Ballet Notes The Seagull March 21 – 25, 2012

Aleksandar Antonijevic and Sonia Rodriguez as Trigorin and Nina. Photo by Cylla von Tiedemann. Orchestra Violins Trumpets Benjamin Bowman Richard Sandals, Principal Concertmaster Mark Dharmaratnam Lynn Kuo, Robert Weymouth Assistant Concertmaster Trombones Dominique Laplante, David Archer, Principal Principal Second Violin Robert Ferguson James Aylesworth David Pell, Bass Trombone Jennie Baccante Csaba Ko czó Tuba Sheldon Grabke Sasha Johnson, Principal Xiao Grabke • Nancy Kershaw Harp Sonia Klimasko-Leheniuk Lucie Parent, Principal Celia Franca, C.C., Founder Yakov Lerner Timpany George Crum, Music Director Emeritus Jayne Maddison Michael Perry, Principal Ron Mah Karen Kain, C.C. Kevin Garland Aya Miyagawa Percussion Mark Mazur, Acting Artistic Director Executive Director Wendy Rogers Filip Tomov Principal David Briskin Rex Harrington, O.C. Joanna Zabrowarna Kristofer Maddigan Music Director and Artist-in-Residence Paul Zevenhuizen Orchestra Personnel Principal Conductor Violas Manager and Music Magdalena Popa Lindsay Fischer Angela Rudden, Principal Administrator Principal Artistic Coach Artistic Director, • Theresa Rudolph Koczó, Jean Verch YOU dance / Ballet Master Assistant Principal Assistant Orchestra Valerie Kuinka Peter Ottmann Mandy-Jayne Personnel Manager Johann Lotter Raymond Tizzard Senior Ballet Master Richardson Beverley Spotton Senior Ballet Mistress • Larry Toman Librarian Lucie Parent Aleksandar Antonijevic, Guillaume Côté, Cellos Greta Hodgkinson, Jiˇrí Jelinek, Zdenek Konvalina*, Maurizio Baccante, Extra Players Heather Ogden, Sonia Rodriguez, Piotr Stanczyk, Principal Anne Armstrong, Violin Jillian Vanstone, Xiao Nan Yu +, Bridgett Zehr* Olga Laktionova Renee London, Violin Andrew McIntosh Hiroko Kagawa, Violin Kevin D. Bowles, Lorna Geddes, Tomas Schramek, Marianne Pack Sonia Vizante, Violin Hazaros Surmeyan Elaine Thompson Bethany Bergman, Violin Paul Widner Carolyn Blackwell, Acting Keiichi Hirano, Tanya Howard +, Stephanie Hutchison, Assistant Principal Viola Etienne Lavigne, Patrick Lavoie, Elena Lobsanova, Basses Nicholaos Papadakis, McGee Maddox, Stacey Shiori Minagawa, Hans J.F. Preuss, Principal Viola Tina Pereira, Jonathan Renna, Rebekah Rimsay, Paul Langley Keith Hamm, Viola Robert Stephen, Brett van Sickle Robert Speer Tom Hazlitt, Bass • Cary Takagaki Kevin O’Donnell, Piccolo Jordana Daumec, Naoya Ebe, Chelsy Meiss, Flutes Colleen Cook, Clarinet Alejandra Perez-Gomez, Jenna Savella Leslie J. Allt, Principal Rob Carli, Saxophone Diane Doig, Horn Danyla Bezerra, Ryan Booth, Skylar Campbell, Adji Cissoko, Maria Pelletier Shaila D’Onofrio, Krista Dowson, Nadine Drouin, Jackson Dwyer, • Shelley Brown, Piccolo Beverley Johnston, Giorgio Galli, Selene Guerrero-Trujillo, Emma Hawes, Percussion Juri Hiraoka, Kathryn Hosier, Rui Huang, Lise-Marie Jourdain, Oboes Richard Moore, James Leja, Alexandra MacDonald, Elizabeth Marrable, Mark Rogers, Principal Percussion Ji Min Hong, Shino Mori, Tiffany Mosher, Andreea Olteanu +, Karen Rotenberg John Thompson, Brendan Saye, Christopher Stalzer, Joseph Steinauer, Lesley Young, Percussion Dylan Tedaldi, Nan Wang, Aarik Wells, Sarah Elena Wolff English Horn Samuel Morgenstein, RBC Apprentice Programme / YOU dance: James Applewhite, Clarinets Percussion Jack Bertinshaw, Esabelle Chen, Daniel Cooke, Max Christie, Principal Andrei Streliaev, Piano Francesco Gabriele Frola, Larissa Khotchenkova, • Emily Marlow Miyoko Koyasu, Lisa Lanteri, Nayara Lopes, Asiel Rivero. Gary Kidd, Bass Clarinet • On Leave of Absence Lorna Geddes Joysanne Sidimus Bassoons Pointe Shoe Manager / Guest Balanchine Stephen Mosher, Principal Assistant Ballet Mistress Répétiteur Jerry Robinson Ernest Abugov Shelby-Jai Flick Elizabeth Gowen, Jeff Morris Assistant Stage Manager/ Contra Bassoon Stage Managers Stage Manager, YOU dance Horns Gary Pattison, Principal Vincent Barbee *Guest Artist Derek Conrod +Maternity Leave Scott Wevers

Page 2 national.ballet.ca The 2011/12 season is presented by

Wednesday, March 21, 2012 at 7:30 pm Saturday, March 24, 2012 at 2:00 pm and 7:30 pm Thursday, March 22, 2012 at 2:00 pm and 7:30 pm Sunday, March 25, 2012 at 2:00 pm Friday, March 23, 2012 at 7:30 pm

The Seagull A ballet by John Neumeier after Anton Chekhov

Choreography: John Neumeier After the play by: Anton Chekhov Music: Dmitri Shostakovich +, Evelyn Glenni e++, Pyotr Ilyich Tchaikovsky , Alexander Scriabin Set, Costume and Lighting Design: John Neumeier Répétiteurs: Magdalena Popa , Rex Harrington , Peter Ottmann , Mandy-Jayne Richardson , and Lindsay Fischer Conductor: David Briskin , Music Director and Principal Conductor

+ By arrangement with G. Schirmer, Inc. publisher and copyright owner ++ Used by arrangement with European American Music LLC, sole Canadian and U.S. Agent for Faber Music Ltd publisher and copyright owner

Premiere: The Hamburg Ballet, June 16, 2002, Hamburg, Germany National Ballet premiere: November 14, 2008, Four Seasons Centre for the Performing Arts. The Seagull is generously supported in part by an anonymous friend of the National Ballet.

“Chekhov, like Shakespeare, is an author who creates characters so complete, so true, that they live in the imagination outside and independent of the text. It is the emotional life behind Chekhov’s words that I transform into dance. For me, the central theme and conflict of The Seagull is the relationship between love and art – art and love.” – John Neumeier

Zdenek Konvalina and Greta Hodgkinson in The Seagull . Photo by Cylla von Tiedemann.

Page 3 Aleksandar Antonijevic, Greta Hodgkinson and Sonia Rodriguez in The Seagull . Photo by Cylla von Tiedemann.

The Cast

Irina Nikolayevna Arkadina, Prima Ballerina Semyon Semyonovich Medvedenko, Greta Hodgkinson (Mar 21, 22 eve, 24 mat, 25) Schoolteacher Heather Ogden (Mar 22 mat, 23, 24 eve) Noah Long + (Mar 21, 22 mat, 23, 24 eve, 25) James Leja * (Mar 22 eve, 24 mat) Konstantin (Kostya) Gavrilovich Triplev, her Son Ilya Afanasevich Shamrayev, Manager of Guillaume Côté * (Mar 21, 22 eve, 25) Sorin’s Estate Patrick Lavoie * (Mar 22 mat, 24 eve) Kevin D. Bowles Keiichi Hirano (Mar 23, 24 mat) Polina Andreyevna, his Wife Piotr Nikolayevich Sorin, her Brother Stephanie Hutchison (Mar 21, 22 eve, 23, Jonathan Renna * 24 mat, 25) Rebekah Rimsay * (Mar 22 mat, 24 eve) Boris Alexeyivich Trigorin, Choreographer Aleksandar Antonijevic (Mar 21, 22 eve, 25) Masha, their Daughter Jiˇrí Jelinek * (Mar 22 mat, 24 eve) Chelsy Meiss * (Mar 21, 23, 25) Piotr Stanczyk (Mar 23, 24 mat) Stephanie Hutchison * (Mar 22 mat, 24 eve) Alejandra Perez-Gomez * (Mar 22 eve, 22 mat) Nina Mikhailovna Zarechnaya, Young Girl Sonia Rodriguez (Mar 21, 22 eve, 25) Yakov and Dima, Labourers Elena Lobsanova (Mar 22 mat, 24 eve) Nan Wang and Aarik Wells Jillian Vanstone (Mar 23, 24 mat) Arkadina’s Admirers Yevgeny Sergeyivich Dorn, Doctor Shaila D’Onofrio , Brett van Sickle or Skylar McGee Maddox * Campbell , James Leja or Jackson Dwyer

Page 4 national.ballet.ca Kostya’s Dream Dancers Giorgio Galli or Naoya Ebe , Aarik Wells or Elena Lobsanova or Tiffany Mosher , Nan Wang , James Leja or Jack Bertinshaw , Tina Pereira or Jenna Savella , Ryan Booth , Brendan Saye Juri Hiraoka or Chelsy Meiss Keiichi Hirano or Brett van Sickle or Corps de Ballet of the Imperial Theatre Patrick Lavoie , Naoya Ebe or Giorgio Galli , Ji Min Hong , Shaila D’Onofrio , Christopher Stalzer , Robert Stephen Sarah Elena Wolff , Danyla Bezerra , Nadine Drouin , Alexandra MacDonald , Les Etoiles de la Revue Kathryn Hosier , Adji Cissoko Krista Dowson and Nan Wang (Mar 21, 25) Krista Dowson and Aarik Wells (Mar 22 mat, Skylar Campbell , James Leja or 23, 24 eve) Joseph Steinauer , Jackson Dwyer , Juri Hiraoka and Nan Wang (Mar 22 eve, Giorgio Galli or Naoya Ebe , Brendan Saye , 24 mat) Ryan Booth , Nan Wang , Aarik Wells

Revue Dancers * Debut Jordana Daumec , Tiffany Mosher or Chelsy + Guest Artist Meiss , Emma Hawes , Selene Guerrero- Trujillo , Alexandra MacDonald , Jenna What does it mean to be in love? Savella or Nadine Drouin , Lise-Marie What does it mean to be an artist? Jourdain , Sarah Elena Wolff , Rui Huang , Shino Mori What does it mean to be an artist, who is in love? Christopher Stalzer or Francesco Gabriele What does it mean to be someone Frola , Skylar Campbell , Dylan Tedaldi , who loves to be an artist? Joseph Steinauer , Jackson Dwyer , – John Neumeier

Greta Hodgkinson and Artists of the Ballet in The Seagull . Photo by Cylla von Tiedemann.

Page 5 The Seagull A ballet by John Neumeier after Anton Chekhov

Cast of Characters sister and brother

passionately involved

Trigorin Arkadina Successful Prima Choreographer Ballerina infatuated with Trigorin her son

in love with each other

Nina Kostya Aspiring Revolutionary Dancer Choreographer

Page 6 national.ballet.ca

Sorin Estate Owner

married

in love with Dorn

Shamrayev Polina Dorn Manager of Doctor Sorin’s Estate

their daughter

in love with in love Kostya but with Masha marries Medvedenko

Masha Medvedenko Schoolteacher

Page 7 Synopsis Please see the surtitles above the stage for information By John Neumeier

Act I The countryside by a lake Card games and amusement Kostya has built a stage in the garden of his Arkadina, Trigorin, Masha, Medvedenko, uncle Piotr Sorin’s estate. Nina, a girl from the Polina, Dorn, Shamrayev, Sorin, Yakow, neighbouring farm, arrives to dance the title role Dima in his creation “Soul of the Seagull”. Kostya 3rd Movement loves Nina. Nina loves Kostya. Jealousy and decisions Dmitri Shostakovich Nina, Kostya, Trigorin, Arkadina Piano Concerto No. 2 F-Major, op. 102, 1957, Kostya’s Dream Dances 2nd Movement 4th Movement Kostya’s mother, the famous prima ballerina Irina Arkadina arrives with her lover, the Intermission choreographer Boris Trigorin. Among the other guests for Kostya’s performances are: Ilya Act II Shamrayev, manager of Sorin’s estate, his wife Moscow: Revue Theatre – Polina, their daughter Masha, the physician Dr. Nina is one in a chorus line Dorn, and the village schoolteacher, Semyon Les Etoiles de la Revue Medvedenko. Revue Dancers Dmitri Shostakovich Medvedenko loves Masha. Masha loves Kostya. Moscow Cheryomushki, Operetta Suite, Kostya loves Nina. Nina falls in love with Trigorin. op. 105, 1958, edited by Andrew Cornall, Trigorin loves Arkadina but is fascinated by Nina. No. 1 A Ride through Moscow Arkadina loves Trigorin. Polina loves Dr. Dorn. Dmitri Shostakovich Symphony No. 15 A-Major, op. 141, 1971, 1st Movement Kostya , Nina Sorin, Mascha, Medvendenko, Shamrayev Dorn, Polina, Arkadina, Trigorin, Labourers Arkadina’s Admirers

Kostya’s dance piece “Soul of the Seagull” Evelyn Glennie Excerpts from Shadow behind the Iron Sun, 2000 Nina, Kostya and the Dream Dancers

Music from across the lake – Arkadina recalls one of her famous roles Pyotr I. Tchaikovsky December from The Seasons, op. 37a, 1875/76, No. 12 Arkadina speaks with her son Kostya Trigorin teaches Nina Dmitri Shostakovich Symphony No. 15 A-Major, op. 141, 1971, 2nd Movement

Page 8 national.ballet.ca (Opposite page) Zdenek Konvalina and Sonia Rodriguez in The Seagull . Photo by Cylla von Tiedemann.

(Right) Greta Hodgkinson, Xiao Nan Yu and Piotr Stanczyk The Seagull . Photo by Cylla von Tiedemann.

Nina meets a changed Trigorin Nina’s letter to Kostya The Revue goes on Kostya, Sorin Dmitri Shostakovich Dmitri Shostakovich Moscow Czeryomushki, Operetta Suite, Chamber Symphony for Strings c-minor, op. 105, 1958, edited by Andrew Cornall, op. 110a, 1960 No. 2 Waltz Arrangement: Rudolf Barschai, 1st Movement In the country: Kostya’s Dream Dances Dmitri Shostakovich Autumn garden: Sorin faints Piano Trio No. 2 e-minor, op. 67, 1944, 2nd Movement 3rd Movement Largo Arkadina’s visit – A sad wedding celebration Nina’s polka Sorin, Kostya, Masha, Medvedenko, Polina, Dmitri Shostakovich Dorn, Arkadina, Trigorin Polka, No. 4 from Ballet Suite No. 1, 1949 3rd Movement Imperial Theatre: Trigorin’s ballet Nina’s appearance – Nina’s farewell “Death of the Seagull” Nina, Kostya Dmitri Shostakovich 4th and 5th Movement Moscow Cheryomushki, Operetta Suite, op. 105, 1958, edited by Andrew Cornall, Kostya’s Dream Dances come to an end... No. 4 Ballet Kostya Arkadina, Dorn, Masha, Sorin Arkadina, as Möwenprinzessin Dmitri Shostakovich Trigorin, as Jäger Symphony No. 15 A-Major, op. 141, 1971, Corps de Ballet of the Imperial Theatre excerpts from the 4th Movement Masha decides to marry Medvedenko Alexander Scriabin Nocturne op. 9,2, 1894

Running Time: ACT I 1 hour 6 minutes Intermission 20 minutes ACT II 1 hour The performance will run approximately 2 hours and 26 minutes

Page 9 John Neumeier Creating my Seagull

iterature has often inspired my choreography. L After reading a book, a play or poem, I ask myself what aspects of the text touch my emotional memory, which characters ring true for me personally. In other words, where am I – or what part of me is in this text? Only then can I transform word into dance: Create an original ballet having its own life, independent of its literary source. The ballet The Seagull does not interpret the play. My intention was to invent similar characters and situations parallel to those we find in Chekhov. Seeing the ballet you will not hear a single word of Chekhov. You need not be reminded of his text and surely should not John Neumeier. miss it. In changing the actors and writers of Chekhov’s play to dancers and choreographers, my ballet is not only about dance: It speaks between love and art: Success in love – failure through dance, it is dance! in art? Success in art – failure in love? I was My first theatre experience with Chekhov moved by the character’s constant reflection was a production of The Three Sisters directed on the past, their lost chances and squandered by Lee Strasberg in New York City during the possibilities. 1960’s. This production made an unbelievable In The Seagull , the character’s relationship impression on me, an impression I have never to the music is extremely important because forgotten. Inspired by Chekhov, the possibility it tells us not only a lot about their particular of orchestrating varied and contrasting human character but illuminates their inner emotional emotions through movement began to fascinate states. In choreography, there are several ways me. It was long my wish to make a ballet of to play with the relationship between movement The Three Sisters . However, on January 1, 1996, and music. Should it be clear, for example, that I saw The Seagull at the Schaubühne Theatre the dancer reacts, i.e. dances to music outside in Berlin and my Chekhov fixation changed its himself? A music, whose source is clearly the focus. It became immediately clear to me that orchestra pit, whose musicians may, in fact, be The Seagull dealt not only with the emotional visible as in a ballroom. Or, do we hear music relationships between a particular group of because the dancer experiences a situation so people at a specific time in history (as in The intensely that we hear his emotion? Or is the Three Sisters ), but rather with something dance exactly opposite to that which we hear, universally true and timelessly valid. Dealing thereby giving us the feeling that what this with the world of art and artists, it seemed the character is dancing, is in direct opposition to his perfect vehicle for transformation into dance. true feelings? In The Seagull , I have used a method That day, I knew I would choreograph The of contrasting action and emotion, similar to Seagull some day! As an artist I was particularly Chekhov, where people often do not say what struck by what an important role “art” played in they think or feel. Their trivial conversation may all the love relationships. The delicate balance function as a form of distraction or signal a

Page 10 hidden intension. For example, in the scene of vision of the Imperial ballet world of Arkadina, seduction between Trigorin and Nina, when the a legendary star ballerina, reminiscent of Anna dancers are at a musical climax stop and remain Pavlova. Nina’s desire and efforts to realize a motionless, rather than expressing physically the career as a dancer reveal elements of cabaret emotion and dynamic of the music, their stillness or revue dance as it might have been at the communicates a wish to distance themselves beginning of the 20th century. Contrasting from reality or extreme emotional tension. these four sometimes diametrically opposed The characters in Chekhov’s comedy speak types of movement, my Seagull also becomes a lot about literature – in my ballet they dance a a lesson in dance history. lot and in many styles. With Kostya’s avant-garde The translation of literature into dance can choreography, for example, we experience an never be simply word for word. I choreograph invented form of dance that reminds us of the between Chekhov’s lines and my ballet visualizes interesting development, the explosion in modern scenes only described in the play. We experience, art at the beginning of the 20th century. for example, what might have happened to On the other hand, the main line of character Nina in Moscow, what one of Arkadina’s relationships is choreographed in a style Imperial ballet performances might have looked continuing the dramatic-emotional tradition like, what Kostya’s Dream Dances might have of Antony Tudor, Sir Frederick Ashton or John been. In a ballet, we can only understand what Cranko. Other sections of the ballet contrast we see. We can only be moved by what we Kostya’s experimental choreography with a recognize in our own hearts as true.

Anna Pavlova and George Balanchine, two Russian-born titans of dance, inspired John Neumeier for the characters of Arkadina and Trigorin in The Seagull . Photography: Madge Abercrombie and Holger Badekow, George Balanchine image courtesy of New York Public Library.

Page 11 Selected Biographies Karen Kain, Kain was Chair of the Canada framework. His ballets range C.C., LL.D., D. Litt., O.Ont. Council for the Arts. In 2007, from new versions of evening- Artistic Director she received the Barbara length story ballets to musicals Acknowledged as one of the Hamilton Memorial Award for and to his symphonic ballets, leading classical ballerinas of demonstrating excellence and especially those based on Gustav her time, Karen Kain is also one professionalism in the performing Mahler’s compositions, as well of Canada’s foremost arts arts. In 2008, the Karen Kain as his choreographies to sacred advocates, bringing the same School for the Arts opened, a music. His latest creations for passion and dedication she tribute to Ms. Kain’s ongoing The Hamburg Ballet, Purgatorio exemplified as a dancer to her contributions to the cultural life and Liliom , premiered in 2011. roles as a spokesperson for of her country, and in 2011, Mr. Neumeier holds the Dance Canadian culture and as the Ms. Kain was honoured by Magazine Award (1983), Order Artistic Director of The National the International Society for of Merit of the Federal Republic Ballet of Canada. A native of the Performing Arts with the of Germany and French Order of Hamilton, Ontario, Ms. Kain Distinguished Artist Award. Arts and Letters and the Legion studied at Canada’s National of Honour. In 2006, he was Ballet School, graduating in John Neumeier awarded the prestigious Nijinsky 1969 when she joined the Choreographer, Set, Award for Lifetime Achievement. National Ballet. After quickly Costume and Lighting He received the Herbert von rising to the rank of Principal Designer Karajan Musikpreis in 2007 Dancer , she came to the John Neumeier was born in and the Deutscher Jubiläums attention of international 1942 in Milwaukee, Wisconsin, Tanzpreis in 2008. In 2007, he audiences when she won the where he received his first was made an honorary citizen Silver Medal at the Moscow dance training. He continued his of the city of Hamburg. International Ballet Competition dance studies in Chicago as in 1973. This led to a highly well as at Marquette University Dmitri Shostakovich successful career on stages in Milwaukee where he created Composer throughout the world, dancing his first choreographic works. Dmitri Shostakovich was born a wide range of classical and After further ballet study both in in St. Petersburg, Russia in modern roles with such Copenhagen and at The Royal 1906. After a period influenced companies as Roland Petit’s Ballet School in London, John by Prokofiev and Stravinsky, Ballet de Marseilles, Bolshoi Cranko invited him in 1963 Shostakovich developed a Ballet, The Hamburg Ballet, to join Stuttgart Ballet, where hybrid of styles that juxtaposed London Festival Ballet, Paris he progressed to Soloist and a wide variety of trends within Opéra Ballet and the Eliot Feld continued his choreographic a single work, such as the Company. Ms. Kain retired from development. In 1969, Ulrich neo-classical style and post- dance in 1997 after a nationwide Erfurth appointed Mr. Neumeier romantic style. His unique farewell tour and, shortly after - Director of Ballett Frankfurt, approach to tonality involved the wards, assumed the position where he soon caused a use of modal scales and some of Artist-in-Residence with the sensation due to his new astringent neo-classical harmonies National Ballet. In 1999, her role interpretations of such well-known à la Hindemith and Prokofiev. was expanded to that of Artistic ballets as The Nutcracker and His music frequently includes Associate and in June of 2005, Romeo and Juliet . In 1973, sharp contrasts and elements she was appointed Artistic he joined The Hamburg Ballet of the grotesque. Shostakovich Director of the company. Ms. as Director and Chief prided himself on his orchestration, Kain has received numerous Choreographer and, under his which is clear, economical, accolades and awards through - direction, The Hamburg Ballet and well-projected. This aspect out her career. She is a became one of the leading ballet of Shostakovich’s technique Companion of the Order of companies on the German owes much to Mahler. His Canada, the first Canadian dance scene and soon received most popular works are his recipient of the Cartier Lifetime international recognition. In 15 symphonies and 15 string Achievement Award and was 1972, he set his first work for quartets. His works for piano named an Officer of the Order The National Ballet of Canada, include two piano sonatas, an of Arts and Letters by the Don Juan with Rudolf Nureyev early set of preludes and a later Government of France. In 1997, in the title role and in 1993, set of 24 preludes and fugues. she was honoured with a he created Now and Then for Other works include two operas, Governor General’s National Karen Kain. As a choreographer, six concertos and a substantial Arts Centre Award and received Mr. Neumeier has continually quantity of film music. a Governor General’s Award for focused on the preservation Shostakovich had a complex Lifetime Artistic Achievement in of ballet tradition, while giving and difficult relationship with the 2002. From 2004 to 2008, Ms. his works a modern dramatic Soviet government, suffering

Page 12 two official denunciations of his his studies for a career in law Poem of Fire or Prometheus music and the periodic banning gave way to his childhood love (1909). His ten piano sonatas of his work. At the same time, of music to which he was to are staples of many pianists’ he received a number of devote his life. In 1861, he repertoire. Scriabin’s hundreds accolades and state awards entered the St. Petersburg of preludes, études and poems and served in the Supreme Conservatory of Music. By are considered masterpieces Soviet. Despite the official 1866, Tchaikovsky had begun of 20th century pianism, and his controversy, his works were to teach theory of composition titled pieces such as Fragilité, popular and well received. in Moscow and became a local Satanic Poem, Etrangeté, Désir celebrity with his compositions. and Caresse Dansé , are greatly Evelyn Glennie In 1876, Tchaikovsky was able admired. Scriabin’s style changed Composer to turn his attention fully to enormously as he progressed. Dame Evelyn Glennie was born composing through the The early pieces are romantic, in Aberdeen, Scotland in 1965. patronage of Nadezhda von fresh and easily accessible, An internationally renowned solo Meck. In February of 1878, he while his later compositions percussionist, she gives more completed his opera Eugene explore harmony’s further than 100 performances a year Onegin . In 1890, von Meck reaches. His work influenced worldwide, with some of the suddenly announced that she composers such as Messiaen, greatest conductors, orchestras , was bankrupt and could no Prokofiev and Stravinsky. and artists. Ms. Glennie’s longer support Tchaikovsky. Her Immediately upon Scriabin’s collaborations have been with claim was false and, although sudden death in 1915, Sergei such artists as Nana Vasconcelos, the composer was no longer Rachmaninoff toured Russia in Kodo, Béla Fleck, Björk, Bobbie financially dependent on her, a series of all-Scriabin recitals. McFerrin, Sting, Emmanual Ax, it was a shattering blow to his The Mormon Tabernacle Choir self-esteem. This occurred David Briskin and Fred Frith. Ms. Glennie has during his writing of the score Music Director and commissioned 150 new works for The Nutcracker and added Principal Conductor for solo percussion from many to the difficulties he was One of the most highly respected of the world’s most eminent having composing for what and versatile conductors at composers and also composes he considered an uninspiring work today, an insightful and records music for film and scenario. The last three years of interpreter of works from not television. Her first high quality Tchaikovsky’s life were filled with just the ballet repertoire but the drama produced a score so great despondency and he did operatic, symphonic and choral original she was nominated for not live to see the success of traditions as well, David Briskin a British Academy of Film and either The Nutcracker or his is in his sixth season as Music Television Arts Award. Of her 25 earlier ballet score, Swan Lake . Director and Principal recordings to date, Ms. Glennie’s Conductor with The National first CD, Bartok’s Sonata for two Alexander Scriabin Ballet of Canada. He brings Pianos and Percussion won her Composer a rich and varied musical a Grammy in 1988. A further Alexander Nikolayevich Scriabin experience to his position with two Grammy nominations was born in 1872 in Moscow, the National Ballet, having served followed, one of which she won Russia. In 1894, Scriabin as Conductor with American for a collaboration with Béla debuted as a pianist in St. Ballet Theatre for seven years, Fleck. Ms. Glennie has received Petersburg, performing his leading performances at the over 80 international awards. own works to positive reviews. Metropolitan Opera House, New In 1993, she was named Officer Mitrofan Petrovich Belaieff hired York’s City Center and major of the British Empire. This was Scriabin to compose for his opera houses around the world. extended in 2007 to Dame publishing firm that included As a guest conductor, Mr. Commander for her contributions other notable composers such Briskin appears regularly with to music. After 20 years in the as Rimsky-Korsakov and New York City Ballet and San music business Ms. Glennie Glazunov. This was followed by Francisco Ballet and has also has begun teaching privately. a period of extensive touring in conducted for such companies Russia and abroad, culminating as Houston Ballet, Joffrey Pyotr Ilyich Tchaikovsky in a highly successful 1898 Ballet and Les Grands Ballets Composer concert in Paris. That same Canadiens de Montréal. He also Pyotr Ilyich Tchaikovsky was year, he became a professor served as conductor for The born in Votkinsky, Russia, on of piano at the Moscow Juilliard School’s Dance Division May 7, 1840. At the age of four, Conservatory. Scriabin wrote for 12 years. In addition, he has he composed his first song and five symphonies, including The conducted symphony orchestras soon began piano lessons. Divine Poem (1903), The Poem and opera productions through- When Tchaikovsky was 19, of Ecstasy (1907) and the out North America, Europe and

Page 13 Asia, appearing with, among Festival, La Poudriere Theatre (Touchmark Theatre), Glorious! others, the Pittsburgh, Detroit, and The Studio Lab Theatre . (Victoria Playhouse Petrolia) Baltimore, Indianapolis and He worked at Expo ’67 in and Shirley Valentine , Old Love , Shanghai symphony orchestras Montréal, stage managing over A Bench in the Sun (Port Stanley and such opera companies 4,000 puppet shows. Mr. Abugov Festival Theatre), as well as as Calgary, Manitoba, Opera also toured with Harry Belafonte. work with The Wrecking Ball Carolina and Lake George. In what little spare time that he in Toronto, a collective of He also served for six years has, Mr. Abugov guest-lectures acclaimed Canadian and as the Music Director of the to theatre students. international theatre artists. Masterwork Chorus and Orchestra, conducting annual Jeff Morris The National Ballet of performances of Handel’s Stage Manager Canada Orchestra Messiah at Carnegie Hall. In 2008, Jeff Morris studied technical The National Ballet of Canada Mr. Briskin was appointed theatre production and is privileged to have its own full Director of Orchestral Studies at administration at Ryerson Orchestra with over 60 members . the University of Toronto Faculty Theatre School. He has worked The Orchestra has performed of Music and Conductor of the as Production Stage Manager in each of the National Ballet’s University of Toronto Symphony for Toronto Dance Theatre seasons and is led by Music Orchestra. Mr. Briskin attended and with the Fringe Festival Director and Principal Conductor the Indiana University School of of Independent Dance Artists, David Briskin. The company’s Music and received a Bachelor in addition to a broad range of first Music Director was George of Music Degree in orchestral Toronto’s independent dance Crum who, along with Founder conducting from the University of artists. In 1995, Mr. Morris Celia Franca, was a pioneer of Cincinnati College-Conservatory joined The National Ballet of the company. Mr. Crum held of Music and a Master’s Degree Canada and has since stage- the position from the company’s from Queens College, City managed a wide range of the inception in 1951 to 1984, University of New York. In company’s classical and when he was appointed Music celebration of the National contemporary repertoire, Director Emeritus. The Orchestra Ballet’s 60th anniversary including world premieres of was led by Ermanno Florio season, Mr. Briskin will lead James Kudelka’s The Four from 1985 to 1990. Ormsby The National Ballet of Canada Seasons, Cinderella and An Wilkins was Music Director Orchestra in its debut concert Italian Straw Hat . He is also and Principal Conductor from performance at Koerner Hall an adjunct faculty member at 1990 to 2006. The National on April 3, 2012 performing the School of Toronto Dance Ballet of Canada Orchestra works from the company’s rich Theatre, where he teaches has toured extensively with the musical history. Production Elements for company through Canada, the Dancers. US and Europe. Over the years, Ernest Abugov the orchestra has received Stage Manager Shelby-Jai Flick much acclaim from audiences Ernest (Ernie) Abugov has Assistant Stage Manager and critics alike and has served as Stage Manager of Shelby-Jai Flick serves as Stage recorded two CDs of Michael The National Ballet of Canada Manager for the National Ballet’s Torke’s compositions for since 1973, working with every YOU dance programme, based The Contract (The Pied Piper) Artistic Director in the company’s in Toronto and touring through - and An Italian Straw Hat . history from Celia Franca to out Ontario, as well as Assistant Karen Kain . He has travelled Stage Manager for the company. For more information, visit with the company all over the In addition to her work in dance, national.ballet.ca world, touring to Israel, Asia, Ms. Flick has a varied theatre Europe, Mexico and throughout background, most recently North America. Mr. Abugov has stage managing Sometimes worked with many of the world’s Y Theatre’s production of Ditch . most renowned choreographers Selected theatre credits include who have created original works The Two Gentlemen of Verona , for the National Ballet including A Funny Thing Happened on John Neumeier, William the Way to the Forum , Julius Forsythe and Glen Tetley. Mr. Caesar , The Importance of Abugov was born in Montréal, Being Earnest (Stratford Festival), Québec. Before beginning his Mimi (or a Poisoner’s Comedy), long association with the National Courageous, If We Were Birds Ballet, he worked with Les Feux (Tarragon Theatre), Rosencrantz Follets, The Charlottetown and Guildenstern are Dead

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