SCHRETER JOSEPH WARTON† Born in Chappaqua, New York Born in Beaverton, Oregon Joined in 2014 Joined in 2017

NATHANIEL REMEZ† MYLES THATCHER† Born in Washington, DC Born in Atlanta, Georgia Named apprentice in 2016 Named apprentice in 2009 Joined in 2017 Joined in 2010

NATASHA SHEEHAN† MAGGIE WEIRICH† Born in San Francisco, California Born in Portland, Oregon Joined in 2016 Named apprentice in 2014 Joined in 2015

ALEXANDER RENEFF-OLSON† MINGXUAN WANG† Born in San Francisco, California Born in Qingdao, China Named apprentice in 2012 Named apprentice in 2013 Joined in 2013 Joined in 2014

MIRANDA SILVEIRA† AMI YUKI† Born in Rio de Janeiro, Brazil Born in Saitama, Japan Named apprentice in 2013 Named apprentice in 2014 Joined in 2014 Joined in 2015

APPRENTICES ESTÉBAN CUADRADO† JASMINE JIMISON† LEILI RACKOW† EMMA RUBINOWITZ† MAX FÖLLMER† JOSHUA JACK PRICE† JACOB SELTZER† Born in San Francisco, California Named apprentice in 2012 Joined in 2013 †Received training at San Francisco Ballet School Dancer head shots // © Chris Hardy and David Allen

PROGRAMS 02 / 03 | SFBALLET.ORG | 23 02 KALEIDOSCOPE FEB 12—FEB 23

PRODUCTION CREDITS Divertimento No. 15 – Music: Divertimento No. 15 in B-flat major, K. 287. This performance of Divertimento No. 15, a Balanchine© Ballet, is presented by arrangement with the George Balanchine Trust and has been produced in accordance with the Balanchine Style © and Balanchine Technique© service standards established and provided by the Trust. Costumes courtesy of . Appassionata – Music: Piano Sonata No. 23 in F minor, Op. 57 (“Appassionata”). Scenery courtesy of Paris Opera Ballet. Costumes courtesy of Pacific Northwest Ballet. Hurry Up, We’re Dreaming – Music: “Where the Boats Go” written by Anthony Gonzalez (EMI Blackwood Music Inc. [BMI]) and Justin Meldal- Johnsen (Reach Music). “Raconte-Moi Une Histoire” written by Anthony Gonzalez and Yann Gonzalez (EMI Blackwood Music Inc. [BMI]) and Justin Meldal-Johnsen (Reach Music). “Train To Pluton” written by Anthony Gonzalez (EMI Blackwood Music Inc. [BMI]) and Justin Meldal- Johnsen (Reach Music). “Wait” and “New Map” written by Anthony Gonzalez and Yann Gonzalez (EMI Blackwood Music Inc. [BMI]) and Justin Meldal-Johnsen (Reach Music). “Splendor” written by Anthony Gonzalez (EMI Blackwood Music Inc. [BMI]) and Bradley Laner (Brava Entertainment). “Outro” written by Anthony Gonzalez (EMI Blackwood Music Inc. [BMI]) and Justin Meldal-Johnsen (Reach Music). All performed by M83. Courtesy of Bank Robber Music, LLC o/b/o Mute. Costumes constructed by Colin Davis Jones Studios, New York, NY.

24 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 DIVERTIMENTO NO. 15

Composer: Wolfgang Amadeus Mozart Choreographer: George Balanchine Staged by: Elyse Borne Additional Coaching by: Helgi Tomasson Costume Design: after Karinska Lighting Design: Mark Stanley

World Premiere: May 31, 1956—New York City Ballet, Mozart Festival, American Shakespeare Theatre; Stratford, Connecticut San Francisco Ballet Premiere: October 5, 1979— Pasadena Civic Auditorium; Pasadena, California These performances of Divertimento No. 15 are made possible by Major Sponsor Catherine and Mark Slavonia and Sponsor ENCORE! © The George Balanchine Trust

APPASSIONATA SF BALLET PREMIERE

Composer: Ludwig van Beethoven Choreographer: Benjamin Millepied Staged by: Janie Taylor and Sebastien Marcovici Scenic Design: Camille Dugas Costume Design: Alessandro Sartori Lighting Design: Jim French

World Premiere: February 5, 2016—Paris Opera Ballet (originally titled La Nuit S’Achève), Palais Garnier; Paris, France San Francisco Ballet Premiere: February 12, 2019— War Memorial Opera House; San Francisco, California The SF Ballet premiere of Appassionata is made possible by Lead Sponsor Kelsey and David Lamond; and Major Sponsors Kathleen Grant, M.D. and Thomas Jackson, M.D., and Mrs. Joyce L. Stupski; and Sponsor Karen S. Bergman. Additional support is provided by the Osher New Work Fund and the TeRoller Fund for New Productions of the SF Ballet Endowment Foundation.

HURRY UP, WE'RE DREAMING

Composer: Anthony Gonzalez, Yann Gonzalez, Bradley Laner, and Justin Meldal-Johnsen Choreographer: Justin Peck Costume Design: Reid Bartelme and Harriet Jung Lighting Design: James F. Ingalls

World Premiere: April 20, 2018—San Francisco Ballet, War Memorial Opera House; San Francisco, California The 2018 world premiere of Hurry Up, We’re Dreaming was made possible by Unbound Festival Presenting Sponsor Diane B. Wilsey and Grand Benefactor Sponsor Ms. Susan A. Van Wagner.

San Francisco Ballet in Balanchine's Divertimento No. 15 // Choreography by These performances of Hurry Up, We’re Dreaming are made possible George Balanchine © The Balanchine Trust // © Erik Tomasson by Major Sponsor Anonymous.

PROGRAMS 02 / 03 | 415 865 2000 | 25 DIVERTIMENTO NO.15 PROGRAM NOTES by Cheryl A. Ossola

Choreographers have long known that the music of Wolfgang and the geometric precision of his movement patterns and groupings. Amadeus Mozart is great for dancing. George Balanchine, whose According to Tomasson, that kind of spatial awareness is one of the repertory of dances shows that his musical taste was quite eclectic, hallmarks of good choreography. said he considered Mozart’s Divertimento No. 15 the best example of that musical form ever written. Some music historians go one better, For Borne, Divertimento has particular meaning: She danced it the night proclaiming the six-movement chamber piece to be one of the that Balanchine died, and it was the last work she danced before she 18th-century composer’s greatest works. retired from the stage. “It’s such a gift to dance. Everyone gets a moment to shine, even the corps, in little solos and demi-solos,” she says. For that It’s unusual for a choreographer to set more than one ballet to a piece reason, it’s important to her that the dancers enjoy it. “It’s a treasure, not of music, but that’s what happened when Balanchine decided to revive just for the audience but for the dancers. It’s like a spiritual experience.” his 1952 Caracole, which he had set to Mozart’s Divertimento No. 15. Instead of restaging that ballet as planned, he ended up creating a new one that derived some of its movement from the earlier piece. Since its CREATIVE TEAM premiere in 1956, Divertimento No. 15 has been a much-loved, crystalline example of the neoclassical Balanchine repertory. San Francisco Ballet WOLFGANG AMADEUS MOZART Artistic Director and Principal Choreographer Helgi Tomasson, who Composer brought it to his dancers and audiences for the first time in 2007, calls it “a jewel.” Wolfgang Amadeus Mozart (1756–1791) was one of the most influential and prolific composers of the Classical period. He is known for his genius The divertimento is a light musical form that dates back to the late as well as his range: his more than 600 works of symphonic, chamber, 1600s but reached its zenith in the 18th century. Typically composed for operatic, and choral music are enduringly popular. A legendary musical small chamber groups, divertimenti were intended to accompany social prodigy, he started touring Europe, performing and composing for functions, such as parties and banquets, often held outdoors. Originally European royalty, at age 6. After working as a musician in the Salzburg Divertimento No. 15 was staged with a white-trellis set, which made it court, in 1781 he moved to Vienna, where he achieved fame but not seem “like a private garden party,” says George Balanchine Trust financial security. Mozart continued to write music at a tremendous pace, répétiteur Elyse Borne, a former ballet mistress with SF Ballet who composing many of his best-known symphonies, concertos, and operas, has staged it multiple times for SF Ballet.

The women’s classical tutus and the men’s princely tunics lend Divertimento No. 15 an air of formality. The pace is nevertheless robust, not refined, with an unmatched number of men (three) and women (five) making for constant pairings and re-pairings, groupings and regroupings. In the second-movement theme and variations, one dancer after another tosses off a solo variation, each coming fast on the heels of another and each with a distinctive personality. Not until the fourth movement, the adagio, does the pace slow, only to build again to a lively finale.

Like its chamber music score, Divertimento is small in scale. The eight principals share the stage with an equal number of corps de ballet women, and only in the first and last movements are all of them onstage at once. Though the choreography’s intricate patterns and the violin line’s delicacy give the ballet a filigreed quality, there’s strength and verve in the dancing. The men do series of pirouettes and slice through solos with small jumps; the women sparkle in arabesques and embellish their lifts with languid beats. “It looks much simpler than it is,” Borne says. “The music is like crystal, and the dance is the same.”

Part of Divertimento’s appeal is its intimacy, and that quality is best appreciated from a relatively close vantage point. But like many Balanchine ballets, it gives audiences in the theater’s upper tiers the added pleasure of admiring the choreographer’s brilliant use of space

Sasha De Sola and Hansuke Yamamoto in Balanchine's Divertimento No. 15 // Choreography by George Balanchine © The Balanchine Trust © Erik Tomasson

26 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 and portions of his Requiem. He died at age 35 and was buried in an designed costumes for opera, dance, musicals, and film. In 1948, unmarked grave. According to Albert Einstein, Mozart’s music was she won an Academy Award (with ) for Best Costume “so pure that it seemed to have been ever-present in the universe, Design for Joan of Arc. Karinska worked with New York City Ballet from waiting to be discovered by the master.” its inception until the end of her career, creating costumes for 48 works for the company, including Divertimento No. 15, , , , , and . GEORGE BALANCHINE Choreographer MARK STANLEY Neoclassical choreographer George Balanchine (1904–1983) is one Lighting Designer of the 20th century’s most influential and innovative artists. Born in St. Petersburg, he trained at the Imperial Ballet School and joined the Mark Stanley is resident lighting designer for New York City Ballet, . He left Russia in 1924 and became ballet master for where he has designed lighting for more than 200 premieres for their Serge Diaghilev’s in Paris. Balanchine choreographed repertory, including works for Peter Martins, Christopher Wheeldon, several ballets, including Prodigal Son and Apollon Musagète (later Susan Stroman, Kevin O’Day, Christopher D’Amboise, Alexei Ratmansky, renamed ) for the Ballets Russes. After Diaghilev’s death, Mauro Bigonzetti, William Forsythe, Ulysses Dove, and others. He has Balanchine worked in Europe until arts patron Lincoln Kirstein invited designed for ballet companies across Europe and the United States him to come to the United States to start a company. “But first a school,” and was resident designer for New York City Opera. His designs was Balanchine’s famous reply, and he founded the School of American have been seen on PBS in Live From Lincoln Center and Great Ballet in 1934. In 1946, he and Kirstein started Ballet Society, which later Performances. Stanley is currently head of lighting design program became New York City Ballet. Balanchine served as ballet master and at Boston University. He is on the board of The Hemsley Lighting principal choreographer of New York City Ballet until his death in 1983. Programs and is the author of The Color of Light Workbook. He created more than 400 dance works, many of which are in the repertory of San Francisco Ballet.

APPASSIONATA ELYSE BORNE PROGRAM NOTES Stager by Caitlin Sims

Elyse Borne, a former soloist with New York City Ballet, is a Elegant precision becomes passionate abandon over the course répétiteur for the George Balanchine and Robbins Rights Trusts. of one tempestuous evening in Benjamin Millepied’s Appassionata. Born in Los Angeles, she trained at the School of American Ballet in Set to Beethoven’s Piano Sonata #23 (also known as the Appassionata), New York City before joining New York City Ballet, where she became the ballet follows the music’s structure, with two dramatic movements a soloist. She performed with New York City Ballet for more than 13 years, for three couples and an intimate duet. The ballet starts with formality dancing principal roles in ballets by Balanchine and Robbins and sharing and decorum; as the hour gets late the costumes become less structured, a debut in The Nutcracker with Mikhail Baryshnikov. Borne served as pointe shoes are swapped for ballet slippers, and the women’s hair Ballet Mistress for Miami City Ballet for eight years and SF Ballet for comes down. “It does get a little more wild as it goes on,” says Janie six years. She currently travels the world staging ballets by George Taylor who, with Sebastien Marcovici, staged the work for Balanchine and , as well as works by Hans van Manen San Francisco Ballet. and Helgi Tomasson. This aesthetic journey of disciplined perfection to creative spontaneity happens also to echo the progression of Millepied’s career. After more KARINSKA than a decade as a principal dancer with New York City Ballet, Millepied Costume Designer shifted into choreography, working for ballet companies worldwide as well as on the film Black Swan. When he choreographed Appassionata Varvara Jmoudsky Karinska (1886–1983), better known as simply in 2016, he was the director of Paris Opera Ballet—one of the most “Karinska,” was one of the most influential costume designers of the prestigious jobs in the field. The day before the ballet’s premiere, 20th century, known for exquisite craftsmanship and her long creative Millepied announced his resignation, frustrated by the slow pace partnership with George Balanchine. Born in , Ukraine, she moved of change at the venerable institution. With his wife, actor Natalie to Paris in 1928. In 1932, she began to construct costumes for Les Ballets Portman, Millepied returned to Los Angeles, where he currently Russes de Monte Carlo, interpreting the ballet designs of Matisse, directs L.A. Dance Project, a contemporary dance company he Picasso, Dali, and Chagall. Karinska moved to New York in 1939 and founded in 2012, and collaborates on film and digital projects.

PROGRAMS 02 / 03 | SFBALLET.ORG | 27 Dores André and Ulrik Birkkjaer rehearsing Millepied's Appassionata // © Erik Tomasson

Appassionata is less a reflection of that turbulent time than a response clarity,” says Taylor. “That can be difficult because clarity to a ballet to one of Beethoven’s most beloved piano sonatas, says Taylor, who dancer can mean something that’s really exact. So it’s helping them find danced with Millepied at New York City Ballet and now works for L.A. the balance between showing a step clearly, but also letting it move and Dance Project: “Benjamin is definitely a music-driven choreographer,” bend and not feel constricted.” she notes. Beethoven’s Appassionata, complex and mysterious, notoriously difficult to play, has been massively popular since it was In rehearsal Millepied urges the dancers to be more spontaneous— published in 1807. He wrote the music during his “middle” period when, and to focus on phrasing the movement to illuminate the subtleties of aware of his impending deafness, he had a surge of creativity, bursting the music. “It needs to make more of a statement,” he says. “Just do one away from conventional classicism (sound familiar?) into new realms thing at a time. You’re in your pirouette and you’re running late—so what? of imagination so profound they helped to usher in the Romantic Era I’d rather you be late. Then you have to accelerate, and then you’re alive.” of music. And, of course, it’s about relationships. “Benjamin likes there to be a Appassionata tested the limit of the five-octave pianoforte of human aspect in his pieces,” explains Taylor. “He wants dancers to Beethoven’s time with storms of notes that crash up and down the interact with each other onstage in a very human way.” Nowhere is this keyboard like a hurricane. Millepied’s choreography, fast and expansive more evident than in the second movement. Millepied watches closely with ever-shifting groups of dancers, matches Beethoven’s fervor. as Principal Dancers Dores André and Ulrik Birkkjaer work through the Dancers soar and fall with the same urgency as the cascading notes, ballet’s tender and playful central duet. It’s beautifully balanced between and feet quiver to trills in the music. “It really needs to move, move, serenity and ecstasy, intimacy and playfulness. As they finish, he smiles. move,” says Millepied during a rehearsal at SF Ballet. “Make it wilder.” “Honestly, it didn’t look like anyone else who has done it,” he says. “And at certain moments I almost didn’t recognize my pas de deux! There are also moments of stillness in the ballet. A recurring musical But I loved it. I don’t want to change anything. It’s beautiful.” motif is both familiar and ominous—the Da-Da-Da-DUM later made famous in Beethoven’s Fifth Symphony. As a dancer pauses, this It’s this same expressiveness he asks all of the dancers to cultivate. “knocking” motif brings another onstage, then repeats, hanging in “It’s important that you feel free,” he explains. “You’re dancing somebody’s the air between them like a question. choreography, so that’s structure that’s not yours. But within it, you have to be yourself. It should be different with every single dancer. “We want to In addition to teaching the ballet’s steps, Taylor and Marcovici are also see you,” he says emphatically. “It’s all about expression. Don’t forget that. charged with illuminating Millepied’s choreographic style. “Benjamin’s That’s why we dance.” movement quality can be fluid and free, but it also requires a certain

28 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 CREATIVE TEAM

LUDWIG VAN BEETHOVEN Composer

Ludwig van Beethoven (1770–1827) was a German composer and Ballet in 1993, was promoted to soloist in 1998, and principal dancer pianist who is one of the best known and most influential classical in 2002. After retiring from the stage, he worked as a ballet master with composers. Born in Bonn, Germany, he studied in Vienna with Joseph Paris Opera Ballet from 2014–16. He currently works at L.A. Dance Haydn and became known as a virtuoso pianist. As a composer, his Project as a Ballet Master and sets ballets for Benjamin Millepied on innovative work spanned the Classical and Romantic eras of music. ballet companies around the world. He struggled much of his life with worsening hearing loss, composing some of his most important works in the last 10 years of his life when he was increasingly, then completely deaf. CAMILLE DUGAS Scenic Designer

BENJAMIN MILLEPIED Camille Dugas is a set designer based in Paris who works in opera, Choreographer theater, and dance. She studied set design and stage architecture at the École Supérieure des Artes et Techniques and the Université Benjamin Millepied is a choreographer, filmmaker, and artistic director Sorbonne Nouvelle in Paris. She began her career designing sets at distinguished by his career as a dancer at New York City Ballet and his the Paris Opera, and has worked on productions by Benjamin Millepied growing body of creative work. Born in Bordeaux, France, Millepied and Justin Peck. She has worked as an assistant to set designer trained with his mother, Catherine Flori; at the Conservatoire National Chantal Thomas and has designed for operas with Arnaud Bernard. de Lyon; and at the School of American Ballet before becoming a In 2017, she assisted Christian Lacroix on designs for Balanchine’s principal dancer with New York City Ballet. His choreography is A Midsummer Night’s Dream for Paris Opera Ballet. performed by New York City Ballet, Paris Opera Ballet, San Francisco Ballet, American Ballet Theatre, Berlin Staatsoper, Mariinsky Ballet, among many others, and was featured in Darren Aronofsky’s award- ALESSANDRO SARTORI winning film Black Swan, in which he also starred. Millepied founded Costume Designer L.A. Dance Project in 2012. In 2013, he was appointed director of Paris Opera Ballet, where he was the subject of the documentary film Reset. Alessandro Sartori is an designer. Born in Biella, He returned to Los Angeles in 2016 to focus on L.A. Dance Project and he studied textile engineering in Biella and fashion design in Milan. his own choreography and filmmaking. He is currently working on two In 2003, he was named creative director of Z , a brand of the feature films, one of which is a musical adaptation of Carmen to be Italian menswear company Ermenegildo Zegna. In 2011, Sartori released in 2019. Among many awards and honors, Millepied was was appointed artistic director of the menswear company . made a Chevalier of the Order of Arts and Letters by the French He returned to Ermenegildo Zegna in 2016 as artistic director of all Ministry of Culture. Zegna brands. Appassionata was Sartori’s first work for the stage; he continues to create costumes for Benjamin Millepied’s L.A. Dance Project. JANIE TAYLOR Stager JIM FRENCH Janie Taylor is a dancer and stager with L.A. Dance Project and a Lighting Designer former principal dancer with New York City Ballet. Born in Houston, she trained in Texas and Louisiana before attending the School of Jim French, lighting supervisor for San Francisco Ballet, designs American Ballet in New York, where she received the Mae L. Wien lighting for performing arts and live events. He has designed lighting Award. She joined New York City Ballet in 1998, was promoted to for world premieres at San Francisco Ballet by Christopher Wheeldon, soloist in 2001, and principal dancer in 2005. Taylor appeared in the Myles Thatcher, Jiří Bubeníček, and Arthur Pita, among others. After 2000 feature film Center Stage. Since retiring from the New York City working with the Martha Graham Dance Company and Twyla Tharp Ballet in 2014, she has staged ballets on companies around the world. Dance, French spent nine years as resident designer for Cedar Lake She has also started a career in design, creating costumes for the Contemporary Ballet. He has collaborated with Bandaloop, Ballet New York City Ballet and L.A. Dance Project. She joined L.A. Dance San Jose, Ballett Basel, Carte Blanche, Joe Goode Performance Group, Project as a dancer in 2016. Post:Ballet, Richmond Ballet, and choreographers Amy Seiwert, Jessica Lang, Crystal Pite, Pascal Rioult, and Val Caniparoli. In theater, he has designed lighting for Marin Theatre Company, Pittsburgh Irish and SEBASTIEN MARCOVICI Classical Theatre, Shotgun Players, Just Theater, and New York’s Stager Playwrights Horizons and Primary Stages. He has been a house lighting designer at SF Jazz, and volunteers for Dancers Responding to AIDS Sebastien Marcovici, a former dancer with New York City Ballet, is a and Bike East Bay. ballet master and stager. Born in Paris, Marcovici trained at the Paris Opera Ballet School. He joined the corps de ballet of New York City

PROGRAMS 02 / 03 | 415 865 2000 | 29 HURRY UP, WE'RE DREAMING PROGRAM NOTES by Cheryl A. Ossola

In Hurry Up, We’re Dreaming, choreographer Justin Peck takes us on a life-cycle journey of dream states. Peck’s second work for San Francisco Ballet is set to songs by electronic band M83, that, the choreographer says, are about “how we dream as children, how we dream as young, coming-of-age adults, and how we dream as fully matured adults. I thought that would be an interesting thing to explore through dance.”

Peck links these songs, from M83’s album Hurry Up, We’re Dreaming, via a key aspect of the ballet’s structure: walking transitions that he calls the “glue that bonds the world of this ballet together.” Transitions in general are important to Peck, within choreography as well as between music movements. In this ballet, geometric shapes materialize from movement that seems random or chaotic at first. And when the dancers San Francisco Ballet in Peck's Hurry Up, We're Dreaming // © Erik Tomasson get where they’re going, they don’t stay long—patterns shift, disappear, reappear. The transitions serve a thematic purpose too—Peck says “if you look closely, Sarah hardly ever looks at or acknowledges Luke,” he wanted to create “a group of spirits or energies” and to explore says Peck. Their movement is dreamy, buoyant, floaty, punctuated by “how they influence each other and connect with each other.” sharpness. A simple yet beautiful moment illustrates their disconnect— she pivots and he circles backward with her, matching her open arms There’s an expansiveness to this ballet, and it’s visible not only in without touching her. In contrast, in “Splendor,” created on Walsh and the space-eating patterns—“occupy space,” Peck tells the dancers— Principal Dancer Dores André, “they’re interacting with each other in and the shifting moods, but also in the movement quality. This is due a much more symbiotic and balanced way,” Peck says. They circle, in part to the dancers’ footwear. “Sneakers create a different posture fold, spring, separate to move in unison, then reunite. and approach to dance,” says Peck. “It’s a different type of platform for dancers to express themselves. They relax a little bit, and the Although Peck is an in-demand choreographer, “the few days foundation is less precarious than the ballet shoe and the pointe leading up to the first day, I’m incredibly anxious,” he says. But this shoe, so I think it allows them to take greater risks.” In this ballet, time, “once we got into the studio and started working, it just sort the dancers’ bodies seem fluid, with infinite freedom and of flowed.” Think of Astaire’s ease, his energized fluidity, and you’ll spaciousness, as if 110-degree heat had loosened their joints. know exactly what Peck means. The movement is both grounded and buoyant, the result of that looseness. And there’s at least one fluid, jazzy moment when you could mentally swap in Fred Astaire. Moves like these reveal Peck’s CREATIVE TEAM origins as a tap dancer. “I love that style,” he says. “There’s definitely a quickness and a lightness and a meticulous timing to some of the JUSTIN PECK movement [in this ballet] that’s inspired by the dancing of Fred Astaire Choreographer and Gene Kelly, and tap and soft shoe. I think that early training in tap dance really influenced my musicality as a choreographer.” Justin Peck is Resident Choreographer and a Soloist Dancer with New York City Ballet (NYCB). Peck joined NYCB in 2006 and was Along with the style, there’s a feeling of unabated joy, of “Hey, I can do promoted to Soloist in 2013. He began choreographing in 2009 at that.” In the big ensemble section where the “Fred Astaire” movement the New York Choreographic Institute. In 2014, after the creation of happens, Principal Dancer Joseph Walsh bounds in, his movements Everywhere We Go, Peck was appointed Resident Choreographer of exuberant, fast, athletic. He joins the men, first one, then another, NYCB. He has created more than 30 ballets, which have been performed copying them move for move with a smile that tell us this imitation is by Paris Opera Ballet, San Francisco Ballet, Miami City Ballet, Pacific a game. The moment echoes an earlier section set to “Raconte-moi Northwest Ballet, LA Dance Project, Dutch National Ballet, The Joffrey une histoire,” which includes a child’s voice. Dancers congregate and Ballet, Houston Ballet, and . In 2014, Peck was the disperse, seemingly at a playground, displaying both the abandon of subject of the documentary Ballet 422, which followed him as he created childhood and a pronounced sense of community. Paz de la Jolla, NYCB’s 422nd original dance. Peck choreographed the 2018 Broadway revival of Carousel, for which he was awarded the 2018 Community is a recurring theme in Peck’s work, and as large as it Tony Award for Best Choreography. In addition, Peck choreographed the looms in this ballet, it’s secondary to what Peck calls “the real heart”— feature film Red Sparrow, and will be creating new choreography for the the two duets. “I was exploring the range of human relationships, upcoming film remake of West Side Story, directed by Steven Spielberg. trying to expose certain complexities that we experience when we His Rodeo: Four Dance Episodes won the Bessie Award for Outstanding interact, especially in intimate ways,” he says. Each duet has discrete Production in 2015. Hurry Up, We’re Dreaming from the 2018 Unbound choreography, but even more important is the body language. In “Wait,” festival was Peck’s second work created for SF Ballet; his first was created on Principal Dancers Sarah Van Patten and Luke Ingham, In the Countenance of Kings.

30 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03

ANTHONY GONZALEZ, YANN GONZALEZ, HARRIET JUNG BRADLEY LANER, AND JUSTIN MELDAL-JOHNSEN Costume Designer Composers Harriet Jung is a New York-based artist with experience in costume M83 is the electronic music project led, since 2001, by Anthony design, womenswear design, and illustration. Jung studied visual Gonzalez, a vocalist, songwriter, multi-instrumentalist, and record arts at a young age and attended Orange County School of the Arts producer. Gonzalez, who grew up in Antibes, France, released M83’s in Southern California. She earned a degree in molecular and cell self-titled first album in 2001 and Dead Cities, Red Seas & Lost Ghosts biology from the University of California, Berkeley, before studying in 2003 with Nicolas Fromageau. Gonzalez has made an additional five fashion design at the Fashion Institute of Technology. Upon graduating, studio albums on his own, including the breakthrough double album she joined the womenswear design team at Jill Stuart and worked as Hurry Up, We’re Dreaming. For this album, Gonzalez collaborated with an associate designer. Jung founded Reid & Harriet Design with Reid filmmaker and writer Yann Gonzalez; bassist, producer, and writer Bartelme (at left) in 2011. Along with Justin Peck, they are featured in Justin Meldal-Johnsen; and musician and producer Brad Laner. the documentary Ballet 422. Jung and Bartelme have recently started a capsule collection.

REID BARTELME Costume Designer JAMES F. INGALLS Lighting Designer Reid Bartelme is a New York-based dancer and costume designer who specializes in costuming dance. Born in New York, he trained James F. Ingalls designs lighting for dance, theater, opera, and at Pacific Northwest Ballet School and danced with BalletMet, symphony concerts. He is a Department of Dramatic Arts graduate Alberta Ballet, Shen Wei Dance Arts, and the Lar Lubovitch Dance of The University of Connecticut and studied at the Yale School of Company. Bartelme then enrolled at the Fashion Institute of Drama. His designs for SF Ballet include , Onegin, Sylvia, Technology, where he met Harriet Jung (at right). Bartelme and Nutcracker, Helgi Tomasson’s Silver Ladders, the 2008 New Works Jung founded Reid & Harriet Design in 2011. Collaboratively, Festival and the 2018 Unbound festival. Ingalls’ work is seen in the they have worked with choreographers Justin Peck, Pam Tanowitz, repertories of American Ballet Theatre, Boston Ballet, Dutch National Trey McIntyre, and Matthew Neenan, and designed productions for Ballet, Mark Morris Dance Group, The National Ballet of Canada, and New York City Ballet, American Ballet Theatre, Pacific Northwest Pacific Northwest Ballet. Recent designs include Concertiana, Half Life, Ballet, Hubbard Street Dance Chicago, and Miami City Ballet, and The Beauty of Grey for Paul Taylor’s American Modern Dance and among others. The Nutcracker for Miami City Ballet. His work in opera and theater with director Peter Sellars spans 37 years. Ingalls often collaborates with The Wooden Floor dancers in Santa Ana, California.

[ INSTANT EXPERT >> KALEIDOSCOPE COUTURE ] With similar focus on transcendent beauty and the human body, the worlds of fashion and dance have long intersected— most recently when SF Ballet dancers inspired a new line of dancewear/athleisure at Athleta. For Kaleidoscope, three unique costume designers have created distinct looks to illuminate the choreographers’ work.

Barbara Karinska first worked with George Balanchine when they were both recent Russian emigrés in Paris. They then went on to collaborate on 75 ballets. Pre-1950, tutus had a wire hoop that bobbed distractingly when dancers brushed against each other. Karinska solved this by designing the “powder puff” tutu with a shorter skirt and graduated layers of net (and no wire) for Balanchine’s Symphony in C . The charming, bow-laden tutus of Divertimento No. 15 are a variation of this design.

The aptly named Alessandro Sartori and Benjamin Millepied also met in Paris and collaborated on Appassionata (then called La Nuit S’Achève) for Paris Opera Ballet. Sartori, who directs the Italian luxury menswear brand Ermenegildo Zegna, designed two costumes for each dancer. From sleek evening-wear in vibrant red, blue, and violet, dancers change into flowy, unstructured white and black ensembles, illuminating through costuming the progression of a passionate evening.

Design duo Reid Bartelme and Harriet Jung met as students at the Fashion Institute of Technology: he was a former dancer and she’d studied molecular and cell biology in college. They’ve been a team since 2011, creating costumes for major dance companies nationwide. Their iridescent, contemporary costumes for Justin Peck’s Hurry Up, We’re Dreaming reflect the sleek athleticism and expansiveness of Peck’s work.

PROGRAMS 02 / 03 | SFBALLET.ORG | 31

PRODUCTION CREDITS The Fifth Season – Music: String Quartet No. 2 and “Largo” from Palladio, used by arrangement with Boosey & Hawkes, Inc., publisher and copyright holder. Costumes constructed by Birgit Pfeffer, Groveland, California. Handpainting by Connie Strayer, Los Altos, California. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments at the San Francisco Opera Studios. Snowblind – Music: “Dreaming” from Four Sketches Op. 15 by Amy Beach; Violin Sonata in A minor, Op. 34. II . Scherzo by Amy Beach; Young Birches, Op. 128, No. 2 by Amy Beach; 2 Piano Pieces, Op. 62, No. 2 Exaltation by Arthur Foote; Lamentate: Stridendo, Fragile e conciliante by Arvo Pärt, used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner; original compositions by Philip Feeney. Costumes constructed by Parkinson Gill Ltd. London, United Kingdom. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments. Etudes – Music: Knudåge Riisager’s Etudes after themes of Carl Czerny, used by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner. Costumes courtesy of Boston Ballet.

32 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 03 IN SPACE & TIME FEB 14—FEB 24 THE FIFTH SEASON

Composer: Karl Jenkins Choreographer: Helgi Tomasson Scenic and Costume Design: Sandra Woodall Lighting Design: Michael Mazzola

World Premiere: March 28, 2006—San Francisco Ballet, War Memorial Opera House; San Francisco, California

The 2006 world premiere of The Fifth Season was made possible by The Herbert Family and the Phyllis C. Wattis Fund of the San Francisco Ballet Endowment Foundation. These performances of The Fifth Season are made possible by Lead Sponsor Fang and Gary Bridge; Major Sponsor Sue and John Diekman; and Sponsor H.B. and Lucille Horn Foundation.

SNOWBLIND

Composers: Amy Beach, Philip Feeney, Arthur Foote, and Arvo Pärt Music arranged by: Philip Feeney Choreographer: Cathy Marston Scenic and Costume Design: Patrick Kinmonth Lighting Design: James F. Ingalls Assistant to the Choreographer: Jenny Tattersall

Adaptation of Edith Wharton’s Ethan Frome by Cathy Marston and Patrick Kinmonth World Premiere: April 21, 2018—San Francisco Ballet, War Memorial Opera House; San Francisco, California The 2018 world premiere of Snowblind was made possible by Unbound Festival Presenting Sponsor Diane B. Wilsey and Grand Benefactor Sponsor Mr. and Mrs. John S. Osterweis. These performances of Snowblind are made possible by Lead Sponsor Randee Seiger; Major Sponsor Nancy A. Kukacka; and Sponsor SF Ballet Allegro Circle.

ETUDES

Composer: Knudåge Riisager, after Carl Czerny The Fifth Season © Erik // Tomasson Choreographer: Harald Lander Staged by: Johnny Eliasen Artistic Advisor: Lise Lander Lighting Design: Craig J. Miller

World Premiere: January 15, 1948—Royal Danish Ballet, Royal Theater; Copenhagen, Denmark San Francisco Ballet Premiere: February 3, 1998—War Memorial Opera House; San Francisco, California These performances of Etudes are made possible by Sponsor John G. Capo and Orlando Diaz-Azcuy. Yuan and Yuan Tan Tiit Helimets in Tomasson’s

PROGRAMS 02 / 03 | 415 865 2000 | 33 THE FIFTH SEASON PROGRAM NOTES by Cheryl A. Ossola

Give a choreographer music he has never heard and often inspiration as in the four seasons. It said something else to me, opened up other follows. That’s what happened in 2005 when Artistic Director and ideas,” he says. With movements that are musically diverse—from Principal Choreographer Helgi Tomasson discovered the music of baroque-inspired to a percussive tango to an aggressive waltz, and Karl Jenkins. He heard Jenkins’ Palladio and immediately wanted more. beyond—String Quartet No. 2 gave Tomasson varied terrain in which to And when he listened to Jenkins’ String Quartet No. 2, he knew he had explore his ideas. Because he wanted the ballet to have six movements, found the score for the new ballet he would make for the 2006 Repertory he added the largo from Palladio for the adagio pas de deux, expanding Season, The Fifth Season. “I felt it was contemporary to today, and it’s the ballet’s range even more. romantic,” Tomasson says. “Even though it’s in the minimalist genre, there’s a swell of melodic feeling underneath.” In his choreography, Tomasson makes the most of the music’s contrasting tones. The pulse of violins lightens the strong movements Welsh composer Karl Jenkins entered the professional music scene as a of the corps de ballet; the waltz is angular, then undulating, then jazz musician, but his career defies categorization. He has composed for suspended; the dancers alternately attack and melt into the tango’s the advertising industry and a feature film, along with for orchestras and sharp rhythms. And the pas de deux has “lovely, soft, lyrical qualities,” festivals. In 2005 he was named an OBE (Officer of the Most Excellent said Ashley Wheater (then a ballet master and Tomasson’s assistant Order of the British Empire) for his services to British music. His music and now artistic director of Joffrey Ballet) during the ballet’s creation. isn’t often used in ballet—another reason it appealed to Tomasson. “Each section of the ballet is very different, and at first I thought they were extreme in their ideas. But you can really see how they link The Fifth Season takes its title from the first movement of Jenkins’ five- together.” Jenkins is often classified as a minimalist, yet Wheater part String Quartet No. 2; the phrase intrigued Tomasson, who thought described the music for The Fifth Season as having “a lot of soul.” it suggested something beyond the ordinary. “It’s not the fifth season And, he added, “Helgi picked up on that.”

Left to right: San Francisco Ballet in Tomasson's The Fifth Season; Sarah Van Patten and Tiit Helimets in Tomasson's The Fifth Season // Both © Erik Tomasson

34 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 SNOWBLIND PROGRAM NOTES CREATIVE TEAM by Cheryl A. Ossola

KARL JENKINS In her first work for San Francisco Ballet, British choreographer Composer Cathy Marston zeroes in on the heart of Edith Wharton’s 1911 novella Ethan Frome. Her ballet, Snowblind, tells a story of repression, love, Karl Jenkins began his musical career as an oboist in the National Youth desperation, and dependence—the forces underlying Wharton’s tale, Orchestra of Wales. For the bulk of his early career Jenkins was known a love triangle. After watching rehearsals, Artistic Director and Principal as a jazz and jazz-rock musician, playing saxophone, keyboards, and Choreographer Helgi Tomasson commented that Marston, a storyteller oboe. As a composer, his breakthrough came with the crossover project at her core, “was approaching it from the drama, as you would with an Adiemus. Jenkins has conducted the Adiemus project in Japan, Germany, actor, and that is the driving force to make this work come to life.” Spain, Finland, the Netherlands, and Belgium as well as London’s Royal Albert Hall and Battersea Power Station. Jenkins holds a Doctorate in Acting is central to Marston’s method. In Snowblind, she draws us into Music from the University of Wales and has been made both a fellow the lives of Wharton’s three central characters—Ethan, a farmer trapped and an associate of the Royal Academy of Music. by poverty, loneliness, and a dried-up marriage; his somewhat older wife, Zeena, a hypochondriac; and Zeena’s helper, beautiful young Mattie. The snow that dominates the setting, embodied by 11 dancers, HELGI TOMASSON becomes a metaphor for Ethan and Mattie’s passion and torment. Choreographer The two are blinded by love (or infatuation) and winter whiteout and bound together when they sacrifice themselves, in an attempted See page 5. suicide, to the brutal environment.

For SF Ballet, Marston wanted to tell an American story, which is one SANDRA WOODALL reason she chose Ethan Frome. “What I love about it is there’s a lot of Scenic & Costume Designer passion,” she says. “And I liked the elemental feel”—the snow and the wind, which she realized could reinforce the story’s powerful emotions. Sandra Woodall is one of the best–known and most prolific designers Best of all is the ending, with its complexities and room for interpretation. in the Bay Area. Born in Oakland, Woodall studied painting at the San Francisco Art Institute. Woodall and her workshop have designed and executed creations for more than 200 productions for dance companies including San Francisco Ballet, the , the , Norwegian National Ballet, , , , and Frankfurt Ballet, among others. She has worked with San Francisco Opera, San Francisco Symphony, Eureka Theater, American Conservatory Theater, Magic Theater, Kronos Quartet, and Hong Kong Repertory Theatre. Woodall is the recipient of five Isadora Duncan Awards.

MICHAEL MAZZOLA Lighting Designer

Michael Mazzola’s critically acclaimed designs have been seen in venues throughout the U.S. and Europe. Beyond his work as resident lighting designer for , Mazzola has created lighting for Milwaukee Ballet, Nashville Ballet, and Hubbard Street Dance Company. In 2000, Michael was the Production Designer for Stars of the New York City Ballet, an outdoor performance staged in a garden he designed especially for the event in the South of France. Mazzola has designed for Trey McIntyre, Aspen Ballet, and Santa Fe Ballet. Mazzola has twice won New York Dance and Performance “Bessie” Awards.

Mathilde Froustey and Ulrik Birkkjaer in Marston's Snowblind // © Erik Tomasson

PROGRAMS 02 / 03 | SFBALLET.ORG | 35 In developing her ballets, Marston begins with emotions. She uses to do is look under that surface—how do you live with someone? prompts in creating movement for specific characters and situations: Well, you have to forgive a little bit, and you have to take their weight, among them “torn” and “hope” for Ethan, “numb” and “bitter” for Zeena, and you have to trust.” “dreamy” and “hyperventilate” for Mattie, “caress” and “stinging” for the snow. At times she sends the dancers off with her assistant Jenny Tying story and movement together is the music, a compilation of Tattersall to explore how these words feel in the body. This found pieces by Amy Beach and Arthur Foote, arranged and augmented by movement, rooted in emotion, “brings a few non-balletic steps in, composer Philip Feeney. For the ballet’s ending, Marston chose Arvo which I think helps pepper [the choreography],” Marston says. Pärt’s Lamentate—delicate, haunting, and forgiving. Ethan, Zeena, and “It’s like putting flecks of black on a watercolor.” Mattie, moving together, inseparable and acquiescing, literally taking one another’s weight, are “a tangle that traps and supports at the same Abstraction is key for Marston, in both choreography and design. “I’m not time,” Marston says. “That’s what I’m trying to get at, and to make working with the classical vocabulary, so all these details of movement something that is bittersweet, beautiful, and human.” do get rather drowned by a big dress [in a period piece],” she says. “We start at the point where a story is based, and I will keep challenging the designers to reconsider how we can suggest something without spelling CREATIVE TEAM it out. I love ambiguity in the right moment; it can be quite beautiful.” CATHY MARSTON Ambiguity is exactly what she wants—and achieves—in the ballet’s Choreographer ending, a trio that illustrates the characters’ struggles but also their interdependence. “There’s warmth; there’s passion” in the way the Cathy Marston is a choreographer, artistic director, and Clore Cultural story ends, Marston says. The book seems like “a horror story; it must Leadership Fellow. Born in Newcastle, she studied in Cambridge and be living hell for the next 30 years, those two women and Ethan in a at The Royal Ballet School before launching an international career as room together with no way out. And that is one reading. What I’m trying a choreographer. She has created more than 50 works that have been

San Francisco Ballet in Marston's Snowblind // © Erik Tomasson

36 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 the Tallinn Music School and the Tallinn State Conservatoire. His unique style emerged in the 1970s with a piano piece (“Für Alina”), followed by masterpieces, “Tabula Rasa” and “Fratres.” In addition to honorary doctorates from 12 institutions, CDs with Pärt’s music have been awarded two Grammy Awards. Among many international awards, Pärt was given a Lifetime Achievement Award for Culture from the Estonian government.

AMY BEACH Composer

Amy Beach (1867–1944) was an American composer and pianist. Born in New Hampshire, she was a music prodigy as a child but, after marrying, shifted mainly to composition. In 1892, Boston’s Handel and Haydn Society and Boston Symphony performed her Mass in E-flat, Op. 5, the first work by a women to be performed by those orchestras. She later became the youngest member of the Boston Six (with Arthur Foote, below). After she was widowed in 1910, Beach performed her own music across Europe to great acclaim. In 1925, she established the Society of San Francisco Ballet in Marston's Snowblind // © Erik Tomasson American Women Composers and was appointed its first president. performed in 10 countries. As an associate artist at The Royal Opera House from 2002 to 2006, Marston created a critically acclaimed interpretation of Henrik Ibsen’s Ghosts and a dance-opera, Echo and ARTHUR FOOTE Narcissus, among other works. As director of Bern Ballett from 2007 Composer to 2013, she developed a hybrid signature style, visible in her history- inspired Witch-hunt and her literature-based Ein Winternachtstraum, Arthur Foote (1853–1937) was a classical composer and a member of the Juliet and Romeo, and Wuthering Heights. She brought new perspectives Boston Six, a group of composers who collaborated in the late 19th and to old narratives in Three Sisters and Hamlet (for Ballett im Revier), Jane early 20th centuries. Born in Salem, Massachusetts, Foote studied at the Eyre and A Tale of Two Cities (for ), Lolita (for Copenhagen New England Conservatory of Music and Harvard, where he earned the Summer Ballet), Blood Wedding (for The Finnish National Ballet), and first Master of Arts degree in music awarded by an American university. Dangerous Liaisons (for Royal Danish Ballet). Snowblind is her first A dedicated music teacher, he was also organist and choirmaster of work for SF Ballet. the First Unitarian Church in Boston for 32 years. He received honorary doctorates from Trinity College and Dartmouth College and was elected to the National Institute of Arts and Letters. PHILIP FEENEY Composer & Music Arranger PATRICK KINMONTH British composer Philip Feeney, best known for his compositions in Scenic & Costume Designer dance, has worked with a wide range of companies including , the White Oak Project, Cedar Lake Contemporary Patrick Kinmonth is an artistic polymath. He has worked diversely as Ballet, Milwaukee Ballet, and most especially Northern Ballet, with an opera director, painter, stage and costume designer, and as a film whom he has created an impressive back catalogue of narrative ballets, director, writer, architectural designer, editor, and exhibition curator. in particular Dracula (1996). Feeney has been a frequent collaborator Kinmonth studied literature at Oxford before becoming art editor of with choreographer Cathy Marston, most notably on Swan Maidens British Vogue. His contact with ballet began In 1993, when his paintings for Ballett des Theater Koblenz as well as Northern Ballet’s critically were adapted for David Bintley’s Tombeaux at Covent Garden. He has acclaimed 2016 production of Jane Eyre. He is currently composer since designed or directed more than 45 opera and ballet productions in residence for Ballet Central. all over the world, collaborating extensively with choreographers Fernando Melo, Pontus Lidberg, and Cathy Marston on the form, structure, light, and libretti of the works he designs. ARVO PÄRT Composer JAMES F. INGALLS Arvo Pärt is a celebrated composer recognized worldwide for his Lighting Designer tintinnabuli (Latin for “little bells”), a compositional style influenced by early European music. Born in 1935 in Paide, Estonia, Pärt studied at See page 31.

PROGRAMS 02 / 03 | 415 865 2000 | 37

ETUDES PROGRAM NOTES by Caitlin Sims

Etudes, French for “studies,” takes dancers’ prosaic daily ritual— Lander continued to update Etudes after the premiere, revising it for ballet class—and elevates and transforms it for the stage. Designed performances in Denmark in 1951, and again in 1952 for Paris Opera to gradually warm up muscles and get the body aligned for the day, Ballet, when he was directing that company. He added increasingly most ballet classes follow a standard order of exercises that start small challenging steps as well as expanded roles for three lead dancers. and gradually get bigger and more complex. These same movements, Landers revised the ballet a final time for a Danish television recording even the smallest pliés and tendus, are the building blocks from which in 1969. Dancing in the corps de ballet for that recording was Johnny classical ballets are constructed. Etudes illuminates these classroom Eliasen, who came to SF Ballet to stage the work last fall. exercises, then illustrates how these simple steps can become art. The opening moment of Etudes features a single dancer, who stretches Etudes was choreographed in 1948 by Harald Lander, a Danish-born her foot into a few tendus, then bends her knees into a deep plié. In dancer and artistic director of the Royal Danish Ballet. The initial pointe shoes, balancing is more difficult than it looks. “It’s luck,” says inspiration came from composer Knudåge Riisager. On an autumn Eliasen with a laugh, “like buying a lottery ticket, if you’ll make it or not.” afternoon in Copenhagen, as he watched a swirl of fall leaves, Riisager heard through a window someone practicing a Carl Czerny The curtain rises on dancers doing traditional exercises at the barre, piano exercise. He decided to orchestrate the music for a ballet, with a twist. Only the lower half of the dancers are illuminated, the rest brought the score to Lander, and the concept for Etudes was born. of the stage is black. The effect is a kaleidoscopic vision of two dozen disembodied limbs moving crisply through ballet steps. The “black Etudes was a departure for the Royal Danish Ballet, which at the time barre” exercises may be simple, but the exacting coordination required of the premiere, performed mostly narrative works. By 1948 George to synchronize them is anything but. “It’s a beautiful nightmare,” says Balanchine had introduced American audiences to abstract ballet, but it Eliasen. “It has to be so precise. There’s only one way [to learn it]— wasn’t yet as common in Denmark. As artistic director, Lander revitalized just repeat and repeat.” the Royal Danish Ballet. He both created new work and restored its heritage—the work of August Bournonville, its longtime director during The ballet progresses to more and more expansive steps as the the mid-1800s. Bournonville established the company’s characteristic dancers leave the barre. It then shifts gears with an homage to the style of seemingly effortless jumps, quick footwork, and simple rounded sylphs (mythological air spirits) of 19th-century Romantic ballet. arms. Although Etudes is a more abstract work, Bournonville’s style The Bournonville ballet La Sylphide is central to the Royal Danish infuses parts of Lander’s ballet like a soft perfume. Ballet’s heritage, and this section of Etudes draws from the same well. “How we use our arm, how we use our hands—it can be difficult for companies that haven’t done Bournonville [ballets],” says Eliasen. While he tries to help dancers become fluent in the Danish style (particularly by taking time to teach that same daily ritual of company class), Eliasen also appreciates a regional accent. “It’s important they know the steps and the musicality and hopefully the right arms,” he says. “But each company should have its own identity.”

To perform Etudes requires a deep bench; in addition to three leading roles, there’s a 36-member corps de ballet that’s essential to the ballet’s success. “It’s like a watch,” says Eliasen. “There are three hands. But the hands only work if what’s behind them works.”

Lander packed an enormous amount of dancing into the 40 minutes of Etudes, much of it for the corps de ballet. Part of what has made the ballet such an enduring audience favorite is the irresistible thrill of seeing so many dancers moving at full velocity completely in sync. Etudes culminates with one of the most thrilling displays of turns and jumps in ballet. “It’s brilliantly constructed,” says Eliasen. “The buildup of music at the end is so exciting. People everywhere love it.”

Sasha De Sola and Carlo Di Lanno rehearsing Lander's Etudes // © Erik Tomasson

38 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 [ INSTANT EXPERT >> ARRANGING MUSIC FOR BALLET ] Which came first: the ballet or the score? Like the chicken and the egg, this question may be more complicated than it seems. For some ballet choreographers, the answer is the score: their process begins with the music and they choreograph to the music as it is written. But for others, the answer is the ballet—or, at least, an idea of a ballet. In this case, the music, either preexisting or created for dance, must be adapted and changed to suit the choreographer’s idea. In Space and Time features three scores that have been expressly arranged for dance, but each in a different way. For The Fifth Season, SF Ballet Artistic Director Helgi Tomasson wanted to use Karl Jenkins’ String Quartet No. 2. However, he knew he wanted six sections in his ballet, and it only had five. So Tomasson added in a section from another piece Jenkins wrote. In Snowblind, choreographer Cathy Marston wanted to create a soundscape that matched the story she had to tell about New England in the early 1900s. She worked with composer Philip Feeney to select music by Amy Beach and Arthur Foote—composers working in Boston during the period—as well as Arvo Pärt. Feeney arranged those scores together, and added in some music of his own. Finally, for Etudes, the inspiration actually came from the arranger: Knudåge Riisager, a Danish composer, had the idea to orchestrate a series of Carl Czerny piano etudes for full orchestra and choreographer Harald Lander ran with the idea, creating this iconic ballet.

CREATIVE TEAM

KNUDÅGE RIISAGER JOHNNY ELIASEN Composer Stager

Knudåge Riisager (1897–1974) was a Danish composer and writer. Johnny Eliasen, a former dancer with the Royal Danish Ballet, is an Born in Estonia to Danish parents, Riisager studied music and political internationally known teacher and stager. Born in Copenhagen, he at Copenhagen University. He worked as a civil servant for many trained at the Royal Danish Ballet School and joined the Royal Danish years, including as Head of the Ministry of Finance. Riisager studied Ballet in 1966. He was promoted to principal dancer in 1972 and danced composition with Albert Roussel and Paul le Flem in Paris. His first work a wide-ranging repertory that included the Bournonville classics as well for the Royal Danish Ballet was for Elena Jorgen Jensen’s Benzin in 1930. as more modern works. He has worked as a ballet master and teacher He composed several ballets before his 1948 Etudes, his most widely at Deutsche Oper Berlin, English National Ballet, and Royal Danish Ballet, known work. Later ballets included Moon Reindeer in 1957 and The which he directed from 1995–97. He currently teaches and stages ballets Lady from the Sea in 1960. Riisager became director of the Royal Danish for companies around the world. Academy of Music in 1956, and he spent 25 years as the chairman of the Association of Danish Composers. He was a commander of the first degree in the Dannebrogordenen, a Danish order of chivalry. CRAIG MILLER Lighting Designer

HARALD LANDER Craig Miller (1950–94) was a Tony Award–nominated lighting Choreographer designer for dance, opera, and theater. A protégé of lighting designer Thomas R. Skelton, Miller was resident lighting designer for Laura Dean, Danish dancer and choreographer Harald Lander (1905–71) was artistic Elisa Monte, and Lar Lubovitch’s dance companies as well as Santa Fe director of the Royal Danish Ballet for more than 20 years and is credited Opera. He also designed lighting for Alvin Ailey American Dance Theater, with both revitalizing the company by cultivating a diverse repertory The Joffrey Ballet, Stuttgart Ballet, and Royal Danish Ballet. Miller was and preserving the work of its previous director, August Bournonville. nominated for a Tony Award in 1980 for his lighting for Barnum. He was Lander trained at the Royal Danish Ballet School and with Michel also nominated for Maharam Awards (now known as Hewes Design Fokine in New York. He joined the Royal Danish Ballet in 1923 and was Awards) for Gardinia and Company. appointed artistic director in 1931. Lander choreographed created more than 30 ballets during his career, including his most enduring work— Etudes—and preserved and restored many Bournonville and Fokine ballets. From 1953 to 1963, Lander was ballet master for the Paris Opéra.

PROGRAMS 02 / 03 | SFBALLET.ORG | 39 SAN FRANCISCO BALLET ORCHESTRA

For more than 40 years, the Grammy Award–winning San Francisco Ballet Orchestra has made the music that propels our movement. With a core group of 49 regular members that expands to 65 players for certain productions, the Orchestra’s repertory extends from classics such as Tchaikovsky’s Swan Lake and Nutcracker to the more abstract and contemporary of ballet and symphonic works. Our musicians are as brilliant as individual artists as the orchestra is as an ensemble. Please visit sfballet.org/orchestra for photos of each SF Ballet Orchestra musicians.

MUSIC DIRECTOR & PRINCIPAL CONDUCTOR Martin West

GUEST CONDUCTOR Ming Luke

VIOLIN I FLUTE TROMBONE Cordula Merks, Concertmaster Barbara Chaffe, Principal Jeffrey Budin, Principal Heeguen Song, Associate Concertmaster Stephanie McNab* Gabe Cruz** Beni Shinohara, Assistant Concertmaster Julie McKenzie Heidi Wilcox BASS TROMBONE Robin Hansen PICCOLO Scott Thornton, Principal Brian Lee Julie McKenzie Mariya Borozina TUBA Wenyi Shih** OBOE Peter Wahrhaftig, Principal Maya Cohon* Laura Griffiths, Principal Jermey Preston* Marilyn Coyne TIMPANI James Moore* James Gott, Principal VIOLIN II Ani Bukujian, Principal ENGLISH HORN PERCUSSION FP 4 Craig Reiss, Associate Principal Marilyn Coyne David Rosenthal, Principal Jeanelle Meyer, Assistant Principal Todd Manley* Marianne Wagner CLARINET Tyler Mack* BARBARA FRACCHIA Rebecca Jackson** Natalie Parker, Principal Mark Veregge* Karen Shinozaki Sor** Matthew Boyles* Tracy Davis* Laura Keller* Steve Sanchez** Jennifer Cho* HARP BASS CLARINET Annabelle Taubl, Principal VIOLA Steve Sanchez** Yi Zhou, Principal PIANO/CELESTE Anna Kruger, Associate Principal BASSOON Mungunchimeg Buriad* Joy Fellows, Assistant Principal Rufus Olivier, Principal Caroline Lee Shawn Jones* ORCHESTRA PERSONNEL MANAGER Paul Ehrlich Patrick Johnson-Whitty & MUSIC ADMINISTRATOR Elizabeth Prior* Tracy Davis CONTRABASSOON CELLO Patrick Johnson-Whitty MUSIC LIBRARIAN Eric Sung, Principal Matthew Naughtin Jonah Kim, Associate Principal HORN Victor Fierro, Assistant Principal Kevin Rivard, Principal Thalia Moore Keith Green Ruth Lane** Brian McCarty, Associate Principal Eric Gaenslen* William Klingelhoffer

CONTRABASS TRUMPET Steve D’Amico, Principal Adam Luftman, Principal Shinji Eshima, Associate Principal Joseph Brown Jonathan Lancelle, Assistant Principal John Pearson* **Seasonal Substitute Mark Drury *Extra Player

40 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 Fine Art Oil Paintings of Ballet and Opera by BARBARA FRACCHIA

Outer entrance of the San Francisco Opera House, 36 × 18, oil on canvas [email protected] • 510-525-7057 • www.barbarafracchia.com

BF 013119 house fp.indd 1 1/31/19 11:36 AM SAN FRANCISCO BALLET STAFF

HELGI TOMASSON ADMINISTRATION MARKETING & COMMUNICATIONS ARTISTIC DIRECTOR DARIN CONLEY-BUCHSIEB, JULIE BEGLEY, Chief Marketing Officer & PRINCIPAL CHOREOGRAPHER Human Resources Director You You Xia, Director of Communications GLENN MCCOY Jennifer French Kovacevich, Mary Goto, Associate Director, EXECUTIVE DIRECTOR Interim Board Relations Manager Analytics & Relationship Marketing Kayla Harris, Human Resources Generalist Valerie Megas, Senior Manager, Katharine Chambers, Assistant to Retail Operations ARTISTIC Senior Executive Staff Monica Cheng, Senior Manager, Ricardo Bustamante, Felipe Diaz, Graphic Design Ballet Masters & Assistants Caitlin Sims, Senior Manager, to the Artistic Director DEVELOPMENT Content & Editorial Betsy Erickson, Anita Paciotti, Katita Waldo, DANIELLE ST.GERMAIN-GORDON, Matthew Donnelly, Video Production Manager Ballet Masters Chief Development Officer Jane Ann Chien, Web & Digital Yuri Possokhov, Choreographer in Residence Elizabeth Lani, Deputy Director Platforms Manager Amelia Bear, Artistic Administrator of Development/Planned Giving Jillian Vasquez, Marketing Alan Takata-Villareal, Logistics Manager & Promotions Manager Mateo Santos Perry, Assistant to the Operations & Membership Abby Masters, Marketing Operations Manager Artistic Staff Laurel Skehen, Senior Manager, Kate McKinney, PR & Communications Membership & Operations Manager Hannah Young, Donor Communications Nannette Mickle, Group Sales Representative OPERATIONS Manager Emily Munoz, Relationship Marketing DEBRA BERNARD, General Manager Ashley Rits, Development Operations Manager Coordinator Juliette LeBlanc, Company Manager Juanita Lam, Development Coordinator Rachel Bauer, Media Asset Administrator Amy Hand, Operations Manager Megan Ohls, Development Operations Francis Zhou, Graphic Designer Assistant

Jim Sohm, Research Manager PRODUCTION TICKET SERVICES CHRISTOPHER DENNIS, Production Director Institutional Giving BETSY LINDSEY, Director of Ticket Daniel Thomas, Technical Manager Elizabeth Luu, Associate Director & Patron Services Kate Share, Manager of Wardrobe, Wig, of Development, Institutional Giving Jennifer Peterian, Senior Manager, Make-up & Costume Construction Colette Whitney, Corporate Giving Manager Ticket & Patron Services Jim French, Lighting Supervisor Megan Anderson, Institutional Giving Mark Holleman, Sales & Service Manager Jane Green, Production Stage Manager Associate Elena Ratto, Patron Services Specialist Kathryn Orr, Stage Manager Stella Ji, Institutional Giving Intern Megan Quintal, Ticket Services Nixon Bracisco, Master Carpenter Database Specialist Kelly Corter Kelly, Master Electrician Special Events Arielle Hazan, Jericho Lindsey, Kenneth M. Ryan, Master of Properties Ingrid Roman, Associate Director Patricia Pearson, Michelle Schafer, Cherryl Usi, Ticket Services Associates Kevin Kirby, Audio Engineer of Development, Events

John O'Donnell, Flyman Emma Lundberg, Special Events Coordinator Patti Fitzpatrick, Head of Women’s Wardrobe Meg Sullivan, Special Events Coordinator FINANCE Paige Howie, Head of Men's Wardrobe Niki Naftzger, Events Associate & Auxiliary Liaison KEVIN MOHR, Chief Financial Officer Head of Hair & Make-up Richard Battle, Kristin Klingvall, Controller Assistant Head Thomas Richards-Keyes, Valerie Ruban, Accounting Supervisor of Hair & Make-up Individual Giving Payroll Manager Sarah Warner, Associate Director Evangelina Maravilla, of Development, Individual Giving Matthew Czarnecki, Senior Accountant Jonathan Creecy, Leanna Wright, MUSIC Brent Radeke, Major Gifts Officer Staff Accountants MARTIN WEST, Music Director Ari Lipsky, Senior Manager, Individual Giving

& Principal Conductor Tilly Chiles, Individual Giving Officer

Mungunchimeg Buriad, Natal'ya Feygina, Haley O’Neil, Donor Relations Manager Nina Pinzarrone, Company Pianists Tracy Davis, Orchestra Personnel Manager & Music Administrator Matthew Naughtin, Music Librarian

42 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 FACILITIES Jaime Diaz, Ballet & Boys Strengthening Pamela Clark, Education Assistant NATHAN BRITO, Facilities Manager Karen Gabay Julie Kibui, School Assistant Scott Christenson, Facilities Supervisor Jordan Hammond-Tilton Cecelia Beam, Audience Engagement Adrian Rodriguez, Facilities Coordinator Tina LeBlanc Coordinator Naima McQueen, Residence Manager Todd Martin, Stanley Wong, Jeffrey Lyons Facilities Assistants Ilona McHugh Matt McCourt, Kayla Murkison, Resident Assistants Neil Miller, Weekend Facilities Assistant Pascal Molat, Ballet & Trainee Leslie Donohue, Chris Fitzsimons, Tamara de la Cruz, Nicole Drysdale, Program Assistant School Physical Therapists Yana Vincent, Receptionists Anne-Sophie Rodriguez Henry Berg, Conditioning Dance in Schools & Communities Brian Fisher, Dexandro Montalvo, Teaching Artists INFORMATION TECHNOLOGY Contemporary Dance Alisa Clayton MURRAY BOGNOVITZ, Director of Dana Genshaft, Ballet, Contemporary Information Technology Repertoire & Conditioning Sammay Dizon Stacy Desimini, IT Operations Jamie Narushchen, Daniel Sullivan, Cynthia Pepper & Project Manager Music Phoenicia Pettyjohn Karen Irvin, Application Administrator Jennie Scholick, PhD., Dance History Jessica Recinos & Help Desk Coordinator Cecelia Beam, Adult Ballet & Dance for Joti Singh Josh Marshall, Web Administrator Individuals with Parkinson’s Disease Genoa Sperske Jiapeng Jiang, IT Specialist Lisa Giannone, Maura Whelehan Conditioning Class Consultant Sofiane Sylve, Principal Guest Faculty Dance in Schools & Communities FRONT OF HOUSE Julio Bocca, Monique Loudieres, Accompanists JAMYE DIVILA, House Manager 2018–19 Guest Faculty David Frazier Marialice Dockus, Head Usher Omar Ledezma Rodney Anderson, Danica Burt, School Pianists Zeke Nealy Frank Chow, Laurent De La Cruz, Jamie Narushchen, School Pianist Supervisor, Wade Peterson Martin Dias, Jonathan S. Drogin, Lee R. Crews Endowed Pianist Bongo Sidibe Chip Heath, Elaine Kawasaki, Ella Belilovskaya, Julia Ganina, Eileen Keremitsis, Ryszard Koprowski, Ritsuko Micky Kubo, Daniel Sullivan, Bill Laschuk, Sharon Lee, Katelyn Tan, Sky Tan, Galina Umanskaya, Marilyn Leong, Lenore Long, COMPANY PHYSICIANS Linli Wang, Billy Wolfe, School Pianists Doug Luyendyk, Leontyne Mbele-Mbong, Richard Gibbs, M.D. & Rowan Paul, M.D., Sam Mesinger, Dale Nedelco, Wayne Noel, Supervising Physicians Beth Norris, Jan Padover, Julie Peck, Education & Training Administration Michael Leslie, PT, Robbie Remple, Bill Repp, Rilla Reynolds, ANDREA YANNONE, Director of Education Director, Dancer Wellness Center Robyn Sandberg, Kelly Ann Smith, & Training Kristin Wingfield, M.D., Melissa Stern, Theresa Sun, Jennie Scholick, PhD., Associate Director Primary Care Sports Medicine Claire Tremblay, Richard Wagner, of Audience Engagement Frederic Bost, M.D., On-site Orthopedist Steve Weiss, Elaine Yee, Ushers Christina Gray Rutter, Associate Director Peter Callander, M.D., Keith Donatto, M.D., of School Administration Jon Dickinson, M.D., Orthopedic Advisors Jasmine Yep Huynh, Associate Director to the Company EDUCATION & TRAINING of Youth and Community Programs Karl Schmetz, Consulting Physical Therapist San Francisco Ballet School Tai Vogel, School Registrar and Active Care, Lisa Giannone, HELGI TOMASSON, Artistic Director Summer Session Coordinator Director, Off-site Physical Therapy PATRICK ARMAND, Director Karen Maloney, School Programs Coordinator & Conditioning Classes

Aurelia Moulin, School Logistics Coordinator Leonard Stein, D.C., Chiropractic Care School Faculty Amanda Alef, Education Coordinator Henry Berg, Rehabilitation Class Instructor Patrick Armand Miles Petty, Administrative Assistant, Gabrielle Shuman, Wellness Program Manager Kristi DeCaminada Education & Training

The artists employed by San Francisco Ballet are members of the American Guild of Musical Artists, AFL-CIO, the Union of professional dancers, singers, and staging personnel in the United States. The San Francisco Ballet Association is a member of Dance/USA; American Arts Alliance; the Greater San Francisco Chamber of Commerce; and the San Francisco Convention and Visitors Bureau. Legal Services provided by Adler & Colvin; Fallon Bixby Cheng & Lee; Fettmann Ginsburg, PC; Blue Skies Immigration Services; Epstein Becker & Green, PC; Littler Mendelson, PC; Miller Law Group; and Pillsbury Winthrop Shaw Pittman LLP. Audit services provided by Grant Thornton LLP. Insurance brokerage services provided by DeWitt Stern Group.

The Centers for Sports and Dance Medicine at Saint Francis Memorial Hospital are the official health care providers for San Francisco Ballet School. Special thanks to Dr. Susan Lewis, Dr. Jane Denton, Dr. Rémy Aridizzone, Christine Corpus, and the Physical Therapy Department for generously providing their services. DONOR EVENTS & NEWS

Did you know that ticket sales and school tuition cover only 50 percent of our expenses each year? That makes our donors equal partners in our success. We invite donors to take a look behind-the-scenes at dress rehearsals, learn more about the art form at lectures and other special events, and celebrate at cast parties and other special events with artists of SF Ballet. Join us, won’t you? Just visit sfballet.org/donate or call Laurel Skehen, Senior Manager, Membership and Operations at 415 865 6628 to make your gift and receive exclusive benefits designed to enhance your SF Ballet experience. We’ve designed a wonderful variety of events for our supporters during our 2019 Repertory Season. Listed below are events for members of the Artistic Directors Council, Chairman’s Council, Christensen Society, The Jocelyn Vollmar Legacy Circle, and Friends of SF Ballet. Christensen Society members and above will receive invitations to events that correspond with their performance dates. These events are marked with an asterisk (*). To receive an invitation for events on dates which you do not currently have tickets, please consider exchanging or purchasing tickets for those dates. For more information, please visit our website at sfballet.org/donor-events, or contact Ari Lipsky, Senior Manager, Individual Giving, at [email protected] or 415 865 6635.

FEBRUARY MARCH (continued) APRIL (continued) Legacy Studio Rehearsal (VLC) Open Dress Rehearsal and Reception, Open Dress Rehearsal, Wednesday, February 6 at 5:30 pm The Sleeping Beauty (PAT+) The Little Mermaid (SUP+) Chris Hellman Center for Dance Saturday, March 9 at 1 pm Friday, April 19 at 1 pm War Memorial Opera House War Memorial Opera House Pre-Curtain Dinner*, Kaleidoscope (CHO+)

Tuesday, February 12 at 5 pm Worklight Rehearsal & Reception (ASO+) The Green Room, Veterans Building Tuesday, March 26 at 6:15 pm MAY War Memorial Opera House CS Studio Rehearsal (DAN+) CS Cast Party*, Kaleidoscope (ASO+) Wednesday, May 1 at 5:30 pm Tuesday, February 12 at 10 pm Cast Party*, Lyric Voices (CHM+) Chris Hellman Center for Dance The Green Room, Veterans Building Wednesday, March 27 at 10 pm Hayes Street Grill Open Dress Rehearsal, Legacy Luncheon & Dress Rehearsal (VLC) Shostakovich Trilogy (CON+) Thursday, February 14 at 12 pm Pre-Curtain Dinner*, Tuesday, May 7 at 1 pm War Memorial Opera House Space Between (CHO+) War Memorial Opera House Friday, March 29 at 5:30 pm Pre-Curtain Dinner*, In Space & Time (CHO+) Pre-Curtain Dinner*, Thursday, February 14 at 5 pm The Green Room, Veterans Building Shostakovich Trilogy (CHO+) The Green Room, Veterans Building CS Cast Party*, Space Between (ASO+) Tuesday, May 7 at 5 pm Friday, March 29 at 10:30 pm CS Studio Rehearsal (DAN+) Location TBD Thursday, February 28 at 5:30 pm The Green Room, Veterans Building CS Cast Party*, Chris Hellman Center for Dance Shostakovich Trilogy (ASO+) APRIL Tuesday, May 7 at 10 pm Company Class Observation MARCH Location TBD Legacy Studio Rehearsal (VLC) and Reception (SUP+) Saturday, March 2 at 3:30 pm Saturday, April 6 at 10 am CS Warehouse Event (ASO+) Chris Hellman Center for Dance War Memorial Opera House Details to follow

Trainee Performance (DAN+/VLC) Orchestra Rehearsal (PAT+/VLC) Ballet History Lecture (CON+) Monday, March 4 at 6 pm Wednesday, April 17 at 11:30 am Details to follow Chris Hellman Center for Dance Zellerbach Rehearsal Hall

MEMBERSHIP LEVEL KEY ADC | ARTISTIC DIRECTOR’S COUNCIL ($100,000+) FRIENDS OF SF BALLET CHM | CHAIRMAN’S COUNCIL ($15,000–$99,999) PAT | PATRON ($1,000–$2,499) SUP | SUPPORTER ($500–$999) CHRISTENSEN SOCIETY CON | CONTRIBUTOR ($200–$499) CHO | CHOREOGRAPHER’S COUNCIL ($7,500–$14,999) DAN | DANCER’S COUNCIL ($5,000–$7,499) VLC | JOCELYN VOLLMAR LEGACY CIRCLE ASO | ASSOCIATE’S COUNCIL ($2,500–$4,999)

44 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 OPENING NIGHT GALA 2019: THIS IS PASSION San Francisco Ballet’s 2019 Season Opening Night Gala celebrated the opening of the 86th Season on January 23 with the theme This is Passion. San Francisco City Hall was decked out in bold and contemporary décor by J. Riccardo Benavides Event Styling. Led by SF Ballet Auxiliary Gala Chair Claire Stewart Kostic and Trustee Kelsey and David Lamond as Honorary Chairs, the event hosted more than 900 people for an elegant dinner prior to the Gala performance, including members of SF Ballet’s Allegro Circle. ENCORE! Gala Chair Jamie Lee Taylor hosted the annual ENCORE! reception at City Hall as well. Following a special one-night-only performance, the festivities continued at City Hall for more than 2,400 guests at a rollicking After Party. This year’s gala performance and events sold out and grossed nearly $3 million to support SF Ballet’s artistic, dancer training, and education programs. SF Ballet gratefully acknowledges the sponsors of this event: Presenting Sponsor Osterweis Capital Management, Performance Sponsor Laura Clifford, in memory of Erna Clifford, Benefactor Dinner Sponsor KPMG, Patron Dinner Sponsor JPMorgan Chase & Co., Grand Benefactor Reception Sponsor Shreve & Co., Sparkling Stroll Sponsor Brooks Brothers, Apértif Sponsor Lillet, and Beer Sponsor Fort Point Beer Company.

SAN FRANCISCO BALLET WELCOMES NEW GREAT BENEFACTORS San Francisco Ballet has grown into one of the world’s leading ballet companies and schools through the steadfast support of patrons in the Bay Area and beyond. Great Benefactors are donors whose cumulative giving to SF Ballet is $1 million or more. This year we are pleased to acknowledge Ann and Robert S. Fisher and Joyce Stupski.

ANN AND ROBERT S. FISHER In 2014, San Francisco Ballet lost a good friend, dedicated patron and former trustee, Ann Fisher. Ann and her husband Robert S. Fisher supported and served the ballet with a combined 25 years of service on the Board and as founding members of the Christensen Society. Bob served on the Board of Trustees from 1986 to 1999, while Ann served on the Board from 1999 to 2011. A student of ballet and modern dance, Ann’s lifelong love for ballet inspired her to become involved with SF Ballet. She joined the Ballet Auxiliary in 1982 and chaired the 1983 Fashion Show. In 2008, Ann co-chaired the Ballet’s 75th Anniversary New Works Festival Opening Night Dinner. Bob was introduced to SF Ballet at a performance in the 1970s and was immediately taken with both the art form and the Company. The Fishers’ dedication to the Ballet extended beyond their commitment to the Board and Auxiliary through their sponsorship of ballets. JOYCE STUPSKI For more than two decades, Joyce Stupski has supported San Francisco Ballet, sponsoring numerous productions and initiatives. In 2011, she was a Major Sponsor for the New Productions Fund, which provided funding for new productions of Coppélia, Onegin, Don Quixote, Cinderella, and Shostakovich Trilogy. Beyond the ballet, she is the co-founder and board chairman of the Stupski Foundation. The Foundation is investing all of its assets in the next 10 years to address the Bay Area’s and Hawai‘i’s biggest challenges in post-secondary education, hunger, early brain development, and serious illness care. After decades of giving back to the communities she and her late husband, Lawrence Stupski, called home, Joyce established this spenddown foundation in 2015 to continue their commitment and honor his memory. The Stupski Foundation is dedicated to testing new ideas, identifying what works, and promoting lasting solutions.

Above, top to bottom: SF Ballet Gala 2019 at City Hall // © Susana Bates for Drew Altizer Photography; Ann and Bob Fisher attend the San Francisco Ballet opening night gala performance // © Drew Altizer Photography; Joyce Stupski // © courtesy Joyce Stupski DONOR EVENTS & NEWS CONTINUED

ANNOUNCING THE HERBERT FAMILY PRINCIPAL DANCER San Francisco Ballet is pleased to recognize Frances Chung as the new Herbert Family Principal Dancer. Dancers are selected for honorary titles by Artistic Director and Principal Choreographer Helgi Tomasson based on their distinguished artistry and contributions to SF Ballet. Chung, born in Vancouver, Canada, joined San Francisco Ballet in 2001 as a member of the corps de ballet. She was promoted to soloist in 2005 and became a principal dancer in 2009. James and Cecilia Herbert are longtime supporters of SF Ballet. James has served on the Board of Trustees since 1998. He was Board Chair from 2002–05, co-chair from 2005–08, and is currently vice chair. In 2008, the Herberts were named Great Benefactors. Similar to endowing a faculty position at a college or university, an endowed position at SF Ballet is a way for donors to leave a lasting legacy. Through the generosity of one donor, a gift endowing the position of a principal dancer not only provides a consistent source of annual funding for essential functions of SF Ballet’s operations but also ensures support to help fulfill SF Ballet’s mission now and in the future. For more information regarding endowment, please contact Elizabeth Lani, Deputy Director of Development/Planned Giving, at 415 865 6623 or [email protected].

WSO2 HELPS FUND SF BALLET SCHOOL SCHOLARSHIPS San Francisco Ballet is pleased to welcome WSO2 Inc. as a new sponsor of the SF Ballet School scholarship program. SF Ballet School provides more than $1 million annually in need- and merit-based grants to students for tuition and housing support. SF Ballet School was thrilled to be a part of WSO2’s Ballerinacon Conference last summer. SF Ballet School Trainees performed at the conference and School Director Patrick Armand spoke about the training process and how it relates to technology and coding. WSO2 Inc. is an open-source enterprise platform that allows developers to integrate applications, data, or systems locally and across the Internet. WSO2 recently built Ballerina, a cloud native programming language that, like a beautifully performed piece of ballet, seamlessly coordinates complicated parallel interactions while maintaining reliability, scalability, observability, and security.

RECOGNIZING SF BALLET’S VOLUNTEERS San Francisco Ballet benefits tremendously from the extraordinary work and dedication of our volunteer groups: the San Francisco Ballet Auxiliary; the Allegro Circle; ENCORE!; and BRAVO, the Ballet Resource and Volunteer Organization. These groups are vital to the well-being of SF Ballet and to show our deep appreciation for their efforts, we recognize each group as a sponsor for a production during the Repertory Season. San Francisco Ballet Auxiliary is sponsoring Helgi Tomasson’s production of The Sleeping Beauty. The SF Ballet Auxiliary is a fundraising group of dedicated women who lend their time and talent to build support for SF Ballet. Auxiliary events raise more than $2 million for SF Ballet annually. San Francisco Ballet Allegro Circle is the proud sponsor of Cathy Marston's Snowblind. The Allegro Circle is composed of donors who contribute their professional expertise and networks as well as personal funds to support the on-going excellence of SF Ballet. ENCORE! helps to develop new audiences for ballet. Members contribute through performance attendance, volunteer involvement, and financial support. SF Ballet is pleased to recognize them as a sponsor for George Balanchine’s Divertimento No. 15. BRAVO members contribute more than 14,000 hours of volunteer assistance every year, and the organization has become a national model for dance volunteer groups. This year they are pleased to be the acknowledged sponsors of Justin Peck’s Rodeo: Four Dance Episodes.

Above: Jim and Cecilia Herbert with Herbert Family Principal Dancer Frances Chung // © Chris Hardy

46 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 2019 OPENING NIGHT GALA: THIS IS PASSION The San Francisco Ballet Board of Trustees, Artistic Director & Principal Choreographer Helgi Tomasson, and the San Francisco Ballet Auxiliary thank the following donors for their generous support of the San Francisco Ballet 2019 Opening Night Gala. List as of December 21, 2018.

GRAND BENEFACTORS Anonymous Deepa Pakianathan and Philip Pemberton Ms. Euisook Park Thomas A. Larsen Andrew and Linda Rosenberg Ach John and Amy Palmer Mr. Jeremy Rishel and Angela Liang AT&T Paul and Laura Paradis Dr. Heather Irina Rishel Patricia Ferrin Loucks Mr. and Mrs. Bartley Baer Yurie and Carl Pascarella* Patricia and Fred Roberts Patrice and Walther Lovato* Richard C. Barker* Hon. Nancy and Mr. Paul Pelosi Ms. Patricia Rock and Mr. John Fetzer Mr. and Mrs. Lawrence J. Ludgus Deborah Barrera Nancy Pfund Maj. Charles Roell and Mrs. Kara Roell* Susie and Grant Lundberg Barry's Bootcamp Tanya Marietta Powell Bel Russell Susan Marsch* Jarrod Baumann Walter C. Price Jr. and Virginia Leung Price Corinna Seibt Gregg Mattner Mr. Darren Bechtel and Ms. Samantha DuVall Linnea and George Roberts* Frederic H. Smith Andrew McAllister Mr. and Mrs. Joachim Bechtle Larissa K. Roesch Roselyne Chroman Swig Justin McBaine and Luke Willis Christopher and Camille Bently* Christine Russell and Mark Schlesinger Patricia Wyrod / Technology Law Group Elizabeth Mitchell Stephen and Mary Birch Foundation Saks Fifth Avenue Ms. Holli P. Thier, J.D. Mr. and Mrs. David Moreland* Athena and Timothy Blackburn Randee Seiger Mr. and Mrs. Charles V. Thornton Hokuto Morita Mr. and Mrs. William S. Brandenburg Mr. and Mrs. James D. Seltsam, Jr. Thurlow Washam Mr. Milton J. Mosk and Mr. Thomas Foutch Fang and Gary Bridge O.J. and Gary Shansby John Hoch and Amy Wender-Hoch Pacific Gas and Electric Company* Ms. Cassandra Briggs and Mr. John Murphy Robert and Diedre Shaw James Zawada Lillian Phan Jennifer Caldwell and John H. N. Fisher The Honorable and Mrs. George P. Shultz Arthur and Charlotte Zitrin Foundation Primitive Logic Jack Calhoun and Trent Norris Alena Simone and Alex Bouzari Kacie and Michael Renc Paula and Bandel Carano Gail and Bob Smelick PATRONS Tiffany and Ben Rowe Lloyd and Ana Carney Denise Littlefield Sobel* Judy and David Anderson Janet Sassoon and John Upton Jr. Dan and Stacey Case Family Foundation Tom Steyer and Kat Taylor Mrs. Navid Armstrong Andrew and Allison Sievers Michael and Mary Ann Charters Judy Church Swanson* Wendy Armstrong Sotheby's International Realty* Chevron* Richard Thalheimer Brian Ayer and Jason Seifer Ms. Sharon Stewart Laura P. Clifford* Dr. Jennifer M. Walske Bank of America* Adam J. Thaler Katie Colendich Diane B. Wilsey Ms. Betina Baumgarten Judith Tornese and Jerry Winters Hannah and Kevin Comolli Beatrice Wood Carol Benz Adriana Trenev Cota Capital* Akiko Yamazaki and Jerry Yang Lydia and Steven Bergman Lupe Villalobos Phoebe Cowles and Robert Girard Sharon and Robert Yoerg Barbara and Richard Bergman Wilson Sonsini Goodrich & Rosati Foundation* David and Vicki Cox Janice and Jonathan Zakin Lindsay Bolton Sally Yu and Jeff Shen Michael and Holly Cuggino Lisa and Jim Zanze Stewart McDowell Brady and Philip Brady* Courtney and Seth Dallaire Marilyn and Michael Cabak Mrs. Ronald Zaragoza Suzy Kellems Dominik BENEFACTORS Teresa Carlson and Terri Kinney The EACH Foundation Donna Bachle and F. Thomas Aden Andy Chase ACKNOWLEDGMENTS PRESENTING SPONSOR Jacqueline and Christian P. Erdman Rosemary B. Baker Rosalyn and Tom Chavez* Osterweis Capital Management First Republic Bank* Alletta Bayer Ms. Chaomei Chen and Dr. Yu Wu* Ian Friedland Belinda A. Berry and Thomas Barrett Dr. and Mrs. Abdur Chowdhury PERFORMANCE SPONSOR Laura Clifford, in memory of Erna Clifford Shelby and Frederick Gans Ron Borelli and Beverley Siri Borelli Helen Christakos Jane Louise Gazzola Kent and Rada Brooks Patricia Ivancich Dassios BENEFACTOR DINNER SPONSOR KPMG Stephen and Margaret Gill Mrs. Karen Caldwell Simone Derayeh Kathleen O. Glynn and Robert D. Glynn, Jr. Mr. Mark Calvano DeWitt Stern – A Risk Strategies Company PATRON DINNER SPONSOR John and Marcia Goldman Mary Catlin Mr. and Mrs. Theodore S. Dobos JPMorgan Chase & Co. Christopher Duval Teri and Andy Goodman Antoinette Chatton GRAND BENEFACTOR RECEPTION SPONSOR James K. and Helen L. Goodwine Sol and Kate Coffino Glenn and Bettina Duval Shreve & Co. Josh Elkes and Rachel Happ Michael W. Grady Helena and Justin Cooper SPARKLING STROLL SPONSOR AND Jim and Cecilia Herbert* Christine DeSanze and Scott Anthony Julie and Greg Flynn LAUNCH PARTY HOST Ms. Mary Heylin and Timothy Marten, M.D. Susan and David Dossetter Richard Foster and Rachel S. Brass* Brooks Brothers Janie and Donny Friend Ingrid Hills Paula M. Elmore WINE AND SPARKLING WINE SPONSOR James C. Hormel and Michael P. Nguyen* Mr. Frank J. Espina and Malin Giddings and Richard Hechler Gloria Ferrer Caves & Vineyards Thomas E. Horn Mrs. Andrea Valo-Espina Shelley Gordon APÉRITIF SPONSOR Kathy Huber and Larry Binkley Dr. Jasmine Flanagan Nonie Greene and Todd Werby Lillet Allison and Brian Jacobs* Judy Flannery and William Wiley Brian and Elizaveta Gustafson BEER SPONSOR Isaac Hall Elaine Kartalis Stuart Francis and Diana Stark* Fort Point Beer Company Jill Dore Kent Mindy Henderson Lucie and John Hall Brian and Rene Hollins Jill Reber Hamer DÉCOR Kiyoshi Kimura J. Riccardo Benavides Event Styling Dr. Allan and Mrs. Gabia Konce Mrs. Michelle Gilman Jasen and Melissa and Samuel Hamilton

Omid and Gisel Kordestani* Mr. Richard Jasen Michelle Harris CATERING McCalls Catering & Events Claire and Mark Kostic Cynthia Schreuder Kalev Mr. Terrence Hazlewood and Ms. Lisa Stern-Hazlewood Nancy Kukacka Jascha and Rebecca Kaykas-Wolff LIGHTING Dr. and Mrs. Frank Helm Immersive Productions Kelsey and David Lamond* Lisa Keith and Richard Marshall Maria Hemphill Mr. and Mrs. Alexander Leff Maureen and Jim Knoll BENEFACTOR PARTY HOST Austin Hills Gary Bridge Betsy A. Linder Ms. Debra A. Leylegian Fang and Mrs. Rhonda Mahendroo Patrick Hughes Marie and Barry Lipman PATRON PARTY HOST Thomas Jackson, M.D. and Ms. Tiffany Lockridge Gregory R. Malin Courtney and Seth Dallaire Kathleen Grant, M.D. Mary and Terry MacRae Mark and Jill McNay David Jones-Krause VODKA James D. Marver Mr. and Mrs. Kurt Mobley* Blue Angel Vodka W. Michael Keefe and Mary Keough Lyman Alison and Michael Mauzé* Bahya Murad John Kerns MEDIA SPONSOR Terence and Mary Beth Mayo Neiman Marcus* Haute Living Magazine Letitia Todd Kim and Michael Kim Jennifer Jordan McCall Jan and Bob Newman Mrs. Trecia Knapp and Mr. Bruno Tapolsky Jean McIntyre Willis and Peggy Newton Mr. and Mrs. Michael O’Sullivan Ambassador Eleni Kounalakis and Erik Nilsson Dr. Markos Kounalakis *Host of one or more tables

PROGRAMS 02 / 03 | 415 865 2000 | 47 SAN FRANCISCO BALLET SEASON SPONSORS 2019 REPERTORY SEASON

PROGRAM O1 Snowblind PROGRAM O6

Don Quixote LEAD SPONSOR PROGRAM SPONSOR Randee Seiger The Bernard Osher Foundation LEAD SPONSORS Margaret and Will Hearst MAJOR SPONSOR Rodeo: Four Dance Episodes Diane B. Wilsey Nancy A. Kukacka MAJOR SPONSOR MAJOR SPONSOR SPONSOR Kara and Charles Roell Anonymous SF Ballet Allegro Circle SPONSORS SPONSOR Etudes Almaden James C. Gries BRAVO SPONSOR John G. Capo and Orlando Diaz-Azcuy Liam Scarlett World Premiere

PROGRAM O2 LEAD SPONSORS Ms. Laura Clifford Divertimento No. 15 PROGRAM O4 Shelby and Frederick Gans MAJOR SPONSOR The Sleeping Beauty Beth and Brian Grossman Catherine and Mark Slavonia LEAD SPONSORS Mary Jo and Dick Kovacevich SPONSOR Mr. James D. Marver Christine Russell and Mark Schlesinger ENCORE! Judy C. Swanson Björk Ballet Appassionata SF Ballet Auxiliary MAJOR SPONSORS MAJOR SPONSORS LEAD SPONSOR Hannah and Kevin Comolli Innovation Global Capital Kelsey and David Lamond Kathleen Scutchfield Elaine Kartalis MAJOR SPONSORS Mr. and Mrs. James C. Katzman Kathleen Grant, M.D. and Richard Thalheimer Family PROGRAM O7 Thomas Jackson, M.D. Mrs. Joyce L. Stupski SPONSOR The Little Mermaid Joseph and Marianne Geagea SPONSOR MAJOR SPONSORS

Karen S. Bergman Chaomei Chen and Dr. Yu Wu In Memory of Carole Demsky Hurry Up, We're Dreaming PROGRAM O5 Jim and Cecilia Herbert Your Flesh Shall Be a Great Poem MAJOR SPONSOR Marie and Barry Lipman Anonymous MAJOR SPONSOR Mrs. Henry I. Prien Brenda and Alexander Leff SPONSOR SPONSORS PROGRAM O3 Drs. Richard D. and Patricia Gibbs Kacie and Michael Renc The Fifth Season O.J. and Gary Shansby LEAD SPONSOR PROGRAM O8 Bound To Fang and Gary Bridge Shostakovich Trilogy LEAD SPONSORS MAJOR SPONSOR Sonia H. Evers LEAD SPONSORS Sue and John Diekman Alison and Michael Mauzé Mr. Richard C. Barker SPONSOR Denise Littlefield Sobel Teri and Andy Goodman H. B. and Lucille Horn Foundation Mr. and Mrs. John S. Osterweis MAJOR SPONSOR

John and Amy Palmer

SPONSOR SATURDAY NIGHT Alex and Carolyn Mehran SUBSCRIPTION SERIES “. . . two united in a single soul . . .” Lucy and Fritz Jewett Saturday Night Series

LEAD SPONSORS Athena and Timothy Blackburn Yurie and Carl Pascarella Bound To© by Christopher Wheeldon THIS IS PASSION GENERAL 2019 Opening Night Gala

See page 47.

San Francisco Ballet gratefully acknowledges San Francisco Grants for the Arts, The William and Flora Hewlett Foundation, and the National Endowment for the Arts for their support. SENSORIUM

SPONSOR Official Gym of San Francisco Ballet Media Sponsor ballerina.io

EDUCATION & TRAINING

Lead Sponsors of San Francisco Ballet’s Education Programs

Additional support is provided by Gap Foundation, U.S. Bank Foundation, and the Zellerbach Family Foundation.

The Dance in Schools and Communities program is supported by The Charles Henry Leach, II Fund, an advised fund of the Silicon Valley Community Foundation.

The Student Matinee Series is supported by the Gaia Fund of the San Francisco Ballet Endowment Foundation.

LEARN. DANCE. GROW. SAN FRANCISCO BALLET SCHOOL

Classes at San Francisco Ballet School are serious fun, where children are introduced to the fundamentals of classical ballet. Exposure to ballet training reinforces important life skills like creativity, discipline, and team participation— all in a safe, fun, nurturing environment. San Francisco Ballet School faculty member San Francisco Ballet School faculty member teaching // © Alexander Reneff-Olson Anne-Sophie Rodriguez

Summer 2019 2019–20 School Year Ballet Classes Ballet Training Pre-Ballet Ages 4–13 Ages 8 and up Ages 4–7 More Information SFBALLET.ORG/SCHOOL

PROGRAMS 02 / 03 | SFBALLET.ORG | 49 GREAT BENEFACTORS

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

$10,000,000 AND ABOVE $1,000,000–$2,499,999 Grants for the Arts American Airlines Mary Jo and Dick Kovacevich The Hellman Family Estate of Helen Anderton Kelsey and David Lamond William and Flora Hewlett Foundation AT&T The Charles Henry Leach, II Foundation, Lucy and Fritz Jewett Bank of America Foundation Jennifer Jordan McCall, Foundation Trustee Bingham McCutchen LLP Catherine Lego Athena and Timothy Blackburn Paul Lego $5,000,000–$9,999,999 BRAVO Marie and Barry Lipman Estate of Dora Donner Ide Fang and Gary Bridge The Marver Family The James Irvine Foundation Jennifer Caldwell and John H. N. Fisher Stephanie and James Marver Mrs. Jeannik Méquet Littlefield The State of California Alison and Michael Mauzé National Endowment for the Arts Estate of Lewis and Emily Callaghan Andrew W. Mellon Foundation The Bernard Osher Foundation Mrs. Daniel H. Case III Nicola Miner and Robert Mailer Anderson John Osterweis and Barbara Ravizza Chevron Corporation Pacific Gas and Electric Company Diane B. Wilsey Estate of Barbara A. Daily The Thomas J. and Gerd Perkins Foundation Deloitte Pillsbury Winthrop Shaw Pittman LLP Susan and John Diekman Arthur and Toni Rembe Rock $2,500,000–$4,999,999 Suzy Kellems Dominik Bob Ross Richard C. Barker Rudolph W. Driscoll Gordon Russell California Arts Council Kate and Bill Duhamel San Francisco Ballet Auxiliary First Republic Bank Sonia H. Evers The San Francisco Foundation Ford Foundation Ann and Robert S. Fisher Randee Seiger Diana Stark and J. Stuart Francis Estate of Georg L. Frierson O.J. and Gary Shansby Gaia Fund Stephen and Margaret Gill Family Foundation Shubert Foundation, Inc. Richard and Rhoda Goldman Fund Evelyn & Walter Haas, Jr. Fund The Smelick Family Estate of Richard B. Gump Colleen and Robert D. Haas Denise Littlefield Sobel Mimi Haas Walter & Elise Haas Fund Estate of Natalie H. Stotz Estate of Katharine Hanrahan Dr. and Mrs. Jeffrey P. Hays Joyce Stupski Hellman Foundation William Randolph Hearst Foundation Richard J. Thalheimer The Herbert Family The Edward E. Hills Fund Ms. Susan A. Van Wagner Donald F. Houghton James C. Hormel and Michael P. Nguyen Visa Inc. G. William Jewell The William G. Irwin Charity Foundation Wallis Foundation Koret Foundation George F. Jewett Foundation The E. L. Wiegand Foundation Yurie and Carl Pascarella George F. Jewett, Jr. 1965 Trust Akiko Yamazaki and Jerry Yang Kenneth Rainin Estate of Mildred Johnson The Zellerbach Family Mr. George R. Roberts JPMorgan Chase & Co. Kathleen Scutchfield Maurice Kanbar The Swanson Foundation Dr. and Mrs. Jerome Ormond Kirschbaum Phyllis C. Wattis Diana Dollar Knowles Wells Fargo Estate of Diana Dollar Knowles

50 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 ARTISTIC music dance theater 2018/19 Cal Perform ances SEASON DIRECTOR'S UNIVERSITY OF CALIFORNIA, BERKELEY COUNCIL Akram Khan San Francisco Ballet gratefully XENOS acknowledges the members of the A Cal Performances Co-commission Artistic Director’s Council. Their generous The legendary Akram Khan’s final solo creation before his planned retirement as a performer, XENOS annual support of $100,000 or more has explores the shell-shocked dreams of an Indian colonial soldier during the First World War. Combining been instrumental to the success of SF classical Indian kathak and contemporary dance, Ballet, SF Ballet School, and SF Ballet’s Khan bravely explores the soldier’s alienation as he finds himself trapped between two cultures. education programs. Council members receive customized benefits including “This is a work of defining greatness, and a fitting farewell to a stage career special access to performances, exclusive that has illuminated British dance.” events, and rehearsals. —The Guardian, London For more information, please contact Mar 2 & 3 ZELLERBACH HALL Sarah Warner, Associate Director of Development, Individual Giving at [email protected] or 415 865 6634. Alvin Ailey GRAND BENEFACTORS American Dance Theater $250,000 and above Robert Battle, artistic director Masazumi Chaya, associate artistic director The Hellman Family Featuring three Bay Area premieres: Diane B. Wilsey Lazarus by hip hop pioneer Rennie Harris, inspired by Ailey’s life and legacy; Ronald K.1/2V Brown’s The Call, which blends Bach, jazz, and Malian music; ARTISTIC DIRECTOR’S COUNCIL and Jessica Lang’s vivid, celebratory work, EN. $100,000–$249,999 PLUS two matinees feature Timeless Ailey, a retrospective programCAL of Ailey’s choreography. PERF Anonymous Mr. Richard C. Barker “If you haven’t seen Alvin Ailey American Dance Theater, you haven’t seen dance...the Anne T. and Robert M. Bass most exciting dance company in the world.” Fang and Gary Bridge —The Huffington Post Ms. Laura Clifford April 9–14 ZELLERBACH HALL Sonia H. Evers Shelby and Frederick Gans Teri and Andy Goodman Beth and Brian Grossman Eifman Ballet Margaret and Will Hearst The Pygmalion Effect (US Premiere) Lucy Jewett Mary Jo and Dick Kovacevich For 40 years, the defiantly controversial choreographer Boris Eifman has created Kelsey and David Lamond productions punctuated by sumptuous Brenda and Alexander Leff costumes, exquisite dancing, and riveting drama. Here, the company presents the Mr. James D. Marver United States premiere of his brand new Alison and Michael Mauzé ballet, set to a score by Johann Strauss Jr. Mr. and Mrs. John S. Osterweis “The ballet world in search of a Yurie and Carl Pascarella major choreographer need search no more. He is Boris Eifman.” Arthur and Toni Rembe Rock —The New York Times Christine Russell and Mark Schlesinger Randee Seiger May 31–Jun 2 ZELLERBACH HALL Denise Littlefield Sobel Judy C. Swanson Season calperformances.org/tickets Sponsor:

PROGRAMS 02 / 03 | 415 865 2000 | 51 CHAIRMAN'S COUNCIL

The Chairman’s Council brings together a like-minded community of business leaders and philanthropists who share the goal of bringing world-class ballet to a world-class city. San Francisco Ballet gratefully acknowledges the generous support of Chairman’s Council members, who contributed gifts of $15,000 or more to the annual fund as of January 9, 2019. In addition to receiving Christensen Society benefits, members of the Chairman’s Council receive benefits tailored to their individual interests, such as the opportunity to sponsor a ballet or enjoy an exclusive viewing of a ballet rehearsal. If you would like more information about the Chairman’s Council, please contact Danielle St.Germain-Gordon, Chief Development Officer at [email protected] or 415 865 6615. The names of donors who have been honored as ten-year members of the Chairman’s Council or Christensen Society are followed by a plus sign (+). Former SF Ballet Trustees and Associate Trustees are noted with an asterisk (*).

PRESENTER’S COUNCIL $50,000–$74,999 James C. Gries+ Ms. Phoebe Cowles+ The Spero Family Athena and Timothy Blackburn+ Brian and Rene Hollins+ Mrs. Courtney C. Dallaire Michael and Susanna Steinberg Chaomei Chen and Dr. Yu Wu James C. Hormel and Jill Daly Alan and Patricia Tai+ Hannah and Kevin Comolli Michael P. Nguyen+ Dr. and Mrs. Jordan Deschamps-Braly Adam J. Thaler David and Vicki Cox+ Thomas E. Horn+ Mr. Josh Elkes and Ms. Rachel Happ Mr. and Mrs. William R. Timken+ In Memory of Carole Demsky Ms. Jeri Lynn Johnson+ Paula M. Elmore* Mr. and Mrs. Alan B. Vidinsky Sue and John Diekman+ Christine and Pierre Lamond+ Douglas and Barbara* Engmann+ Paul A. Violich Margaret and Stephen Gill+ Dr. and Mrs. Stephen Leavitt Mr. Frank J. Espina and Daniel and Marie Welch Kathleen Grant, M.D. and Dr. Timothy Marten, MD and Mrs. Andrea Valo-Espina Cynthia and Edgar Whipple+ Ms. Mary Heylin+ Thomas Jackson, M.D.+ Lynn Feintech and Tony Bernhardt+ The Whitman Family Foundation Nion McEvoy and Leslie Berriman Jim and Cecilia Herbert+ Mr. Edward G. Fernandez Ms. Patricia Wyrod Alexander R. Mehran*+ Matthew & Siska Hobart Randi and Bob Fisher Diane and Howard Zack+ Elaine Kartalis Michael Moritz and Harriet Heyman Mrs. Mortimer Fleishhacker+ Mr. and Mrs. James C. Katzman+ Roland G. Ortgies and Patty Garbarino Carmela C. Anderson-Ortgies+ Nancy A. Kukacka James K. and Helen L. Goodwine+ Mr. and Mrs. Norman C. Pease Marie and Barry Lipman+ Brian and Elizaveta Gustafson Wylie Peterson and Marissa Mayer and Zachary Bogue+ Mr. Isaac Hall Anne-Marie Peterson John and Amy Palmer Mr. and Mrs. Terry Houlihan Kacie and Michael Renc+ Mrs. Henry I. Prien+ Fred Isaac and Robin Reiner Mr. and Mrs. Edward Roach+ Kara and Charles Roell John G. Kerns*+ Mr. George R. Roberts+ Kathleen Scutchfield+ William and Gretchen Kimball Fund+ Larissa Roesch and Calder Roesch+ Catherine and Mark Slavonia Arlene and Steve Krieger+ Michael and Mary Schuh+ David H. Spencer Patrice and Walther Lovato O.J.* and Gary Shansby+ Mrs. Joyce L. Stupski+ Peter and Melanie Maier Marc Sinykin and Kevin Osinski Mr. Richard J. Thalheimer+ Ms. Susan Marsch Mr. and Mrs. Robert M. Smelick+ Ms. Zhenya Yoder Mr. Gregg Mattner Tom Steyer and Kat Taylor+ Justin T. McBaine Mr. and Mrs. William Truscott SPONSOR’S COUNCIL Jane and Roger McCarthy+ Barbara and Stephan Vermut $25,000–$49,999 Stewart McDowell Brady and Beatrice Wood Anonymous (2) Philip Brady Gioia and John Arrillaga+ Dr. Maya Meux CHAIRMAN’S COUNCIL Eleonore Aslanian+, Mr. Ronald W. Miller+ $15,000–$24,999 in memory of Edward Aslanian Mr. James E. Milligan*+ Anonymous (3) Karen S. Bergman+ Mrs. Stuart G. Moldaw+ Joseph and Brooke Ms. Eliza M. Brown+ Mr. and Mrs. Robert L. Newman+ Brenton and John G. Capo and Orlando Diaz-Azcuy+ Michel and Mekhala Oltramare Lysbeth Warren Anderson+ Mr. and Mrs. Scott Connors Mr. James Parsons and Kristen A. Avansino+ Robert and Laura Cory Ms. Andrea Hong Rosemary B. Baker*+ Katherine and Gregg Crawford+ Dave and Judy Redo+ Courtney Benoist and Jason M. Fish*+ Dana and Robert Emery+ Glenn H. Reid+ Ms. Susan Blake+ Carol Emory and Mr. Jeremy Rishel Bruce Braden+ The Wingate Foundation+ Mr. and Mrs. Robert Shaw Rachel Brass and Richard Foster Mr. Robert S. Fisher*+ Christine Sherry and Lawson Fisher+ Ron and Susan Briggs+ Mr. David Galloreese The Honorable and Paula and Bandel Carano Joseph and Marianne Geagea Mrs. George P. Shultz+ Rosalyn Chen Chavez Drs. Richard D. and Patricia Gibbs Mr. and Mrs. George H. Sollman

52 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 CHRISTENSEN SOCIETY

The Christensen Society, named for the three brothers whose artistic vision pioneered SF Ballet, offers a foundational connection to the heritage of the Company. Christensen Society member donations enable SF Ballet to underwrite season productions, acquire contemporary and classical works for our repertory, conduct national and international tours, train hundreds of young dancers at San Francisco Ballet School, and share the love of dance with underserved children and families throughout the Bay Area. San Francisco Ballet gratefully acknowledges the generous support of Christensen Society members, who contributed gifts of $2,500 to $14,999 to the annual fund as of January 9, 2019. For more information about the Christensen Society, please contact Ari Lipsky, Senior Manager, Individual Giving at [email protected] or 415 865 6635. The names of donors who have been honored as ten-year members of the Christensen Society are followed by a plus sign (+) in this section. Former SF Ballet Trustees and Associate Trustees are noted with an asterisk (*).

CHOREOGRAPHER'S COUNCIL The Spero Family $7,500–$14,999 Ms. Kathryn Huber and Susanne Stevens+ Mr. and Mrs. James A. Davidson Michael and Susanna Steinberg Anonymous (6) Mr. William Larry Binkley The Streets Family+ Ms. Bonnie De Clark Alan and Patricia Tai+ Sig Anderman Mr. Hiro Iwanaga Ms. Nadine Tang and Mr. Bruce Smith Jacqueline* and Christian P. Erdman+ Adam J. Thaler Norby Anderson Arnold and Laurel Jacobson Mr. and Mrs. Charles V. Thornton+ Tawna and John Farmer+ Mr. and Mrs. William R. Timken+ Drue and Jerry Ashford+ Mr. and Mrs. Richard Jasen Helgi and Marlene Tomasson Mr.* and Mrs. Irwin Federman+ Mr. and Mrs. Alan B. Vidinsky Mr. and Ms. Bartley B. Baer Guyton Jinkerson+ The Watkins Family+ Brent and Sandra Fery Paul A. Violich Jeanne and William Barulich Mrs. Barbara L. Johnson Ms. Leslie Wilson Ms. Linda Jo Fitz+ Daniel and Marie Welch Dr. Margaret Bates and Scott Johnson+ Jim and Barbara Kautz Ms. Deann Wright and Dr. Luke Evnin Mr. and Mrs. David Fleishhacker+ Cynthia and Edgar Whipple+ Mr.* and Mrs. Joachim Bechtle+ Ms. Micki Klearman Mr. Tim C. Wu and Mr. Eric Murphy+ Ms. Sonia Florian The Whitman Family Foundation Lydia and Steven Bergman Linda and Robert Klett+ Sharon and Robert Yoerg Mr. Dennis N. Fluet+ Ms. Patricia Wyrod Davidson Bidwell-Waite and Mr. and Mrs. Mark Kostic Dr. Janice and Mr. Jonathan Zakin+ Camille and Sean Flynn+ Diane and Howard Zack+ Edwin A. Waite+ Mrs. Maja Kristin Kenneth and Anna Zankel, The Grove John and Kelly Foley Claire and Jared Bobrow+ Ms. Linda Kurtz Ms. Mayhill Fowler Mr. and Mrs.* William S. Brandenburg Captain Witold Klimenko and DANCER’S COUNCIL Mr. David B. Franklin and Dr. Darlene Lanka-Klimenko+ Kelly and Samuel* Bronfman II $5,000–$7,499 Mr. Ruedi F. Thoeni Laube Family Foundation The Robinson Family - Anonymous (4) Mrs. Phyllis K. Friedman+ AB Butler Family Mark and Debra Leslie+ Ms. Diane K. Aaron Marilyn & Robert Funari Damian S. Carmichael Ms. Betsy A. Linder+ Family Foundation Mr. and Mrs. Andy Ach Jon B. Chaney+ Mark and Lori Litwin+ Ms. Jane Gazzola Lisa and Maria Alvarez Antoinette Chatton+ Ms. Tiffany Lockridge Ms. Malin Giddings and Mr. and Mrs. Greer Arthur+ Ms. Karen K. Christensen+ Carol and Hal Louchheim+ Mr. Richard Hechler Ms. Corine Assouline Robert Clegg*+ Mr. and Mrs. Allen Luniewski Sally L. Glaser and David Bower+ Mr. John Atwater and Mary and Nicholas Graves+ Mr. and Mrs. Sol Coffino Lori and David F. Marquardt+ Ms. Diana L. Nelson Donald W. and Patricia L. Green Ms. Katie Colendich Ms. Suzanne M. Miller Ms. Donna Bachle Claude and Nina Gruen+ Dr. Charles Connor+ Mr. David Morandi Ms. Deborah Taylor Barrera John and Lucie Hall Ms. Phyllis Cook+ Marta L. Morando+ Mr. Charles Barrett Michael and Julie Hawkins Michele Beigel Corash and Mrs. Janet Morris+ Mr. and Mrs. Gene Becker Laurence Corash+ Miranda Heller and Mark Salkind+ Manfred K. Mundelius+ Valli Benesch and Bob Tandler Peter and Quin Curran Joan and Alan Henricks Miriam Sedman and Ralph Nyffenegger Mrs. Jan Birenbaum Mr. and Mrs. Angelos Dassios The Henrikson Family Foundation Ms. Carla Oakley and Curtis Grisham and Charles Black, Jr. Juanita and Manuel Del Arroz+ Mr. Kevin McCarthy Ms. Mary Herman Mr. William Bonville and Mrs. Suzy Kellems Dominik*+ Mr. David Oldroyd and Ms. Virginia Jordan Cynthia Hersey Mr. Ronnie Genotti Ms. Paulette Doudell+ Mr. and Mrs. Ronald Borelli Mr. Patrick M. Hogan Ms. Mindy Owen Robert and Judith Duffy+ Dr. Thomas and Janice Boyce+ Hank J. Holland* Ms. Elizabeth A. Peace Mr. Mory Ejabat Dr. Odelia Braun Ms. Kimberly M. Hughes Beth Price+ Ms. Katherine M. Fines and Cynthia and Frederick Brinkmann+ Ms. Giovanna Jackson* Mr. Henry Heines+ Leslie and Nick Podell+ Mr. and Mrs. Kent F. Brooks Ms. Andrea Jacoby Doris Fisher+ Mr. and Mrs. Neal I. Powers James R. and Melinda M. Brown Mr. Peter Joshua J. Stuart Francis and Diana Stark+ Mr. Gordon L. Radley+ Kelli and Steve Burrill+ Mr. David A. Kaplan and John and Marcia Goldman+ Ms. Patricia Rock and Mr. John Fetzer Mr. Glenn Ostergaard+ Dr. Heidi H. Cary William J. Gregory Mr. Gordon Russell and Ms. Dorothy Kaplan Mr. and Mrs. Robert Cauthorn Ann M. Griffiths+ Dr. Bettina McAdoo+ Mr. Loren B. Kayfetz Mr. and Mrs. Donald Chaiken+ Linda Groah Dorothy Saxe+ Mr. and Mrs. Jascha Kaykas-Wolff Drs. Valerie and Devron Char+ Dr. Elizabeth A. Harrison Kamran and Helena Shamsavari+ Ms. Lisa A. Keith+ Jack and Gloria Clumeck Dr. Birt Harvey Mr. and Mrs. Roderick W. Shepard Kristen Kelly Ms. Sandi Covell+ Mr. and Mrs. A. Grant Heidrich III+ Dr. and Mrs. Stephen Sherwin+ Rev. Keenan C. Kelsey Mary B. Cranston*+ Dr. and Mrs. I. C. Henderson+ Anne and Michelle Shonk+ Mr. and Mrs. John D. and Ms. Nancy Curtiss Mr. and Mrs. John S. Hoch Ms. Cherida Collins Smith+ Paulette Kempfer

PROGRAMS 02 / 03 | SFBALLET.ORG | 53 CHRISTENSEN SOCIETY CONTINUED

Mr. and Mrs. Alan F. Klein Mr. Dana Tom Ms. Carolyn J. and Diane and Joseph Ehrman III+ Ms. Patricia D. Knight Mr. and Mrs. Edward Tortorici Mr. David W. Brady Dr. Robert Elfont and Mr. and Mrs. James Knoll Ms. Lida Urbanek Germaine Brennan Foundation+ Ms. V'Anne Singleton Ms. Suzanne Knott and Mr. Tom Rose Drs. Oldrich and Silva Vasicek+ Ms. Barbara Brown+ Kirsty Ellis Sharon Lambert and Charles Cohen+ Ms. Adrian Walker Catherine Brown and Mr. and Mrs. Lionel Engelman Gerald Gwathney Mr. and Mrs. Jude Laspa+ Jennifer* and Steven Walske Mr. Stephen W. Etter Josephine Brownback+ Jeff and Melissa Li Ms. Susan Warble Mr. Greg Evans Julie Brown-Modenos Ms. Judy Lichterman Daphne and Stuart Wells Mrs. Mickey Evans Katie Budge Christa and Mark* Lopez Mr. and Mrs. Wallace Wertsch+ Rev. Richard Fabian Betty C. Bullock and Robert Murray John and Kate Lord+ Karen and Stephen Wiel+ Buck Farmer and Leida Schoggen Julie and David Burns Dr. and Mrs. G. Karl Ludwig, Jr.+ Mr. and Mrs. David Wilner Mr. Zé Figueirinhas Peggy and Donald Burns+ Mr. and Mrs. Laurence R. Lyons Mr. Paul Wilson Mr. William E. Fisher+ Mrs. Leah Busque Mr. Michael Manning Mr. and Mrs. Michael Woodall Dr. and Mrs. Keith Flachsbart Adrian and Carol Byram Ms. Dosia Matthews Dr. Keith R. Yamamoto+ Shelley Floyd and Albert Loshkajian Mr. and Mrs. Anthony Calabrese Mr. Patrick McCabe Mr. and Mrs. Roy A. Francies Jr Mrs. John Callander+ Jennifer J. McCall+ ASSOCIATE'S COUNCIL Mr. and Mrs. Thomas Frankel+ Dr. Paula Campbell Dr. Jack M. McElroy and $2,500–$4,999 Mr. Douglas Frantz Libi Cape+ Dr. Mary Ann Skidmore+ Anonymous (5) Mr. Ernest Freeman Nina Cardoza and John Krowas Joan and Robert McGrath+ Ms. Marcia Abrams Ms. Baerbel Freytag Nina Carroll+ Mr. and Mrs. John A. McQuown Michael C Abramson+ Dr. and Mrs. A. W. Fricke Ms. Linda Carson+ Mr. Steve Merlo Norman Abramson and David Beery Mr. Ian Friedland Michaela Cassidy* and Mary Mewha* Mr. Amir Adibi Ms. Joyce Friedman Terry Whitney+ Carole Middleton Molly and Stewart Agras+ Ellen Fujikawa Charles R. Castellano and Mr. Ted E. Mitchell+ Mr. Bruce Albert and Dr. Kim Fullerton-Nelson Deryl Castellano Kathleen Much and Stanley Peters Dr. Chady F. Wonson+ Ms. Ayumi Funaki Mr. Benedick Chai Ms. Donna Neff Ms. Melissa Allen Penny and Gregory Gallo+ Mr. Marvin Charney Mr. Paul Nordine Jola and John M. Anderson+ Mr. John Garfinkle Mr. Paul Clifford Mr. Richard Oppenheimer Mr. Zachery Anderson David Getchell and Allison Gonzalez Douglas Clough and Erin Uesugi Mr. and Mrs. Michael O'Sullivan Dr. and Mrs. Joseph S. Andresen+ Nora L. Gibson and William L. Hudson Ms. Margaret Coblentz Sandy Otellini+ Ms. Christine DeSanze and Joy Gim Mitchell and Susan Cohen+ Mrs. Alexandra Ottesen Mr. Scott Anthony Mr. Brendan Glackin Ms. Claudia Coleman+ Mr. Dennis Otto & Mr. Robert Meadows Ms. Maren Armour Glaucoma Center of San Francisco Richard and Sylvia Condon+ Mr. William D. Parent+ Mr. and Mrs. Hiroki Asai Ms. Georgie Gleim Sandi Conniff Patricia Sanderson Port Asmus Family Ms. Barbara Glynn Mrs. Glenna Cook Ms. Ruth Quigley Ms. Mary Atwater Mr. Alberto Gobbi Jane A. Cook Ursula Elisabeth Ralph Ms. Nancy R. Axelrod+ Jennie Golde Alice M. Corning+ Ms. Teresa Remillard Chris and Janet Bajorek Nora Goldschlager Joan and Victor Corsiglia Dr. and Mrs. Robert E. Richardson+ Mr. Stephen A. Bansak III Drs. Meryl Gordon and Ms. Carmen Côté De Vaughn Mr. and Mrs. Fredric H. Roberts Ms. Olivia Barbee Robert Schermer Ms. Lilly Creighton Mr. Sanford R. Robertson+ Nate Hennings and Phillip and Philippa Newfield Gordon+ Nora Barr Hennings Ms. Jennifer Crutchfield Ms. Marianne B. Robison+ Ms. Shelley Gordon Karen Bartholomew Dr. Stephen J. Danko Ms. Susan Rosin and Mr. Brian Bock Mr. James Gosling+ Marie-José and Kent Baum+ Ms. Susan J. Davenport Mr. and Mrs. Mark J. Ryan+ Mr. Michael Grady Mr. and Mrs. David W. Beach+ Mr. Dan Davies Paul Sack and Shirley Davis+ Richard L. Grant and James L. Miller+ Ms. Lydia Beebe Dr. and Mrs. R.L. Davis+ William and Linda Schieber Ms. Joan Green Mr. Daniel C. Belik Mr. Keith Dehoff Carolynne Schloeder Judy and Josh Green Ms. Desa C. Belyea Dr. Richard M. Delfs+ Dr. Dale Skeen+ Mr. and Mrs. Lawrence Green Dr. and Dr. Anne Leland Benham Marvin Dennis+ Ms. H. Marcia Smolens+ Nonie H. Greene and Todd Werby+ Mr. Robert G. Benson Mr. Curtis E. Dennison Mrs. Linda Snyder Mr. Roger D. Greer Mr. and Mrs. William H. Bentley Ms. Simone Derayeh Ms. Ellice Sperber and Sara G. Griffith Julie Desloge and Ms. Emma Elizalde Ms. Carol Benz Duncan and Jeanie Gurley George A. Newhall Ms. Tricia Stephens Mrs. LaVerne Beres Mimi Haas+ Mr. and Mrs. Robert Dickson Mr. Matthew Stepka Diana Bersohn Stephen Halprin+ Mr. and Mrs. Theodore S. Dobos+ Ms. Catherine Stout Ms. Cameron L. Best Alexander and Catherine Hargrave+ Mr. and Mrs. William H. Draper III Ms. Fran A. Streets+ Philip Bettens Sara and Catherine Harkins+ Michael E. Dreyer and Harry B. Ugol Mrs. Dwight V. Strong+ Amos and Carla Blackmon Mr. and Mrs.* Kenneth Hecht Mrs. Jennifer M. Duarte Maureen and Craig Sullivan Ms. Martha E. Blackwell Mr. and Mrs. Ronald Heckmann Mr. Garrettson Dulin, Jr. Mr. and Mrs. Jim Swartz+ Dr. Phyllis B. Blair Martha and Michael Helms Ms. Jane Durie Ms. Jody K. Thelander Mr. Noel T. Blos Mr. and Mrs. Christopher Hemphill Mr. Fritz Eberly Mr. and Mrs. William L. Thornton+ Ms. Janet M. Bollier Ms. Shelly Hernandez Ms. Freya Eduarte and Bon Air Center Mr. Harry Tierney+ Mr. Philippe Courtot Virginia Hind Hodgson Rebecca and Michael Bradley

54 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 Susan and Russell Holdstein Ms. Pirkko Lucchesi Dr. Ben M. Picetti Lisa J. Stern-Hazlewood+ Philanthropic Fund Mr. and Mrs. Lawrence Ludgus+ Hilary C. Pierce and Keir J. Beadling Mr. Paul Stone Sunny Holland and Alan Pryor+ Mr. Harvey Lynch Edward and Linda Plant+ Mrs. Mary Stuard Mr. and Mrs. Christopher Hollenbeck Leslie MacDonald Melissa and Ritchie Post+ Jonathan Feinstein and Erika Stuart Ms. Carol Ann Holley Mrs. Rhondalee Mahendroo Mrs. and Mr. Patrick V. Powers Joseph J. Sturkey+ Amal and Denis Hommais Howard and Siesel Maibach+ Burr Preston Kimberly and Philip Summe Ms. Billye Howard Dr. Aditi Mandpe Ms. Sandra Price Darian and Rick Swig+ JHGM Foundation Mr. Richard Martin Virginia Leung Price and Roselyne C. Swig*+ Dr. Serena Hu Ms. Virginia Martin Walter C. Price, Jr. Ms. Lita Swiryn Cordell and Susan Hull Mr. Adolph V. Martinelli Mr. John Pringle Jane and Jay Taber Ms. Marie L. Hurabiell Ms. Connie V. Martinez Louis Ptacek and Ying-Hui Fu+ Teresa Tang Susan and Lyman Hurd Ms. Mary E. Massee Mr. Fritz Quattlebaum+ Ms. Trecia Knapp and Ms. Margaret C. Hutchins Holly and Stephen Massey Mr. and Mrs. Jeffrey Ralph Mr. Bruno Tapolsky Carolyn T. Hutton Niko and Steven Mayer+ Barbara Rambo* and Mrs. Bente Tellefsen+ Thomas A. Goossens+ Ms. Corey Hyde Dr. and Mrs. W. D. McCallum+ Mr. James Teter James Deveney and Steve Rausch Ms. Meghan Imrie Mr. and Mrs. George McCown+ Ms. Holli P. Thier, J.D. Drs. Garry and Kathy Rayant+ Ms. Karen J. Irvin Mr. Glenn McCoy+ Judy and Harold Ticktin Judge and Mrs. Charles B. Renfrew Ms. Anne Irwin Dan McDaniel, M.D. Mr. Ronald R. Titus Louise and Paul Renne Jackson Family+ Ms. Kathleen McEligot+ Mr. and Mrs. Vincent Tobkin Ann and Jon Reynolds+ Dennis and Paula Jaffe Ms. Jean A. McIntyre Lowell Tong and Alasdair Neale Prof. and Ms. Paul L. Richards Ms. Lili Jensen Lisa and Jason McPhate Ms. Amanda Topper+ Thomas C. Rindfleisch and Ms. Berdine Jernigan Dr. and Mrs. Bruce Mebine Lee Travers A. Carlisle Scott+ Ms. Jane L. Johnson Mr. David E. Meders Mr. John Tusch Mr. Chip Roame Todd Jolly and Judith Murio Ms. Alena Meeker Charles W. Tuttle, Jr. L.L. Roberts and A.R. Wilbanks+ Debra and Blake Jorgensen Mr. Martin Melia Ms. Helen Tyree Jack and Fran Rominger Ms. Roberta Kameda Dr. Beryl Mell+ Mr. Herbert Uetz Ms. Patricia Rosenberg Bruce and Dasa Katz+ Mr. Wallace Mersereau Patricia Unterman and Tim Savinar Kate Rowe+ Tom Kennedy Byron R. Meyer*+ Janet Sassoon-Upton and Mr. Paul L. Rowe and Drs. Douglas and Carol Kerr John R. Upton, Jr.+ Mr. and Mrs. Lou Meylan Mr. Michael Sereno Ms. Kathryn Kersey Dr. Conrad Vial Fred A. Middleton+ Tiffany Loren Rowe Mehrzad Khajenoori Mrs. Virginia Wade Richard Miller and John Vinton+ Mrs. Chandra K. Rudd Ms. Jennifer H. Kilpatrick Mr. and Mrs. Mark Wallace Ms. Elizabeth Mitchell Mr. Roberto Ruiz and Mr. Kevin Lee Kevin King and Meridee Moore+ Mr. Richard Walsh Susan and Jack Molinari+ Nicholas Heldt and Elizabeth Salveson Mrs. Jerome Ormond Kirschbaum+ Emily and Bob Warden Mr. and Mrs. Ken Moonie+ Louise Adler Sampson Mr. and Mrs. Mark S. Koenig Rosalie V. Weaver Gary and Eileen Morgenthaler Ms. Letitia Sanders Mr. and Mrs. Martin M. Koffel Eitan Fenson and Barbara Weinstein Dianne and Brian Morton Donald and Terry Sarver+ Mr. Abner Korn Mr. and Mrs. Otto Weiss+ Ms. Alexandra Moses+ Mr. Michael Scagliotti and Ms. Carol A. Weitz Ms. Gladys Kwong Mr. Milton J. Mosk and Mrs. Miya R. Peard Melanie and Ronald Wilensky Reiko and Yasunobu Kyogoku Mr. Thomas Foutch+ Gwendy and Anthony Scampavia+ Ms. Faye Wilson Ms. Nicole LaFlamme Chris Motley & Neil O'Donnell Warren A. Schneider Mr. and Mrs. Terry Winograd Mrs. Brigitte Laier Ms. Sharon S. Muir Mr. and Mrs. Paul A. Schroeder Ms. Muriel Wolverton Mr. Bryan Lamkin and Mr. Roger Murray Ms. Deborah Schultz and Ms. Arianna Carughi Ms. Vija Hovgard Nadai Mr. Gary Cohen Sharon* and Dr. Russell Woo+ Ms. Sandy S. Lee Mrs. Shirley Negrin+ Mrs. Avé M. Seltsam and Laureen Woodruff+ Patricia W. Leicher Dr. Alex Nellas Mr. James D. Seltsam, Jr. Ms. Daphne Wray Julius Leiman-Carbia and Drs. Andrew and Lynn Newman+ Joan and Lynn Seppala Ms. Margaret Wrensch Kyle Thomas Smith Jeanne Newman Ms. Teresa Serata Ms. Kelly Wulff Patricia Lekas and John Wentz+ Cathy and Raul Nicho Mr. and Mrs. Gary J. Shapiro+ Mr. Babak Yazdani Mr. and Mrs. Edward M. Leonard+ Tom Nicoll+ Yuqiao Shen Jacqueline Young Mr. and Mrs. Mark R. Lepper+ Ms. Allison Nielsen Mr. and Mrs. Drew Sievers Mr. and Mrs. Ronald Zaragoza Robert Levenson and Michelle Shiota Patricia and Hayes Noel Mr. Lawrence J. Simi and Mr. James Zawada Mr. Fred M. Levin and Mrs. Wilma J. Nurenberg Mrs. Janet Rogers Catherine Zimmerman Ms. Nancy Livingston Ms. Linda L. Olson and Earl Singer Mr. and Mrs. Harold Zlot Mr. Roy Levin and Mrs. Jan Thomson Mr. David Polnaszek Mr. Paul Skan Mrs. Sandra J. Zrnic Pam G. Lewis Mr. and Mrs. Philip Ouyang+ Mr. Jeffrey Sloan Ms. Allison Jacobs Mr. Will Parker Mrs. Paula Anne Smith Ms. Debra A. Leylegian+ Dr. Eugene H. Peck Mr. Stephen R. Smith and Claire and Herbert Lindenberger+ Hon Nancy Pelosi and Mr Paul Pelosi Ms. Theresa E. Lahey Dr. Mary Jane W. Loda Dr. Barbara A. Peters James Sokol Carol and Bill Lokke Mrs Lois M Peterson Mr. Scott C. Sollers Mr. and Mrs. Steve Love Ms. Patricia Peterson Mary Ann Somerville+ Dan Lowenstein & Mylo Schaaf The Phillips Family Mr. and Mrs. Mathew Spolin+

PROGRAMS 02 / 03 | 415 865 2000 | 55 INSTITUTIONAL SUPPORT

Forward-thinking organizations understand the need to create a vibrant civic life in the places they do business. Giving from private, family, and community foundations helps us commission new works; design and build sets and costumes; take the Company on tour; and engage our communities. Leading corporations—local, national, and international—enhance their reputations by supporting SF Ballet performances, touring, special events, and our community engagement programs. And when they do, they are able to promote their brand to an audience of opinion makers, entertain clients at performances, and receive other special benefits as part of a customized benefits package.

To learn more about Foundation giving, contact Elizabeth Luu, Associate Director of Development, Institutional Giving, at [email protected] or 415 865 6616. To learn more about Corporate giving, contact Colette Whitney, Corporate Giving Manager, at [email protected] or 415 865 6651.

FOUNDATION & GOVERNMENT SUPPORT CORPORATE SUPPORT

GRAND BENEFACTORS CHOREOGRAPHER’S COUNCIL ARTISTIC DIRECTOR’S COUNCIL $250,000 and above $10,000–$14,999 $100,000–$249,999 Gaia Fund The Guzik Foundation Osterweis Capital Management San Francisco Grants for the Arts Walter & Elise Haas Fund John Brockway Huntington Foundation PRODUCER’S COUNCIL ARTISTIC DIRECTOR’S COUNCIL Taube Philanthropies $75,000–$99,999 $100,000–$249,999 Zellerbach Family Foundation Bank of America Bently Foundation, in honor of Glenn McCoy’s WSO2 Inc. 30 years of leadership at San Francisco Ballet DANCER’S COUNCIL Hellman Foundation $5,000–$9,999 PRESENTER’S COUNCIL The William and Flora Hewlett Foundation Mervyn L. Brenner Foundation, Inc. $50,000–$74,999 George F. Jewett Foundation Lisa and Douglas Goldman Fund Chevron Koret Foundation The Hope and Norman Hope Foundation Innovation Global Capital The Bernard Osher Foundation Walter S. Johnson Foundation JPMorgan Chase & Co. Bob Ross Foundation Marin Community Foundation Kaiser Permanente KPMG PRESENTER’S COUNCIL ASSOCIATE’S COUNCIL Pacific Gas and Electric Company $50,000–$99,999 $2,500–$4,999 Flora Family Foundation Lakeside Foundation SPONSOR’S COUNCIL Stephen and Margaret Gill Family Foundation $25,000–$49,999 The Diana Dollar Knowles Foundation First Republic Bank National Endowment for the Arts Tiffany & Co. The Shubert Foundation, Inc. Visa

SPONSOR’S COUNCIL CHAIRMAN’S COUNCIL $25,000–$49,999 $15,000–$24,999 Mimi and Peter Haas Fund Almaden Heising-Simons Foundation Charles Schwab & Co., Inc. H. B. and Lucille Horn Foundation Freed of London Jerome Robbins Foundation Shreve & Co. The Charles Henry Leach, II Fund UBS E. L. Wiegand Foundation U.S. Bank Foundation

56 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03

CORPORATE SUPPORT IN-KIND SUPPORT

CHOREOGRAPHER’S COUNCIL ARTISTIC DIRECTOR’S COUNCIL $10,000–$14,999 $100,000–$249,999 B | O| S Bay Area Rapid Transit (Bingham, Osborn & Scarborough, LLC) J Riccardo Benavides Brooks Brothers FITNESS SF Dodge & Cox Gap Foundation PRESENTER’S COUNCIL Lillet $50,000–$99,999 Mechanics Bank Wealth Management Immersive Productions Willis Towers Watson McCalls Catering & Events SmashMallow DANCER’S COUNCIL $5,000–$9,999 SPONSOR’S COUNCIL Athleta $25,000–$49,999 Denning and Company Gloria Ferrer Caves & Vineyards Ted Baker Nob Hill Gazette Pillsbury Winthrop Shaw Pittman LLP ASSOCIATE’S COUNCIL $2,500–$4,999 CHAIRMAN’S COUNCIL Fort Point Beer Company $15,000–$24,999 GI Partners Allegra Entertainment & Events VISIT THE SHOP SpotHero Ernest Vineyards Piedmont Piano AT SF BALLET

CHOREOGRAPHER’S COUNCIL You’ll find a spectacular assortment $10,000–$14,999 of SF Ballet-branded merchandise, beautiful jewelry, and wonderful gifts. Almaden

Miette The Shop is open one hour before Ordaz Family Wines curtain time, during intermission, Sbragia Family Vineyards and for thirty minutes following weekend matinees. DANCER’S COUNCIL The Ballet Shop is located on $5,000–$9,999 the south mezzanine. Etude Wines Fort Point Beer Company

ASSOCIATE’S COUNCIL $2,500–$4,999 Diptyque Lillet PROGRAMS 02 / 03 | SFBALLET.ORG | 57 JOCELYN VOLLMAR LEGACY CIRCLE

Your estate gift to SF Ballet puts you in very special company: the Jocelyn Vollmar Legacy Circle. Jocelyn Vollmar’s career extended from performing roles in SF Ballet’s first Nutcracker and Swan Lake to training generations of dancers in SF Ballet School. We created the Jocelyn Vollmar Legacy Circle to recognize and thank those individuals who, as a part of their own legacy, make an investment in the future of SF Ballet. Members gain special insight into SF Ballet and the creative process of dance through an annual celebratory luncheon and other behind-the-scenes events. Legacy gifts come in all sizes and include gifts from wills and living trusts; gifts that return lifetime income, such as charitable gift annuities; our pooled income fund; and other planned gifts. For information about Legacy Circle membership and estate gift options, please contact Elizabeth Lani, Deputy Director of Development/ Planned Giving, at [email protected] or 415 865 6623.

Anonymous (68) Michael Q. Cohen and Terry Hynes Helm Betsy and Ed McGuigan Michael C. Abramson Carol Berman Cohen Cecilia and Jim Herbert Edward M. Silva and Norman Abramson and David Beery Maggie Collins Jerry Hill James H. McMurray Sophie and Ted Aldrich Jane A. Cook Linda K. Hmelo Susan J. Meadows Anthony J. Alfidi Mary Ellen Copner Betty Hoener Robert L. Merjano Cal Anderson Colette V.A. Cornish Holly and Chris Hollenbeck Steve Merlo Jola and John M. Anderson Sandi Covell Thomas E. Horn Karl Meyer and Kelly Hails David and Judith Preves Anderson Deborah Pearson Cowley Mr. and Mrs. Terry Houlihan J. Sanford Miller Steven D. Arias Kenneth and Diane Cox Vija M. Hovgard Ms. Joyce E. Miller Roulhac and Tom Austin Lynda Meyer Cronin Harold D. and Jocelyn P. Hughes Sandra M. Miraglia Nancy R. Axelrod Gerald Currier Marie Louise Hurabiell Mr. Sidney F. Mobell ML Baird, in memory of Ramona Manke Davis Gary Isoardi Nancy and Larry Mohr Travis & Marion Baird Cornelia Y. de Schepper Dorothy and Bradford Jeffries Patricia Mok Rosemary B. Baker Martha Debs Berdine Jernigan Milton J. Mosk Richard C. Barker David and Alaina DeMartini Mrs. Barbara Johnson Elise Mosse Valera Ferrea Barnhart Karel and Mark Detterman Susan E. and John E. Johnson Jr. Kathleen Much Marie Schoppe Bartee Charles Dishman Mark G. Jones Tom and Anne Muller Margaret Bates, M.D. Christine H. Dohrmann Mrs. René Jopé Manfred K. Mundelius Richard and Kathy Beal Sam Alicia Duke Dr. Devorah Joseph, Peter Johnson Musto Cecelia Beam Peter and Ludmila Eggleton in memory of Nerrissa Joseph Virginia Mylenki and Dr. and Mrs. Walter E. Berger Joseph Ehrman III David A. Kaplan James J. Pidgeon Karen S. Bergman Carol Emory Rose Adams Kelly Mr. and Mrs. Robert L. Newman Ms. Catherine Bergstrom Ms. Frances Eubanks John Kerns Tom Nicoll Shannyn Bessoni Joan Falender Mrs. Jerome Ormond Kirschbaum Jeffrey A. Nigh Davidson Bidwell-Waite and Merritt and Mary Lou Fink Linda and Robert Klett Norman and Hillevi Null Edwin A. Waite C. Candace Fitzgerald Suzanne Knott and Tom Rose Peter Nye and James Marks Arthur Bienenstock Richard Fitzgerald Carole Dillon Knutson John S. Osterweis Patricia Ellis Bixby Victoria Flavell Ms. June Kronberg John and Amy Palmer Phyllis B. Blair Frannie Fleishhacker Joan Shelbourne Kwansa James O. Pearson, Jr. Aviva Shiff Boedecker John and Kelly Foley Sharon Lampton Laura Holmes Peters Jon Borset Mr. and Mrs. Thomas W. Foote Mr. and Mrs. Norman Graham Leaper Rudy Picarelli Dr. Carol Bowden Mary Jo Francis Kimun Lee Michael C. Pirrung Bruce Braden Douglas Frantz Marcia Lowell Leonhardt Karen Posner Lisa K. Breakey Sandra and Alfred Fricke Irv Lichtenwald and Steve and Cleo Postle Ron and Susan Briggs Joseph and Antonia Friedman Stephen R. Ripple Roger and Deborah Potash Leonard Brill and Richard Sanjour Connie Marie Gaglio Betsy Lim Mr. and Mrs. Albert M. Price Cynthia and Frederick Brinkmann Shelby and Frederick Gans Susan R. Lin Jane Radcliffe Agnes Chen Brown, in memory of John Garfinkle Carol and Hal Louchheim Dave and Judy Redo Robert Elliott Brown Jacqueline Ghosin Barbara Lowe Glenn H. Reid James R. and Melinda M. Brown Stephen and Margaret Gill James J. Ludwig M.A. Rey-Bear Trust William C. Bullock S. Bradley Gillaugh Mr. and Mrs. Laurence R. Lyons Mr. and Mrs. Richard D. Ringe Marjorie and Gerald Burnett Jane Gitschier Susan Adair Malecki Pat Roberts Julie and David Burns Teri and Andy Goodman Jo Markovich Elsie Robertson Patricia Butler Meryl Gordon, M.D. John Robert Martin Pauline and Richard Roothman Adrian and Carol Byram Michael W. Grady Connie V. Martinez Renee and Dennis Ross Patricia J. Campbell Jeneal Granieri Mr. James D. Marver Renee Rubin Jack Capito Lawrence Grauman, Jr. Dosia Matthews Karl Ruppenthal and Jo Maxon Linda Parker Cassady Joan and Michael Green Gwen and Hamp Mauvais Pat Sanderson Michaela Cassidy Patricia Lindsay and Steven and Niko Mayer Dorothy Saxe Annag Rose Chandler Donald W. Green Ms. Shawna Marie McDonald Norman Schlossberg Antoinette Chatton Roger W. Green Kathlyn McDonough and Ms. Catherine Schmidt Larry Chow and Ralph Wolf Need to Confirm Dennis Yamamoto Walter and Sharon Schneider Diane and William Clarke James Gries Donald L. McGee Al Schroeder Robert Clegg Martin C. Hamilton Mrs. William L. McGee Leonard C. Schwab Bette Jean Clute Rosemary (Rosie) Hayes Dr. Terri McGinnis Harold E. Segelstad

58 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 ESTATE GIFTS San Francisco Ballet gratefully recognizes the following patrons whose contributions to SF Ballet through their estates have provided meaningful support since July 1, 2015. The Ballet is honored by their generosity and vision for the future of the institution. Bequests and other estate gifts, Mr. and Mrs. Jack Self both large and small, are an integral part of the Ballet’s financial well-being. Christine Selle Michael and Daryl Shafran $1,000,000 and Above $50,000 to $99,999 J. Gary and O.J. Shansby Foundation Barbara A. Daily Ms. Edith Hammerslough John-Luke Sheridan Chris Hellman Mason B. Wells Mrs. Carter Parrish Sherlin Donald F. Houghton Carol R. Sholin James H. McMurray Norma Stanberry Up to $50,000 Marc Sinykin and Kevin Osinski Natalie H. Stotz Anonymous (8) Charles G. Smith Arlene H. Sullivan Carol S. Arnold Cleveland M. Smith Eileen Bobrow Dr. W. Byron Smith $500,000–$999,999 Barbara Deepe M. Eileen Soden, Ph.D. Milan Milton Holdor Mr. and Mrs. Rudolf Glauser Scott C. Sollers Arnold A. Grossman Sue Sommer Sharon St. James $250,000–$499,000 John E. Leveen Stephen B. Steczynski Anonymous Ruth Morse Nancy Stern Ruth A. Copley Julia Nash Barbara and Charles Stevens Rachel H. Norman Susanne Stevens $100,000–$249,999 Jessica M. Putney Mrs. Dwight V. Strong Earl Diskin Michelle Scholz Jane and Jay Taber Gloria R. Hendricks Betty S. Thal Mr. and Mrs. Alan Tai Jack Eugene Teeters Bernice Itkin Sam Thal, M.D. George W. Lord Richard J. Thalheimer Dr. Florence R. Oaks Suzanne and Charles Thornton Jazz Tigan Mr. and Mrs. Howard Timoney Michael E. Tully Janet Sassoon-Upton and John R. Upton, Jr. Carolyn and Terry Voet Mrs. Katherine Wallin Mrs. Barbara W. Wanvig Rosalie V. Weaver Dr. Frieda Weiner Daphne and Stuart Wells Benjamin and Mary Ann Whitten Karen and Stephen Wiel Mr. Burlington Willes Michael Williams Miles Archer Woodlief Laureen Woodruff Dr. Robert and Sharon Yoerg Janice Hansen Zakin Kristine A. Zeigler Mrs. Stephen A. Zellerbach

San Francisco Ballet in Ratmansky's Shostakovich Trilogy // © Erik Tomasson

PROGRAMS 02 / 03 | 415 865 2000 | 59 ENDOWMENT FOUNDATION

The San Francisco Ballet Endowment Foundation is a separate nonprofit public benefit corporation that holds and manages endowment funds. It is now the third largest source of revenue for SF Ballet after ticket sales and contributions and supports creating new ballets, touring, scholarships and financial aid for SF Ballet School students, and community education and outreach programs. Donors who make gifts of $25,000 or more to the endowment have a fund created in their name that can provide general support or support designated for specific uses at SF Ballet, SF Ballet School, and SF Ballet’s education programs. For more information, please contact Elizabeth Lani, Deputy Director of Development/Planned Giving, at [email protected] or 415 865 6623. SF Ballet is honored to list the following named funds that contribute support for touring and a variety of other unique needs at SF Ballet. Those highlighted with an asterisk (*) were fully or primarily funded through bequests and other planned gifts.

ENDOWED FUNDS FOR TOURING

Davidson Bidwell-Waite and Edwin A. Waite Touring Fund YOUR LEGACY, OUR FUTURE Frannie and Mort Fleishhacker Touring Fund Stephen and Margaret Gill Family Foundation Touring Fund Teri and Andy Goodman Touring Fund Jocelyn Vollmar dedicated her life to dance and to The Hellman Family Touring Fund San Francisco Ballet. A San Francisco native, she received Donald F. Houghton Touring Fund* her training at SF Ballet School and was a distinguished G. William Jewell Touring Fund* principal dancer with the Company. Her extraordinary Pamela J. Joyner and Alfred J. Giuffrida career included important milestones for the organization: Touring Fund she performed in the American premieres of the now- Swan Lake Nutcracker, Glenn McCoy Touring Fund universally loved ballets and in which she was our first Snow Queen. Vinie and J. Sanford Miller Touring Fund

by Christopher Wheeldon // © Erik Tomasson Phyllis W. Nelson Touring Fund* © In 1948, she was invited by George Balanchine to dance with The Bernard Osher Foundation Touring Fund New York City Ballet in its inaugural year and then performed Bob Ross Foundation Touring Fund Bound To internationally before returning to complete her performing Anne and Michelle Shonk Touring Fund career here at SF Ballet. After leaving the stage, Jocelyn was Akiko Yamazaki and Jerry Yang Touring Fund a teacher at the SF Ballet School from 1985 to 2005, training generations of dancers. Her contributions have been many

Lonnie Weeks in Weeks Lonnie in shaping the institution, including her devotion to the art ENDOWED FUNDS FOR VARIOUS form at the highest standards of excellence. PURPOSES The Jocelyn Vollmar Legacy Circle is comprised of thoughtful LOOKING FOR MORE OUT OF YOUR Dr. and Mrs. John N. Callander individuals who have made a commitment to our work Dancer Wellness Fund by including SF Ballet in their will or other estate plans. SF BALLET EXPERIENCE? Pamela J. Joyner and Alfred J. Giuffrida For information about bequests and other legacy gifts, Dancer Wellness Fund contact Deputy Director of Development Elizabeth Lani Join Friends of San Francisco Ballet and ensure that we are Columbia Foundation Music Fund at 415 865 6623 or [email protected]. around for future generations to enjoy. As our way of saying Thomas W. Flynn Music Fund thanks, you’ll get special benefits designed specifically to The William Randolph Hearst Foundation enhance your SF Ballet experience. Building Fund Donald F. Houghton Fund* Donald F. Houghton Innovation Fund* JOIN US, WON’T YOU? Helgi Tomasson Innovation Fund Visit our website at sfballet.org/donate James J. Ludwig Fund or call 415 865 6628. Diane B. Wilsey Tutu Fund

Jocelyn Vollmar in Marius Petipa’s Don Quixote, circa 1948–1950s 60 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 YOUR LEGACY, OUR FUTURE

Jocelyn Vollmar dedicated her life to dance and to San Francisco Ballet. A San Francisco native, she received her training at SF Ballet School and was a distinguished principal dancer with the Company. Her extraordinary career included important milestones for the organization: she performed in the American premieres of the now- universally loved ballets Swan Lake and Nutcracker, in which she was our first Snow Queen.

In 1948, she was invited by George Balanchine to dance with New York City Ballet in its inaugural year and then performed internationally before returning to complete her performing career here at SF Ballet. After leaving the stage, Jocelyn was a teacher at the SF Ballet School from 1985 to 2005, training generations of dancers. Her contributions have been many in shaping the institution, including her devotion to the art form at the highest standards of excellence.

The Jocelyn Vollmar Legacy Circle is comprised of thoughtful individuals who have made a commitment to our work by including SF Ballet in their will or other estate plans. For information about bequests and other legacy gifts, contact Deputy Director of Development Elizabeth Lani at 415 865 6623 or [email protected].

Jocelyn Vollmar in Marius Petipa’s Don Quixote, circa 1948–1950s THANK YOU TO OUR VOLUNTEERS

The San Francisco Ballet “family” extends beyond the stage to include a large community of dedicated and generous volunteers who are personally involved in the Company’s success. The tireless efforts of these volunteers contribute greatly to SF Ballet’s accomplishments.

AUXILIARY Vibrant, energetic, and passionately committed to the success of each ballet season, SF Ballet Auxiliary members comprise an exclusive group of women who leverage their talents in fundraising events that raise more than $2 million for SF Ballet each year.

LEADERSHIP Ms. Ann Kathryn Baer, President Mrs. Ally Sievers, Recording Secretary Ms. Beverley Siri Borelli, Treasurer Mrs. Michelle Gilman Jasen, Vice President Miss Carla Wytmar, Corresponding Secretary Mrs. Robert W. Wood, Events Treasurer

ACTIVE MEMBERS Ms. Donna Bachle Ms. Brenda Leff Ms. Rosemary B. Baker Miss Elizabeth Leep Ms. Deborah Taylor Barrera Ms. Betsy A. Linder Ms. Katherine Banks Ms. Debra A. Leylegian Mrs. Kevin W. Bartlett Mrs. Carol Louie Mrs. Patrick V. Barber Mrs. Barry R. Lipman Ms. Louisa Basarrate Mrs. Rhonda Mahendroo Mrs. Kent T. Baum Ms. Sheila M. Lippman Ms. Carol Benz Mrs. Heather Cassady Martin Mrs. Peter Berliner Mrs. John C. Lund Mrs. Steven Bergman Mrs. Emily Millman Mrs. John W. Bitoff Mrs. Robert W. Maier Ms. Catherine Bergstrom Dr. Shokooh Miry Mrs. Athena Blackburn Ms. Susan A. Malecki Mrs. William S. Brandenburg Mrs. Elizabeth Robinson Mitchell Mrs. Richard A. Bocci Ms. Sandra Mandel Mrs. Rada Brooks Ms. Monika Moscoso-Riddle Ms. Giselle Bosc Mrs. Michael L. Mauzé Mrs. G. Steven Burrill Mrs. Sarah Newmarker Ms. Caroline Krawiec Brownstone Mrs. Mark A. Medearis Mrs. David John Byers Mrs. Michael O’Sullivan Mrs. Charles E. Clemens Ms. Laura V. Miller Mrs. Alston Calabrese Ms. Hemalee K. Patel Miss Robin Collins Ms. Vickie Nelson Mrs. Kathleen Coffino Mrs. Jack Preston Ms. Christine Leong Connors Mrs. Robert L. Newman Ms. Katie Colendich Ms. Virginia Leung Price Mrs. Daniel P. Cronan Mrs. Peggy L. Newton Ms. Rebecca Cooper Ms. Kacie Renc Ms. Gail De Martini Mrs. Edward Plant Mrs. Courtney Dallaire Mrs. Patricia D. Roberts Ms. Christine DeSanze Mrs. Nick Podell Mrs. Patricia I. Dassios Ms. René Rodman Mrs. Theodore S. Dobos Dame Tanya Marietta Powell Ms. Melissa del Sol Ms. Tiffany Loren Rowe Mrs. David Dossetter Mrs. Todd G. Regenold Mrs. John E. Fetzer Ms. Dylan Rumley Mrs. Happy Dumas Ms. Katherine Robertson Ms. Jane Gazzola Ms. Meg Ruxton Dr. DiAnn Ellis Ms. Lorrae Rominger Ms. Diane Goetz Mrs. James D. Seltsam, Jr. Mrs. Douglas J. Engmann Mrs. Jay Ryder Mrs. Vincent Golde Ms. Grace Nicolson Sorg Mrs. Christian P. Erdman Ms. Isabel M. Sam-Vargas Ms. Shelley Gordon Mrs. Christy Swartz Ms. Patricia Ferrin Ms. Ellen Sandler Mrs. Colin Greenspon Ms. Holli P. Thier Ms. Dixie D. Furlong Mrs. Elaine Wong Shen Mrs. David Grove Mrs. Andrea Valo-Espina Mrs. Alison Morr Gemperle Ms. Merrill Randol Ms. Lori Harmon Mrs. Patrick Walravens Ms. Nonie H. Greene Ms. V’Anne Singleton Mrs. Joseph Harris, Jr. Ms. Amy Wender-Hoch Mrs. John P. Grotts Ms. Karen L. Skidmore Mrs. Ronald R. Heckmann Mrs. Freddi Wilkinson Ms. Catherine D. Hargrave Mrs. Susan Solinsky Mrs. Christopher Hemphill Mrs. Eric Wold Mrs. Michael R. Haswell Mrs. Mathew Spolin Ms. Kathryn A. Huber Mrs. Ronald Zaragoza Mrs. Terrence M. Hazlewood Mrs. Judy Swanson Ms. Corey Hyde Ms. Terry Hynes Helm Ms. Jody K. Thelander Mrs. Jonathan Kaufman Mrs. Helgi Tomasson, Honorary Member Ms. Mindy Henderson Mrs. Charles V. Thornton Mrs. Rebecca Kaykas-Wolff Ms. Kelli Hill Ms. Elizabeth W. Vobach Mrs. Trecia Knapp SUSTAINING MEMBERS Ms. Marie Louise Hurabiell Mrs. Gregg von Thaden Mrs. Maureen Knoll Jola Anderson Mrs. Michael F. Jackson Ms. Barbara Waldman Mrs. Carolyn Koenig Mrs. Judy Anderson Ms. Daru H. Kawalkowski Mrs. Wallace Wertsch Ms. Claire Stewart Kostic Mrs. James P. Anthony Ms. Lisa A. Keith Mrs. Aimee West Ms. Rochelle Lacey Mrs. Thomas G. Austin Mrs. Robert D. Kroll Ms. Patricia Wyrod

ALLEGRO CIRCLE Allegro Circle is one of our newest organizations—a small and mighty group of donors who also volunteer their networks and their professional expertise to SF Ballet. Learn more at sfballet.org/allegrocircle.

LEADERSHIP Patrice Lovato and Stewart McDowell Brady Rosalyn Chen Isaac Hall Gregg Mattner Co-Chairs Paula Elmore Susan Marsch

62 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 The San Francisco Ballet “family” extends beyond the stage to include a large community of dedicated and generous ENCORE! volunteers who are personally involved in the Company’s success. The tireless efforts of these volunteers contribute If you’re a young professional who loves dance and a great party, join our 300 plus ENCORE! members at a wide variety of social, educational, greatly to SF Ballet’s accomplishments. and networking events. Learn more at sfballet.org/encore. LEADERSHIP AUXILIARY Daniel Cassell, President Christopher Correa, Immediate Past President Gary Williams Vibrant, energetic, and passionately committed to the success of each ballet season, SF Ballet Auxiliary members comprise an exclusive group Elizabeth Sgarrella, Vice President Jacqueline Barrett Maggie Winterfeldt Clark of women who leverage their talents in fundraising events that raise more than $2 million for SF Ballet each year. Jamie Lee Taylor, Secretary and Gala Chair Jeannie Gill Angela Zhang Susan Lin, Treasurer Alana Naber

Ms. Beverley Siri Borelli, Treasurer BRAVO Mrs. Robert W. Wood, Events Treasurer Each year BRAVO members contribute a collective total of more than 14,000 hours of volunteer assistance to SF Ballet. In the process they get a personal close encounter with the inner workings of the world of SF Ballet. Learn more at sfballet.org/bravo. Miss Elizabeth Leep LEADERSHIP Ms. Debra A. Leylegian Mrs. Barry R. Lipman Steve Merlo, President Paulette Cauthorn Julie Hawkins Ms. Sheila M. Lippman Kathryn Roberts, Vice President Martha Debs Giovanna Jackson Mrs. John C. Lund Patricia Knight, Secretary Joan Green Pirkko Lucchesi Mrs. Robert W. Maier Ms. Susan A. Malecki We are pleased to recognize BRAVO members who contributed 40 hours or more during the 2017–18 Season. Ms. Sandra Mandel 250+ HOURS 55-99 HOURS Mrs. Michael L. Mauzé Corine Assouline* Susanne Johnson Marilyn Breen Cyndy Lee* Daphne Wray John Maher Mrs. Mark A. Medearis Paulette Cauthorn Kathy Judd Jenny Au-Yeung Lucy Lo Eve Zhang Linda Miyagawa* Ms. Laura V. Miller Martha Debs Elmira Lagundi* Jenya Bordas Margaret McCormack Sara Osaba Ms. Vickie Nelson Julie Hawkins Sabrina Leong Jon Borset Wilcox 40-54 HOURS Elizabeth Price Mrs. Robert L. Newman Giovanna Jackson* John Mazurski Monique Bouskos Keiko Moore* Edie Bazjanac Susan Sakai-McClure Mrs. Peggy L. Newton Patricia Knight Roberta McMullan Julie Brown-Modenos* Gale Niess Justin Chew Anne Snowball* Mrs. Edward Plant Suzanne Knott* Patricia Nelson Klara Cheung Deborrah Ortego Jeanette Chudnow Erika Stuart Mrs. Nick Podell Pirkko Lucchesi Deric Patrick Hao Do Johanna Payne Pamela Clark Joshua Theaker Dame Tanya Marietta Powell Dosia Matthews Sherri Relerford Doris Duncan Sue Plasai Donna Diseroad Steve Trenam Mrs. Todd G. Regenold Steve Merlo Kathryn Roberts Vicente Garcia Sara Pope Linda Drake Audrey Tse Treanor Ms. Katherine Robertson Twyla Powers Pauline Roothman Keiko Golden Mercedes Rodriguez Inna Edwards Sylvia Walker* Ms. Lorrae Rominger Herm Sinoy Roger Green Blaine Shirk Janet Gamble Stephen Wiel* Mrs. Jay Ryder 100-249 HOURS Lacy Steffens Lydie Hammack Eileen Soden Piers Greenhill Stas Yurkevich Ms. Isabel M. Sam-Vargas Margaret Anderson Karen Wiel* Carolyn Hutchinson Stephanie Somersille Cindy James Ms. Ellen Sandler Carolyn Balsley Michael Williams Robin Kinoshita Tracy Stoehr Susan Kalian Mrs. Elaine Wong Shen Philip Fukuda* Steve Wong Carrie Kost Elena Sukhovnina Kiyoshi Kimura Ms. Merrill Randol Joan Green May Yasui Christine Lasher Sherrie Szalay* Kenneth Kitch *denotes 25 or more years Ms. V’Anne Singleton James Gries* Maria Lawrence Susan Warble Betsy Lim of BRAVO membership Ms. Karen L. Skidmore Mrs. Susan Solinsky Mrs. Mathew Spolin Mrs. Judy Swanson SAN FRANCISCO WAR MEMORIAL & PERFORMING ARTS CENTER Ms. Jody K. Thelander Mrs. Charles V. Thornton Ms. Elizabeth W. Vobach The War Memorial Opera House is owned and operated by the City and County of San Francisco through Mrs. Gregg von Thaden the Board of Trustees of the War Memorial of San Francisco. Ms. Barbara Waldman Mrs. Wallace Wertsch The Honorable London N. Breed, Mayor Mrs. Aimee West Ms. Patricia Wyrod TRUSTEES Nancy H. Bechtle, President Vaughn R. Walker, Vice President ALLEGRO CIRCLE Allegro Circle is one of our newest organizations—a small and mighty group of donors who also volunteer their networks and their professional Belva Davis Mrs. George R. Moscone expertise to SF Ballet. Learn more at sfballet.org/allegrocircle. Thomas E. Horn MajGen J. Michael Myatt, USMC (Ret.) Lt. Col. Wallace I. Levin, CSMR (Ret.) Paul F. Pelosi Gorretti Lo Lui Charlotte Mailliard Shultz Diane B. Wilsey Elizabeth Murray, Managing Director Jennifer E. Norris, Assistant Managing Director PROGRAMS 02 / 03 | 415 865 2000 | 63 LAST WORDS ON SNOWBLIND

Obscured by the dreariness of the New England winter—and by the inevitability of impending tragedy— is that Ethan Frome, from which Snowblind is inspired, has at its heart a love story. 2019 "The sudden heat of his tone made her colour mount again, SEASON not with a rush, but gradually, delicately, like the reflection of a thought stealing slowly across her heart ." 01 —Ethan Frome, Edith Wharton 02

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Mathilde Froustey and Ulrik Birkkjaer in Marston's Snowblind // © Erik Tomasson

64 | SAN FRANCISCO BALLET | PROGRAMS 02 / 03 2019 SEASON

JAN 25—MAY 12

01 DON QUIXOTE JAN 25 – FEB 03 02 KALEIDOSCOPE FEB 12 – FEB 23 Divertimento No. 15 Appassionata Hurry Up, We're Dreaming 03 IN SPACE & TIME FEB 14 – FEB 24 The Fifth Season Snowblind Etudes 04 THE SLEEPING BEAUTY MAR 09 – MAR 17 05 LYRIC VOICES MAR 27 – APR 07 Your Flesh Shall Be a Great Poem Bound To “. . . two united in a single soul . . .” World Premiere 06 SPACE BETWEEN MAR 29 – APR 09 Rodeo: Four Dance Episodes Liam Scarlett World Premiere Björk Ballet 07 THE LITTLE MERMAID APR 19 – APR 28 08 SHOSTAKOVICH TRILOGY MAY 07 – MAY 12 Symphony #9 Chamber Symphony Piano Concerto #1

SF BALLET SCHOOL 2019 SPRING FESTIVAL MAY 23–25 Yerba Buena Center for the Arts THIS IS BALLET Bound To© by Christopher Wheeldon Miranda Silveira and Wei Wang in Ratmansky's Shostakovich Trilogy // © Erik Tomasson SFBALLET.ORG