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Physical Thinking Goecke/Robbins/Forsythe May 28 – June 1, 2014

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Ballet Notes Physical Thinking Goecke/Robbins/Forsythe May 28 – June 1, 2014 Ballet Talks for Physical Thinking are sponsored by Guillaume Côté in Opus 19/The Dreamer. Photo by David Cooper. Orchestra Violin 1 Clarinets Alexandre Da Costa, Max Christie, Principal Guest Concertmaster Gary Kidd*, Bass Clarinet Lynn Kuo, Assistant Emily Marlow* Concertmaster Mara Plotkin+ James Aylesworth Bassoons Jennie Baccante Stephen Mosher, Principal Sheldon Grabke Jerry Robinson* Nancy Kershaw Elizabeth Gowen, Sonia Klimasko-Leheniuk Celia Franca, C.C., Founder Contra-Bassoon Csaba Koczó George Crum, Music Director Emeritus Yakov Lerner Horns Karen Kain, C.C. Barry Hughson Jayne Maddison Gary Pattison, Principal Wendy Rogers Vincent Barbee* Artistic Director Executive Director Paul Zevenhuizen Derek Conrod* David Briskin Rex Harrington, O.C. Diane Doig+ Violin 2 Music Director and Artist-in-Residence Christine Passmore+ Dominique Laplante, Principal Conductor Scott Wevers Principal Second Violin Magdalena Popa Lindsay Fischer Aaron Schwebel, Trumpets Principal Artistic Coach Artistic Director, Assistant Principal Richard Sandals, Principal YOU dance / Ballet Master Anne Armstrong+ Brendan Cassin+ Peter Ottmann Mandy-Jayne Xiao Grabke Mark Dharmaratnam Senior Ballet Master Richardson Rene London+ Anita McAlister+ Senior Ballet Mistress Ron Mah Robert Weymouth* Aya Miyagawa Aleksandar Antonijevic, Guillaume Côté, Trombones + Filip Tomov Matthew Golding , Greta Hodgkinson, Evan McKie*, David Archer, Principal Ashley Vandiver+ Svetlana Lunkina*, Heather Ogden, Sonia Rodriguez, Robert Ferguson Joanna Zabrowarna Piotr Stanczyk, Jillian Vanstone, Xiao Nan Yu Dave Pell, Bass Trombone Kevin D. Bowles, Lorna Geddes, Violas Tuba Alejandra Perez-Gomez, Rebekah Rimsay, Angela Rudden, Principal Sasha Johnson, Principal Tomas Schramek, Hazaros Surmeyan Josh Greenlaw Naoya Ebe, Keiichi Hirano, Tanya Howard, Assistant Principal Harp Stephanie Hutchison, Etienne Lavigne, Valerie Kuinka Lucie Parent, Principal Patrick Lavoie, Elena Lobsanova, McGee Maddox, Johann Lotter Stacey Shiori Minagawa, Tina Pereira, + Tympani Nicholaos Papadakis Jonathan Renna, Robert Stephen Michael Perry, Principal Beverley Spotton Skylar Campbell, Jordana Daumec, Larry Toman Percussion Alexandra MacDonald, Chelsy Meiss, Tim Francom, Principal Tiffany Mosher, Jenna Savella, Brendan Saye, Cellos Kristofer Maddigan Christopher Stalzer, Dylan Tedaldi Maurizio Baccante, Mark Mazur James Applewhite, Jack Bertinshaw, Trygve Cumpston, Principal Shaila D’Onofrio, Krista Dowson, Nadine Drouin, Jackson Dwyer, Marianne Pack Orchestra Personnel Hannah Fischer, Francesco Gabriele Frola, Giorgio Galli, Alastair Eng+ Manager and Music Selene Guerrero-Trujillo, Emma Hawes, Juri Hiraoka, Administrator Ji Min Hong, Kathryn Hosier, Rui Huang, Harrison James, Olga Laktionova* Lise-Marie Jourdain, Larissa Khotchenkova, Miyoko Koyasu, Elaine Thompson Raymond Tizzard James Leja, Elizabeth Marrable, Shino Mori, Jaclyn Oakley, Andrew McIntosh Librarian Andreea Olteanu, Asiel Rivero, Joseph Steinauer, Nan Wang, Paul Widner Aarik Wells, Sarah Elena Wolff Lucie Parent RBC Apprentice Programme / YOU dance: Basses Assistant to the Music Rhiannon Fairless, Liana Macera, Elenora Morris, Felix Paquet, Hans. J.F. Preuss, Director Meghan Pugh, Ben Rudisin, Kota Sato. Martin ten Kortenaar, Principal Jean Verch Mimi Tompkins, Ethan Watts Paul Langley Robert Binet Lorna Geddes Robert Speer * On Leave of Absence + Additional Musician Guillaume Côté Pointe Shoe Manager / Cary Takagaki Choeographic Associates Assistant Ballet Mistress Flutes Ernest Abugov Joysanne Sidimus Leslie J. Allt, Principal Jeff Morris Guest Balanchine Shelley Brown, Piccolo Stage Managers Répétiteur Maria Pelletier Tiffany Fraser Peter Sherk Oboes Assistant Stage Manager Stage Manager, YOU dance Mark Rogers, Principal Karen Rotenberg * Principal Guest Artist + Lesley Young, English Guest Artist Horn Maternity leave Page 2 national.ballet.ca Wednesday, May 28 at 7:30 pm Thursday, May 29 at 7:30 pm Friday, May 30 at 7:30 pm Saturday, May 31 at 2:00 pm and 7:30 pm Sunday, June 1 at 2:00 pm Conductor: David Briskin, Music Director and Principal Conductor Physical Thinking Presented by Company Premiere Spectre de la Rose Choreography: Marco Goecke Staged by: Giovanni Di Palma Music: Carl Maria von Weber Costume Design: Michaela Springer Lighting Design: Udo Haberland Dramaturge: Nadja Kadel Répétiteurs: Peter Ottmann and Aleksandar Antonijevic World Premiere: Les Ballets de Monte Carlo, July 14, 2009, Monte Carlo, Monaco The National Ballet of Canada Premiere: May 28, 2014, Toronto Lead philanthropic support for Spectre de la Rose is provided by an anonymous friend of the National Ballet and The Producers’ Circle: John & Claudine Bailey, David Binet, Susanne Boyce & Dr. Brendan Mullen, Gail Drummond & Bob Dorrance, Sandra Faire & Ivan Fecan, Kevin & Roger Garland, The William & Nona Heaslip Foundation, Rosamond Ivey, Hal Jackman Foundation, Anna McCowan-Johnson & Donald K. Johnson, O.C., Judy Korthals & Peter Irwin, Robert & Judith Lawrie, Mona & Harvey Levenstein, Joan & Jerry Lozinski, The Honourable Margaret Norrie McCain, C.C., Julie Medland, Sandra Pitblado & Jim Pitblado, C.M., Lynda and Jonas Prince, Sandra L. Simpson and Noreen Taylor & David Staines, O.C. Guillaume Côté and Kathryn Hosier (May 28, 30, 31 eve) Dylan Tedaldi and Chelsy Meiss (May 29, 31 mat, June 1) Skylar Campbell, Francesco Gabriele Frola, Giorgio Galli, Keiichi Hirano or Jonathan Renna, Robert Stephen or Christopher Stalzer, Nan Wang Page 3 A Note on Spectre de la Rose From its first performance in Monte Carlo in 1911, Michel Fokine’s Le Spectre de la Rose made a name for itself, eventually becoming a legend which still endures today. The ballet was inspired by Théophile Gautier’s verse “I am the spirit of a rose you wore at the ball yesterday” (“Je suis le spectre d'une rose que tu portais hier au bal”) and is set to Carl Maria von Weber’s music, Invitation to the Dance. It is the story of a young girl who has just come back from a ball. Falling asleep with a rose in her hands, she dreams of the spirit of the rose, who appears by jumping through her window, dances with her and disappears before she wakes up. In 2009, Marco Goecke was commissioned to create his own version of Le Spectre de la Rose. Unlike Maurice Béjart, who created a parody based on the original ballet in 1979, Mr. Goecke’s approach is deeply serious. He has added six supporting spirits to the principal couple and a second piece of music by Carl Maria von Weber, The Master of the Spirits. By doing this, the new Spectre is not only longer but Mr. Goecke has given the principal dancer the chance to embody a spirit who differs from the original version in many Nathalie Nordquist of Les Ballets de ways, particularly in the music for the solo Monte Carlo in Spectre de la Rose. and Mr. Goecke’s distinctive choreographic Photo by Marie-Laure Braine. language. Although the solo includes various jumps, they are neither high nor wide. original. Using different methods, Mr. Goecke Mr. Goecke’s interpretation is anything but has found a unique way of developing the a eulogy of romanticism. His choreography port de bras, finding new combinations often emphasizes power and intensity, while for the arms and creating rapidly changing avoiding any impression of naturalism. His movements. Like Mr. Fokine in his time, Mr. vision is not clouded by extravagant stage Goecke has also changed the relationship design, such as the young girl’s bedroom between the masculine and feminine roles in Mr. Fokine’s version. Although the to find a new balance. Even though the spirit costumes are inspired by Mr. Gautier’s spirit is still the principal character in Mr. Goecke’s and red is the principal colour, Mr. Goecke’s ballet, the feminine role shows great modern choreography draws on the poem independence and is powerfully interpreted. while embracing new interpretations at the same time. – Nadja Kadel In spite of great differences of style, Mr. Goecke‘s choreography is as inventive as the Intermission Page 4 national.ballet.ca Opus 19/The Dreamer Choreography: Jerome Robbins Staged by: Jenifer Ringer Music: Sergei Prokofiev, Violin Concerto No. 1 in D Major By arrangement with Boosey and Hawkes Inc. publisher and copyright owner Violin Soloist: Alexandre Da Costa Costume Design: Ben Benson Lighting Design: Jennifer Tipton. Recreated by Les Dickert Répétiteur: Lindsay Fischer Opus 19/The Dreamer is made possible by a generous contribution from David & Torunn Banks. Performed with permission of The Robbins Rights Trust. World Premiere: New York City Ballet, June 14, 1979, New York City The National Ballet of Canada Premiere: March 2, 2005, Toronto Sonia Rodriguez and Naoya Ebe* (May 28, 31 mat) Greta Hodgkinson and Guillaume Côté (May 29, June 1) Xiao Nan Yu and McGee Maddox* (May 30, 31 eve) Ji Min Hong or Kathryn Hosier, Rui Huang or Nadine Drouin, Selene Guerrero-Trujillo or Krista Dowson, Sarah Elena Wolff or Juri Hiraoka, Shaila D’Onofrio or Hannah Fischer, Elizabeth Marrable or Larissa Khotchenkova Trygve Cumpston, Dylan Tedaldi or Asiel Rivero, Giorgio Galli or Nan Wang, Jackson Dwyer, Skylar Campbell or Francesco Gabriele Frola, Christopher Stalzer A Note on Opus 19/The Dreamer The dual title of Opus 19/The Dreamer hints emerges cohesively from the score. The first at one reason for the ballet’s elusive power: movement, andantino, begins with a hushed the work is both abstract, distanced by the tremolo in the strings while
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    1 A Century of Rites: The Making of an Avant-Garde Tradition Lynn Garafola Since the premiere of The Rite of Spring in 1913, scores of choreographic works to the celebrated Stravinsky music have seen the light of day. In 1987, when Joan Acocella and I compiled a list of as many productions as we could document for the Dance Critics Association symposium "The Rite of Spring at Seventy-Five," the number was forty-four.' (Of course, that was in the Dark Ages before Google and th e Internet!) By the time we republished the list in Ballet Review in 1992, it had climbed to seventy-five, including more than twenty earlier versions we had missed.2 Since then the numbers have grown exponentially. In 1999 the Italian critic Ada d'Adamo counted ninety-three versions.3 Three years later, "Stravin­ sky the Global Dancer," the database developed by Stephanie Jordan and her col­ league Larraine Nicholas at Roehampton University in 2002, recorded 181 set­ tings of the score, with roughly half since 1990 and with several choreographers staging multiple versions.4 After a brief slackening, the numbers spiked again in 2013, with countless new productions and revivals of old ones marking The Rite's centenary. Seemingly the idea of the now-legendary work coupled with its memorable score posed an irresistible challenge. Even as the productions keep coming, like Vaslav Nijinsky's original they keep disappearing, with perhaps two dozen or so in active repertory. To be sure, few dance w9rks outlive the first decade of their creation. They may leave traces, documentary and otherwise, but as living works they enter the limbo of non-per­ formance, where they languish long after any hope of retrievability has gone.