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2019 SEASON | PROGRAMS 05 / 06 LYRIC VOICES / SPACE BETWEEN Encore spread.indd 1 2/19/19 4:01 PM Encore spread.indd 1 2/19/19 4:01 PM The people you trust, trust City National. Top Ranked in Client Referrals*

“City National helps keep my financial life in tune.” Michael Tilson Thomas Conductor, Educator and Composer

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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 . ©2018 City National Bank. All Rights Reserved. cnb.com 7275.26 March 2019 PROGRAM 05 | LYRIC VOICES / Volume 96, No. 6 PROGRAM 06 | SPACE BETWEEN The people you trust, TABLE OF CONTENTS 0 5 Greetings from the Artistic Director

Paul Heppner & Principal Choreographer trust City National. President 0 6 Board of Trustees Mike Hathaway Endowment Foundation Board Top Ranked in Client Referrals* Senior Vice President 0 7 SF Leadership Kajsa Puckett Vice President, Sales & Marketing 0 8 For Your Information 05 Genay Genereux Accounting & Office Manager 0 9 Timeline

Production 1 0 Season News Susan Peterson Vice President, Production 1 1 SF Ballet Student Matinees

Jennifer Sugden 1 2 Explore Ballet Assistant Production Manager 1 6 Artists of the Company Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers 2 4 PROGRAM 05 Lyric Voices

Sales Your Flesh Shall Be a Great Poem Marilyn Kallins, Terri Reed Bound To /Bay Area Account Executives “City National helps keep “... two united in a single soul ...” Devin Bannon, Brieanna Hansen, World Premiere Amelia Heppner, Ann Manning my financial life in tune.” Area Account Executives 3 2 PROGRAM 06 Space Between Carol Yip EMG Rodeo: Four Episodes Michael Tilson Thomas Sales Coordinator FP 3 Die Toteninsel World Premiere Conductor, Educator and Composer MarketingMASTHEAD Björk Ballet Shaun Swick Senior Designer & Digital Lead 4 0 SF Ballet Orchestra

Ciara Caya 4 2 SF Ballet Staff Marketing Coordinator 4 4 Donor Events and News 24 Encore Media Group 425 North 85th Street 4 8 SF Ballet Donors Seattle, WA 98103 6 2 Thank You to Our Volunteers p 800.308.2898 | 206.443.0445 f 206.443.1246 6 4 Last Words on “... two united in a single soul ...” Find your way up.SM Visit cnb.com [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 .com/sfballet written permission is prohibited.

San Francisco Ballet | Program Book | Vol. 26, No. 5 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 in Pita's Björk Ballet // © Erik Tomasson

Above, top to bottom: Helgi Tomasson; *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. Yuan Yuan Tan and Carlo Di Lanno in Bound To© 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? by // Both © Erik Tomasson City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. Bound To© by Christopher Wheeldon ©2018 City National Bank. All Rights Reserved. cnb.com 7275.26 PROGRAMS 05 / 06 | SFBALLET.ORG | 3 Untitled-2 1 Custom solutions for better living 800.274.6754 californiaclosets.com 800.274.6754 2/21/19 3:13 PM

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©2019 California Closet Company, Inc. All rights reserved. Franchises independently owned and operated. Artistic Director &Principal Choreographer Helgi Tomasson Sincerely, the lifeofalegendarycomposer inShostakovich Trilogy. Ihopetoseeyouagainthisspring intheOperaHouse. emotional undercurrentsoftheHansChristianAndersenstory Thank youforjoiningusthesetwodynamicprograms.Our Seasoncontinues withJohn Neumeier’s deepdiveintothe you realizehowrefreshinglyvibrantandunconventionalballet can be. was createdbytheinimitableArthurPita,andsettomusic ofafellow Icelander, Björk.Thisjoyous,boldworkmakes definitive, with Scarlett’s expressivemovementcreatinganotherworldly, hauntingmood. Thefinalworkonthisprogram score ofthesamename, orIsleoftheDead,inEnglish).It’s athoughtfulpieceaboutdeaththat’s moreevocativethan Hummingbird wearetakingtoLondon laterthisspring, createdabrand-newwork,DieToteninsel (settoRachmaninoff’s relationships inawaynotoftenseenonstage. LiamScarlett,whoseFrankenstein weperformedlastseasonandwhose features menand1woman,highlightsboththecompetitiveness andthetendernessinmale 15 City Balletin2015, Rodeo: FourDanceEpisodesisanathletic,kinetictake onAaronCopeland’s iconicscore. Hisballet,createdforNewYork Broadway, andonfilm.And eachoftheartistsonthisprogramleadsartforminaslightlydifferentdirection.’s Program 06,SpaceBetween,featuresworkbythreechoreographers whoareworkingallovertheworld—inballet,on and I’mlookingforwardtoseeinghislatestcreationonthestage. who spendagoodpartofeachdaycritiquingandevaluatingtheirown reflection. Yuri’s workisalwaysthought-provoking the mythofNarcissus,whofallsinlovewithhisownreflection.It’s aparticularly interestingsubjectforballetdancers, with anotherperson.SFBallet’s ChoreographerinResidence Yuri Possokhov hascreated aworkthat’s centeredaround to ourphones.Hisballetisanexplorationofwhathappenswhenwe do(anddon’t) putthephonedownandconnect When ChristopherWheeldoncametoSanFranciscocreate common. Theresultingballetisplayful,quirky, anddeeplyheartfelt. and Trey, waswonderinghowmuchelsetheyhadin whois6'6", It wasanimageofhisverytallgrandfatherasayoungathlete, songwriter ChrisGarneau,cametousthinkingaboutaphotograph. whose Your FleshShallBeaGreatPoem issettomusicbysinger- choreographers havecreatedthreequitedistinctballets.Trey McIntyre, accompaniment. Andyet,fromthissimilarstartingpoint,three program titlesuggests,allthreeballetsaresettomusicwithvocal festival and“… twounitedinasinglesoul…” isbrandnew. Asthe Great Poem andBoundTo Unbound werebothmadeforour2018 San FranciscoBalletoverthelasttwoyears:Your FleshShallBea Program 05,Lyric Voices, ismadeupofthreeworkscreatedfor have beencreatedinthelastfouryears. you’ve joinedusforthesetwoprogramsofsixballets—allwhich vibrant andrelevantwithnewworks.WhichiswhyI’msopleased well. At thesametime, Ibelieveit’s essentialtokeep theartofballet important partofourheritage, andwetake greatprideindancingthem performances ofTheSleepingBeauty.Belovedstoryballetsarean a shiftfromtheopulenttutusandclassicalvirtuosityofourrecent Season,Lyric Voices2019 andSpaceBetween.Theseprogramsmark Welcome totheOperaHouseforfourthandfifthprogramsof our GREETINGS & PRINCIPAL CHOREOGRAPHER FROMTHEARTISTIC DIRECTOR

Bound To, hewasthinkingabouthowattachedweare The LittleMermaid,followedbyAlexei Ratmansky’s lookat PROGRAMS 05 / 06 06 | 415 865 2000 415

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

Yasunobu Kyogoku Kelsey Lamond TRUSTEES EMERITI Jola Anderson Brenda Leff Michael C. Abramson ASSOCIATE TRUSTEES Kristen A. Avansino Marie O’Gara Lipman Thomas W. Allen Ann Kathryn Baer, President,

Richard C. Barker† Alison Mauzé Marjorie Burnett San Francisco Ballet Auxiliary President Karen S. Bergman Marissa Mayer Charles Dishman Steve Merlo, , BRAVO President Gary Bridge John T. Palmer Garrettson Dulin, Jr.† Daniel Cassell, , ENCORE! Chaomei Chen Fritz Quattlebaum Millicent Dunham Stewart McDowell Brady, Hannah Comolli Kara Roell J. Stuart Francis† Patrice Lovato, Christine Leong Connors Sally Hambrecht Christine Russell Co-Chairs, Allegro Circle David C. Cox Randee Seiger Ingrid von Mangoldt Hills

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

6 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 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 , he danced with Harkness Metropolitan Opera, McCoy joined Ballet, The , and 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, , 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 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, Christopher Wheeldon, 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 ’s Othello, Helgi Tomasson’s Nutcracker, full-length productions of , The Sleeping Beauty, Romeo & and ’s The Little Mermaid, which have been broadcast Juliet (taped for Lincoln Center 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, , , 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 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 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 Ballet 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 , Florence, Larissa K. Roesch named music director of SF Ballet in 2005. West’s recordings with London, Naples, , and , Armand was appointed teacher SF Ballet Orchestra include the complete score of Tchaikovsky’s and of the Teatro alla Scala in Milan in 2006. In 1998 Nutcracker and an album of suites from Delibes’ and Coppélia. and 2009, he served as a jury member of the 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 05 / 06 | SFBALLET.ORG | 7 FOR YOUR INFORMATION

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 05 / 06 TIMELINE

A tradition of innovation flows through the history of San Francisco Ballet. As the oldest professional ballet company in the U.S., SF Ballet builds upon strong classical roots, while continually exploring and redefining where the art form is headed. Interwoven with SF Ballet milestones are important premieres that highlight the Company’s longtime commitment to new work. For a complete history of San Francisco Ballet, please visit sfballet.org/history. 1933 1939 The San Francisco Opera Ballet performs Coppélia the first all-dance performance at the new is the Company’s first full-length ballet— Opera House. and the first complete version in the . Christensen’s Coppélia Design for Adolph Bolm’s Le Ballet Mecanique

Ballet ’60 is one of the first choreographers’ workshops in 1940 America. Over the next 13 years, 43 choreographers create SF Opera Ballet performs the first full-length more than 100 new works. Swan Lake in the United States. Lew Christensen and 1960 Jacqueline Martin in Swan Lake 1965 SF Ballet establishes Dance in Schools and Communities Lew Christensen’s Life: A Do-It-Yourself (DISC) to offer arts instruction in public schools. 1979 Disaster is credited as being the first pop-art ballet. Nancy Robinson in Christensen’s 1981 Life: A Do-It-Yourself Disaster Michael Smuin’s The Tempest— the first ballet broadcast live from the War Memorial Opera 1985 House—is nominated for three Emmy Awards. Helgi Tomasson arrives as artistic director, Betsy Erickson in The Tempest beginning a new era for SF Ballet. Helgi Tomasson 1995 SF Ballet hosts 12 companies from five continents for UNited We Dance, 2000 celebrating the 50th anniversary of SF Ballet’s Discovery Program features six world the signing of the UN Charter. premieres by four SF Ballet principal dancers, plus Sabina Allemann and Eric Hoisington in Vladimir Anguelov and Christopher Wheeldon. Tomasson's When We No Longer Touch Yuri Possokhov’s Magrittomania

Justin Peck’s Rodeo: Four Dance Episodes premieres at . 2008 2015 The New Works Festival celebrates SF Ballet’s 75th Anniversary with 10 works by 10 choreographers, including Yuri 2018 Possokhov and Christopher Wheeldon. Unbound: A Festival of New Works Christopher Wheeldon’s Within the Golden Hour© premieres 12 ballets by 12 international choreographers, including Trey McIntyre, Arthur Pita, and Christopher Wheeldon. Natasha Sheehan 2019 Liam Scarlett and Yuri Possokhov premiere Die Toteninsel and “. . . two united in a single soul . . .” at SF Ballet. Historic photos: Courtesy of the Museum of Performance + Design. Photos of When We No Longer Touch; Magrittomania // © Marty Sohl. Photos of Joyride; Natasha Sheehan; and Wheeldon’s Within The Golden Hour© // © Erik Tomasson

PROGRAMS 05 / 06 | 415 865 2000 | 9 2019 SEASON NEWS

SF BALLET FAN FEST CELEBRATES BAY AREA DANCE WEEK On Saturday, April 27, the Opera House doors will open early so audiences can watch our dancers’ daily ritual—company class. Guests will enjoy open seating in the auditorium for this free event, and company class will be held onstage at noon. SF Ballet’s Fan Fest, from 10 am–2 pm outside the Opera House, will feature interactive booths where attendees can try on a , learn about pointe shoes, explore our ballets, and grab a snack or lunch.

SF BALLET VISITING SCHOLAR TAKES THE STAGE SF Ballet’s 2019 Visiting Scholar Clare Croft, PhD, gives a free Pointes of View lecture on March 27 on the topic: What makes a ballet “American?” Croft, a dance historian and theorist, is on the faculty of University of Michigan. She’ll speak about Trey McIntyre’s Your Flesh Shall Be a Great Poem, which draws its title from famous American poet Walt Whitman’s Leaves of Grass; and Justin Peck’s Rodeo: Four Dance Episodes, which re-imagines one of the most iconic Americana ballets. SF Ballet’s Visiting Scholar program invites one established scholar to participate in audience engagement programs each year. The goal of this program is to bring cutting-edge scholarship on ballet to SF Ballet’s audiences, students, and staff. Visiting Scholars are asked to present excerpts from their scholarly work to company audiences during Pointes of View Lectures, participate in special topics symposia, and give talks about their area of research to SF Ballet School students and company staff.

SF BALLET SCHOOL SPRING FESTIVAL The much-anticipated annual spring performance of students at SF Ballet School has a new format. SF Ballet School Spring Festival (formerly known as SF Ballet School Student Showcase) will include three nights of unique performances, a dinner on opening night, and new interactive activities. A new work by AXIS Dance Company Artistic Director Marc Brew created for the Trainees, excerpts from two ballets by Jiří Kylián, and a premiere from one of the School’s Choreographic Trainees will augment the repertory. In addition, one or more new works from SF Ballet School’s student choreographers will receive its first public performance.

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 $1.2 million annually in need and merit-based grants to students. For more: sfballet.org/schoolfestival

SF BALLET TO PERFORM IN LONDON AND SUN VALLEY THIS SUMMER Soon after the 2019 Season ends in San Francisco, the Company will head to London for two weeks at London’s Sadler’s Wells Theatre, May 20–June 8. The London performances will include 10 ballets commissioned by SF Ballet, all of which are European premieres. Alexei Ratmansky’s Shostakovich Trilogy opens the tour, followed by three programs featuring works from last year’s Unbound: A Festival of New Works, and Liam Scarlett’s Hummingbird. Unbound works include those by David Dawson, Edwaard Liang, Cathy Marston, Trey McIntyre, Justin Peck, Arthur Pita, Stanton Welch, and Christopher Wheeldon. SF Ballet’s engagement at Sadler’s Wells is made possible in part by Lead Sponsor Diane B. Wilsey and Sponsor Ms. Laura Clifford.

In July, SF Ballet will head to Sun Valley, , for performances July 5 and 7 at the Sun Valley Pavilion, open-air venue set amidst the natural beauty of the area. The Company will perform a gala-style performance of short works on July 5 and a mixed-repertory performance of longer works on July 7. For more: sfballet.org/tour

This page, top to bottom, counterclockwise: Jennifer Stahl during company class on stage at the War Memorial Opera House // © Erik Tomasson; San Francisco Ballet School Students in Balanchine’s Stars and Stripes // by © The Balanchine Trust // © Lindsay Thomas; San Francisco Ballet in McIntyre’s Your Flesh Shall Be a Great Poem // © Erik Tomasson Opposite page, top to bottom: Scenes from a student matinee performance // © Chris Hardy; Student illustration post-student matinee performance // © courtesy of SF Ballet’s DISC program

10 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 INSIDE SF BALLET’S COMMUNITY PROGRAMS

BRILLIANT DANCING, ENTERTAINING INSIGHTS, AND MAYBE AN ANIMAL OR TWO: Introducing Ballet to Elementary Schoolers in Student Matinees

Each year, there’s a distinctive buzz in the Opera House as the auditorium fills with children for SF Ballet’s annual Student Matinee performances. Designed for school groups, Student Matinees, held twice a year, offer an introduction to classical and to nearly 6,000 Bay Area K–12 students, many of them part of SF Ballet’s Dance in Schools and Communities (DISC) program. “We’re committed to filling a critical need for arts education in our community,” says Andrea Yannone, director of education and training at SF Ballet. “These Student Matinees are a great way to introduce children to the transformative power of creativity through the performing arts.”

“The ballet made me feel magical! I loved all of the music and dancing.” —Leonie, age 8

The 2019 Student Matinees featured excerpts from story ballets and The Sleeping Beauty, performed by SF Ballet dancers, as well as a world premiere created for the SF Ballet School Trainees by choreographer Marc Brew. Brew is artistic director of AXIS Dance Company, which integrates dancers with and without physical disabilities. His new ballet quicksilver was performed by SF Ballet School Trainees, the most advanced dancers at the School. “It was a real joy to work with the Trainees,” says Brew. “I wanted to open their mind to new possibilities. I was never exposed to anyone with a disability during my own training. The fact that I was in that studio with them, working with them, hopefully changed their perception of what a dancer is and what it means to be a dancer.”

“I was surprised the men were so strong.” —Sebastian, age 7

As part of both of the Student Matinee performances, students—who range in age from about 7 to 12 years old—are offered a behind-the-scenes look at what it takes to stage a ballet. SF Madison Keesler served as host of this year’s Student Matinees. At the January Don Quixote event, she started by explaining the story and introducing the dancers playing the main characters. Between Act I and Act II, she asked students to cheer (loudly!) for the character that protagonist Kitri should marry: Gamache or Basilio (who received the lion’s share of the applause). Students also learned a short phrase of mime from the ballet and practiced it in their seat. Another highlight was watching how the stage crew changed the scenery between acts. “I really enjoyed showing us how they changed the scenes and it was surprising how large the stage was,” says Radka Pulliam, a SFUSD educator who attended with a group of students. “I loved how you went through the acts and told us tidbits of how they lived and performed. Having the dancer lead us through this journey was amazing and helped our students access the ballet.”

“How are the shoes so cool?” —Makani, age 8

Performance day is just one part of the Student Matinee experience, which starts months prior with free professional development workshops for teachers at SF Ballet. In these workshops, teachers explore activities, lessons, and resources to share with students before and after the Student Matinee performance. All attending schools are supplied with a Study Guide, which includes activities—geared to state and national education standards—that challenge students to think about the performance and artistic process.

“My favorite part of the performance was when the cats went jump, jump, jump!” —America, age 7

Programming is designed with schoolchildren in mind—performances last 75 minutes and feature high energy performances with plenty of stagecraft. It’s a winning formula—at the Don Quixote matinee, the errant knight’s live horse drew as many gasps of delight as did the ebullient dancing. The White Cat and Puss in Boots, who dance in The Sleeping Beauty, are favorites. “The students who attend these performances have a great experience, and so do the dancers,” says Yannone. “Their enthusiasm and energy are contagious.”

PROGRAMS 05 / 06 | SFBALLET.ORG | 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 FREE and open to all ticket holders for selected performances. For details: sfballet.org/mta 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 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.

DANCE FOR ALL AGES Let your spirit soar as you experience the joy of moving in our beautiful studios.

ADULT BALLET CLASSES Open to adults and teens over the age of 16 with basic ballet experience, classes start at the , then move to the center through traditional ballet exercises and combinations. Be prepared to sweat (at least a little) and to have a good time. Gentle Ballet, True Beginner, Beginner/ Intermediate, and Intermediate/Advanced classes are offered. For more information: sfballet.org/adultballet

ADULT BEGINNER BALLET SERIES Through May 11, Saturdays, 3:00–4:20 pm. Taught by Cecelia Beam This eight-session beginner series is for those 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 so that you’ll finish feeling confident and excited to continue your training.

ADULT BALLET WORKSHOP June 10–15 Why do kids always get to have all the fun? SF Ballet School is organizing the third-annual summer dance workshop just for adults. Join acclaimed faculty and special guests in daily and repertory classes in our beautiful studios with live accompaniment. Dance lovers from across the country will unite in San Francisco this summer to share in a one-week experience of a dancer’s life at SF Ballet.

DANCE SERIES FOR INDIVIDUALS WITH PARKINSON’S DISEASE 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 PD concerns such as balance, flexibility, coordination, isolation, and depression. Classes take place Saturdays at 1 pm, beginning March 16. For more information, contact Cecelia Beam at [email protected].

SF BALLET SCHOOL AT FITNESS SF 1455 Fillmore Street, San Francisco, CA SF Ballet School Faculty now teach classes at FITNESS SF. Ballet 101 is a beginner series, Fridays 10:30–12:00 pm, intended for adults (ages 16+) who are new to ballet. There is an April and May series, and the class fee includes a day pass to FITNESS SF. NEW: Ballet 201, ongoing Wednesdays 6:00–7:30 pm, an open beginner/intermediate ballet class. 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 CHAT March 31, 4:30–6 pm: Lyric Voices April 7, 4:30–6 pm: Space Between May 12, 4:30–6 pm: Shostakovich Trilogy You’ve just seen an inspiring performance. Now what? Rather than heading home, channel that insight and creative energy. Have a glass of wine, mingle with fellow ballet fans, and participate The location that in an informal moderated conversation. Cost: $10 connects you to the BALLET BOOK CLUB April 20, 5–6:30 pm: The Little Mermaid best of San Francisco. Ever wondered about the literature behind the ballets? Or wanted an excuse to delve a little San Francisco is known for its rich intellectual deeper into everyone’s favorite story ballets? and creative culture,2/3V progressive spirit, and We’ll do exactly that: read the story, compare it global outlook — and that’s just what you’ll find to the ballet, and, of course, have a glass of wine. Cost: $20/$15 (subscribers & donors) at San Francisco Towers, a sophisticated Life Plan Community in the heart of the city.

BALLET TALK Everything you love is within walking distance, May 11, 5–6:30 pm: Creating New Work with Marc Brew making it easy to stay connected to the culture and These lively events include a 60-minute talk and diversity San Francisco is known for plus convenient Q & A, as well as a wine-and-cheese reception with services, wonderful comforts, and security for the the speaker. Cost: $35/$30 (subscribers & donors) future.

Join the waiting list! For information, or to schedule All Audience Engagement Programs are subject to change. The views, opinions, and information expressed a visit, call 415.447.5526. are strictly those of the participants, and do not necessarily represent or imply any official position of San Francisco Ballet Association. For more information about these programs, visit sfballet.org/explore or email [email protected].

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PROGRAMS 05 / 06 | 415 865 2000 | 13 EXPLORE BALLET CONTINUED

BALLET FOR CHILDREN Share a love of dance with the next generation.

CHILDREN’S AUDITIONS FOR SF BALLET SCHOOL Pursue a love of dance. For children with an interest in dance or the dream of becoming a ballet dancer, San Francisco Ballet School offers a training program of unqualified excellence. We’re holding auditions for our 2019–20 school-year program on June 2. To be eligible to audition, students must be age 8–11 by September 1, 2019. For more information and to register: sfballet.org/school/audition

BALLET FOR YOUNG CHILDREN Learning the joy of movement begins with Pre-Ballet classes at SF Ballet School. We introduce young children ages 4–7 to the fundamentals of , focusing on proper body alignment, basic ballet technique and terminology, and musicality. Audition not required. Fall 2019 classes will be open for enrollment beginning in April. For more information about free trial classes: 2/3V sfballet.org/preballet FP 5 SUMMER BALLET CLASSES June 8–29 and July 6–27 Students ages 4–13 welcome. For more: sfballet.org/school/summer-classes

SUMMER DANCE CAMP Summer 2019 (June dates to be announced) Boys & Girls Clubs of San Francisco (BGCSF) and SF Ballet are partnering to offer the annual Summer Dance Camp. At this free, weeklong dance program, BGCSF members 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

14 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 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 05 / 06 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 in 2012, apprentice in 2001 and joined the and to principal dancer in 2015. Born in Winter Park, , 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 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 , , Born in Nuoro, Italy, Angelo Greco Ulrik Birkkjaer trained at the Royal trained at Ballet School Danish Ballet School. He danced in Milan. He danced with La Scala with the 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, , Vitor Luiz Italy, and trained at La Scala Ballet trained at The . School in Milan. He danced with He danced with Royal La Scala Ballet and Staatsballett Ballet and Ballet do Theatro Municipal Berlin 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 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 05 / 06 | SFBALLET.ORG | 17 PRINCIPAL DANCERS

ANA SOPHIA SCHELLER SARAH VAN PATTEN Born in , , Sarah Van Patten, born in Boston, Ana Sophia Scheller trained at the , 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 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, , 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 , that same year. He was appointed principal dancer in 2017. China, and trained at Shanghai Dancing John and Barbara Osterweis Principal School and ’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 05 / 06 SOLOISTS

MAX CAUTHORN† ESTEBAN HERNANDEZ Born in San Francisco, California Born in Guadalajara, 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, 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, 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 05 / 06 | 415 865 2000 | 19 SOLOISTS

WONA PARK† LAUREN STRONGIN Born in , 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 05 / 06 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, 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 05 / 06 | SFBALLET.ORG | 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, 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 05 / 06 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 , 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 05 / 06 | 415 865 2000 | 23 05 LYRIC VOICES MAR 27—APR 07

PRODUCTION CREDITS Your Flesh Shall Be a Great Poem – Music: “The Leaving Song”, “Dirty Night Clowns”, “Raw and Awake”, “Fireflies”, “No More Pirates”, “Les Lucioles en Re Mineur”, “Hands on the Radio” and “Black Hawk ”—all written and performed by Chris Garneau, and published by Sony/ATV Songs (BMI). Courtesy of Bank Robber Music o/b/o Absolutely Kosher. Costumes constructed by Colin Davis Jones Studios, New York, New York. Video Design by Photon Creative Video Agency, San Francisco, California. Bound To – Music: “Elevator Song (Kid Kanevil Remix)” (Faber Music), and “Elevator Song (Ulrich Schnauss Remix)” (Faber Music)—all written and performed by Keaton Henson; by arrangement with Faber Music Ltd, London. “Arpeggio,” “Healah Dancing,” “Nearly Curtains,” “Urgent,” and “Field”—all music by Keaton Henson and orchestration by Matthew Naughtin; performed by arrangement with Faber Music Ltd, London. “Epilogue”—written and performed by Keaton Henson; orchestration by Matthew Naughtin; performed by arrangement with Kobalt Music Publishing. Costumes constructed by Parkinson Gill Ltd. London, United Kingdom. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments. “. . . two united in a single soul . . .” – Music: G. F. Handel: Recitative “Inumano fratel” from Tolomeo , re d’Egitto: Aria “Lascia ch’io pianga” from Rinaldo; Overture from Rinaldo; Aria “Cara sposa, amante cara” from Rinaldo; Aria “Empio, dirò, tu sei” from Giulio Cesare in Egitto; Aria “Stille Amare” from Tolomeo, re d’Egitto; Concerto grosso No. 6 in G minor, Movement IV. Allegro.

24 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 YOUR FLESH SHALL BE A GREAT POEM

Composer: Chris Garneau Choreographer: Trey McIntyre Costume Design: Reid Bartelme and Harriet Jung Lighting Design: James F. Ingalls

World Premiere: April 24, 2018—San Francisco Ballet, War Memorial Opera House; San Francisco, California

The 2018 world premiere of Your Flesh Shall Be a Great Poem was made possible by Unbound Festival Presenting Sponsor Diane B. Wilsey. These performances of Your Flesh Shall Be a Great Poem are made possible by Major Sponsor Brenda and Alexander Leff, and Sponsors Kacie and Michael Renc, and O.J. and Gary Shansby.

BOUND TO

Composer: Keaton Henson Choreographer: Christopher Wheeldon Scenic and Costume Design: Jean-Marc Puissant Projection Design: Jean-Marc Puissant and Alexander V. Nichols Lighting Design: James F. Ingalls

Bound To© by Christopher Wheeldon

World Premiere: April 20, 2018—San Francisco Ballet, War Memorial Opera House; San Francisco, California

The 2018 world premiere of Bound To was made possible by Unbound Festival Presenting Sponsor Diane B. Wilsey and Grand Benefactor Sponsor Kelsey and David Lamond. These performances of Bound To are made possible by Lead Sponsors Sonia H. Evers, Alison and Michael Mauzé, and Denise Littlefield Sobel; Major Sponsors David and Vicki Cox, and John and Amy Palmer; and Sponsor Alex and Carolyn Mehran.

“... two united in a single soul ...” WORLD PREMIERE

Composer: Daria Novo, after George Frideric Handel Choreographer: Yuri Possokhov Scenic Design: Ben Pierce Costume Design: Christopher Read Lighting Design: Jim French

World Premiere: March 27, 2019—San Francisco Ballet, War Memorial Opera House; San Francisco, California

The 2019 world premiere of “... two united in a single soul ...” is made possible by Lead Sponsors Athena and Timothy Blackburn, and Yurie and Carl Pascarella.

San Francisco Ballet in Bound To© by Christopher Wheeldon // © Erik Tomasson

PROGRAMS 05 / 06 | SFBALLET.ORG | 25 YOUR FLESH SHALL BE

A GREAT POEM PROGRAM NOTES by Cheryl A. Ossola

Trey McIntyre came to San Francisco Ballet knowing he would make a piece about his grandfather. What he didn’t know was how that idea would play out choreographically—but he always trusts his subconscious during the creative process. And when he finished his ballet, Your Flesh Shall Be a Great Poem, he saw that it was about loss and remembrance, pain and happiness—a mind-meld of sorts between grandson and grandfather in a family from the American Great Plains.

The idea for this ballet, McIntyre’s second for the Company, began percolating when McIntyre’s father died a few years ago. Among the family photos was a 1920s portrait of his grandfather in a football uniform of high-waisted trousers and heavy boots. McIntyre, a photographer and filmmaker as well as a dancemaker, was intrigued. “My grandfather was a giant like me. I’m six-foot-six and he was six-three, but that was probably six-six for the 1920s,” he says, laughing. “Even though I never knew him, I always envisioned some life perspective that he and I might have shared.”

That’s the idea he brought with him to SF Ballet. Then came the solar eclipse, coinciding with the first day of rehearsals, which McIntyre thought was auspicious. “How I pictured it,” he says, “was the sun and the moon lining up, creating this portal through time—that I had this chance to be with my grandfather, to get to know him.” The portal idea led to the ballet’s structure of two solos, danced by the same man, bookending the “eclipse” section, which could be read as vignettes from Sasha De Sola in McIntyre’s Your Flesh Shall Be a Great Poem // © Erik Tomasson the grandfather’s life. The solo man is the grandfather, but so are all the men, conceivably. For McIntyre, the eclipse is potent because he has begun to think that “all time is happening at once,” he says. “I always thought that was kind of woo-woo. But I thought of the piece in that The ballet’s themes are both supported and belied by the music, way—[my grandfather’s] lifetime is happening all at once.” songs by Chris Garneau from his album El Radio. Some of the rhythms are bouncy, the melodies catchy; others lament, “We left too soon,” Two aspects of his grandfather’s life give the ballet its emotional or “It drags me down.” “I wanted something that had some quietness to tone—death and dementia. “There is a picture I paint because he was it,” says McIntyre. “I like how varied and interesting the instrumentation an undertaker,” McIntyre says. “There’s a morbidity to living in a funeral is; it isn’t just a bunch of ballads.” With these songs as a soundtrack, he home, in a way that resonates with me. I’m interested in the darkness fills the ballet with buoyancy, playfulness, charm—yet somehow instills an of experience; I’m interested in the contrast of light and dark.” Images undertone of loss. “You learn happiness because you have it in contrast of death permeate the ballet, in lingering leave-takings, loving touches to the sorrow that you’ve had,” he says. “I like having those elements all tinged by sadness. in play at once.”

The ballet’s ending, though, comes from a specific memory. McIntyre’s Being a filmmaker has influenced McIntyre’s approach to transitions, grandfather had dementia late in life, “and I remember one story of him and it has slowed him down. “There are probably more moments of quiet walking around the neighborhood in his underwear,” the choreographer in this piece, and stillness, because of making film,” he says. He doesn’t says. What he liked about the story was “thinking about life as mean pauses or inaction; the stillness is built into the steps. It’s an reincarnation—going through life [from childhood], and in our old age approach that accommodates introspection. McIntyre, imagining looking returning to a childlike state,” he says. “Dementia underlines that even back at life after death, says “it would be pure empathy for every moment.” more because you lose the experience that you had. And so I wanted, That’s how he imagines his grandfather would see this ballet. “You realize especially in the final solo, to have it be my grandfather wandering that life is just this big, amazing experience and that the pain was just as around in his underwear and experiencing life in reverse.” valuable as the joy.”

26 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 CREATIVE TEAM

CHRIS GARNEAU REID BARTELME Composer Costume Designer

Chris Garneau is an American singer/songwriter and composer. Reid Bartelme is a New York-based dancer and costume designer A Boston native, Garneau briefly attended Berklee College of Music, who specializes in costuming dance. Born in New York, he trained at and subsequently worked in Paris and New York. His fourth full-length School and danced with BalletMet, Alberta album Yours was released in November 2018. Garneau’s earlier albums Ballet, Shen Wei Dance Arts, and the Lar Lubovitch Dance Company. Winter Games (2013), El Radio (2009), C-Sides EP (2007), and Music Bartelme then enrolled at the Fashion Institute of Technology, where for Tourists LP (2006) have been released in North America, Europe, he met Harriet Jung (below). Bartelme and Jung founded Reid & Harriet China, Japan, and South Korea—where he has also toured extensively. Design in 2011. Collaboratively, they have worked with choreographers Garneau has composed scores for choreographers Jonah Bokaer and Justin Peck, Pam Tanowitz, Trey McIntyre, and Matthew Neenan, Adam H. Weinert, which were performed live around the world, including and designed productions for New York City Ballet, American Ballet at Jacob’s Pillow Dance Festival and the Festival d’Avignon. His cover Theatre, Pacific Northwest Ballet, Hubbard , of Elliot Smith’s “Between the Bars” was featured in Pedro Almodóvar’s and City Ballet, among others. The Skin I Live In. Garneau resides in New York and is currently scoring his first feature film. HARRIET JUNG Costume Designer TREY MCINTYRE Choreographer Harriet Jung is a New York-based artist with experience in costume design, womenswear design, and illustration. Jung studied visual Trey McIntyre is a choreographer, filmmaker, writer, and photographer. arts at a young age and attended Orange County School of the Arts in Born in Wichita, , he trained at North Carolina School of the Arts Southern California. She earned a degree in molecular and cell biology and Houston Ballet Academy. McIntyre spent 13 years as choreographic from the University of California, Berkeley, before studying fashion associate to Houston Ballet, a position that was created especially design at the Fashion Institute of Technology. Upon graduating, she for him. He has also created works for American Ballet Theatre, joined the womenswear design team at Jill Stuart. Jung founded Reid , Hubbard Street Dance Chicago, New York City & Harriet Design with Reid Bartelme (above) in 2011. Collaboratively, Ballet, Ballet, , and , they work with choreographers Justin Peck and Pam Tanowitz, and among others. The company he founded, Trey McIntyre Project, has been have designed productions for New York City Ballet, American Ballet lauded as a new model of an arts organization, developing new models Theatre, San Francisco Ballet, Hubbard Street Dance Chicago, of community engagement while being highly visible worldwide through and , among others. touring. In 2014, he transitioned the company to focus on photography and video projects. He continues to choreograph and teach dance worldwide and is working on a collection of photography he published JAMES F. INGALLS on a Patreon site, in addition presenting his documentary entitled Gravity Lighting Designer Hero at film festivals around the country. McIntyre has received a Choo- San Goh Award for choreography, a Lifetime Achievement Award from James F. Ingalls designs lighting for dance, theater, opera, and the National Society of Arts and Letters, and two National Endowment symphony concerts. He is a Department of Dramatic Arts graduate for the Arts grants for choreography. He is also a United States Artists of The University of Connecticut and studied at the Yale School of Fellow. Your Flesh Shall Be a Great Poem is his second work for SF Ballet, Drama. His designs for SF Ballet include Don Quixote, Onegin, Sylvia, following Presentce for the 2017 Opening Night Gala. Nutcracker, Helgi Tomasson’s Silver Ladders, the 2008 New Works Festival and the 2018 Unbound festival. Ingalls’ work is seen in the repertories of American Ballet Theatre, , Dutch National Ballet, Mark Morris Dance Group, The National Ballet of Canada, and Pacific Northwest Ballet. Recent designs include Concertiana, Half Life, and The Beauty of Grey for Paul Taylor’s American and 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.

PROGRAMS 05 / 06 | 415 865 2000 | 27 San Francisco Ballet in Bound To© by Christopher Wheeldon // © Erik Tomasson

BOUND TO PROGRAM NOTES by Cheryl A. Ossola

The curtain rises on Christopher Wheeldon’s ballet, Bound To, snatches Tan’s phone from her hand. In the , the dancers to reveal dancers mesmerized by their cellphones. For viewers the reconnect, hardly separating, as if they need to touch each other in moment of recognition is instantaneous—we are bound to technology. as many ways as possible. “It’s the idea of literal human , In this ballet, Wheeldon comments on what happens to us when we’re the need for the warmth of skin and not just the icy-cold blue of a screen,” tucked behind our screens. “It’s a false sense of safety because you’re Wheeldon says. In contrast, a dance for four women is filled with embraces, not actually with someone; the screen is like a shield,” he says. When dependence, the love and longing of friendship. “If there’s going to be we let the world rush by unnoticed, “we’re not seeing the beauty in a subtitle about this dance,” Wheeldon tells the women, “it would be life.” On the flip side, he’s addressing what we can achieve when ‘Remember when we used to talk?’” we’re together—when we see, acknowledge, and interact without any screens to shield us. Much of the movement in Bound To features resistance, groundedness, or manipulation of the body, all of which represent both the theme and Wheeldon recognizes that he is as bound to technology as anyone a visual aesthetic. The women do not wear pointe shoes. “There’s else. Last year, on vacation, he saw kids and their parents hunkered something free about the movement of the shoe,” Wheeldon says, down with cellphones or iPads instead of talking to each other, and he “of the toes on pointe, but”—he hesitates for fear of being overly literal— realized that he wanted to make a ballet about “this lack of connectivity, “[Bound To addresses] a bit of a heavy subject, so the idea of weight in the way that technology is shifting our instincts for community and movement makes sense. The is something very special and social interaction,” he says. “I think it’s definitely heading in a bit of quite inhuman, in a way. That’s one of the things that’s so appealing and a scary direction.” beautiful about ballet—they’re like gods up there. And I didn’t want this to be about gods; I wanted it to be about people.” The phones come and go in Bound To, giving the ballet something of a narrative at times; the rest of the time, they’re metaphorical. At first, And he wants it to be about people who reveal their struggles and their the phones dominate. Later, right before a pas de deux made on humanity. Rehearsing a solo with dancer Lonnie Weeks, who is hunched Principal Dancers Yuan Yuan Tan and Carlo Di Lanno, a dancer on the floor, Wheeldon asks for more vulnerability; Weeks pulls his legs

28 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 in, deepens his posture. Later, Wheeldon wants more risk: “After you for choreography. He has choreographed for Metropolitan Opera break and fall forward, can you be a little bit braver about where you productions of La Gioconda and Carmen, Brigadoon at City Center put your foot?” As Weeks whirls through an insanely fast sequence of and the feature film Center Stage (2000). He has been awarded the chaînés (a series of turns on two feet), Wheeldon calls, “It should be Martin E. Segal Award from Lincoln Center, the American Choreography manic—you should be busting out about now.” Award, a Dance Magazine Award, two Benois de la Danse awards, and the 2014 Leonard Massine Prize for choreography. Wheeldon was As a choreographer, Wheeldon says he’s in “a constant state of awarded an OBE in the 2016 New Year’s Honours and was made an evolution.” His work on Broadway and with contemporary companies Honorary Fellow of American Academy of Arts and Sciences. Bound To, is part of that evolution, as is day-to-day life. “I’m very much a person created for the 2018 Unbound festival, was his 10th work for SF Ballet. who tries to live in the moment, so what I’m reading or listening to often ends up partly informing what I’m doing,” he says. “I saw the movie Detroit the other night, which was so hard to watch, but such JEAN-MARC PUISSANT a reflection, especially now, of the times we live in and the times Scenic, Projection, and Costume Designer we come from and how little we’ve learned.” Enter the temptations and pressures of social media, inundating us with reminders of what Jean-Marc Puissant designs sets and costumes internationally for Wheeldon calls this “very weird world we live in now.” Choreographing theater, musicals, opera, and dance. He completed the Motley Theatre is, for him, a way to put his mind and energy into something productive. Design Course in London and studied art history at La Sorbonne in “One of the joys of being immersed in making a new work,” he says, Paris. Nominated as Best Scenographer at the 2016 Benois de la Danse, “is that you really are immersed in it.” he has designed for several productions that have won Laurence Olivier, South Bank Show, and National Dance Awards. Previously a dancer, Puissant graduated from Paris Opera Ballet School before CREATIVE TEAM dancing with Birmingham Royal Ballet and Stuttgart Ballet. A 2018 Fellow at New York University’s Center for Ballet and the Arts, he is KEATON HENSON developing the multi-disciplinary study called Kingdom of Shades: Composer Dance Beyond Choreographic Identity. He is invited to curate one of the programs of the 2019 Joyce Theater Ballet Festival. Future Keaton Henson is a musician, writer, and visual artist from London. commissions include productions for Bunkamura Tokyo, Santa Fe He has released four albums: Dear, Birthdays, Romantic Works, Opera, National Ballet of Japan, and American Ballet Theatre. and Kindly Now. Henson has played sold-out shows in cathedrals, museums, and concert halls around the world; has exhibited his visual art in galleries internationally; and has written scores for film, ballet, ALEXANDER V. NICHOLS and concert performances. He has released four books, Gloaming, Projection Designer 5 Years, Idiot Verse and The Tallowmere Annual. Due to a long struggle with anxiety as well as a private nature, Henson has shied away from Alexander Nichols designs lighting, scenery, costumes, and interviews, social media, and touring. His books and albums are a small projections for theater, opera, music, and dance. His designs for window into his sometimes unsettling, but hopefully engaging, world. San Francisco Ballet include Death of a Moth, Later, Thread, RAkU, Trio, Francesca da Rimini, Swimmer, and Ghost in the Machine. Nichols has been resident lighting designer for Pennsylvania Ballet, CHRISTOPHER WHEELDON Hartford Ballet, and American Repertory Ballet and lighting supervisor Choreographer for American Ballet Theatre. His Broadway credits include Hugh Jackman: Back on Broadway, Nice Work If You Can Get It, and Carrie Christopher Wheeldon is a choreographer working in dance, theater, Fisher’s Wishful Drinking. He has received a San Francisco Certificate opera, and film. Born in Yeovil, England, he trained at The Royal Ballet of Honor, four Isadora Duncan Awards, four Bay Area Critics Circle School and danced with The Royal Ballet and New York City Ballet Awards, and three Dean Goodman Awards. (NYCB). Wheeldon served as NYCB’s first-ever artist in residence before being named NYCB’s first resident choreographer in July 2001. He has created ballets for NYCB, The Royal Ballet, American JAMES F. INGALLS Ballet Theatre, Pennsylvania Ballet, Dutch National Ballet, Royal Lighting Designer Swedish Ballet, the , and The National Ballet of Canada. In 2007, Wheeldon founded Morphoses/The Wheeldon Company See page 27. and was appointed an associate artist for Sadler’s Wells Theatre in London. His Broadway credits include The Sweet Smell of Success and An American in Paris, for which he won a 2015 Tony Award

PROGRAMS 05 / 06 | SFBALLET.ORG | 29 “... two united in a single soul ...” WORLD PREMIERE PROGRAM NOTES by Caitlin Sims

The myth of Narcissus, who falls deeply in love with his own reflection, is the basis of Yuri Possokhov’s new ballet. In Greek mythology, Narcissus is a hunter known for his otherworldly beauty. After rejecting the nymph Echo and angering the Greek gods, Narcissus comes upon a forest spring. Captivated by his own reflection, he wastes away, pining for an unattainable love. It’s a story that has inspired artists and writers, philosophers and psychologists for more than 2,000 years. “It’s a beautiful myth,” says Possokhov. “To fall in love with yourself, and yet never to be able to take it any further—I think as a human being, that’s tragic. And I think, inside, all men have a side of Narcissus. Actually, I think everyone has some of this—especially ballet dancers.”

Professional dancers spend much of the workday in studios lined with Wei Wang and Joseph Walsh rehearsing Possokhov's ". . . two united in a single soul . . ." // © Erik Tomasson mirrors, and an ongoing pursuit of perfection often leads to a complex relationship with their own reflection. “We all stare at ourselves in the mirror every day for a good portion of our lives,” explains Principal a real harpsichord and processed sound from a keyboard,” explains Dancer Joseph Walsh, who as Narcissus in Possokhov’s ballet. Novo. “Something real and organic becomes artificial and heartless. “You know it can be bad for you, but you keep doing it. Video adds Narcissus sees himself in a river and falls in love so deeply that he another level to it, and social media. You just constantly see yourself.” dies. I tried to use this contrast in music as well.”

Possokhov himself had a long and successful career as a dancer Walsh says there’s a freedom in being onstage, away from the studio at San Francisco Ballet, during which he also launched a career in mirrors. “When you look toward the audience, where you’re used to choreography that has taken him around the world. Upon his retirement seeing a reflection, instead it’s just a void. And then you don’t have from the stage in 2006, he was named SF Ballet’s Choreographer in to deal with yourself looking back and passing judgement.” Residence. Possokhov has created more than a dozen ballets for the Company, including Magrittomania, , Firebird, and Swimmer. He has been fascinated by the myth of Narcissus for some CREATIVE TEAM time, first exploring the idea in a short ballet he workshopped for The Royal Danish Ballet in 2012. “There it was small, like a sketch,” GEORGE FRIDERIC HANDEL he says. “We make it bigger, with more people and new music here.” Composer

Possokhov’s ballet opens with dancers seated in scattered patterns George Frideric Handel (1683-1759) was a German, and later British, across the stage, centered behind Narcissus. “I’m multiplying the composer of the Baroque period. Handel displayed an early proclivity reflections,” he explains. “It’s like a hall of mirrors.” Even when the for music, having learned to play the organ before he turned 10. dancers start to move, one side of the stage is the mirror image of He began composing arias while attending the University of Halle the other, until a solo for Narcissus shifts the perspective. in Germany, and his first operas were composed in 1705, at age 22. Handel’s most famous works include the anthem Zadok the Priest, Woven into the dance is an onstage singer, who connects with the which was written for the coronation of Britain’s King George II in character of Narcissus, providing yet another reflection. The music is 1727 and has been featured at every British coronation since; and the a newly commissioned score by Daria Novo, a young Russian composer. Messiah oratorio, perhaps most-recognized for its “Hallelujah” chorus. Her score centers around several Handel arias originally written for At the time of his death in 1759, Handel had composed more than 200 castrati. Today these roles are sung by a countertenor, the highest works, including operas, oratorios, anthems, and organ concertos. male singing voice, known for having a beautiful and sometimes Having spent most of his life in London, Handel is buried in otherworldly sound. Westminster Abbey.

Novo fuses classical music with modern sounds to create the ballet’s score. “I took original Handel music and integrated it with electronics DARIA NOVO and my own music,” she explains, “so that it sounds interesting— Composer & Arranger and still like classical music.” Daria Novo is a Russian composer, arranger, and orchestrator The contrast between the old and the new in the music is meant to working mainly in scoring for films and animation, as well as music reflect the duality of Narcissus. “My idea was to use a harpsichord as for theater. A graduate of the St. Petersburg State Conservatory Narcissus’ main instrument in two different ways—acoustic sound from and San Francisco Conservatory of Music, Novo has arranged or

30 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 orchestrated for the St. Petersburg Concert Choir, the St. Petersburg He danced with American Ballet Theatre and SF Ballet, where he was Theater of Musical Comedy, and has orchestrated alongside several a principal dancer for seven years. While still dancing with SF Ballet, Russian film composers. Her original arrangements for a cappella Pierce created scenic and costume designs for Julia Adam’s Night, choir hold a special place in her work. In 2013 she was named the Yuri Possokhov’s Study in Motion, and Possokhov and Muriel Maffre’s laureate of the Youth Prize of St. Petersburg in the field of Art. Novo Ballet Mori. Pierce and Possokhov have collaborated on a number is currently a recording engineer and music composition teacher at of works for SF Ballet, including 2004’s Fusion and 2013’s The Rite SF Conservatory of Music, and is writing music for mobile games, of Spring. television, and theaters in the US and Russia.

CHRISTOPHER READ YURI POSSOKHOV Costume Designer Choreographer in Residence Christopher Read is a costume designer and a resident cutter with Known for his thoughtful and wide-ranging choreography, beautiful The National Ballet of Canada. Based in Toronto, his 30-year career at dancing, and strong partnering skills, Russian-born Yuri Possokhov is The National Ballet of Canada has encompassed many productions of choreographer in residence for San Francisco Ballet. After training at classical works, neoclassical ballets, contemporary works, and world the Bolshoi Ballet Academy, he danced for ten years with the Bolshoi premieres. In addition to designing and building costumes for a wide Ballet and two years with Royal Danish Ballet before moving to the US variety of ballet repertory, he has designed for numerous theater and joining SF Ballet as a principal dancer in 1994. Over the next 12 years, productions across Canada and the US, as well as for Olympic figure he performed leading roles while also beginning to choreograph and skaters. Read most recently constructed the costumes for Robbins’ set up short tours with colleagues. When Possokhov retired from the Other Dances at San Francisco Ballet. stage, he was named SF Ballet’s choreographer in residence. He has created 14 ballets for SF Ballet, including Magrittomania, which won an Isadora Duncan Dance Award for outstanding choreography; RAkU; JIM FRENCH and Swimmer. His full-length ballet A Hero of Our Time debuted at the Lighting Designer Bolshoi Ballet in 2015 and was awarded a Benois de la Danse for choreography. Possokhov’s new Nutcracker for premiered in Jim French, lighting supervisor for San Francisco Ballet, designs December 2018. His most recent full-length production, Anna Karenina, lighting for performing arts and live events. He has designed lighting was commissioned by Chicago’s Joffrey Ballet and premiered in for world premieres at San Francisco Ballet by Christopher Wheeldon, February 2019. Myles Thatcher, Jiří Bubeníček, and Arthur Pita, among others. After working with the Dance Company and Twyla Tharp Dance, French spent nine years as resident designer for Cedar Lake BEN PIERCE Contemporary Ballet. He has collaborated with Bandaloop, Ballet Scenic Designer San Jose, Ballett Basel, Carte Blanche, Joe Goode Performance Group, Post:Ballet, Richmond Ballet, and choreographers Amy Seiwert, Jessica Ben Pierce, a former San Francisco Ballet principal dancer, is an Lang, Crystal Pite, Pascal Rioult, and Val Caniparoli. In theater, he has Emmy Award–winning TV producer, independent filmmaker, and graphic designed lighting for Marin Theatre Company, Irish and designer. Born in Bethesda, Maryland, Pierce graduated from the Digital Classical Theatre, Shotgun Players, Just Theater, and New York’s Video Program at San Francisco State University and is a former field Playwrights Horizons and Primary Stages. He has been a house lighting producer for KQED TV. Pierce trained at Canada’s National Ballet School designer at SF Jazz, and volunteers for Dancers Responding to AIDS and the School of American Ballet, under the tutelage of Maggie Black. and Bike East Bay.

[ INSTANT EXPERT >> WHAT IS A COUNTERTENOR? ] When the curtain rises on Yuri Possokhov’s world premiere “… two united in a single soul …” , you may be surprised to see not only dancers, but a singer on stage as well. And not just any singer, but a countertenor. So what’s a countertenor? Countertenors are adult male singers who perform in the same vocal range as a female soprano or mezzo soprano, or as a boy soprano or alto. Aryeh Nussbaum Cohen, a countertenor on the rise who’s currently a San Francisco Opera Adler Fellow, is scheduled to sing in Possokhov’s premiere—his first ballet. Although some music has been written expressly for countertenor—largely before 1750 or after 1950—today, they mostly sing music originally written for castrati. In the case of “… two united in a single soul …” you’ll hear several arias written by George Frideric Handel for alto castrati. As countertenors such as Nussbaum Cohen continue to light up stages around the world, they’re also keeping Baroque music alive and flourishing.

PROGRAMS 05 / 06 | 415 865 2000 | 31

PRODUCTION CREDITS Rodeo: Four Dance Episodes – Music: Four Dance Episodes from Rodeo by Aaron Copland, used by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner. Costumes constructed by Christopher Read, Toronto, Canada. Die Toteninsel – Music: The Isle of the Dead, Op. 29. Björk Ballet – Björk Ballet is a ballet set to a selection of existing songs and composed pieces by Björk from her album collection. Music: “Overture”, “All Is Full of Love”, “You’ve Been Flirting Again”, “Bachelorette”, “Vokuro”, “Frosti”, “The Gate”, “Hyperballad”, and “Anchor Song”—all written exclusively by Björk Gudmundsdottir (Kobalt Music Publishing), except “Bachelorette” which is co-written with Sjón (Universal Music Publishing) and “The Gate” which is co-written with Alejandro Ghersi (Sony/ATV Music Publishing). Performed by Björk. Courtesy of One Little Indian. Costumes constructed by Marco Morante, , California. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments.

San Francisco Ballet in Peck’s Rodeo: Four Dance Episodes // © Erik Tomasson

32 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 06 SPACE BETWEEN MAR 29—APR 09 PROGRAM SPONSOR THE BERNARD OSHER FOUNDATION

RODEO: FOUR DANCE EPISODES

Composer: Aaron Copland Choreographer: Justin Peck Staged by: Craig Hall Costume Design: Reid Bartelme, Harriet Jung, and Justin Peck Lighting Design: Brandon Stirling Baker

World Premiere: February 4, 2015—New York City Ballet, David H. Koch Theater; New York, New York San Francisco Ballet Premiere: January 18, 2018—San Francisco Ballet 85th Anniversary Gala, War Memorial Opera House; San Francisco, California These performances of Rodeo: Four Dance Episodes are made possible by Major Sponsor Kara and Charles Roell, and Sponsors Almaden and BRAVO.

DIE TOTENINSEL WORLD PREMIERE

Composer: Sergei Rachmaninoff Choreographer: Liam Scarlett Costume Design: Sandra Woodall Lighting Design: David Finn

World Premiere: March 29, 2019—San Francisco Ballet, War Memorial Opera House; San Francisco, California The 2019 world premiere of Die Toteninsel is made possible by Lead Sponsors Ms. Laura Clifford, Shelby and Frederick Gans, Beth and Brian Grossman, Mary Jo and Dick Kovacevich, and Christine Russell and Mark Schlesinger.

BJÖRK BALLET

Composers: Björk Gudmundsdottir, Alejandro Ghersi, and Sjón Choreographer: Arthur Pita Costume Design: Marco Morante Lighting Design: James F. Ingalls Visual Décor: Arthur Pita Sound Design: Martin West

World Premiere: April 26, 2018—San Francisco Ballet, War Memorial Opera House; San Francisco, California The 2018 world premiere of Björk Ballet was made possible by Unbound Festival Presenting Sponsor Diane B. Wilsey and Grand Benefactor Sponsor Kathleen Scutchfield. These performances of Björk Ballet are made possible by possible by Major Sponsors Hannah and Kevin Comolli, and Kathleen Scutchfield, with additional support provided by the Byron R. Meyer San Francisco Ballet in Peck’s Rodeo: Four Dance Episodes // © Erik Tomasson Choreographers Fund of the SF Ballet Endowment Foundation.

PROGRAMS 05 / 06 | SFBALLET.ORG | 33 RODEO: FOUR DANCE EPISODES PROGRAM NOTES by Cheryl A. Ossola

Justin Peck’s Rodeo: Four Dance Episodes, named for the suite by Aaron For Peck, working with so many men “was a big challenge,” says Hall. Copland, is a bounding, whooping balletic interlude of male bonding, and “It was his first [ballet] with so many men of the company, and the energy, then some. Like many of Peck’s ballets, it celebrates community—but the testosterone—he had to wrangle all the wild bulls in order to get delivers it in the form of a rambunctious cohort of 15 men, with one some structure. But when it happened, it turned into this amazing form strong female sidekick. In its ratio of men to women, its lone female’s of energy that was synchronized into something quite beautiful.” take-charge attitude (think frontier woman), and its sunset-over-the- plains color scheme, Rodeo evokes the West without displaying a single The ballet begins with the men sprinting in canon to the exhilarating cliché step or costume. The West is the backdrop in this sleek, modern opening phrases of “Buckaroo Holiday,” and it ends on an exuberant high ballet; musicality and male camaraderie are the stars. note with “Hoedown.” In between are a quintet, to the adagio “Corral Nocturne,” and a mostly lighthearted pas de deux, danced to “Saturday Copland’s score premiered in 1942 as the music for ’s Night Waltz.” Peck says the second movement is the heart and soul of the ballet Rodeo, made for the Ballet Russe de Monte Carlo. Three years ballet. The five men move through this lyrical section with a striking later, Copland adapted the music, omitting one movement and the sense of unity. Each time one man moves away, the others bring him transitional interludes, to make a suite form. Frequent fare in concert back, supporting and lifting him with touching warmth. “Justin likes to halls, the suite is iconic now. Listening to it, you can’t help but think of the say that the five men are tumbleweeds and they’re constantly rotating West, of cowboys and ranchers, men determined to tame a wild and re-forming and trying to figure out where their standings are,” landscape. In creating this ballet, Peck, resident choreographer at Hall says. “But they can’t act alone; they need the support of the other New York City Ballet, was undaunted by the music’s popularity and ballet men.” There’s no romance in it, he says; the idea is “to show another history. “I thought perhaps there could be two completely different side, some vulnerability, in five guys, which is maybe not seen enough— interpretations of the same music, side by side,” he says in a New York it’s very striking.” City Ballet video. “I wanted to strip away all of the narrative and scenic elements of the original piece and do an interpretation that focused on The second movement is difficult to learn, Hall says, “because most guys the relation between the movement and the music.” His interpretation want to be in control. We don’t know what it’s like to be partnered.” explores all the brashness and subtleties of Copland’s irresistibly Contemporary ballets often do pair men, but usually not in such a gentle, toe-tapping score. And, in the words of Craig Hall, a ballet master at caring way. It was an emotional experience for Hall, a member of the New York City Ballet who staged the work for SF Ballet, it has heart. original cast. When he performed it for the last time before he retired, “we all broke down in tears,” he says, “because it was such an intimate Peck’s Rodeo premiered at New York City Ballet in 2015, and when [experience], like five longtime friends that were saying goodbye.” San Francisco Ballet Artistic Director and Principal Choreographer Helgi Tomasson saw it, he loved it. “The music is so familiar, but he’s Because the quintet is the heart of Rodeo, you might think there’s completely rethinking it,” he says. “And it is so valid, what he has done.” no need for a pas de deux, the traditional centerpiece in a ballet. Another enticement: its nearly all-male cast. “I have terrific men here,” Peck would disagree. Though his ballets offer innovative movement Tomasson says. Rodeo lets them loose in individualized glory and and ideas, they are deeply based in classical dance. “He admires that dynamic ensemble movements. world so much, and he doesn’t want to reinvent the wheel,” says Hall. “He just wants to take what he’s learned and tell his vivid story. He loves the structure of classical dance. This is a ballet; you have to have a pas de deux.” As always in Peck’s work, this wrangling between man and woman is multilayered. When the duet begins, the mood is flirtatious, playful—and confident, because the couple seems very much at ease. Suddenly the dynamic shifts: after a tender embrace, the woman steps away and the man brings her up short, their hands clasped between them. Now their relationship is more uncertain, delving into unexpected terrain. “There’s a balance of ‘If I take that step, will he take that step?’ or ‘If she steps away from me, should I let her go?’” says Hall. “Something’s at stake then; it’s like a chess match. And finally, when you break that tension, you go into a moment of almost total bliss.”

Peck has said that he’s always trying to find a balance between artistry and athleticism, and he thinks Rodeo is the closest he’s come. You can see the parallels to team sports in the ballet’s playfulness and camaraderie, the grace and machismo. The costumes extend the metaphor, particularly the shorts and wide-striped shirts for the quintet, which bring to mind rugby players on a cold day. (They’re wearing leg warmers.) The other men’s costumes, in the rusty browns of a Western sunset, have the same wide stripe across the chest. 34 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 Opposite page: Dores André and Ulrik Birkkjaer in Peck’s Rodeo: Four Dance Episodes Left: San Francisco Ballet in Peck’s Rodeo: Four Dance Episodes // Both © Erik Tomasson

JUSTIN PECK Choreographer

Justin Peck is Resident Choreographer, Artistic Advisor, and a Soloist dancer with New York City Ballet (NYCB). Peck joined NYCB in 2006 and was promoted to Soloist in 2013. He began choreographing in 2009 at the New York Choreographic Institute. In 2014, after the creation of Everywhere We Go, Peck was appointed Resident Peck’s choreography is big and athletic much of the time, and in Rodeo Choreographer of NYCB. He has created more than 30 ballets, which the dancers zip across the stage with the speed of wild horses. But Peck have been performed by Paris Opera Ballet, San Francisco Ballet, also knows how to entrap audiences with subtlety and poignancy. Miami City Ballet, Pacific Northwest Ballet, LA Dance Project, Dutch And always, his movement seems to well up from within, “like you National Ballet, The Joffrey Ballet, Houston Ballet, and Pennsylvania are pouring your heart out,” says Hall. The depth and texture of Peck’s Ballet. In 2014, Peck was the subject of the documentary Ballet 422, movement come from his fastidious attention to the music. His phrasing which followed him as he created Paz de la Jolla, NYCB’s 422nd is specific, following the rules of his own musicality, which makes original dance. Peck choreographed the 2018 Broadway revival of counting essential until the movement is ingrained in the body; in Rodeo, Carousel, for which he was awarded the 2018 Tony Award for Best syncopation and moments of stillness make finding the right musicality Choreography. In addition, Peck choreographed the feature film difficult. A musical phrase has a structure—8 counts, for example, or 17, or , and will be creating new choreography for the upcoming 32—and within that, the dancers might interpret the movement’s timing in film remake of West Side Story, directed by Steven Spielberg. His various ways. But in Peck’s choreography, “within that structure, there’s Rodeo: Four Dance Episodes won the Bessie Award for Outstanding an added structure that he wants to show everyone, like under a Production in 2015. Hurry Up, We’re Dreaming from the 2018 Unbound microscope,” Hall says. “You can’t have vague movement, because that’s festival was Peck’s second work created for SF Ballet; his first was not Justin Peck.” In the Countenance of Kings.

Rodeo is the fourth Peck ballet in the Company’s repertory, and the first one that was made elsewhere. Hall is happy to see “such a big, robust REID BARTELME ballet” come to San Francisco. “The West Coast needs to see this,” Costume Designer he says. “Justin is excited that it’s coming here. He loves this company— he loves the ballet dancers, he loves the size, he loves the power.” See page 27.

CREATIVE TEAM HARRIET JUNG Costume Designer AARON COPLAND Composer See page 27.

Aaron Copland (1900–90) was one of the twentieth-century’s most influential composers, known for his distinctive blend of classical, folk, BRANDON STIRLING BAKER and jazz idioms and a unique sound evocative of the American west. Lighting Designer Born in , New York, he played piano as a child, continuing his studies with Nadia Boulanger in Paris in the 1920s. The music Copland Brandon Stirling Baker is an award-winning lighting designer for ballet, composed for dance is iconic: particularly Billy the Kid (1938), opera, and theater who has collaborated extensively with commissioned by and choreographed by Eugene choreographer Justin Peck. A graduate of the California Institute for the Loring, Rodeo (1942) originally choreographed by Agnes de Mille, Arts, Baker also studied at the Royal Scottish Academy of Music & and the Pulitzer Prize–winning Appalachian Spring (1944) for a work Drama in , . He has designed lighting for an extensive by Martha Graham. A writer, teacher, and scholar, he spent his later internationally, including New York City Ballet, years traveling the world conducting and creating recordings. Among Miami City Ballet, Dutch National Ballet, Staatsballett Berlin, Pacific many honors, Copland was awarded The Presidential Medal of Freedom, Northwest Ballet, The Joffrey Ballet, Pennsylvania Ballet, Houston the Commander’s Cross of the Order of Merit of the Federal Republic Ballet, Semperoper , and American Dance Theater, of Germany, Kennedy Center Award, and an Academy Award for his among others. In 2018, Baker was appointed Lighting Director of the film score for The Heiress. Boston Ballet.

PROGRAMS 05 / 06 | 415 865 2000 | 35 DIE TOTENINSEL WORLD PREMIERE PROGRAM NOTES by Caitlin Sims

Liam Scarlett’s premiere for San Francisco Ballet’s 2019 Season has that second beat on different accents, time shifts and is not as we know a similar dark beauty as his 2016 Frankenstein, an epic retelling of Mary it.” He pauses, thoughtfully. “If you’re making a journey to somewhere Shelley’s macabre novel. And similarly, this new ballet draws inspiration that’s not in this life, then who’s to say what time is?” from another artist’s work: in this case Rachmaninoff’s brooding and hypnotic symphonic poem The Isle of the Dead, itself based upon a The tempo colors Scarlett’s choreography as well, as it’s not a common painting of the same name. (Die Toteninsel is the German name of these time signature for ballet. “Finding steps to go into five counts switches works.) Scarlett uses the music and its history as a jumping off point for a on a different way of thinking,” says Scarlett. “But once you get that more abstract work exploring the deep-rooted questions about what lies rhythm, it sets [the choreographic process] up from the beginning.” beyond this life. If Scarlett’s Frankenstein was a choreographic novel, his new ballet is more a short story—in which symbolism, movement Scarlett draws upon the music’s repetitiveness in creating movement motifs, and ambiguity both color the work and give viewers room to that grows and builds, then unexpectedly echoes itself. As a central make diverse, individual interpretations. couple emerges, surging forward and sweeping back in great arcs, their movements are reflected by groups that form and dissipate as easily as Rachmaninoff’s The Isle of the Dead was itself inspired by Arnold waves, giving the ephemeral “a sense of weight, and passing through Böcklin’s 1880 painting of the same name. In Böcklin’s work, a solitary one another,” says Scarlett. boat bearing an oarsman, a shrouded figure, and a coffin traverses whisper-still water toward an island of rocky cliffs and rectangular In rehearsal, Scarlett moves through the room, encouraging dancers to portals encircling a grove of tall cypresses. A commission from a think about how to shape and extend movement phrases. “When you German widow, who asked Böcklin to repaint an unfinished painting move bigger and slower, you see everything,” he explains. “When you of an island and add the figures in a boat, The Isle of the Dead was make sure that you enable every fiber of your body, it’s much more such an immediate success that he painted several additional versions. visceral and beautiful. It’s a matter of accentuating everything that Böcklin’s illumination of a mysterious island that seems not entirely of you do just a tiny bit more.” this world resonated powerfully and, with the advent of mass-produced lithography, reproductions were pervasive by the early 20th century. There’s a softness to Scarlett’s movement that heightens the ballet’s Russian novelist and poet Vladimir Nabokov wrote that The Isle of otherworldly feel. “It’s like water and how you move underwater,” the Dead could be found “in every Berlin home” in his novel Despair. he explains. “When gravity is diminished and time is warped into Freud had one in his office, Lenin had one above his bed, and (decades something else, then you don’t need to adhere to the same rules. after Böcklin’s death) Hitler paid a high sum for one of the originals. You twist them a bit, so it’s clear we’re somewhere else.”

“I’m always first drawn to the music,” says Scarlett, who has a deep Exactly where that is will also be up for interpretation. “Everyone appreciation for Rachmaninoff’s works. The music opens quietly with has wondered, “What’s the next thing after this life?’” says Scarlett. a slow build, all low strings and apprehension. There’s a 5/8 time “Thinking about it raised a lot of questions for me, and I put those signature, an uneven tempo that contributes to a feeling of restlessness questions in the piece.” He smiles enigmatically. “But I haven’t and foreboding. “Like waves lapping,” says Scarlett, “or breathing in and necessarily answered them.” out, or a heartbeat. There’s a definite and then a faltering step. By putting

[ INSTANT EXPERT >> WHAT IS AN AMERICAN BALLET? ] In the 1930s and 40s, choreographers were interested in finding ways to show American life on the ballet stage: Lew Christensen’s Filling Station (1937), Eugene Loring’s Billy the Kid (1938), or Jerome Robbins’s Fancy Free (1944). These ballets all blended stories of American life, movement from Broadway and vaudeville, and ballet technique to create a new style of “Americana” ballet. Rodeo, created in 1942 by American choreographer Agnes de Mille to music by Aaron Copeland is emblematic of this period, telling the story of a young girl finding herself on the American plains. But that’s not the ballet you’re seeing today. Although Justin Peck’s Rodeo: Four Dance Episodes uses (some of) the same music as the 1942 version, it does away with the story and setting, and the choreography is completely new. And yet… there still is something in this ballet that seems particularly “American.” The music helps of course. But what else? The high-energy kineticism. The openness of the set. The vitality and athleticism of the dancers. The sense of youth and playfulness. In 2019, Americana ballet may be out, but American ballet is definitely still in.

36 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06

CREATIVE TEAM Liam Scarlett and Davide Occhipinti rehearsing Scarlett’s Die Toteninsel // © Erik Tomasson

SERGEI RACHMANINOFF SANDRA WOODALL Composer Costume Designer

Sergei Vasilievich Rachmaninoff (1873–1943) was a Russian pianist, Sandra Woodall is one of the best-known and most prolific designers composer, and conductor of the late Romantic period. Regarded as one in the Bay Area. Born in Oakland, Woodall studied painting at the of the major composers of the 20th century, his works remain popular in San Francisco Art Institute. Woodall and her workshop have designed the classical repertory. Born into an aristocratic, musical family, and executed creations for more than 200 productions for dance Rachmaninoff started piano as a child and enrolled in the companies including San Francisco Ballet, the Bolshoi Ballet, the Conservatory at age 12. At the home of his teacher, Nikolai Zverev, he State Ballet, Norwegian National Ballet, , Ballet met Peter Ilyich Tchaikovsky, who became a mentor. In the early 1900s, West, Stuttgart Ballet, and Frankfurt Ballet, among others. She has Rachmaninoff was in constant demand as a conductor, pianist, and worked with San Francisco Opera, San Francisco Symphony, Eureka composer. After the Russian Revolution, he moved with his family to the Theater, American Conservatory Theater, Magic Theater, Kronos Quartet, United States, where he toured extensively as a concert pianist. In later and Hong Kong Repertory Theatre. Woodall is the recipient of five years, he composed Rhapsody on a Theme of Paganini, Symphony No. 3, Isadora Duncan Awards. and Symphonic Dances.

DAVID FINN LIAM SCARLETT Lighting Designer Choreographer David Finn is a lighting designer who has worked extensively in dance, Currently artist in residence at The Royal Ballet and artistic associate at opera, and theater. He began his career as lighting designer for the , Liam Scarlett is in demand as a choreographer master puppeteer Burr Tillstrom and Kukla, Fran & Ollie. Finn was worldwide. Born in Ipswich, England, Scarlett trained at the Linda Shipton resident lighting designer for ’s White Oak Dance School of Dancing and The Royal Ballet School before joining The Royal Project. His designs have also been seen at The Royal Ballet, Paris Opera Ballet in 2005. While still dancing, Scarlett choreographed Asphodel Ballet, The National Ballet of Canada, The Joffrey Ballet, American Ballet Meadows (2010), which won the Critics’ Circle National Dance Award for Theatre, Australian Ballet, Bayerisches Staatsballett, and Birmingham Best Classical Choreography, and Sweet Violets (2012), about Jack the Royal Ballet. Finn has designed extensively for opera throughout the Ripper, for The Royal Ballet. He then retired from dancing to focus on world, including Arabella last autumn and Rusalka this summer for the creating his first full-length work, Hansel and Gretel (2013). In addition San Francisco Opera. In film, Finn’s work includes stage lighting for to numerous works for The Royal Ballet, Scarlett has choreographed Martin Scorsese’s The Age of Innocence, and producing and directing for New York City Ballet, American Ballet Theatre, Miami City Ballet, the PBS documentary The Green Monster. Finn has designed lighting and Norwegian National Ballet. Following the 2016 premiere of his for two Cirque du Soleil shows: Zed in Tokyo, and Michael Jackson new A Midsummer Night’s Dream at Queensland Ballet in Australia, ONE in Las Vegas. Recently, Finn designed new productions of Swan he was named artistic associate of that company. This is Scarlett’s Lake with Liam Scarlett for The Royal Ballet, Yuri Possokhov’s The fourth creation for San Francisco Ballet, including the popular Nutcracker for Atlanta Ballet, as well as Possokhov’s Anna Karenina co-production of Frankenstein. for The Joffrey Ballet. He is currently preparing world premieres for a new work for Sasha Waltz at the Völksbuhne in Berlin, a new creation for Cirque du Soleil in Las Vegas, and The Flying Dutchman for The Metropolitan Opera.

PROGRAMS 05 / 06 | SFBALLET.ORG | 37

BJÖRK BALLET PROGRAM NOTES by Cheryl A. Ossola

There might be no better combination of artists than choreographer the dancers flicks, squats, and lunges along with concave shapes, Arthur Pita and Icelandic music superstar Björk. If you’ve never seen flung arms, and references to nature. There are cantilevered duets a ballet rave—and who has?—get ready. Pita delivers that and more with with an underwater quality and a classically based octet, set to “Frosti,” his second piece for the Company, Björk Ballet, an imaginative spectacle that Pita says “should look like a ballerina music box on acid.” And then that will make you want to jump up and dance. there’s “Hyperballad,” Pita’s ballet rave, with a long jumping sequence to a pumping, driving rhythm. “It’s a metaphor—jumping for joy, jumping Pita never forgot the moment he first heard Björk’s music. During his for love,” he says. As the ensemble moves into a sideways kick step Pita training at London School, a friend introduced borrowed from Björk herself, one couple moves into a slow, sinuous, him to Björk’s album Debut, “which I loved so much,” he says. In thinking stretched pas de deux, and the pixie-like figure darts past. It’s an about his music for the Unbound festival, he wondered what he could enchanting and exhilarating moment. do to make the dancers feel unbound. “And I thought, ‘The music is going to drive them,’ and immediately Björk made sense,” he says. “The music Ultimately, Björk Ballet is about birth, life, sex, and death, he says. is so theatrical—it’s big, but in a modern way.” And, he reasoned, Artistic When Björk sings—about love or joy, sex or death—“it comes from Director and Principal Choreographer Helgi Tomasson is Icelandic. such a human place,” Pita says. For him, “All Is Full of Love” says “I knew [Björk’s music] would mean something to him,” says Pita. everything. “It’s such a beautiful lyric—‘You’ll be given love,’ and ‘You’ll be taken care of,’ ” he says. “What a beautiful message! In this ballet’s episodic form, Björk’s music provides a framework for We have to remember that we do have love in the world.” fragmented stories, dances that are more thematic than descriptive. A lone fisherman provides a ghost of a narrative and, because Björk’s music often references nature, a link to the natural world. Though the CREATIVE TEAM set is minimal and abstract, tall grasses create a focal point throughout the ballet. At first they “appear magically,” Pita says; then the dancers BJÖRK GUDMUNDSDOTTIR rearrange them, emphasizing humans’ relationship to the Earth. Composer

Pita sees the fisherman as “the simple human being.” He wears Björk Gudmundsdottir, known as Björk, is an Icelandic singer, songwriter, two masks, one happy, one sad—an idea that came to Pita because actress, record producer, and DJ. She was born in Reykjavik, Iceland of a duality he sees in Björk. “She’s this very playful, naughty fairy, where she attended music school. The versatile singer-songwriter first dancing nymph, otherworldly creature, full of light and love,” he says. garnered attention as the lead singer of the alternative rock band, “And then you’ve got this very deep, mournful, sorrowful, almost tragedy . Since 1993, when she became a solo artist, Björk has in some of her songs. So it’s like the theater masks.” The fisherman’s released a series of acclaimed albums and has worked on a range of journey ends with “The Anchor Song,” which Pita says he read “as a multi-media projects with various prominent artists. In total, 30 of her lovely kind of sailor song.” The lyrics—“I live by the ocean / and during singles have reached the top 40 on pop charts worldwide. A full-scale the night / I dive into it / down to the bottom / underneath all the currents retrospective exhibition dedicated to Björk was held at the Museum of / I drop my anchor / and this is where I’m staying / this is my home”— Modern Art in 2015. She is the recipient of numerous awards and has might be a suicide note or a love letter to one’s native land; either been nominated for 14 Grammy Awards, an Academy Award, and two way, the song conveys a feeling of peace. Golden Globe Awards.

Woven around the fisherman’s tale are snippets of love stories. In “Bachelorette,” Björk sings that “she’s ‘a path of cinders’ for the ALEJANDRO GHERSI person to step on,” Pita says. At the other extreme, “All Is Full of Love” is Composer dangerous, “about falling off things and running and catching and being held. Tempestuous, deep-rooted, immense love,” he says. “Hyperballad” Alejandro Ghersi, better known as Arca, is a producer, songwriter, is even more dangerous. Paraphrasing the lyrics, Pita says the song is singer, and DJ. Born in Venezuela, he studied at the Clive Davis about “imagining ‘what it feels like to jump off a cliff just so that when Institute of Recorded Music at New York University. Arca is associated I wake up I can feel safe with you.’ That’s so extreme.” with numerous popular music artists, having contributed songwriting and producing to albums by Björk, Kanye West, and FKA Twigs, The fisherman, the pas de deux couples, the pixie-like creature who among others. He has released three studio albums, the most flits through the action—everyone in this ballet is Björk. In trying to recent, Arca, in 2017. capture her essence, Pita goes to extremes with his movement, giving

38 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 [ INSTANT EXPERT >> SPACE BETWEEN ] SJÓN MARCO MORANTE Composer Costume Designer

Sjón is a celebrated Icelandic novelist, poet, and lyricist. He has won the Marco Morante established his label, Marco Marco, in 2002 and Nordic Council Literary Prize for his novel The Blue Fox and the Icelandic under this moniker has designed and created iconic garments for Literary Prize in 2014 for Moonstone—The Boy Who Never Was. As a celebrity artists and performers of all métiers. This is his first project librettist and lyricist he has written four opera libretti and frequently for San Francisco Ballet. He is best known for runway shows that feature worked with singer-songwriter Björk. His latest literary work CoDex his designs shown on an array of contemporary artists as well as society 1962 was published by Farrar, Straus & Giroux in late 2018. Sjón is the and nightlife personalities. Recent credits include Ringling Bros. and president of the Icelandic PEN Centre. His novels have been translated Barnum & Bailey’s Circus, Britney Spears’ Piece of Me, and Todrick Hall’s into 35 languages. Forbidden. Morante earned his BFA in costume design from CalArts.

ARTHUR PITA JAMES F. INGALLS Choreographer Lighting Designer

Arthur Pita is a Portuguese choreographer born in South Africa who See page 27. graduated from London Contemporary Dance School with a master’s degree. He has worked internationally in opera, musicals, plays, and film, and created commissions for Phoenix Dance Theatre, Candoco, MARTIN WEST Bare Bones, Theatre Rites, Ballet Black, and Body Traffic. Recent work Sound Designer includes The Mother and Facada for Bird & Carrot with , The Tenant for The Joyce and James Whiteside, The Wind for The Royal See page 7. Ballet, Paris Opera Ballet’s production of Casse-noisette/The Nutcracker, Run Mary Run with Natalia Osipova and Sergei Polunin, and The Ballad of Mack and Ginny for Wendy Whelan and Edward Watson. His work for Men in Motion includes Volver Volver for Edward Watson, and Jingling from the Zills for Irek Mukhamedov. He created The Metamorphosis, an adaptation of Kafka’s short story that won both South Bank and National Dance Awards. Pita’s original productions include BoomShe SheBoom, Bugger: a fairytale, Camp (The Place); The World’s Greatest Show, The Little Match Girl (Sadler’s Wells, international touring); and Stepmother/Stepfather for DanceEast, where Pita is currently artist in residence. Björk Ballet is his second work for SF Ballet, following 2017’s Salome.

San Francisco Ballet in Pita's Björk Ballet // © Erik Tomasson

PROGRAMS 05 / 06 | 415 865 2000 | 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 TRUMPET Cordula Merks, Concertmaster Barbara Chaffe, Principal Adam Luftman, Principal Heeguen Song, Associate Concertmaster Stephanie McNab* Joseph Brown Beni Shinohara, Assistant Concertmaster Julie McKenzie John Pearson* Heidi Wilcox Robin Hansen PICCOLO TROMBONE Brian Lee Julie McKenzie Jeffrey Budin, Principal Mariya Borozina Gabe Cruz** Wenyi Shih** OBOE Laura Albers * Laura Griffiths, Principal BASS TROMBONE Jeremey Preston* James Moore* Scott Thornton, Principal Marilyn Coyne VIOLIN II TUBA Ani Bukujian, Principal ENGLISH HORN Peter Wahrhaftig, Principal Craig Reiss, Associate Principal Marilyn Coyne Jeanelle Meyer, Assistant Principal TIMPANI FP 6 Marianne Wagner CLARINET James Gott, Principal Rebecca Jackson** Natalie Parker, Principal Karen Shinozaki Sor** Matthew Boyles* PERCUSSION Jennifer Hsieh* Steve Sanchez** David Rosenthal, Principal Emma Votapek* Todd Manley* BASS CLARINET Tyler Mack* VIOLA Steve Sanchez** Mark Veregge* Yi Zhou, Principal Anna Kruger, Associate Principal BASSOON HARP Joy Fellows, Assistant Principal Rufus Olivier, Principal Annabelle Taubl, Principal Caroline Lee Shawn Jones* Paul Ehrlich Patrick Johnson-Whitty KEYBOARDS Elizabeth Prior* Mungunchimeg Buriad CONTRABASSOON Natal’ya Feygina CELLO Patrick Johnson-Whitty Eric Sung, Principal ORCHESTRA PERSONNEL MANAGER Jonah Kim, Associate Principal HORN & MUSIC ADMINISTRATOR Victor Fierro, Assistant Principal Kevin Rivard, Principal Tracy Davis Thalia Moore Keith Green Ruth Lane** Brian McCarty, Associate Principal MUSIC LIBRARIAN Mark Votapek* William Klingelhoffer Matthew Naughtin Mark Almond* CONTRABASS Lawrence Ragent* Steve D’Amico, Principal Shinji Eshima, Associate Principal Jonathan Lancelle, Assistant Principal **Seasonal Substitute Mark Drury *Extra Player

40 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 “I say ‘bravo’ to my bank – First Republic’s performance has been extraordinary.” YUAN YUAN TAN Principal Dancer, San Francisco Ballet

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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 Meg Sullivan, Special Events Coordinator Barbara Nicholas, Interim Head of FINANCE Women’s Wardrobe Niki Naftzger, Events Associate KEVIN MOHR, Chief Financial Officer Paige Howie, Head of Men's Wardrobe & Auxiliary Liaison Kristin Klingvall, Controller Richard Battle, Head of Hair & Make-up Valerie Ruban, Accounting Supervisor Thomas Richards-Keyes, Assistant Head Individual Giving Evangelina Maravilla, Payroll Manager of Hair & Make-up Sarah Warner, Associate Director of Development, Individual Giving Matthew Czarnecki, Senior Accountant

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

42 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 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 Alyssa Puleo, School Assistant Adrian Rodriguez, Facilities Coordinator Tina LeBlanc Cecelia Beam, Audience Engagement Todd Martin, Stanley Wong, Jeffrey Coordinator Residence Manager Facilities Assistants Ilona McHugh Naima McQueen, Neil Miller, Weekend Facilities Assistant Pascal Molat, Ballet & Trainee Matt McCourt, Kayla Murkison, Tamara de la Cruz, Nicole Drysdale, Program Assistant Resident Assistants Yana Vincent, Receptionists Anne-Sophie Rodriguez Leslie Donohue, Chris Fitzsimons, School Physical Therapists Henry Berg, Conditioning Brian Fisher, Dexandro Montalvo, INFORMATION TECHNOLOGY Contemporary Dance Dance in Schools & Communities Teaching Artists MURRAY BOGNOVITZ, Director of Dana Genshaft, Ballet, Contemporary Information Technology Repertoire & Conditioning Alisa Clayton Stacy Desimini, IT Operations Jamie Narushchen, Daniel Sullivan, Sammay Dizon & Project Manager Music Cynthia Pepper Karen Irvin, Application Administrator Jennie Scholick, PhD., Dance History Phoenicia Pettyjohn & Help Desk Coordinator Cecelia Beam, Adult Ballet & Dance for Jessica Recinos Josh Marshall, Web Administrator Individuals with Parkinson’s Disease Joti Singh Jiapeng Jiang, IT Specialist Lisa Giannone, Genoa Sperske Conditioning Class Consultant Maura Whelehan Sofiane Sylve, Principal Guest Faculty FRONT OF HOUSE Julio Bocca, Monique Loudieres, Dance in Schools & Communities JAMYE DIVILA, House Manager 2018–19 Guest Faculty Accompanists Marialice Dockus, Head Usher David Frazier Rodney Anderson, Danica Burt, School Pianists Omar Ledezma Frank Chow, Laurent De La Cruz, Jamie Narushchen, School Pianist Supervisor, Zeke Nealy Martin Dias, Jonathan S. Drogin, Lee R. Crews Endowed Pianist Wade Peterson Chip Heath, Elaine Kawasaki, Eileen Keremitsis, Ryszard Koprowski, Ella Belilovskaya, Julia Ganina, Bongo Sidibe Ritsuko Micky Kubo, Daniel Sullivan, Bill Laschuk, Sharon Lee, Marilyn Leong, Lenore Long, Katelyn Tan, Sky Tan, Galina Umanskaya, School Pianists Doug Luyendyk, Leontyne Mbele-Mbong, Linli Wang, Billy Wolfe, COMPANY PHYSICIANS Sam Mesinger, Dale Nedelco, Wayne Noel, Richard Gibbs, M.D. & Rowan Paul, M.D., Beth Norris, Jan Padover, Julie Peck, Education & Training Administration Supervising Physicians Robbie Remple, Bill Repp, Rilla Reynolds, ANDREA YANNONE, Director of Education Michael Leslie, PT, Robyn Sandberg, Kelly Ann Smith, & Training Director, Dancer Wellness Center Melissa Stern, Theresa Sun, Jennie Scholick, PhD., Associate Director Kristin Wingfield, M.D., Claire Tremblay, Richard Wagner, of Audience Engagement Primary Care Sports Medicine Steve Weiss, Elaine Yee, Ushers Christina Gray Rutter, Associate Director Frederic Bost, M.D., On-site Orthopedist of School Administration Peter Callander, M.D., Keith Donatto, M.D., Jasmine Yep Huynh, Associate Director EDUCATION & TRAINING Jon Dickinson, M.D., Orthopedic Advisors of Youth and Community Programs to the Company San Francisco Ballet School Tai Vogel, School Registrar and Karl Schmetz, Consulting Physical Therapist Artistic Director HELGI TOMASSON, Summer Session Coordinator Active Care, Lisa Giannone, PATRICK ARMAND, Director Karen Maloney, School Programs Coordinator Director, Off-site Physical Therapy

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

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.

MARCH MAY Cast Party*, Lyric Voices (CHM+) CS Studio Rehearsal (DAN+) MEMBERSHIP LEVEL KEY Wednesday, March 27 at 10 pm Wednesday, May 1 at 5:30 pm ADC | ARTISTIC DIRECTOR’S COUNCIL ($100,000+) Hayes Street Grill Chris Hellman Center for Dance CHM | CHAIRMAN’S COUNCIL ($15,000–$99,999) Pre-Curtain Dinner*, Open Dress Rehearsal,

Space Between (CHO+) Shostakovich Trilogy (CON+) CHRISTENSEN SOCIETY Friday, March 29 at 5:30 pm Tuesday, May 7 at 1 pm The Green Room, Veterans Building War Memorial Opera House CHO | CHOREOGRAPHER’S COUNCIL ($7,500–$14,999) CS Cast Party*, Space Between (ASO+) Pre-Curtain Dinner*, Friday, March 29 at 10:30 pm Shostakovich Trilogy (CHO+) DAN | DANCER’S COUNCIL ($5,000–$7,499) The Green Room, Veterans Building Tuesday, May 7 at 5 pm ASO | ASSOCIATE’S COUNCIL ($2,500–$4,999) The Green Room, Veterans Building

APRIL CS Cast Party*, FRIENDS OF SF BALLET Company Class Observation Shostakovich Trilogy (ASO+) and Reception (SUP+) Tuesday, May 7 at 10 pm PAT | PATRON ($1,000–$2,499) Saturday, April 6 at 10 am The Green Room, Veterans Building SUP | SUPPORTER ($500–$999) War Memorial Opera House CS Warehouse Event (ASO+) CON | CONTRIBUTOR ($200–$499) Orchestra Rehearsal (PAT+/VLC) Details to follow Wednesday, April 17 at 11:30 am Ballet History Lecture (CON+) VLC | JOCELYN VOLLMAR LEGACY CIRCLE Zellerbach Rehearsal Hall Details to follow Open Dress Rehearsal, The Little Mermaid (SUP+) Friday, April 19 at 1 pm War Memorial Opera House

RECOGNIZING KORET FOUNDATION Koret Foundation’s steadfast support for more than three decades has helped San Francisco Ballet flourish as one of the world’s leading ballet organizations. We are grateful for the Foundation’s recent support, which has contributed to the development and growth of SF Ballet’s Education and New Audience initiatives. The Koret Foundation has a long history of funding arts and cultural organizations and believes that innovative and effective cultural organizations contribute to a dynamic Bay Area. In recent years, the Foundation has focused on strengthening the local arts and culture ecosystem by supporting creative strategies for developing younger and more diverse audiences. The return of SF Ballet’s Sensorium, a one-night only performance featuring interactive pop-ups and tech installations that specifically engage younger audiences, has been made possible by the dedication of Koret Foundation.

44 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 TURN YOUR ASSETS INTO INCOME AND SUPPORT SAN FRANCISCO BALLET Charitable gift annuities are a good way to help San Francisco Ballet even if you don’t have a great deal of money. A gift of this type fulfills your desire to help the future of dance and provides you with fixed payments for life. The payments are partly a tax- free return of principal and if you itemize, you will receive a charitable deduction. You can also minimize capital gains tax if you have appreciated securities you wish to gift. The way a charitable gift annuity works is that you transfer cash or property to the charity in exchange for the charity’s promise to make fixed annuity payments to one or two life annuitants. The donor is usually one of the annuitants but it could be one or two other people. Unlike charitable remainder trusts or pooled income funds, a charitable gift annuity is considered a general obligation of the issuing charitable organization. The San Francisco Ballet Endowment Foundation acts as the insurer and maintains an investment reserve for these annuities. Since these are gift annuities, the rates of return may be lower than commercial annuities. Like most organizations, the SF Ballet Endowment Foundation follows the recommended payout rates of the American Council on Gift Annuities. The council bases the rates on current mortality studies, prevailing and projected investment returns on invested reserves and projected administrative costs. The annuity rate is based on the age and number of annuitants. Current rates begin at 5.2 percent for a single-life annuitant age 66 and increase to 9.5 percent for single-life annuitants age 90 and older. SF Ballet Development staff would be happy to provide you with the payout rates for any age, starting at 65, including two-life arrangements, plus the illustration of deductions and other tax benefits. The minimum threshold to establish a gift annuity with the SF Ballet Endowment Foundation is $15,000. The annual annuity rate is stated as a percentage of the net fair market value of the donation. The annual amount can be paid annually, semi-annually, quarterly or monthly. If you transfer $100,000 to a single-life charitable gift annuity at age 70, the ACGA current annuity rate is 5.6 percent and in addition to a tax deduction you would receive $5,600 per year as long as you live. Part of this will be tax-free. You can also make a deferred payment gift annuity donation. You make a donation and claim a tax deduction for that year but you can elect to delay your income benefit at a date you specify, at least one year in the future. In general, deferred gift annuities pay higher rates than immediate payment gift annuities and the longer the time between the gift date and first payment date, the higher the rate. This arrangement is appealing for those wanting to make a special gift now, receive an immediate tax deduction and establish a future income stream. Most importantly, your gift will help SF Ballet thrive as a valuable culture resource for future audiences, artists of the Company, and students of SF Ballet School. For more information about gift annuities and other planned giving options at SF Ballet, please contact Elizabeth Lani, Deputy Director of Development/Planned Giving at [email protected] or 415 865 6623.

FREED OF LONDON

Freed of London has been supporting San Francisco Dores André and Luke Ingham in Pita’s Björk Ballet // © Erik Tomasson Ballet School’s Summer Session for 15 consecutive years. Summer Session students are ages 12–18 and travel both nationally and internationally to train at our studios in San Francisco. Students partake in a multi-week program where they have the opportunity to improve technique, learn from new teachers, and master innovative choreography from SF Ballet’s repertory. Students leave the Summer Session program with first-class training that will help them work toward professional careers in dance. Attendance is invitation only through our countrywide Audition Tour that allows SF Ballet School to recruit the most promising dancers from around the world. Thanks to Freed of London’s generous support, we enroll hundreds of talented students each summer. Freed of London is a world leader in design and manufacturing of professional dance shoes. Founded in 1929, Freed takes pride in providing the highest quality of handcrafted dance shoes, all produced in the United Kingdom. Keep an eye out, as you will see many of SF Ballet’s very own dancers performing in Freed of London pointe shoes.

PROGRAMS 05 / 06 | SFBALLET.ORG | 45 DONOR EVENTS & NEWS CONTINUED

TEN-YEAR CHRISTENSEN SOCIETY HONOREES Our loyal supporters are instrumental in helping us bring classical and contemporary ballet to life, one production at a time. Each year we honor donors who have been members of the Christensen Society for 10 consecutive years. The 2019 Season marks the 10th anniversary of the following Christensen Society members:

Mr. Noel T. Blos Ms. Andrea Jacoby Ms. Carla Oakley and Mr. Kevin McCarthy Kelly and Samuel Bronfman II Mr. and Mrs. Alan F. Klein Ms. Mindy Owen Jane A. Cook Kelsey and David Lamond The Phillips Family Michael E. Dreyer and Harry B. Ugol Pam G. Lewis Mr. John Pringle Beth and Brian Grossman Mr. Gregg Mattner Paul A. Violich Ms. Kimberly M. Hughes Julie Desloge and George A. Newhall Ms. Adrian Walker Ms. Karen J. Irvin Miriam Sedman and Ralph Nyffenegger Jennifer and Steven Walske

We congratulate these donors and thank them for their steadfast support. We are pleased to give special recognition to donors who have been honored as 10-year Christensen Society Honorees in our program books. Their names are followed by a plus sign (+) in the Chairman’s Council and Christensen Society sections.

THE ARTISTS’ RESERVE FUND HELPS DANCERS INVEST IN THEIR FUTURES How do our dancers prepare for a career after the SAN FRANCISCO BALLET SCHOOL stage? Many receive financial support for education- related expenses through the Artists’ Reserve Fund. Each season, dancers donate the salary 2019 SPRING FESTIVAL of one performance on the Opera House stage,

the organization matches their contributions, MAY 22–MAY 24, 2019 and SF Ballet patrons contribute. Over the past ten years, the Fund has given grants to an average of 23 dancers annually. On Wednesday, May 22, 2019, San Francisco Ballet School launches its first annual Spring Festival. The Artists’ Reserve Fund has a champion in long- Formerly called Student Showcase, the SF Ballet School Spring Festival will include three nights of unique time SF Ballet Board Trustee and former dancer Jola performances, a dinner on opening night, and new interactive activities and more opportunities to learn Artists’ Reserve Fund Grant Recipients with SF Ballet Board Trustee Jola Anderson // © Erik Tomasson Anderson, who takes pride in helping dancers plan about ballet. Proceeds will provide support for the School’s scholarship and financial aid programs. for their futures without giving up the profession they love. Many Fund recipients choose to participate in the Liberal Education for Arts Professionals program at St. Mary’s College, SPRING FESTIVAL PERFORMANCE AND DINNER SF BALLET SCHOOL ON STAGE PERFORMANCE DATES which provides flexible class schedules in locations that enable dancers to pursue a degree. “A dance career is short,” says DATE Wednesday, May 22, 2019 Wednesday, May 22 at 6 pm Jola. “It’s important that dancers prepare for a life after dance. The Artists’ Reserve Fund is an investment in their future.” | TIME | SF Ballet School ON STAGE performance Thursday, May 23 at 7:30 pm SF Ballet continues to build this fund. To contribute, you can donate online at sfballet.org/arf or by contacting Assistant to at 6 pm, followed by dinner Friday, May 24 at 7:30 pm Senior Executive StaffKatharine Chambers at 415 865 6581. Please note that donations to the Artists’ Reserve Fund are VENUES | Yerba Buena Center for the Arts Theater fully tax-deductible but do not count toward membership in the Friends of SF Ballet or the Christensen Society. and Four Seasons Hotel San Francisco The dancers of SF Ballet would like to thank the donors to the Artists’ Reserve Fund (since July 2017): EVENT CHAIR | Ms. Catherine Bergstrom

Jola and John Anderson EACH Foundation Mr. and Mrs. Barry R. Lipman Kristen A. Avansino Mr. and Mrs. Christian P. Erdman Mr. Wallace Mersereau Ms. Barbara Baxter Mr. Roger Green Mr. and Mrs. Edward Plant BUY TICKETS NOW Ms. Carol Benz In memory of Marjorie Isaac Arlene Sullivan, in memoriam Dr. Brendan Collins Ms. Yeuen Kim Mr. and Mrs. Helgi Tomasson SFBALLET.ORG/SCHOOLFESTIVAL 415 865 2000

San Francisco Ballet School students performing during the 2016 Student Showcase // © Chris Hardy 46 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 SAN FRANCISCO BALLET SCHOOL 2019 SPRING FESTIVAL

MAY 22–MAY 24, 2019

On Wednesday, May 22, 2019, San Francisco Ballet School launches its first annual Spring Festival. Formerly called Student Showcase, the SF Ballet School Spring Festival will include three nights of unique performances, a dinner on opening night, and new interactive activities and more opportunities to learn about ballet. Proceeds will provide support for the School’s scholarship and financial aid programs.

SPRING FESTIVAL PERFORMANCE AND DINNER SF BALLET SCHOOL ON STAGE PERFORMANCE DATES DATE | Wednesday, May 22, 2019 Wednesday, May 22 at 6 pm TIME | SF Ballet School ON STAGE performance Thursday, May 23 at 7:30 pm at 6 pm, followed by dinner Friday, May 24 at 7:30 pm VENUES | Yerba Buena Center for the Arts Theater and Four Seasons Hotel San Francisco EVENT CHAIR | Ms. Catherine Bergstrom

BUY TICKETS NOW SFBALLET.ORG/SCHOOLFESTIVAL 415 865 2000

San Francisco Ballet School students performing during the 2016 Student Showcase // © Chris Hardy SAN FRANCISCO BALLET SEASON SPONSORS 2019 REPERTORY SEASON

PROGRAM O1 Etudes PROGRAM O6

Don Quixote SPONSOR PROGRAM SPONSOR John G. Capo and Orlando Diaz-Azcuy The Bernard Osher Foundation LEAD SPONSORS Margaret and Will Hearst Rodeo: Four Dance Episodes Diane B. Wilsey PROGRAM O4 MAJOR SPONSOR MAJOR SPONSOR Kara and Charles Roell The Sleeping Beauty Anonymous SPONSORS LEAD SPONSORS SPONSOR Almaden Mr. James D. Marver James C. Gries BRAVO Judy C. Swanson SF Ballet Auxiliary Die Toteninsel

PROGRAM O2 MAJOR SPONSORS LEAD SPONSORS Innovation Global Capital Ms. Laura Clifford Divertimento No. 15 Elaine Kartalis Shelby and Frederick Gans MAJOR SPONSOR Mr. and Mrs. James C. Katzman Beth and Brian Grossman Catherine and Mark Slavonia Richard Thalheimer Family Mary Jo and Dick Kovacevich Christine Russell and Mark Schlesinger SPONSOR SPONSOR ENCORE! Joseph and Marianne Geagea Björk Ballet

Appassionata MAJOR SPONSORS Hannah and Kevin Comolli LEAD SPONSOR PROGRAM O5 Kelsey and David Lamond Kathleen Scutchfield Your Flesh Shall Be a Great Poem

MAJOR SPONSORS MAJOR SPONSOR Kathleen Grant, M.D. and PROGRAM O7 Brenda and Alexander Leff Thomas Jackson, M.D. The Little Mermaid Mrs. Joyce L. Stupski SPONSORS Kacie and Michael Renc LEAD SPONSOR SPONSOR O.J. and Gary Shansby Cui Lihong and Wang Wei Karen S. Bergman Bound To MAJOR SPONSORS Hurry Up, We're Dreaming Chaomei Chen and Dr. Yu Wu LEAD SPONSORS MAJOR SPONSOR In Memory of Carole Demsky Sonia H. Evers Anonymous Drs. Richard D. and Patricia Gibbs Alison and Michael Mauzé Jim and Cecilia Herbert Denise Littlefield Sobel Marie and Barry Lipman PROGRAM O3 MAJOR SPONSOR Mrs. Henry I. Prien David and Vicki Cox The Fifth Season SPONSOR John and Amy Palmer LEAD SPONSOR Brian and Rene Hollins SPONSOR Fang and Gary Bridge Alex and Carolyn Mehran MAJOR SPONSOR PROGRAM O8 Sue and John Diekman “. . . two united in a single soul . . .” Shostakovich Trilogy SPONSOR LEAD SPONSORS H. B. and Lucille Horn Foundation Athena and Timothy Blackburn LEAD SPONSORS Yurie and Carl Pascarella Mr. Richard C. Barker Snowblind Teri and Andy Goodman LEAD SPONSOR Mr. and Mrs. John S. Osterweis Randee Seiger MAJOR SPONSOR SATURDAY NIGHT Nancy A. Kukacka SUBSCRIPTION SERIES

SPONSOR Lucy and Fritz Jewett Saturday Night Series Larissa Roesch and Calder Roesch SF Ballet Allegro Circle Bound To© by Christopher Wheeldon THIS IS PASSION GENERAL 2019 Opening Night Gala

PRESENTING SPONSOR Osterweis Capital Management

PERFORMANCE SPONSOR San Francisco Ballet gratefully acknowledges San Francisco Grants for the Arts, Laura Clifford, in memory of Erna Clifford The William and Flora Hewlett Foundation, and the National Endowment for the Arts for their support.

BENEFACTOR DINNER SPONSOR KPMG Official Gym of San Francisco Ballet Media Sponsor PATRON DINNER SPONSOR JPMorgan Chase & Co.

GRAND BENEFACTOR RECEPTION SPONSOR Shreve & Co. EDUCATION & TRAINING SPARKLING STROLL SPONSOR Brooks Brothers

WINE AND SPARKLING WINE SPONSOR Gloria Ferrer Caves & Vineyards

APÉRITIF SPONSOR Lillet

BEER SPONSOR Lead Sponsors of San Francisco Ballet’s Education Programs Fort Point Beer Company

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

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

LOOKING FOR MORE OUT OF YOUR SF BALLET EXPERIENCE?

Join Friends of San Francisco Ballet and ensure that we are around for future generations to enjoy. As our way of saying thanks, you’ll get special benefits designed specifically to enhance your SF Ballet experience.

JOIN US, WON’T YOU? Visit our website at sfballet.org/donate or call 415 865 6628.

Lonnie Weeks in Bound To © by Christopher Wheeldon // © Erik Tomasson

PROGRAMS 05 / 06 | 415 865 2000 | 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 the Estate of Norma Stanberry and the Estate of Arlene H. Sullivan 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 Norma Stanberry Estate of Katharine Hanrahan Dr. and Mrs. Jeffrey P. Hays Estate of Natalie H. Stotz Hellman Foundation William Randolph Hearst Foundation Joyce Stupski The Herbert Family The Edward E. Hills Fund Estate of Arlene H. Sullivan Donald F. Houghton James C. Hormel and Michael P. Nguyen Richard J. Thalheimer G. William Jewell The William G. Irwin Charity Foundation Ms. Susan A. Van Wagner Koret Foundation George F. Jewett Foundation Visa Inc. Yurie and Carl Pascarella George F. Jewett, Jr. 1965 Trust Wallis Foundation Kenneth Rainin Estate of Mildred Johnson The E. L. Wiegand Foundation Mr. George R. Roberts JPMorgan Chase & Co. Akiko Yamazaki and Jerry Yang Kathleen Scutchfield Maurice Kanbar The Zellerbach Family 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 05 / 06 ARTISTIC DIRECTOR'S music dance theater 2018/19 COUNCIL Cal Perform ances SEASON UNIVERSITY OF CALIFORNIA, BERKELEY San Francisco Ballet gratefully acknowledges the members of the Artistic Director’s Council. Their generous Alvin Ailey support of $100,000 or more to the annual American Dance Theater fund is instrumental to the success of Robert Battle, artistic director Masazumi Chaya, associate artistic director SF Ballet, SF Ballet School, and SF Ballet’s education programs. This list does not include gifts made in support of special 60th Birthday Celebration! projects or special events, as they are FEATURING THREE recognized separately. BAY AREA PREMIERES: Council members receive concierge Lazarus by hip hop pioneer , service and special access to inspired by Ailey’s life and legacy performances, exclusive events, and Ronald K. Brown’s The Call, which blends Bach, jazz, and Malian music rehearsals. To learn more about the Jessica Lang’s vivid, celebratory work, EN Artistic Director’s Council, please contact Sarah Warner, Associate Director of ALSO FEATURING Development, Individual Giving at Timeless Ailey, a retrospective program [email protected] or 415 865 6634. of Ailey’s choreography

GRAND BENEFACTORS $250,000 and above April 9–14 The Hellman Family ZELLERBACH HALL Diane B. Wilsey 1/2V ARTISTIC DIRECTOR’S COUNCIL $100,000–$249,999 Eifman Ballet Anonymous The Pygmalion Effect Mr. Richard C. Barker (US Premiere) Anne T. and Robert M. Bass Fang and Gary Bridge For 40 years, the defiantly Ms. Laura Clifford controversial choreographer has created Cui Lihong and Wang Wei productions punctuated by Sonia H. Evers sumptuous costumes, exquisite dancing, and riveting drama. Shelby and Frederick Gans Here, the company presents the Teri and Andy Goodman United States premiere of his brand new ballet, set to a score Beth and Brian Grossman by Johann Strauss Jr. Margaret and Will Hearst Lucy Jewett “This Russian dancemaker Mary Jo and Dick Kovacevich and his dancers are among Kelsey and David Lamond the most fascinating artists Brenda and Alexander Leff before the public today.” —San Francisco Chronicle Mr. James D. Marver Alison and Michael Mauzé Mr. and Mrs. John S. Osterweis May 31–Jun 2 Yurie and Carl Pascarella ZELLERBACH HALL Arthur and Toni Rembe Rock Christine Russell and Mark Schlesinger Randee Seiger Season calperformances.org/tickets Sponsor: Denise Littlefield Sobel Judy C. Swanson

PROGRAMS 05 / 06 | SFBALLET.ORG | 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 February 20, 2019. This list does not include gifts made in support of special projects or special events, as they are recognized separately. 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 Athena and Timothy Blackburn+ James C. Hormel and Mrs. Courtney C. Dallaire The Spero Family Chaomei Chen and Dr. Yu Wu Michael P. Nguyen+ Jill Daly Michael and Susanna Steinberg Hannah and Kevin Comolli Thomas E. Horn+ Dr. and Mrs. Jordan Deschamps-Braly Alan and Patricia Tai+ David and Vicki Cox+ Ms. Jeri Lynn Johnson+ Mr. Josh Elkes and Ms. Rachel Happ Adam J. Thaler In Memory of Carole Demsky Christine and Pierre Lamond+ Paula M. Elmore* Mr. and Mrs. Charles V. Thornton+ Sue and John Diekman+ Dr. and Mrs. Stephen Leavitt Douglas and Barbara* Engmann+ Mr. and Mrs. William R. Timken+ Drs. Richard D. and Patricia Gibbs Dr. Timothy Marten, M.D. and Mr. Frank J. Espina and Mr. and Mrs. Alan B. Vidinsky Ms. Mary Heylin+ Margaret and Stephen Gill+ Mrs. Andrea Valo-Espina Paul A. Violich+ Nion McEvoy and Leslie Berriman Kathleen Grant, M.D. and Lynn Feintech and Tony Bernhardt+ Daniel and Marie Welch Alexander R. Mehran*+ Thomas Jackson, M.D.+ Mr. Edward G. Fernandez Cynthia and Edgar Whipple+ Michael Moritz and Harriet Heyman Jim and Cecilia Herbert+ Randi and Bob Fisher The Whitman Family Foundation Roland G. Ortgies and Matthew & Siska Hobart Mrs. Mortimer Fleishhacker+ Ms. Patricia Wyrod Carmela C. Anderson-Ortgies+ Elaine Kartalis Patty Garbarino Diane and Howard Zack+ Mr. and Mrs. Norman C. Pease Mr. and Mrs. James C. Katzman+ James K. and Helen L. Goodwine+ Wylie Peterson and Nancy A. Kukacka Brian and Elizaveta Gustafson Anne-Marie Peterson Marie and Barry Lipman+ Mr. Isaac Hall Kacie and Michael Renc+ Marissa Mayer and Zachary Bogue+ Mr. and Mrs. Terry Houlihan Mr. and Mrs. Edward Roach+ John and Amy Palmer Fred Isaac and Robin Reiner Mr. George R. Roberts+ Mrs. Henry I. Prien+ John G. Kerns*+ Larissa Roesch and Calder Roesch+ Kara and Charles Roell William and Gretchen Kimball Fund+ Michael and Mary Schuh+ Kathleen Scutchfield+ Arlene and Steve Krieger+ O.J.* and Gary Shansby+ Catherine and Mark Slavonia Patrice and Walther Lovato Marc Sinykin and Kevin Osinski David H. Spencer Peter and Melanie Maier Mr. and Mrs. Robert M. Smelick+ Mrs. Joyce L. Stupski+ Ms. Susan Marsch Tom Steyer and Kat Taylor+ Mr. Richard J. Thalheimer+ Mr. Gregg Mattner+ Mr. and Mrs. William Truscott Ms. Zhenya Yoder Justin T. McBaine Barbara and Stephan Vermut Jane and Roger McCarthy+ Beatrice Wood SPONSOR’S COUNCIL Stewart McDowell Brady and $25,000–$49,999 Philip Brady CHAIRMAN’S COUNCIL Anonymous (2) Dr. Maya Meux $15,000–$24,999 Gioia and John Arrillaga+ Mr. Ronald W. Miller+ Anonymous (3) Eleonore Aslanian+, Mr. James E. Milligan*+ Joseph and Brooke in memory of Edward Aslanian Mrs. Stuart G. Moldaw+ Brenton and Karen S. Bergman+ Mr. David Morandi Lysbeth Warren Anderson+ Ms. Eliza M. Brown+ Mr. and Mrs. Robert L. Newman+ Kristen A. Avansino+ John G. Capo and Orlando Diaz-Azcuy+ Michel and Mekhala Oltramare Rosemary B. Baker*+ Robert and Laura Cory Mr. James Parsons and Courtney Benoist and Jason M. Fish*+ Katherine and Gregg Crawford+ Ms. Andrea Hong Ms. Susan Blake+ Dana and Robert Emery+ Dave and Judy Redo+ Bruce Braden+ Carol Emory and Glenn H. Reid+ Rachel Brass and Richard Foster The Wingate Foundation+ Mr. Jeremy Rishel Ron and Susan Briggs+ Mr. Robert S. Fisher*+ Mr. and Mrs. Robert Shaw Paula and Bandel Carano Mr. David Galloreese Christine Sherry and Lawson Fisher+ Rosalyn Chen Chavez Joseph and Marianne Geagea The Honorable and Mr. and Mrs. Scott Connors James C. Gries+ Mrs. George P. Shultz+ Ms. Phoebe Cowles+ Brian and Rene Hollins+ Mr. and Mrs. George H. Sollman

52 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 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 February 20, 2019. This list does not include gifts made in support of special projects or special events, as they are recognized separately. 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 (*).

The Spero Family CHOREOGRAPHER'S COUNCIL Michael and Susanna Steinberg $7,500–$14,999 Mr. and Mrs. John S. Hoch Anne and Michelle Shonk+ Ms. Sandi Covell+ Alan and Patricia Tai+ Anonymous (5) Ms. Kathryn Huber and Ms. Cherida Collins Smith+ Mary B. Cranston*+ Adam J. Thaler Sig Anderman Mr. William Larry Binkley Susanne Stevens+ Ms. Nancy Curtiss Mr. and Mrs. Charles V. Thornton+ Norby Anderson Mr. Hiro Iwanaga The Streets Family+ Ms. Lisa Daniels Mr. and Mrs. William R. Timken+ Ms. Maren Armour Arnold and Laurel Jacobson Ms. Nadine Tang and Mr. Bruce Smith Mr. and Mrs. James A. Davidson Mr. and Mrs. Alan B. Vidinsky Drue and Jerry Ashford+ Mr. and Mrs. Richard Jasen Helgi and Marlene Tomasson Ms. Bonnie De Clark Paul A. Violich+ Mr. and Ms. Bartley B. Baer Guyton Jinkerson+ The Watkins Family+ Jacqueline* and Christian P. Erdman+ Daniel and Marie Welch Jeanne and William Barulich Mrs. Barbara L. Johnson Helena and William Wheeler Tawna and John Farmer+ Cynthia and Edgar Whipple+ Dr. Margaret Bates and Scott Johnson+ Jim and Barbara Kautz Ms. Leslie Wilson Mr.* and Mrs. Irwin Federman+ The Whitman Family Foundation Mr.* and Mrs. Joachim Bechtle+ Ms. Micki Klearman Ms. Deann Wright and Dr. Luke Evnin Brent and Sandra Fery Ms. Patricia Wyrod Lydia and Steven Bergman Linda and Robert Klett+ Mr. Tim C. Wu and Mr. Eric Murphy+ Ms. Linda Jo Fitz+ Diane and Howard Zack+ Davidson Bidwell-Waite and Mr. and Mrs. Mark Kostic Sharon and Robert Yoerg Mr. and Mrs. David Fleishhacker+ Edwin A. Waite+ Mrs. Maja Kristin Dr. Janice and Mr. Jonathan Zakin+ Ms. Sonia Florian Claire and Jared Bobrow+ Ms. Linda Kurtz Kenneth and Anna Zankel, The Grove Mr. Dennis N. Fluet+ Mr. and Mrs.* William S. Brandenburg Captain Witold Klimenko and Camille and Sean Flynn+ Dr. Darlene Lanka-Klimenko+ Kelly and Samuel* Bronfman II+ DANCER’S COUNCIL John and Kelly Foley Laube Family Foundation The Robinson Family - $5,000–$7,499 Mr. and Ms. Donald D. Fortune Jr. AB Butler Family Mark and Debra Leslie+ Anonymous (4) Ms. Mayhill Fowler Damian S. Carmichael Ms. Betsy A. Linder+ Ms. Diane K. Aaron Mr. David B. Franklin and Jon B. Chaney+ Mark and Lori Litwin+ Andrew and Linda Rosenberg Ach Mr. Ruedi F. Thoeni Antoinette Chatton+ Ms. Tiffany Lockridge Judy and David Anderson Mrs. Phyllis K. Friedman+ Ms. Karen K. Christensen+ Carol and Hal Louchheim+ Mr. and Mrs. Greer Arthur+ Marilyn & Robert Funari Robert Clegg*+ Mr. and Mrs. Allen Luniewski Family Foundation Ms. Corine Assouline Mr. and Mrs. Sol Coffino Lori and David F. Marquardt+ Ms. Jane Gazzola Mr. John Atwater and Ms. Katie Colendich Ms. Suzanne M. Miller Ms. Diana L. Nelson Ms. Malin Giddings and Mr. Richard Hechler Dr. Charles Connor+ Marta L. Morando+ Ms. Donna Bachle Sally L. Glaser and David Bower+ Ms. Phyllis Cook+ Mrs. Janet Morris+ Dr. Thomas and Julie Ballard Mary and Nicholas Graves+ Michele Beigel Corash and Manfred K. Mundelius+ Ms. Deborah Taylor Barrera Laurence Corash+ Donald W. and Patricia L. Green Miriam Sedman and Mr. Charles Barrett Peter and Quin Curran Ralph Nyffenegger+ Claude and Nina Gruen+ Mr. and Mrs. Gene Becker Mr. and Mrs. Angelos Dassios Ms. Carla Oakley and John and Lucie Hall Valli Benesch and Bob Tandler Juanita and Manuel Del Arroz+ Mr. Kevin McCarthy+ Michael and Julie Hawkins Curtis Grisham and Charles Black, Jr. Mrs. Suzy Kellems Dominik*+ Mr. David Oldroyd and Miranda Heller and Mark Salkind+ Mr. Ronnie Genotti Mr. William Bonville and Ms. Paulette Doudell+ Ms. Virginia Jordan Joan and Alan Henricks Ms. Mindy Owen+ Robert and Judith Duffy+ Mr. and Ms. Ron Borelli The Henrikson Family Foundation Ms. Elizabeth A. Peace Ms. Katherine M. Fines and Dr. Thomas and Janice Boyce+ Ms. Mary Herman Mr. Henry Heines+ Beth Price+ Dr. Odelia Braun Cynthia Hersey Doris Fisher+ Leslie and Nick Podell+ Cynthia and Frederick Brinkmann+ Mr. Patrick M. Hogan J. Stuart Francis and Diana Stark+ Mr. and Mrs. Neal I. Powers Mr. and Mrs. Kent F. Brooks Hank J. Holland* John and Marcia Goldman+ Mr. Gordon L. Radley+ James R. and Melinda M. Brown Ms. Kimberly M. Hughes+ William J. Gregory Ms. Patricia Rock and Mr. John Fetzer Kelli and Steve Burrill+ Ms. Giovanna Jackson* Mr. Gordon Russell and Ann M. Griffiths+ Ms. Andrea Jacoby+ Dr. Bettina McAdoo+ Dr. Heidi H. Cary Linda Groah Mr. Peter Joshua Dorothy Saxe+ Mr. and Mrs. Robert Cauthorn Dr. Elizabeth A. Harrison Mr. David A. Kaplan and Kamran and Helena Shamsavari+ Mr. and Mrs. Donald Chaiken+ Dr. Birt Harvey Mr. Glenn Ostergaard+ Mr. and Mrs. Roderick W. Shepard Drs. Valerie and Devron Char+ Mr. and Mrs. A. Grant Heidrich III+ Ms. Dorothy Kaplan Dr. and Mrs. Stephen Sherwin+ Jack and Gloria Clumeck Dr. and Mrs. I. C. Henderson+ PROGRAMS 05 / 06 | 415 865 2000 | 53 CHRISTENSEN SOCIETY CONTINUED

Mr. Loren B. Kayfetz Ms. Tricia Stephens Philip Bettens Mr. and Mrs. William H. Draper III Mr. and Mrs. Jascha Kaykas-Wolff Mr. Matthew Stepka Amos and Carla Blackmon Michael E. Dreyer and Harry B. Ugol+ Ms. Lisa A. Keith+ Ms. Catherine Stout Ms. Martha E. Blackwell Mrs. Jennifer M. Duarte Kristen Kelly Ms. Fran A. Streets+ Dr. Phyllis B. Blair Mr. Garrettson Dulin, Jr. Rev. Keenan C. Kelsey Mrs. Dwight V. Strong+ Mr. Noel T. Blos+ Ms. Jane Durie Mr. and Mrs. John D. and Maureen and Craig Sullivan Ms. Janet M. Bollier Mr. Fritz Eberly Paulette Kempfer Mr. and Mrs. Jim Swartz+ Bon Air Center Ms. Freya Eduarte and Mr. and Mrs. Alan F. Klein+ Ms. Jody K. Thelander Rebecca and Michael Bradley Mr. Philippe Courtot Ms. Patricia D. Knight Mr. and Mrs. William L. Thornton+ Ms. Carolyn J. and Diane and Joseph Ehrman III+ Mr. and Mrs. James Knoll Mr. Harry Tierney+ Mr. David W. Brady Dr. Robert Elfont and Ms. V’Anne Singleton Ms. Suzanne Knott and Mr. Tom Rose Mr. Dana Tom Germaine Brennan Foundation+ Kirsty Ellis Sharon Lambert and Charles Cohen+ Mr. and Mrs. Edward Tortorici Ms. Barbara Brown+ Mr. and Mrs. Lionel Engelman Mr. and Mrs. Jude Laspa+ Ms. Lida Urbanek Catherine Brown and Mr. Stephen W. Etter Jeff and Melissa Li Drs. Oldrich and Silva Vasicek+ Gerald Gwathney Mr. Greg Evans Ms. Judy Lichterman Ms. Adrian Walker+ Josephine Brownback+ Mrs. Mickey Evans Christa and Mark* Lopez Jennifer* and Steven Walske+ Julie Brown-Modenos Rev. Richard Fabian John and Kate Lord+ Ms. Susan Warble Katie Budge Buck Farmer and Leida Schoggen Dr. and Mrs. G. Karl Ludwig, Jr.+ Daphne and Stuart Wells Betty C. Bullock and Robert Murray Mr. Zé Figueirinhas Mr. and Mrs. Laurence R. Lyons Mr. and Mrs. Wallace Wertsch+ Julie and David Burns Mr. William E. Fisher+ Mr. Michael Manning Karen and Stephen Wiel+ Peggy and Donald Burns+ Dr. and Mrs. Keith Flachsbart Ms. Dosia Matthews Mr. and Mrs. David Wilner Mrs. Leah Busque Shelley Floyd and Albert Loshkajian Mr. Patrick McCabe Mr. Paul Wilson Adrian and Carol Byram Mr. and Mrs. Roy A. Francies Jr. Jennifer J. McCall+ Mr. and Mrs. Michael Woodall Mr. and Mrs. Anthony Calabrese Mr. and Mrs. Thomas Frankel+ Dr. Jack M. McElroy and Dr. Keith R. Yamamoto+ Mrs. John Callander+ Dr. Mary Ann Skidmore+ Dr. Paula Campbell Mr. Douglas Frantz Joan and Robert McGrath+ Libi Cape+ Mr. Ernest Freeman ASSOCIATE'S COUNCIL Mr. and Mrs. John A. McQuown Nina Cardoza and John Krowas Ms. Baerbel Freytag $2,500–$4,999 Mr. Steve Merlo Nina Carroll+ Dr. and Mrs. A. W. Fricke Anonymous (6) Mary Mewha* Ms. Linda Carson+ Mr. Ian Friedland Ms. Marcia Abrams Carole Middleton Michaela Cassidy* and Ms. Joyce Friedman Michael C Abramson+ Mr. Ted E. Mitchell+ Terry Whitney+ Ellen Fujikawa Norman Abramson and David Beery Kathleen Much and Stanley Peters Charles R. Castellano and Dr. Kim Fullerton-Nelson Molly and Stewart Agras+ Deryl Castellano Ms. Donna Neff Ms. Ayumi Funaki Mr. Bruce Albert and Mr. Benedick Chai Mr. Paul Nordine Dr. Chady F. Wonson+ Penny and Gregory Gallo+ Mr. Marvin Charney Mr. Richard Oppenheimer Ms. Melissa Allen Mr. John Garfinkle Mr. Paul Clifford Mr. and Mrs. Michael O’Sullivan Lisa and Maria Alvarez David Getchell and Allison Gonzalez Douglas Clough and Erin Uesugi Sandy Otellini+ Jola and John M. Anderson+ Nora L. Gibson and William L. Hudson Ms. Margaret Coblentz Mrs. Alexandra Ottesen Mr. Zachery Anderson Joy Gim Mitchell and Susan Cohen+ Mr. Dennis Otto & Mr. Robert Meadows Dr. and Mrs. Joseph S. Andresen+ Mr. Brendan Glackin Ms. Claudia Coleman+ Mr. William D. Parent+ Ms. Christine DeSanze and Glaucoma Center of San Francisco Richard and Sylvia Condon+ Patricia Sanderson Port Mr. Scott Anthony Ms. Georgie Gleim Sandi Conniff Ms. Ruth Quigley Mr. and Mrs. Robert Benton Armstrong Ms. Barbara Glynn Mrs. Glenna Cook Ursula Elisabeth Ralph Mr. and Mrs. Hiroki Asai Mr. Alberto Gobbi Jane A. Cook+ Ms. Teresa Remillard Asmus Family Jennie Golde Alice M. Corning+ Dr. and Mrs. Robert E. Richardson+ Ms. Mary Atwater Nora Goldschlager Joan and Victor Corsiglia Mr. and Mrs. Fredric H. Roberts Ms. Nancy R. Axelrod+ Drs. Meryl Gordon and Ms. Carmen Côté De Vaughn Mr. Sanford R. Robertson+ Chris and Janet Bajorek Robert Schermer Ms. Lilly Creighton Ms. Marianne B. Robison+ Mr. Stephen A. Bansak III Phillip and Philippa Newfield Gordon+ Ms. Jennifer Crutchfield Ms. Susan Rosin and Mr. Brian Bock Ms. Olivia Barbee Shelley Gordon Dr. Stephen J. Danko Mr. and Mrs. Mark J. Ryan+ Karen Bartholomew Mr. James Gosling+ Ms. Susan J. Davenport Paul Sack and Shirley Davis+ Marie-José and Kent Baum+ Mr. Michael Grady Mr. Dan Davies William and Linda Schieber Mr. and Mrs. David W. Beach+ Richard L. Grant and James L. Miller+ Dr. and Mrs. R.L. Davis+ Carolynne Schloeder Ms. Lydia Beebe Ms. Joan Green Mr. Keith Dehoff Dr. David Tai-Man Shen and Mr. Daniel C. Belik Judy and Josh Green Dr. Richard M. Delfs+ Mrs. Elaine Shen+ Ms. Desa C. Belyea Mr. and Mrs. Lawrence Green Marvin Dennis+ Dr. Dale Skeen+ Dr. and Dr. Anne Leland Benham Nonie H. Greene and Todd Werby+ Mr. Curtis E. Dennison Ms. H. Marcia Smolens+ Mr. Robert G. Benson Mr. Roger D. Greer Ms. Simone Derayeh Mrs. Linda Snyder Mr. and Mrs. William H. Bentley Sara G. Griffith Julie Desloge and James Sokol Ms. Carol Benz Duncan and Jeanie Gurley George A. Newhall+ Ms. Ellice Sperber and Mrs. LaVerne Beres Mimi Haas+ Ms. Emma Elizalde Mr. and Mrs. Robert Dickson Diana Bersohn Stephen Halprin+ Mr. and Mrs. Mathew Spolin+ Mr. and Mrs. Theodore S. Dobos+ Ms. Cameron L. Best Alexander and Catherine Hargrave+ Alicia Dougherty-Wold and Thomas Wold 54 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06 Sara and Catherine Harkins+ Mr. Roy Levin and Mrs. Jan Thomson Mr. and Mrs. Philip Ouyang+ Mrs. Paula Anne Smith Mr. and Mrs.* Kenneth Hecht Pam G. Lewis+ Mr. and Mrs. Will Parker Mr. Stephen R. Smith and Mr. and Mrs. Ronald Heckmann Ms. Allison Jacobs Dr. Eugene H. Peck Ms. Theresa E. Lahey John F. Heil+ Ms. Debra A. Leylegian+ Hon. Nancy Pelosi & Mr. Paul Pelosi Mr. Scott C. Sollers Martha and Michael Helms Claire and Herbert Lindenberger+ Dr. Barbara A. Peters Mary Ann Somerville+ Mr. and Mrs. Christopher Hemphill Dr. Mary Jane W. Loda Mrs. Lois M Peterson Lisa J. Stern-Hazlewood+ Ms. Kristine T. Hernandez and Carol and Bill Lokke Ms. Patricia Peterson Mr. Paul Stone Mr. Michael R. Glaser Mr. and Mrs. Steve Love The Phillips Family+ Mrs. Mary Stuard Ms. Shelly Hernandez Dan Lowenstein & Mylo Schaaf Dr. Ben M. Picetti Jonathan Feinstein and Erika Stuart Virginia Hind Hodgson Ms. Pirkko Lucchesi Hilary C. Pierce and Keir J. Beadling Joseph J. Sturkey+ Susan and Russell Holdstein Mr. and Mrs. Lawrence Ludgus+ Edward and Linda Plant+ Kimberly and Philip Summe Philanthropic Fund Mr. Harvey Lynch Melissa and Ritchie Post+ Darian and Rick Swig+ Sunny Holland and Alan Pryor+ Leslie MacDonald Mrs. and Mr. Patrick V. Powers Roselyne C. Swig*+ Mr. and Mrs. Christopher Hollenbeck Mrs. Rhondalee Mahendroo Burr Preston Ms. Lita Swiryn Ms. Carol Ann Holley Howard and Siesel Maibach+ Ms. Sandra Price+ Jane and Jay Taber Amal and Denis Hommais Dr. Aditi Mandpe Virginia Leung Price and Teresa Tang Ms. Billye Howard Mr. Richard Martin Walter C. Price, Jr. Ms. Trecia Knapp and JHGM Foundation Mr. Bruno Tapolsky Ms. Virginia Martin Mr. John Pringle+ Dr. Serena Hu Mrs. Bente Tellefsen+ Mr. Adolph V. Martinelli Louis Ptacek and Ying-Hui Fu+ Cordell and Susan Hull Mr. James Teter Ms. Connie V. Martinez Mr. Fritz Quattlebaum+ Ms. Marie L. Hurabiell Ms. Holli P. Thier, J.D. Ms. Mary E. Massee Mr. and Mrs. Jeffrey Ralph Susan and Lyman Hurd Judy and Harold Ticktin Holly and Stephen Massey Barbara Rambo* and Ms. Margaret C. Hutchins Thomas A. Goossens+ Mr. Ronald R. Titus Niko and Steven Mayer+ Carolyn T. Hutton James Deveney and Steve Rausch Mr. and Mrs. Vincent Tobkin Dr. and Mrs. W. D. McCallum+ Mr. Churn Hwang Drs. Garry and Kathy Rayant+ Lowell Tong and Alasdair Neale Mr. and Mrs. George McCown+ Ms. Corey Hyde Judge and Mrs. Charles B. Renfrew Ms. Amanda Topper+ Mr. Glenn McCoy+ Ms. Meghan Imrie Louise and Paul Renne Lee Travers Dan McDaniel, M.D. Ms. Karen J. Irvin+ Ann and Jon Reynolds+ Mr. John Tusch Ms. Kathleen McEligot+ Ms. Anne Irwin Prof. and Ms. Paul L. Richards Charles W. Tuttle, Jr. Ms. Jean A. McIntyre Jackson Family+ Thomas C. Rindfleisch and Ms. Helen Tyree Lisa and Jason McPhate Dennis and Paula Jaffe A. Carlisle Scott+ Mr. Herbert Uetz Dr. and Mrs. Bruce Mebine Ms. Lili Jensen Mr. Chip Roame Patricia Unterman and Tim Savinar Mr. David E. Meders Ms. Berdine Jernigan L.L. Roberts and A.R. Wilbanks+ Janet Sassoon-Upton and Ms. Alena Meeker Ms. Jane L. Johnson Jack and Fran Rominger John R. Upton, Jr.+ Mr. Martin Melia Todd Jolly and Judith Murio Ms. Patricia Rosenberg Karina Velasquez, Esq. Dr. Beryl Mell and Renee Mell+ Debra and Blake Jorgensen Kate Rowe+ Dr. Conrad Vial Mr. Wallace Mersereau Ms. Roberta Kameda Mr. Paul L. Rowe and Mrs. Virginia Wade Byron R. Meyer*+ Mr. Michael Sereno Bruce and Dasa Katz+ Mr. and Mrs. Mark Wallace Mr. and Mrs. Lou Meylan Tiffany Loren Rowe Tom Kennedy Mr. Richard Walsh Fred A. Middleton+ Mrs. Chandra K. Rudd Drs. Douglas and Carol Kerr Emily and Bob Warden Richard Miller and John Vinton+ Mr. Roberto Ruiz and Mr. Kevin Lee Ms. Kathryn Kersey Rosalie V. Weaver Ms. Elizabeth Mitchell Nicholas Heldt and Elizabeth Salveson Mehrzad Khajenoori Eitan Fenson and Barbara Weinstein Susan and Jack Molinari+ Louise Adler Sampson Ms. Jennifer H. Kilpatrick Mr. and Mrs. Otto Weiss+ Mr. and Mrs. Ken Moonie+ Ms. Letitia Sanders Kevin King and Meridee Moore+ Ms. Carol A. Weitz Gary and Eileen Morgenthaler Donald and Terry Sarver+ Mrs. Jerome Ormond Kirschbaum+ Melanie and Ronald Wilensky Dianne and Brian Morton Mr. Michael Scagliotti and Mr. and Mrs. Mark S. Koenig Ms. Faye Wilson Ms. Alexandra Moses+ Mrs. Miya R. Peard Mr. and Mrs. Martin M. Koffel Mr. and Mrs. Terry Winograd Mr. Milton J. Mosk and Gwendy and Anthony Scampavia+ Mr. Abner Korn Ms. Muriel Wolverton Mr. Thomas Foutch+ Warren A. Schneider Ms. Gladys Kwong Sharon* and Dr. Russell Woo+ Chris Motley & Neil O’Donnell Mr. and Mrs. Paul A. Schroeder Reiko and Yasunobu Kyogoku Laureen Woodruff+ Ms. Sharon S. Muir Ms. Deborah Schultz and Ms. Daphne Wray Ms. Nicole LaFlamme Mr. Roger Murray Mr. Gary Cohen Ms. Margaret Wrensch Mrs. Brigitte Laier Ms. Vija Hovgard Nadai Mrs. Avé M. Seltsam and Ms. Kelly Wulff Mr. Bryan Lamkin and Mrs. Shirley Negrin+ Mr. James D. Seltsam, Jr. Ms. Arianna Carughi Mr. Babak Yazdani Dr. Alex Nellas Joan and Lynn Seppala Ms. Sandy S. Lee Jacqueline Young Drs. Andrew and Lynn Newman+ Ms. Teresa Serata Patricia W. Leicher Mr. and Mrs. Ronald Zaragoza Jeanne Newman Mr. and Mrs. Gary J. Shapiro+ Julius Leiman-Carbia and Mr. James Zawada Cathy and Raul Nicho Yuqiao Shen Kyle Thomas Smith Catherine Zimmerman Tom Nicoll+ Mr. and Mrs. Drew Sievers Patricia Lekas and John Wentz+ Mr. and Mrs. Harold Zlot Ms. Allison Nielsen Mr. Lawrence J. Simi and Mr. and Mrs. Edward M. Leonard+ Mrs. Sandra J. Zrnic Patricia and Hayes Noel Mrs. Janet Rogers Mr. and Mrs. Mark R. Lepper+ Mrs. Wilma J. Nurenberg Earl Singer Robert Levenson and Michelle Shiota Ms. Linda L. Olson and Mr. Paul Skan Mr. Fred M. Levin and Mr. David Polnaszek Mr. Jeffrey Sloan Ms. Nancy Livingston PROGRAMS 05 / 06 | SFBALLET.ORG | 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

GRAND BENEFACTORS DANCER’S COUNCIL SPONSOR’S COUNCIL $250,000 and above $5,000–$9,999 $25,000–$49,999 San Francisco Grants for the Arts Mervyn L. Brenner Foundation, Inc. First Republic Bank Lisa and Douglas Goldman Fund Tiffany & Co. ARTISTIC DIRECTOR’S COUNCIL The Hope and Norman Hope Foundation Visa $100,000–$249,999 Walter S. Johnson Foundation Hellman Foundation Marin Community Foundation CHAIRMAN’S COUNCIL The William and Flora Hewlett Foundation $15,000–$24,999 George F. Jewett Foundation ASSOCIATE’S COUNCIL Almaden Koret Foundation $2,500–$4,999 Charles Schwab & Co., Inc. The Bernard Osher Foundation Lakeside Foundation Freed of London Shreve & Co.

PRESENTER’S COUNCIL UBS CORPORATE SUPPORT $50,000–$99,999 U.S. Bank Foundation Flora Family Foundation ARTISTIC DIRECTOR’S COUNCIL Stephen and Margaret Gill Family Foundation $100,000–$249,999 CHOREOGRAPHER’S COUNCIL The Diana Dollar Knowles Foundation Osterweis Capital Management $10,000–$14,999 National Endowment for the Arts B | O| S The Shubert Foundation, Inc. PRODUCER’S COUNCIL (Bingham, Osborn & Scarborough, LLC) $75,000–$99,999 Brooks Brothers SPONSOR’S COUNCIL Bank of America Dodge & Cox $25,000–$49,999 WSO2 Inc. Gap Foundation Mimi and Peter Haas Fund Lillet Heising-Simons Foundation PRESENTER’S COUNCIL Mechanics Bank Wealth Management H. B. and Lucille Horn Foundation $50,000–$74,999 Willis Towers Watson Jerome Robbins Foundation Chevron The Charles Henry Leach, II Fund Innovation Global Capital DANCER’S COUNCIL E. L. Wiegand Foundation JPMorgan Chase & Co. $5,000–$9,999 Kaiser Permanente Athleta CHOREOGRAPHER’S COUNCIL KPMG Denning and Company $10,000–$14,999 Pacific Gas and Electric Company Ted Baker The Guzik Foundation Walter & Elise Haas Fund ASSOCIATE’S COUNCIL John Brockway Huntington Foundation $2,500–$4,999 Taube Philanthropies Fort Point Beer Company Zellerbach Family Foundation GI Partners SpotHero

56 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06

IN-KIND SUPPORT

SPONSOR’S COUNCIL ARTISTIC DIRECTOR’S COUNCIL Ballet and Opera Painting by $25,000–$49,999 $100,000–$249,999 First Republic Bank Bay Area Rapid Transit BARBARA FRACCHIA Tiffany & Co. J Riccardo Benavides Visa FITNESS SF

CHAIRMAN’S COUNCIL PRESENTER’S COUNCIL $15,000–$24,999 $50,000–$99,999 Almaden Immersive Productions Charles Schwab & Co., Inc. McCalls Catering & Events Freed of London SmashMallow Shreve & Co. UBS SPONSOR’S COUNCIL U.S. Bank Foundation $25,000–$49,999 Gloria Ferrer Caves & Vineyards CHOREOGRAPHER’S COUNCIL Nob Hill Gazette $10,000–$14,999 Pillsbury Winthrop Shaw Pittman LLP B | O| S (Bingham, Osborn & Scarborough, LLC) CHAIRMAN’S COUNCIL 1/2V Brooks Brothers $15,000–$24,999 Dodge & Cox Allegra Entertainment & Events Gap Foundation Ernest Vineyards Lillet Piedmont Piano Mechanics Bank Wealth Management Willis Towers Watson CHOREOGRAPHER’S COUNCIL $10,000–$14,999 DANCER’S COUNCIL Almaden $5,000–$9,999 Miette Athleta Ordaz Family Wines Denning and Company Sbragia Family Vineyards Ted Baker DANCER’S COUNCIL ASSOCIATE’S COUNCIL $5,000–$9,999 $2,500–$4,999 Etude Wines Fort Point Beer Company Fort Point Beer Company Spring/Winter of Life, oil on canvas, 14 x 11 GI Partners SpotHero ASSOCIATE’S COUNCIL [email protected] • 510-525-7057 $2,500–$4,999 www.barbarafracchia.com Diptyque Lillet PROGRAMS 05 / 06 | 415 865 2000 | 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 05 / 06 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 05 / 06 | SFBALLET.ORG | 59 ENDOWMENT FOUNDATION new works. Those highlighted with an asterisk (*) were fully or primarily funded through bequests and other planned gifts. planned other and bequests through funded primarily or fully were (*) asterisk an with highlighted Those works. new of performance and acquisition, creation, the for support contribute that funds named following the list to honored is Ballet SF 60 at Giving, Development/Planned of Director Deputy Lani, Elizabeth contact please information, more For programs. education Ballet’s SF and School, Ballet SF Ballet, SF at uses specific for designated support or support general provide can that name their in created afund have endowment the to more or $25,000 of gifts make who Donors outreach programs. and education community and students, School Ballet SF for aid financial and scholarships touring, ballets, new creating supports and contributions and sales ticket after Ballet SF for revenue of source largest third the now is It funds. endowment manages and holds that corporation benefit public nonprofit aseparate is Foundation Endowment Ballet Francisco San The | San FranciscoSan in the Arts Support to Proud SANFRANCISCO BALLET www.sflg.com 415.834.1120 San Francisco, CA94105 575 Market Street, Suite 4000 client’s dignityandhumanity. Our goalisto preserve our final resolution thoughtful litigation Personal a F A 1/6V M I L YL ttention A W

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FAMILY LAW / 06 Lucy and Fritz Jewett New Works Fund Works New Jewett Fritz and Lucy Fund Works New James B. George Fund* Works New F. Houghton Donald Hewlett Flora and William The Fund Works New Herbert James and Cecilia Fund Works New Family Hellman The Fund Works New Hambrecht William and Sally Fund Works New Haas &Elise Walter Fund Works New Haas &Peter Mimi Fund Works New Haas Mimi Fund Works Jr. New Haas, &Walter Evelyn Fund Works New Gill Margaret and Stephen Diana Stark and J. Stuart Francis Francis Stuart J. and Stark Diana Fund Works New Foundation Ford Fund Works New Evers H. Sonia Fund Works New Dominik Kellems Suzy Fund Works New Cranston B. Mary Fund Works New Foundation Columbia Fund Works New Clegg Robert Fund Works New Case Stacey and Dan Fund Works New Family Burnett Fund Works New Bates A. Ernest WORKS NEW FOR FUNDS ENDOWED Foundation New Works Fund Works New Foundation Fund Works New

[email protected] Anonymous Yang Jerry and Yamazaki Akiko Fund Works New Wegmann David and Karen Fund Works New Von Ammon Helen Fund Works New Thalheimer J. Richard Productions* New for Fund TeRoller Fund Works New Smelick M. Robert and Gail Fund Works New Family Smelick The Fund Works New W. Rowe George and Kate Fund Works New Ross Bob Fund* Works New Rainin Kenneth and Ravizza Barbara Fund Work New Osher Arts the for Endowment National Fund Works New Muh A. Robert and Berit Fund Choreographers Meyer R. Byron Fund Works New Family Marver The and Lichtenwald H. Irv Fund Works New Lego G. Paul Fund P. Works New Lego Catherine New Works Fund Works New Fund Works New Osterweis John Fund Works New Fund Works New Ripple R. Stephen 415 865 6623 865 415 or

.

Jocelyn Vollmar dedicatedherlifetodanceand The JocelynVollmar Legacy Circleiscomprisedofthoughtful YOUR LEGACY, OURFUTURE career hereatSFBallet.After leavingthestage, Jocelynwas contact DeputyDirectorofDevelopmentElizabethLani career includedimportantmilestonesfortheorganization: a teacher at the SF Ballet School from 1985 to a teacherattheSFBalletSchoolfrom1985 2005, training 415 8656623or at 415 generations ofdancers.Hercontributionshavebeenmany San FranciscoBallet.Anative, shereceived she performedintheAmericanpremieresofnow- principal dancerwiththeCompany. Herextraordinary universally lovedballetsSwan Lake andNutcracker, form atthehigheststandardsofexcellence. In 1948, shewasinvited byGeorgeBalanchinetodancewith In 1948, internationally beforereturningtocompleteherperforming New York CityBalletinitsinauguralyearandthenperformed For informationaboutbequestsandotherlegacygifts, individuals whohavemadeacommitmenttoourwork in shapingtheinstitution,includingherdevotiontoart by includingSFBalletintheirwillorotherestateplans. in which she wasourfirstSnowQueen. her trainingatSFBalletSchoolandwasadistinguished Jocelyn Vollmar inMariusPetipa’s DonQuixote, circa1948–1950s [email protected].

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 ’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 $4 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 Mrs. James P. Anthony* Mrs. John P. Grotts* Mrs. Peggy L. Newton* Ms. Deborah Taylor Barrera Ms. Betsy A. Linder Mrs. Thomas G. Austin* Ms. Barbara S. Hager Ms. Carole A. Obley* Mrs. Kevin W. Bartlett Mrs. Carol Louie Ms. Rosemary B. Baker* Ms. Catherine D. Hargrave* Ms. Margrit Paul Ms. Louisa Basarrate Mrs. Rhonda Mahendroo Ms. Katherine Banks* Ms. Constance Harvey Mrs. Edward Plant* Ms. Carol Benz Mrs. Heather Cassady Martin Mrs. Patrick V. Barber* Mrs. Michael R. Haswell* Mrs. Nick Podell* Mrs. Steven Bergman Mrs. Emily Millman Mrs. Kent T. Baum* Ms. Terry Hynes Helm* Dame Tanya Marietta Powell* Ms. Catherine Bergstrom Dr. Shokooh Miry Ms. Alletta Bayer Ms. Mindy Henderson* Ms. Maria K. Ralph* Mrs. William S. Brandenburg Mrs. Elizabeth Robinson Mitchell Mrs. Barbara Bechelli* Ms. Kelli Hill* Mrs. Todd G. Regenold* Mrs. Rada Brooks Ms. Monika Moscoso-Riddle Mrs. Peter Berliner* Mrs. Kurt Hoefer Ms. Katherine Robertson* Mrs. G. Steven Burrill Mrs. Sarah Newmarker Ms. L’Ann Bingham Mrs. Mavin Howley Ms. Lorrae Rominger* Mrs. David John Byers Mrs. Michael O’Sullivan Mrs. John W. Bitoff* Ms. Marie Louise Hurabiell* Ms. Stephanie B. Russell Mrs. Alston Calabrese Ms. Hemalee K. Patel Mrs. Athena Blackburn* Mrs. Michael F. Jackson* Mrs. Jay Ryder* Mrs. Kathleen Coffino Mrs. Jack Preston Mrs. Richard A. Bocci* Ms. Daru H. Kawalkowski* Ms. Isabel M. Sam-Vargas* Ms. Katie Colendich Ms. Virginia Leung Price Ms. Giselle Bosc* Ms. Lisa A. Keith* Ms. Ellen Sandler* Ms. Rebecca Cooper Ms. Kacie Renc Ms. Caroline Krawiec Brownstone* Mrs. James C. Kelly Mrs. Elaine Wong Shen* Mrs. Courtney Dallaire Mrs. Patricia D. Roberts Ms. Alison Fogg Carlson* Mrs. Robert D. Kroll* Ms. Merrill Randol* Mrs. Patricia I. Dassios Ms. René Rodman Mrs. Walter Carpeneti* Mrs. William D. Lamm Mrs. John P. Shuhda Ms. Melissa del Sol Ms. Tiffany Loren Rowe Dr. Carolyn C. Chang Ms. Jean Larette Ms. V’Anne Singleton* Mrs. John E. Fetzer Ms. Dylan Rumley Mrs. Allen Chozen Miss Elizabeth Leep* Ms. Karen L. Skidmore* Ms. Jane Gazzola Ms. Meg Ruxton Mrs. Charles E. Clemens* Mrs. Christopher E. Lenzo Mrs. Susan Solinsky* Ms. Diane Goetz Mrs. James D. Seltsam, Jr. Miss Robin Collins* Ms. Debra A. Leylegian* Mrs. Mathew Spolin* Mrs. Vincent Golde Ms. Grace Nicolson Sorg Ms. Christine Leong Connors* Mrs. Barry R. Lipman* Mrs. Terrence M. Hazlewood* Ms. Shelley Gordon Mrs. Christy Swartz Mrs. Daniel P. Cronan* Ms. Sheila M. Lippman* Mrs. Jerome J. Suich II Mrs. Colin Greenspon Ms. Holli P. Thier Ms. Gail De Martini* Mrs. John C. Lund* Mrs. Judy Swanson* Mrs. David Grove Mrs. Andrea Valo-Espina Ms. Carleen Hawn DeLay Mrs. Robert W. Maier* Ms. Jody K. Thelander* Ms. Lori Harmon Mrs. Patrick Walravens Ms. Christine DeSanze* Ms. Susan A. Malecki* Mrs. Charles V. Thornton* Mrs. Joseph Harris, Jr. Ms. Amy Wender-Hoch Mrs. Theodore S. Dobos* Ms. Sandra Mandel* Ms. Valerie D. Toler Mrs. Ronald R. Heckmann Mrs. Freddi Wilkinson Mrs. David Dossetter* Mrs. Michael L. Mauzé* Ms. Elizabeth W. Vobach* Mrs. Christopher Hemphill Mrs. Eric Wold Mrs. Happy Dumas* Mrs. Lynn McGowin Mrs. Gregg von Thaden* Ms. Kathryn A. Huber Mrs. Ronald Zaragoza Dr. DiAnn Ellis* Mrs. Mark A. Medearis* Ms. Barbara Waldman* Ms. Corey Hyde Mrs. Douglas J. Engmann* Mrs. James J. Messemer Mrs. Wallace Wertsch* Mrs. Jonathan Kaufman Mrs. Helgi Tomasson, Mrs. Christian P. Erdman* Ms. Laura V. Miller* Mrs. Aimee West* Mrs. Rebecca Kaykas-Wolff Honorary Member Ms. Patricia Ferrin* Ms. Margaret Mitchell Ms. Patricia Wyrod* Mrs. Trecia Knapp Ms. Dixie D. Furlong* Mrs. Timothy Ms. Maureen Knoll SUSTAINING MEMBERS Mrs. Alison Morr Gemperle* Michael Monahan *Denotes 2019 subscriber Mrs. Carolyn Koenig Ms. Blanca Aguirre Ms. Layne Gray* Mrs. Dennis Mooradian Listing correct as of February 14, 2019 Ms. Claire Stewart Kostic Jola Anderson* Mrs. William E. Grayson Mrs. Jane S. Mudge Ms. Rochelle Lacey Mrs. Judy Anderson* Ms. Nonie H. Greene* Ms. Vickie Nelson* Mrs. Robert L. Newman*

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 05 / 06 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 $4 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.

LEADERSHIP Steve Merlo, President Paulette Cauthorn Julie Hawkins Kathryn Roberts, Vice President Martha Debs Giovanna Jackson Patricia Knight, Secretary Joan Green Pirkko Lucchesi

We are pleased to recognize BRAVO members who contributed 40 hours or more during the 2017–18 Season.

250+ HOURS 55-99 HOURS Corine Assouline* Susanne Johnson Marilyn Breen Cyndy Lee* Daphne Wray John Maher Paulette Cauthorn Kathy Judd Jenny Au-Yeung Lucy Lo Eve Zhang Linda Miyagawa* Martha Debs Elmira Lagundi* Jenya Bordas Margaret McCormack Sara Osaba Julie Hawkins Sabrina Leong Jon Borset Wilcox 40-54 HOURS Elizabeth Price Giovanna Jackson* John Mazurski Monique Bouskos Keiko Moore* Edie Bazjanac Susan Sakai-McClure Patricia Knight Roberta McMullan Julie Brown-Modenos* Gale Niess Justin Chew Anne Snowball* Suzanne Knott* Patricia Nelson Klara Cheung Deborrah Ortego Jeanette Chudnow Erika Stuart Pirkko Lucchesi Deric Patrick Hao Do Johanna Payne Pamela Clark Joshua Theaker Dosia Matthews Sherri Relerford Doris Duncan Sue Plasai Donna Diseroad Steve Trenam Steve Merlo Kathryn Roberts Vicente Garcia Sara Pope Linda Drake Audrey Tse Treanor Twyla Powers Pauline Roothman Keiko Golden Mercedes Rodriguez Inna Edwards Sylvia Walker* Herm Sinoy Roger Green Blaine Shirk Janet Gamble Stephen Wiel* 100-249 HOURS Lacy Steffens Lydie Hammack Eileen Soden Piers Greenhill Stas Yurkevich Margaret Anderson Karen Wiel* Carolyn Hutchinson Stephanie Somersille Cindy James Carolyn Balsley Michael Williams Robin Kinoshita Tracy Stoehr Susan Kalian Philip Fukuda* Steve Wong Carrie Kost Elena Sukhovnina Kiyoshi Kimura Joan Green May Yasui Christine Lasher Sherrie Szalay* Kenneth Kitch *Denotes 25 or more years James Gries* Maria Lawrence Susan Warble Betsy Lim of BRAVO membership SAN FRANCISCO WAR MEMORIAL & PERFORMING ARTS CENTER

The War Memorial Opera House is owned and operated by the City and County of San Francisco through

*Denotes 2019 subscriber the Board of Trustees of the War Memorial of San Francisco. Listing correct as of February 14, 2019 The Honorable London N. Breed, Mayor 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 05 / 06 | SFBALLET.ORG | 63 LAST WORDS ON “ ... TWO UNITED IN A SINGLE SOUL ... ” Year after year, Malin and Neal set new standards with record-breaking prices never before achieved.

“No more my shade deceives me, I perceive Consistently heralded as icons of the luxury market, they have represented ‘Tis I in thee—I love myself—the flame 83% of the most prestigious homes sold in 2018*. In San Francisco’s most arises in my breast and burns my heart— exclusive neighborhoods, Malin and what shall I do? Shall I at once implore? Neal are the recognized leaders.

Or should I linger till my love is sought?

What is it I implore? The thing that I

desire is mine—abundance makes me poor.

Oh, I am tortured by a strange desire Together they represented the five highest priced home sales of 2018 in San Francisco. unknown to me before, for I would fain See where The Power of Two can take you.

put off this mortal form; which only means Gold Coast Presidio Heights $39,000,000 $18,500,000

I wish the object of my love away. Gold Coast Russian Hill $32,000,000 $16,500,000 Grief saps my strength, the sands of life are run, Pacific Heights and in my early youth am I cut off; FP 7 $25,000,000 but death is not my bane—it ends my woe.—

I would not death for this that is my love,

as two united in a single soul

would die as one.”

—Metamorphoses, by Ovid (translation by Brookes More) The Power of Two

Malin Giddings Neal Ward 415.531.5033 415.269.9933 [email protected] [email protected] Joseph Walsh rehearsing Possokhov’s “ . . . two united in a single soul . . . ” // © Erik Tomasson sfproperties.com nealwardproperties.com DRE 00511339 DRE 01052285

*$12M+ Sale Price, San Francisco County

Compass is a real estate broker licensed by the State of California and abides by Equal Housing Opportunity laws. License Number 01527235. All material presented herein is intended for informational purposes only and is compiled from sources deemed reliable but has not been veri- fied. Changes in price, condition, sale or withdrawal may be made without notice. No statement is made as to accuracy of any description. All measurements and square footage are approximate. 64 | SAN FRANCISCO BALLET | PROGRAMS 05 / 06

Untitled-5 1 2/25/19 11:31 AM Year after year, Malin and Neal set new standards with record-breaking prices never before achieved.

Consistently heralded as icons of the luxury market, they have represented 83% of the most prestigious homes sold in 2018*. In San Francisco’s most exclusive neighborhoods, Malin and Neal are the recognized leaders.

Together they represented the five highest priced home sales of 2018 in San Francisco. See where The Power of Two can take you.

Gold Coast Presidio Heights $39,000,000 $18,500,000

Gold Coast Russian Hill $32,000,000 $16,500,000

Pacific Heights $25,000,000

The Power of Two

Malin Giddings Neal Ward 415.531.5033 415.269.9933 [email protected] [email protected] sfproperties.com nealwardproperties.com DRE 00511339 DRE 01052285

*$12M+ Sale Price, San Francisco County

Compass is a real estate broker licensed by the State of California and abides by Equal Housing Opportunity laws. License Number 01527235. All material presented herein is intended for informational purposes only and is compiled from sources deemed reliable but has not been veri- fied. Changes in price, condition, sale or withdrawal may be made without notice. No statement is made as to accuracy of any description. All measurements and square footage are approximate.

Untitled-5 1 2/25/19 11:31 AM EAP full-page template.indd 1 1/31/19 1:59 PM