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Spring Ballet L’Amour Et La Mort Jerome Robbins George Balanchine THEATER 16/17 Jean Coralli & Jules Perrot for YOUR INFORMATION

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Spring Ballet L’Amour Et La Mort Jerome Robbins George Balanchine THEATER 16/17 Jean Coralli & Jules Perrot for YOUR INFORMATION Spring Ballet L’amour et la mort Jerome Robbins George Balanchine THEATER 16/17 Jean Coralli & Jules Perrot FOR YOUR INFORMATION Do you want more information about upcoming events at the Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through music.indiana.edu/publicity. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. Musical Arts Center The Musical Arts Center (MAC) Box Office is open Monday – Friday, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. Other permit holders: Free access if entering after 5 p.m. any day of the week. Non-Permit Holders access to IU Garages Free Friday 6 p.m. – Monday 7 a.m. Monday – Thursday: Maximum of $10 after 5 p.m. (less if parked up to 90 minutes). Six Hundred Seventy-Eighth Program of the 2016-17 Season _______________________ Indiana University Ballet Theater presents Spring Ballet: L’amour et la mort Fanfare Choreography by Jerome Robbins Music by Benjamin Britten Staged by Robert LaFosse The Steadfast Tin Soldier Choreography by George Balanchine Music by Georges Bizet Staged by Daniel Duell Giselle (Act II) Choreography by Jean Coralli and Jules Perrot Music by Adolphe Adam Staged by Eve Lawson Stuart Chafetz, Conductor Aaron Bowersox, Lighting Designer _________________ Musical Arts Center Friday Evening, March Twenty Fourth Seven-Thirty O’Clock Saturday Afternoon, March Twenty Fifth Two O’Clock Saturday Evening, March Twenty Fifth Seven-Thirty O’Clock music.indiana.edu Friday, March 24, 2017 | 7:30 p.m. Fanfare Choreography by Jerome Robbins Music by Benjamin Britten Premiere: June 2, 1953 | New York City Ballet City Center of Music and Drama Staged by Robert LaFosse Stuart Chafetz, Conductor Shawn Stevens, Ballet Mistress Christian Claessens, Principals’ Coach Sasha Janes, Principals’ Coach Major Domo Jeremy Weiss I. Theme by Henry Purcell Entire Orchestra II. Variation by Instruments Woodwinds Piccolo Caroline Tonks Flutes Danielle Cesanek, Alexandra Willson Oboe Claire Donovan Clarinets Alexandra Hutchinson and Andrew Copeland Bassoons Antonio Houck and Jared Kelly Strings First Violins Anna Barnes, Sophia Brodin, Kathleen Uchal Second Violins Kristin Howard, Grace Phelps, Gillian Worek Violas Anna Peabody and Glenn Kelich Cellos Alia Federico, Emily Smith, Elizabeth Yanick Double Bass Mark Lambert Harp Caroline Atwell Brass Horns Reece Conrad, Darren Hsu, Kohlton Perdue, Matthew Serrano Trumpets Liam Doherty, Nicholas Gray Tuba Corey Boatner Trombones Cameron Barnett, Diamond Burdine, Jaylen Man Percussion Drums, Cymbals, Gongs Tyler Dowdy, Eli Downs, Sterling Manka JUNE 16-25 at the BUSKIRK-CHUMLEY THEATER FIND TICKETS TODAY! cardinalstage.org | 812.336.9300 In 1945, Britten was asked to write for the British Ministry of Education’s documentary film, Instruments of the Orchestra (Op. 34) With text by Eric Crozier, the work consists of variations and a fugue on a rondeau from Henry Purcell’s incidental music for Adelazar, or The Moor’s Revenge, by Aphra Behn Each variation is played by a different instrument or group of instruments comprising a contemporary symphonic orchestra Consecutively, the four families of the band—strings, woodwinds, brass, and percussion—are exploited in characteristic monologues and conversations Finally, the piccolo initiates the great fugue, which recapitulates Purcell’s noble theme The Steadfast Tin Soldier Choreography by George Balanchine* ©The George Balanchine Trust Music by Georges Bizet (from Jeux d’Enfants) Original lighting by Ronald Bates Premiere: July 30, 1975 | New York City Ballet Sarasota Performing Arts Center Staged by Daniel Duell Stuart Chafetz, Conductor Shawn Stevens, Ballet Mistress Christian Claessens, Ballet Master Imani Sailers and Tyler Dowdy The performance of The Steadfast Tin Soldier, a Balanchine® Ballet, is presented by arrangement with The George Balanchine Trustand has been produced in accordance with the Balanchine Style® and Balanchine Technique® Service standards established and provided by the Trust *©The George Balanchine Trust NEW MOVES Student Choreographers Showcase APRIL 28 & 29 in the WELLS-METZ All seats only $10 Collaboration and innovation take center stage with original works by IU Contemporary Dance seniors. theatre.indiana.edu Giselle (Act II) Choreography by Jean Coralli and Jules Perrot Music by Adolphe Adam Premiere: Théâtre de l’Académie Royale de Musique, Paris Staged by Eve Lawson Stuart Chafetz, Conductor Shawn Stevens, Ballet Mistress Sasha Janes, Ballet Master Michael Vernon, Principals’ Coach Giselle Raffaella Stroik Prince Albrecht Glenn Kelich Hilarion Antonio Houck Myrtha, Queen of the Wilis Ryan McCreary The Wilis Georgia Dalton and Kyra Muttilainen with Bianca Allanic, Grace Armstrong, Caroline Atwell, Anna Barnes, Morgan Buchart, Claire Donovan, Julia Fleming, Rachel Gehr, Kristin Howard, Alexandra Hutchinson, Camille Kellems, Natalia Mieczykowski, Lily Overmyer, Anna Peabody, Ginabel Peterson-Padilla, Grace Phelps, Rachel Schultz, Lauren Smolka, Emily Smith, Gillian Worek, Sarah Young, Cecilia Zanone Act I In Act I, Giselle, a frail peasant girl, has fallen in love with Prince Albrecht, who has disguised himself as Loys, a fellow peasant This relationship is closely watched by Hilarion, a gamekeeper who is also in love with Giselle Giselle’s mother warns her to stop dancing—because of her frail heart she is liable to die If she dies before she is married she will become one of the Wilis (In German mythology, a Wili is a girl who dies before her wedding day and is doomed to dance all night in the forest after death) Hilarion exposes Loys to be the Prince Albrecht, already betrothed Giselle is heartbroken, and goes mad, finally killing herself with the Prince’s sword Act II It is close to midnight, in a forest glade Giselle’s grave is nearby Hunters are playing dice, and Hilarion is despondently wandering about Frightened by the arrival of the Wilis, they all flee, while Myrtha, the merciless Queen of the Wilis makes her entrance She summons up the other Wilis, who haunt the forest at night to seek revenge on any man they encounter, forcing their victims to dance until they die of exhaustion Watch IU sports news on demand with the Hoosier Sports Report app for streaming TV devices DOWNLOAD NOW ON COMING SOON ON ROKU AppleTV AmazonFireTV iOS Android The Hoosier Sports Report app Hoosier Sports Report features IU sports video news focusing is now available for free on Roku, on athletes and coaches, athletic facilities and fans. HSR has covered more than 20 different sports. Search “Hoosier Sports AppleTV, and Amazon Fire TV. The Report” on your supported streaming device to get the app. HSR app will soon be available for Follow @HooSportsRep and #HSRtv on Twitter for new video iOS and Android devices. news and updates. HoosierSportsReport.com HooSportsRep #HSRtv Hoosier Sports Report is produced by and presented by Myrtha raises Giselle’s spirit from her grave, and Giselle is then inducted into their midst Albrecht arrives to lay flowers on her grave, guilt ridden at having caused her death She feels sorrow at his plight and forgives him Meanwhile, Hilarion has been trapped by the Wilis, who force him to dance until he is exhausted and then throw him into a nearby lake Albrecht is about to follow the same fate, even though Giselle begs Myrtha to spare his life He dances nearly to exhaustion, but dawn breaks, ending the power of the Wilis for that night He is saved, and Giselle returns to her grave to rest in peace Through her forgiveness, she is no longer in the power of the curse of the Wilis Historical Notes Choreographed in 1841, Giselle is considered the quintessential nineteenth-century romantic ballet It is also the oldest ballet in the repertoire, having a history of continuous performance since its inception French poet Theophile Gautier (with Jules Henri Vernoy de Saint-Georges) developed the scenario to honor Italian ballerina Carlotta Grisi Married to choreographer Jules Perrot, she first performed it in 1841 at the Paris Opera Perrot himself choreographed most of Grisi’s steps as Giselle, while the senior ballet master of the Paris Opéra, Jean Coralli, choreographed the rest of the ballet Giselle is one of the most coveted roles for any ballerina The very difficult role has been likened to ballet as Hamlet has to acting Famous Giselles have included Anna Pavlova, Margot Fonteyn, Yvette Chauvire, the Jacobs School of Music’s own Violette Verdy, Alicia Alonso, Galina Ulanova, and, more recently, Julie Kent, Alessandra Ferris, Susan Jaffe, Amanda McKerrow, and Natalia Makarova Stay up to date on Arts and Entertainment news from IU and the Bloomington community by reading the Indiana Daily Student. The IDS is available for free at more than 350 locations on campus and around town. You can also visit idsnews.com or download our mobile app. idsnews.com Saturday, March 25, 2017 | 2:00 p.m.
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