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EAP full-page template.indd 1 2/5/18 12:51 PM April 2018 Volume 95, No. 7

Paul Heppner Publisher 31 38 Susan Peterson Design & Production Director

Ana Alvira, Robin Kessler, Stevie VanBronkhorst TABLE OF CONTENTS Production Artists and Graphic Design 5 Greetings from the Artistic Director 50 Unbound Intertwined Mike Hathaway & Principal Choreographer Sales Director 52 Orchestra Amelia Heppner, Marilyn Kallins, 6 Leadership Terri Reed 5 4 San Francisco Ballet Staff San Francisco/Bay Area Account Executives 9 Board of Trustees Endowment Foundation Board 56 Donor Events and News Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives 10 For Your Information 58 Season Sponsors

Carol Yip 1 3 History of San Francisco Ballet 60 Great Benefactors Sales Coordinator 1 4 Explore Ballet 61 Artistic Director's Council

16 Artists of the Company 62 The Chairman's Council EMG CITY NATIONAL BANK 24 Unbound: A Festival of New Works 64 The Christensen Society MASTHEAD 26 Unbound A 68 Corporate and Foundation Support The Collective Agreement Bound To© 70 The Legacy Circle Paul Heppner Hurry Up, We're Dreaming President 73 Thank You to Our Volunteers Mike Hathaway 32 Unbound B Vice President Otherness 74 San Francisco War Memorial Genay Genereux Snowblind and Performing Arts Center Accounting & Office Manager Anima Animus

Shaun Swick Senior Designer & Digital Lead 38 Unbound C Bespoke Barry Johnson Your Flesh Shall Be a Great Poem San Francisco Ballet Vol. 25, No. 7 Digital Engagement Specialist | Guernica 2018 Repertory Season Ciara Caya All editorial material © San Francisco Ballet, 2018 Customer Service Representative & 44 Unbound D Chris Hellman Center for Dance Administrative Assistant The Infinite Ocean 455 Franklin Street, San Francisco, CA 94102 415 861 5600 | sfballet.org LET'S BEGIN AT THE END Cover: Wei Wang // © Erik Tomasson Corporate Office Björk Ballet Above, left to right: SF Ballet rehearsing Peck's Hurry Up, We're Dreaming; 425 North 85th Street Seattle, WA 98103 SF Ballet rehearsing McIntyre's Your Flesh Shall Be a Great Poem // © Erik Tomasson p 206.443.0445 f 206.443.1246 [email protected] 800.308.2898 x105 www.encoremediagroup.com FOLLOW US BEFORE AND AFTER THE PERFORMANCE!

facebook.com/sfballet twitter.com/sfballet Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget youtube.com/sfballet instagram.com/sfballet Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited.

PROGRAMS 07 & 08 | SFBALLET.ORG | 3 DAVIDBELLINGS.com

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EAP full-page template.indd 1 3/9/18 2:03 PM GREETINGS FROM THE ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER Welcome to Unbound: A Festival of New Works. As the culmination of our 2018 Season, this festival is about looking forward.

For ballet to remain a vibrant, compelling art form, we emphasize new works and new ideas here at SF Ballet. A few years ago, I came up with the concept of bringing a group of today’s most talented, sought- after choreographers from all over the world together, and giving them freedom to create. I thought the resulting dozen works might offer a glimpse into where ballet is now, and where it’s headed. We might not emerge with definitive answers, but what an amazing experiment this festival has become.

When I called each of the 12 choreographers to invite them to be part of the Unbound festival, not one hesitated. I selected a few whose work we know well—, , , Edwaard Liang, and Myles Thatcher—and some whose work is newer to SF Ballet audiences: Trey McIntyre and Arthur Pita. I also wanted to introduce new choreographers to SF Ballet, so I invited David Dawson, , , Annabelle Lopez Ochoa, and Dwight Rhoden. Some focus on storytelling, others prefer to be COLDWELL BANKER more abstract. Some use classical music, some electronic, others commissioned scores. Some choreographers are national favorites, while David Dawson’s ballet is his first American commission.

One experience was universal among the group: the choreographers loved working with SF Ballet’s dancers, appreciating their openness to working in different styles and with different approaches. And our dancers love to work with choreographers making new for them. There’s extra energy in the studios, and often dancers reveal different strengths and talents—to the choreographers, to the audience, and maybe even to themselves.

Thank you for joining SF Ballet for this incredible adventure, and for being open to and supporting new work. I’m thrilled to present this Unbound festival, and I’m looking forward to seeing all 12 of these very different, very compelling ballets.

Sincerely,

Helgi Tomasson Artistic Director & Principal Choreographer

PROGRAMS 07 & 08 | 415 865 2000 | 5 SAN FRANCISCO BALLET LEADERSHIP

HELGI TOMASSON GLENN MCCOY ARTISTIC DIRECTOR & EXECUTIVE DIRECTOR PRINCIPAL CHOREOGRAPHER

Helgi Tomasson, one of the supreme Glenn McCoy’s career in the classical dancers of his generation, performing arts spans more has led San Francisco Ballet for 33 years than 30 years of operations and is the longest-serving sole artistic management and marketing. director of a major . Born After working for San Francisco in Iceland, he danced with Harkness Ballet, Opera and the Metropolitan Opera, The , and Ballet, where he distinguished he joined San Francisco Ballet in 1987. He served as company himself as a dancer of technical purity, musicality, and intelligence. manager and general manager before being appointed executive Tomasson assumed leadership of SF Ballet in 1985. Under his guidance, director in April 2002. McCoy has overseen the production of SF Ballet has developed into a company widely recognized as one of more than 60 new repertory and full-length ballets and more than the finest in the world. Tomasson has balanced devotion to the classics 45 domestic and international tours, including engagements in with an emphasis on new work, cultivating frequent collaborations and Paris, , New York, Beijing, and Washington, DC. He commissions with renowned choreographers such as William Forsythe, supervised SF Ballet’s operations for the critically acclaimed Christopher Wheeldon, , and Mark Morris, among international dance festival, UNited We Dance, in 1995 and others. Tomasson has choreographed more than 50 works for SF Ballet, SF Ballet’s 75th Anniversary Season in 2008. He has overseen including full-length productions of , The Sleeping Beauty, tapings of Lubovitch’s Othello, Tomasson’s Nutcracker, and Romeo & Juliet (taped for Lincoln Center at the Movies’ Great American Neumeier’s The Little Mermaid, which have been broadcast on Dance), , and Nutcracker (taped for PBS’s ). PBS by Thirteen/WNET New York’s performing arts series He conceptualized the 1995 UNited We Dance festival, in which Great Performances, as well as Tomasson’s Romeo & Juliet, SF Ballet hosted 12 international companies; the 2008 New Works which premiered in Lincoln Center at the Movies’ Great American Festival, which included 10 world premieres by 10 acclaimed Dance series in 2015. choreographers; and Unbound: A Festival of New Works. Tomasson has also connected SF Ballet to the world, through co-commissions with Theatre, , and ; and major tours to Paris, London, New York City, China, and UNION BANK 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, France, Patrick musically excellent as it is adventurous. Armand studied with Rudy Bryans, Under his direction the Orchestra has his mother Colette Armand, and at greatly expanded its catalog of recordings. the École de Danse de Marseille. Born in Bolton, England, he studied math He won the in at Cambridge. After studying music at the 1980 and continued his studies Royal Academy of Music in London and St. Petersburg Conservatory at the School of American Ballet. In 1981, he joined the Ballet of Music, he made his debut with and was Théâtre Français de Nancy and was promoted to appointed resident conductor. As a guest conductor, he has worked in 1983. The following year he joined English National Ballet, with , The National Ballet of Canada, and where he danced for six years before joining in The Royal Ballet. He was named music director of SF Ballet in 2005. 1990. A frequent guest teacher for schools and companies in West’s recordings with SF Ballet Orchestra include the complete Amsterdam, Florence, London, Naples, Tokyo, and Toronto, score of Tchaikovsky’s Nutcracker and an album of suites from Delibes’ Armand was appointed teacher and of the Teatro and Coppélia. He also conducted for the award-winning DVD of alla Scala in Milan in 2006. In 1998 and 2009, he served as a jury Neumeier’s The Little Mermaid as well as SF Ballet’s televised recording member of the Prix de Lausanne and since 2010 has been the of Nutcracker for PBS and the 2015 in-cinema release of Romeo & Juliet competition’s official male coach and teacher. He was appointed for Lincoln Center at the Movies’ Great American Dance. principal of the SF Ballet School Trainee Program in 2010, SF Ballet School associate director in 2012, and director of SF Ballet School in 2017.

Head shots: Tomasson and West // © Erik Tomasson; McCoy and Armand // © Chris Hardy

6 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 My legacy. My partner.

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EAP full-page template.indd 1 12/12/17 9:50 AM B:8.625” T:8.375” S:7.375” B:11.125” T:10.875” S:9.875”

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EAP full-page template.indd 1 3/12/18 4:41 PM

1 SF Ballet-Encore_Stairs Saved at 02-24-2018 from by Printed At None

Job info Approvals Fonts & Images Job 309886 Art Director Fonts Client Sutter Health Copywriter Helvetica Neue LT Std (75 Bold, 45 Light), Media Type Magazine Account Mgr Helvetica Neue (Bold) Live 7.375” x 9.875” Studio Artist Trim 8.375” x 10.875” Proofreader Images Bleed 8.625” x 11.125” Pubs SF Ballet Notes Inks SF Encore Cyan, Magenta, Yellow, Black None 02-24-18 hr 309886 Version:01 309886cpm01_SFEncore_Stairs SAN FRANCISCO BALLET ASSOCIATION Board of Trustees 2017–18

CARL F. PASCARELLA, Chair of the Board and Executive Committee

Chris Hellman† (1933–2017) Jola Anderson Christine Russell Stephanie Marver Chair Emerita Kristen A. Avansino Randee Seiger Nancy H. Mohr Richard C. Barker Robert G. Shaw Marie-Louise Pratt John S. Osterweis† Karen S. Bergman Christine E. Sherry George R. Roberts Immediate Past Chair Gary Bridge Charlotte Mailliard Shultz Kathleen Scutchfield Margaret G. Gill Chaomei Chen Catherine Slavonia Robert M. Smelick Vice Chair Hannah Comolli David Hooker Spencer Susan A. Van Wagner James H. Herbert II† Christine Leong Connors Fran A. Streets Dennis Wu Vice Chair David C. Cox Judy C. Swanson Akiko Yamazaki Susan P. Diekman Richard J. Thalheimer Lucy Jewett Kate Duhamel Jennifer M. Walske Vice Chair Sonia H. Evers Miles Archer Woodlief ASSOCIATE TRUSTEES James D. Marver Shelby M. Gans Timothy C. Wu Brenda Leff Vice Chair Joseph C. Geagea Janice Hansen Zakin President, Richard Gibbs, M.D. San Francisco Ballet Auxiliary Diane B. Wilsey Beth Grossman Vice Chair Patricia D. Knight Matthew T. Hobart TRUSTEES EMERITI President, BRAVO Nancy Kukacka Patrick M. Hogan Michael C. Abramson Treasurer Thomas E. Horn Thomas W. Allen Christopher Correa Jennifer J. McCall Donald F. Houghton (1929–2017) Marjorie Burnett President, ENCORE! Secretary Hiro Iwanaga Charles Dishman Stewart McDowell Brady, Elaine Kartalis Garrettson Dulin, Jr.† Susan S. Briggs Patrice Lovato James C. Katzman Millicent Dunham Assistant Secretary Co-Chairs, Allegro Circle Yasunobu Kyogoku J. Stuart Francis† Helgi Tomasson Kelsey Lamond Sally Hambrecht CPMC Artistic Director & Marie O’Gara Lipman Ingrid Von Mangoldt Hills Principal Choreographer Mark G. Lopez George B. James II† (1937–2017) Glenn McCoy* Alison Mauzé Pamela J. Joyner† Executive Director Marissa Mayer David A. Kaplan Kurt C. Mobley Mary Jo Kovacevich Kara Roell James J. Ludwig†

SAN FRANCISCO BALLET ENDOWMENT FOUNDATION Board of Directors 2017–18

JAMES D. MARVER, President

John S. Osterweis Kevin Mohr‡ Richard C. Barker Chris Hellman (1933–2017) President Emeritus Chief Financial Officer Susan S. Briggs Director Emerita J. Stuart Francis Thomas E. Horn Laura Simpson‡ George B. James II (1937–2017) Nancy Kukacka Treasurer Secretary Director Emeritus Hilary C. Pierce Elizabeth Lani‡ Larissa K. Roesch Assistant Secretary

†Past Chair *Non-Trustee ‡Non-Director

PROGRAMS 07 & 08 | SFBALLET.ORG | 9 FOR YOUR INFORMATION

IN THE OPERA HOUSE PLEASE NOTE Beverages in the auditorium are allowed if they are purchased in the Late seating isn’t allowed while a performance is in progress. Opera House and are in the approved compostable cup with a lid. You’ll be asked to stand until a break in the action, which may be at intermission. The Café at the Opera House on the Lower Lounge level opens two hours prior to curtain time—and is also open during intermission. Call Audio/visual recordings of any kind of the performance are strictly 415 861 8150 for reservations. forbidden.

Refreshments are available on the lower level as well as the Box, Orchestra, Mobile devices should be turned off and put away before the and Dress Circle levels. There are drinking fountains on all levels near performance; the lights and sounds are a distraction. the elevators. Children attending a performance must have a ticket and occupy The Shop at SF Ballet is open one hour before each performance, during that seat; no infants or lap sitting, please. Children need to be at least intermissions, and after weekend matinees, even if you’re not attending the five years old to attend Repertory Season performances. performance itself (visit the Box Office for a special pass). To shop online: Smoking is not permitted in the Opera House. sfballet.org/shop Opera House management reserves the right to remove any patron Restrooms are located on all floors except Main Lobby level (first floor). who is creating a disturbance. Coat and parcel check rooms are located on the north and south side of Emergency services are available in the Opera House Lower Lounge the Main Lobby. All parcels, backpacks, and luggage must be checked. level, where an EMT is on duty. Opera glasses are available for $5 rental at the north lobby coat check Walking tours of the San Francisco War Memorial and Performing Arts room and require a valid ID as a deposit. Center are available most Mondays at select hours. For information, Lost & Found is located at the north coat check room. Call 415 621 6600, call 415 552 8338. Mon–Fri, 9 am–4 pm, or email [email protected]. ACCESSIBILITY Courtesy telephones, for local calls only, are on the Main Lobby level, SF Ballet is committed to providing access for all of our patrons. across from the elevators. Please contact Ticket Services at 415 865 2000 prior to the Chariot shuttles are available from the Civic Center/UN Plaza BART performance with questions so that we can ensure your comfort. Station at Grove Street and Hyde Street to the Wheelchair-accessible entrances are available on the north, east, (301 Van Ness Avenue) one hour before and one hour after performances. and south sides of the Opera House. ALAIN PINEL This complimentary shuttle service will be available for all 2018 Repertory Season performances, unless otherwise noted. Wheelchair seating positions are on the Orchestra and Dress Circle levels. Taxis line up after performances at the Grove Street Taxi Ramp on the south side of the Opera House. Taxis are provided on a first-come, Wheelchair accessible stalls in restrooms can be found on all first-served basis and we cannot guarantee availability. Our staff will floors except the Main Lobby and fifth floor Balcony level. A lockable assist you. single-user, special-needs restroom is located on Floor 3. Please see the usher closest to this location for access. Accessible drinking Reducing waste is important to us. We’re using recyclable and compostable fountains are located on all floors except the Balcony level. materials for food service. Please help our efforts by sorting items into our recycling bins (hard plastic wine glasses, bottles, cans, and paper Assistive listening devices (Sennheiser model infrared sound programs), compost bins (lidded cups, disposable cutlery, napkins, and amplification headsets) are available at both coat check locations most food containers), and landfill (potato chip bags). 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, Mon–Fri, 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: Tues–Fri, noon through the first intermission; Sat and Sun, 10 am through the first intermission. 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.

10 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 THE STEPS ARE EFFORTLESS

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EAP full-page template.indd 1 10/23/17 2:31 PM TIMELINE: SAN FRANCISCO BALLET 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. 1933 1940 The Ballet 1939 SF Opera Ballet performs the Swan Lake performs the first all-dance Coppélia is the first full-length in performance at the new Opera House. Company's first full- the United States. length ballet—and the first complete version in the United States. ’s Christensen’s Coppélia and Le Ballet Mecanique Jacqueline Martin in Swan Lake

1960 Ballet ’60 is one of the first 1944 choreographers’ workshops SF Ballet dances the first in America. Over the next 1957 full-length Nutcracker in 13 years, 43 choreographers the United States. create more than 100 SF Ballet is the first American ballet new works. company to tour Asia. Structures Bruce Bain's , SF Ballet in Yangon, Myanmar created for Ballet ’71 1965 1978 1981 Lew Christensen’s Life: A Do-It- Artistic director Smuin’s — Yourself Disaster is credited as ’s the first ballet broadcast being the first pop-art ballet. live from the War Memorial becomes the first Opera House—is nominated FIRST REPUBLIC full-length ballet to for three Emmy Awards. be shown on the Betsy Erickson in The Tempest PBS series Dance in America.

Diana Weber in Smuin's Romeo and Juliet

Nancy Robinson in Christensen's Life: A Do-It-Yourself Disaster 1985 1982 Helgi Tomasson arrives SF Ballet breaks 1995 as artistic director, the ground on the first SF Ballet hosts 12 companies beginning of a new era building created from five continents for for SF Ballet. expressly to house UNited We Dance, celebrating Helgi Tomasson a major American the 50th anniversary of the ballet company. signing of the UN Charter. The Christensen brothers

Yuri Possokhov’s first ballet, Magrittomania Natasha Sheehan

2008 Sabina Allemann and The New Works Festival Eric Hoisington in Tomasson's celebrates SF Ballet’s When We No Longer Touch 75th Anniversary with 10 works by 10 choreographers, 2018 2000 including Unbound’s SF Ballet’s Discovery Program features six Stanton Welch and Unbound: A Festival of world premieres by four SF Ballet principal Christopher Wheeldon. New Works premieres 12 dancers, plus Vladimir Anguelov and ballets by 12 international and Christopher Wheeldon. Gennadi Nedvigin in Morris’ Joyride choreographers.

For a complete history of San Francisco Ballet, visit sfballet.org/history. Historic SF Ballet photos courtesy of the Museum of Performance + Design. Photos of When We No Longer Touch; Magrittomania // Both © Marty Sohl; 2008 photo of Joyride; 2018 photo of Natasha Sheehan // Both © Erik Tomasson PROGRAMS 07 & 08 | 415 865 2000 | 13 EXPLORE BALLET CURTAIN TALKS AND PODCASTS For an inside look at the performance you’re about to see, come to the Opera House a bit early for a Meet the Artist interview or a Pointes of View lecture. You can also listen to our two new podcasts: To the Pointe, for an in-depth exploration of the upcoming performance, and Demi-Pointe, for a quick overview. All SF Ballet podcasts, including recordings of our Meet the Artist interviews and Pointes of View lectures, are available on our website and on all podcast players, including Apple Podcasts. For more information: sfballet.org/explore/podcasts

MEET THE ARTIST INTERVIEWS Free and open to all ticket holders before or after selected performances. Meet the Artist interviews feature an artist who worked on the performance.

Unbound A: April 20, 7 pm; April 22, 1 pm; May 6, 1 pm Unbound B: April 21, 7 pm; April 29, 1 pm; May 4, 7 pm Unbound C: April 24, immediately post-performance; April 27, 6 pm (Boundless Symposium Opening)

Unbound D: April 26, 6:30 pm; May 1, immediately post-performance

POINTES OF VIEW LECTURES Wednesdays, 6–6:45 pm, Free and open to the public Company artists offer key insights into the performance. All are welcome—you don't even need a ticket.

Programs 07 & 08 | Unbound: A Festival of New Works April 25 What does it take to put on a festival like Unbound? SF Ballet writer Cheryl A. Ossola hosts a panel discussion with General Manager Debra Bernard, Production Director Christopher Dennis, and Ballet Master and Assistant to the Artistic Director Ricardo Bustamante.

May 2 Principal Dancer Tiit Helimets and Dance Educator Mary Wood discuss, demonstrate, and debate the differences between classical, neoclassical, and .

BOUNDLESS April 27–29 Three days of discussions among artists, scholars, and critics will explore how issues around choreography, diversity, and technology WANT TO LEARN MORE ABOUT UPCOMING PERFORMANCES? are shaping ballet’s future. For more information: sfballet.org/boundless Meet Aurora, SF Ballet’s new chatbot and resident expert on all things ballet. To A Conversation on the Future of Ballet: April 27, 6 pm engage with her, just start a conversation Panelists: Helgi Tomasson, Virginia Johnson, with SF Ballet on Facebook Messenger and Marina Harss (moderator) say “Hi Aurora.” You can also meet her by The Aesthetics and Politics of Ballet in a Globalized World: opening the Messenger app on your phone, April 28, 11:30 am clicking “Scan Code,” and scanning this QR code; Panelists: Dwight Rhoden, Jill Nunes Jensen, Ariel Osterweis, or by going to http://m.me/sfballet Marina Harss, Jennie Scholick (moderator)

Bringing Ballet and Technology Together On Stage, On Film, LOVED THE MUSIC AT THE PERFORMANCE? Listen to it when you get home by checking out SF Ballet’s Spotify and Online: April 28, 5:30 pm playlists. You’ll find recordings of the music played tonight— Panelists: Sydney Skybetter, Judy Flannery, Arthur Pita, Rachel Sibley (moderator) and get the opportunity to prep for upcoming programs.

Fostering New Voices in Ballet Choreography, Leadership, and Audiences: April 29, 11 am Panelists: Helgi Tomasson, Andrea Yannone, Patrick Armand, Celia Fushille, Dwight Rhoden, Virginia Johnson (moderator)

14 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 DANCE FOR ALL AGES Let your spirit soar as you experience the joy of dancing in our beautiful studios.

ADULT BALLET CLASSES CHILDREN’S AUDITIONS FOR SAN FRANCISCO BALLET SCHOOL Our open classes are inclusive and fun, a good workout that stretches June 2 your artistry as well as your muscles. Open to adults and teens over Pursue a love of dance. For children with an interest in dance or the the age of 16 with basic ballet experience, classes start at the , dream of becoming a ballet dancer, San Francisco Ballet School offers then move to the center through traditional ballet exercises and a training program of unqualified excellence. We’re holding auditions combinations. Be prepared to sweat (at least a little) and to have a for our 2018–19 School Year program on June 2. To be eligible to good time. It is recommended that true ballet beginners start with audition, students must be age 8–11 by September 1, 2018. For more our Beginner Ballet series. We want to make sure you get the full information and to register: sfballet.org/school/auditions attention of our teachers, so we limit enrollment to 30 students per class. Classes fill quickly—reserve your spot today. For more SUMMER DANCE CAMP information: sfballet.org/adultballet June 11–15 Boys & Girls Clubs of San Francisco (BGCSF) and San Francisco DANCE SERIES FOR INDIVIDUALS WITH PARKINSON’S DISEASE Ballet are partnering to offer the fourth-annual Summer Dance Camp. In partnership with Kaiser Permanente, we're offering free dance This free, weeklong dance program is open to BGCSF members, classes designed for people with Parkinson’s Disease. Classes ages 6 and up, and promotes creative expression while encouraging develop individual artistic expression while honoring PD concerns education through the performing arts. BGCSF members will have the such as balance, flexibility, coordination, isolation, and depression. opportunity to take a range of classes in ballet, hip hop, world dance, The next eight-week session begins Saturday, June 9. For more and music from professional teaching artists onsite at San Francisco information, contact Cecelia Beam at [email protected]. Ballet School. For more information and to register: sfballet.org/dancecamp PRE-BALLET | 2018 Summer and 2018–19 School Year Give your child the gift of dance! Learning the joy of movement SUMMER BALLET CAMP begins with Pre-Ballet classes at San Francisco Ballet School. We July 9–August 3 introduce young children ages 4–7 to the fundamentals of classical The second year of our popular Summer Ballet Camp, taught by ballet, focusing on proper body alignment, basic ballet technique and SF Ballet School Faculty member Kristi DeCaminada, will take place terminology, and musicality. Audition not required. Summer and Fall in the Richmond district studios of Ballet with Miss Tilly. In addition to 2018 classes are open for enrollment. For more information about four different one-week ballet camps for children ages 8–12 years old, free trial classes: sfballet.org/preballet Pre-Ballet classes will be offered for children ages 4–7. No audition is required. For more information: sfballet.org/balletcamp

AMERICAN BALLET 1900–1983 August 5, 12, and 19, 2018 How did American ballet get its start? Join us for an interactive three-session seminar that will explore the roots of American ballet, from Anna Pavlova to Lew Christensen to .

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

Opposite page: Jahna Frantziskonis and Joseph Warton // © Erik Tomasson; Right: San Francisco Ballet School Faculty member Kristi DeCaminada instructing students in a Pre-Ballet class // © Chris Hardy

PROGRAMS 07 & 08 | SFBALLET.ORG | 15 ARTISTS OF THE COMPANY

ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER HELGI TOMASSON

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

PRINCIPAL CHARACTER DANCERS Ricardo Bustamante† † Rubén Martín Cintas Anita Paciotti†

SOLOISTS Max Cauthorn† Jahna Frantziskonis Steven Morse† Lauren Strongin Isabella DeVivo† Esteban Hernandez Julia Rowe† Wei Wang† Daniel Deivison-Oliveira† Koto Ishihara† James Sofranko Hansuke Yamamoto WanTing Zhao†

CORPS DE BALLET Kamryn Baldwin† Gabriela Gonzalez Kimberly Marie Olivier† Natasha Sheehan† Sean Bennett† Jillian Harvey Sean Orza† Henry Sidford† Ludmila Bizalion† Ellen Rose Hummel† Wona Park† Miranda Silveira† Samantha Bristow† Blake Johnston† Lauren Parrott† John-Paul Simoens† Alexandre Cagnat† Madison Keesler† Elizabeth Powell† Myles Thatcher† Thamires Chuvas† Blake Kessler† Nathaniel Remez† Isabella Walsh† Diego Cruz† Shené Lazarus† Alexander Reneff-Olson† Mingxuan Wang† Megan Amanda Ehrlich Elizabeth Mateer Rebecca Rhodes† Joseph Warton† Benjamin Freemantle† Norika Matsuyama† Emma Rubinowitz† Lonnie Weeks Solomon Golding Davide Occhipinti† Skyla Schreter Maggie Weirich† Ami Yuki†

APPRENTICES Ethan Chudnow† Anatalia Hordov† Carmela Mayo† Swane Messaoudi† Larisa Nugent† Benji Pearson†

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 MUSIC DIRECTOR & PRINCIPAL CONDUCTOR Yuri Possokhov Martin West

†Received training at San Francisco Ballet School

16 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 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 Estudio de Danza de Maria de Avila. the Royal Conservatory of Professional She joined the Company in 2004, Dance. He was named an SF Ballet was promoted to soloist in 2012, and apprentice in 2001 and joined the to principal dancer in 2015. Company the following year. He was SASHA DE SOLA promoted to soloist in 2006 and to LUKE INGHAM Born in Winter Park, Florida, principal dancer in 2008. From Mount Gambier, South Australia, Sasha De Sola trained at the Kirov Luke Ingham trained at the Australian Academy of Ballet. She was named an Ballet School. He danced with SF Ballet apprentice in 2006 and joined and Houston the Company in 2007. She was promoted Ballet before joining SF Ballet as a to soloist in 2012 and principal dancer soloist in 2012. He was promoted in 2017. to principal dancer in 2014.

ULRIK BIRKKJAER ANGELO GRECO Born in Copenhagen, Denmark, Born in Nuoro, Italy, Angelo Greco Ulrik Birkkjaer trained at the trained at La Scala Ballet School School. He in Milan. He danced with La Scala danced with the Royal Danish Ballet Ballet before joining SF Ballet as a before joining San Francisco Ballet soloist in 2016. He was promoted as a principal dancer in 2017. to principal dancer in 2017. CARLO DI LANNO MARIA KOCHETKOVA Carlo Di Lanno was born in Naples, Born in Moscow, , Italy, and trained at La Scala Ballet Maria Kochetkova trained at the School in Milan. He danced with School in Moscow and La Scala Ballet and Staatsballett Berlin danced with The Royal Ballet and before joining San Francisco Ballet English National Ballet before joining as a soloist in 2014. He was promoted SF Ballet as a principal dancer in to principal dancer in 2016. 2007. She was appointed Herbert Family Principal Dancer in 2012.

FRANCES CHUNG TIIT HELIMETS Born in Vancouver, Canada, Born in Viljandi, Estonia, Tiit Helimets Frances Chung trained at trained at Tallinn Ballet School. He before joining danced with Estonian National Ballet SF Ballet in 2001. She was and before promoted to soloist in 2005 and joining San Francisco Ballet principal dancer in 2009. as a principal dancer in 2005. MATHILDE FROUSTEY VITOR LUIZ Mathilde Froustey was born in Born in Juiz de Fora, Brazil, Vitor Luiz Bordeaux, France, and trained at the trained at The . He Marseille National School of Ballet danced with Birmingham Royal Ballet and Ballet School. She and Ballet do Theatro Municipal do danced with Rio de Janeiro prior to joining SF Ballet before joining SF Ballet as a principal as a principal dancer in 2009. dancer in 2013.

†Received training at San Francisco Ballet School Dancer head shots // © Chris Hardy and David Allen PROGRAMS 07 & 08 | 415 865 2000 | 17 PRINCIPAL DANCERS

PRINCIPAL CHARACTER DANCERS

ANA SOPHIA SCHELLER Born in Buenos Aires, Argentina, Ana Sophia Scheller trained at the Instituto Superior de Arte del Teatro Colon and the School of American Ballet. She danced with New York City Ballet before joining SF Ballet as a YUAN YUAN TAN principal dancer in 2017. Yuan Yuan Tan was born in Shanghai, China, and trained at Shanghai Dancing School and Stuttgart’s John Cranko School. She joined SF Ballet as soloist in 1995 and was promoted to principal RICARDO BUSTAMANTE† dancer in 1997. She was appointed Richard C. Barker Principal Dancer Born in Medellín, Colombia in 2012. Joined in 1980 Named principal character dancer in 2007 VAL CANIPAROLI† Born in Renton, Washington Joined in 1973 Named principal character dancer in 1987

JENNIFER STAHL† Born in Dana Point, California, Jennifer Stahl trained at Maria Lazar’s Academy and SF Ballet School. She was named an SF Ballet apprentice in 2005 and joined the corps de ballet in 2006. She was promoted to soloist in SARAH VAN PATTEN 2013 and principal dancer in 2017. Sarah Van Patten, born in Boston, , danced with Massachusetts Youth Ballet and the Royal Danish Ballet before joining SF Ballet as a soloist in 2002. She was RUBÉN MARTÍN CINTAS promoted to principal dancer in 2007. She was appointed Diana Dollar Born in Reus, Spain Knowles Principal Dancer in 2013. Joined in 2000 Named principal character dancer in 2014 ANITA PACIOTTI† Born in Oakland, California Joined in 1968 Named principal character dancer in 1987

SOFIANE SYLVE Sofiane Sylve was born in Nice, France, where she studied at the Académie de Danse. She danced with Germany’s Stadttheater, Dutch National Ballet, and New York City Ballet prior to joining SF Ballet as a principal dancer in 2008. She was appointed Diane B. Wilsey JOSEPH WALSH Principal Dancer in 2017. Born in Doylestown, Pennsylvania, Joseph Walsh trained at Walnut Hill School of the Arts and II. He danced with Houston Ballet before joining SF Ballet as a soloist in 2014. He was promoted to principal dancer that same year. He was appointed John and Barbara Osterweis Principal Dancer in 2017.

18 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 SOLOISTS

MAX CAUTHORN† STEVEN MORSE† Born in San Francisco, California Born in Harbor City, California Named apprentice in 2013 Joined in 2009 Joined in 2014 Promoted to soloist in 2017 Promoted to soloist in 2017

JAHNA FRANTZISKONIS WEI WANG† Born in Tucson, Arizona Born in Anshan, Liaoning, China Joined in 2015 Named apprentice in 2012 Promoted to soloist in 2017 Joined in 2013 Promoted to soloist in 2016

ISABELLA DEVIVO† JULIA ROWE† Born in Great Neck, New York Born in Elizabethtown, Pennsylvania Joined in 2013 Joined in 2013 Promoted to soloist in 2017 Promoted to soloist in 2016

ESTEBAN HERNANDEZ HANSUKE YAMAMOTO Born in Guadalajara, Mexico Born in Chiba, Japan Joined in 2013 Joined in 2001 Promoted to soloist in 2017 Promoted to soloist in 2005

DANIEL DEIVISON-OLIVEIRA† JAMES SOFRANKO Born in Rio de Janeiro, Brazil Born in Marion, Indiana Joined in 2005 Joined in 2000 Promoted to soloist in 2011 Promoted to soloist in 2007

KOTO ISHIHARA† WANTING ZHAO† Born in Nagoya, Japan Born in Anshan, Liaoning, China Joined in 2010 Joined in 2011 Promoted to soloist in 2014 Promoted to soloist in 2016

LAUREN STRONGIN Born in Los Gatos, California Joined as a soloist in 2015 †Received training at San Francisco Ballet School Dancer head shots // © Chris Hardy and David Allen PROGRAMS 07 & 08 | SFBALLET.ORG | 19 CORPS DE BALLET

KAMRYN BALDWIN† MEGAN AMANDA EHRLICH Born in Honolulu, Hawai’i Born in Charleston, South Carolina Joined in 2015 Named apprentice in 2011 Joined in 2012 Returned in 2017

ALEXANDRE CAGNAT† JILLIAN HARVEY Born in Cannes, France Born in Hollidaysburg, Pennsylvania Named apprentice in 2016 Named apprentice in 2012 Joined in 2017 Joined in 2012

SEAN BENNETT† BENJAMIN FREEMANTLE† Born in San Francisco, California Born in New Westminster, Named apprentice in 2011 British Columbia, Canada Joined in 2012 Named apprentice in 2014 Joined in 2015

THAMIRES CHUVAS† ELLEN ROSE HUMMEL† Born in Rio de Janeiro, Brazil Born in Greenville, South Carolina Named apprentice in 2014 Named apprentice in 2011 Joined in 2015 Joined in 2012

LUDMILA BIZALION† SOLOMON GOLDING Born in Rio de Janeiro, Brazil Born in London, United Kingdom Named apprentice in 2006 Joined in 2017 Joined in 2007 Returned in 2016

DIEGO CRUZ† BLAKE JOHNSTON† Born in Zaragoza, Spain Born in Charlotte, North Carolina Joined in 2006 Joined in 2017

SAMANTHA BRISTOW† GABRIELA GONZALEZ Born in Media, Pennsylvania Born in Mérida, Mexico Named apprentice in 2014 Joined in 2017 †Received training at San Francisco Ballet School Joined in 2015 Dancer head shots // © Chris Hardy and David Allen

20 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 CORPS DE BALLET

MADISON KEESLER† SEAN ORZA† Born in Carlsbad, California Born in San Francisco, California Joined in 2009 Named apprentice in 2007 Returned in 2017 Joined in 2008

NORIKA MATSUYAMA† NATHANIEL REMEZ† Born in Chiba, Japan Born in Washington, DC Joined in 2014 Named apprentice in 2016 Joined in 2017

BLAKE KESSLER† WONA PARK† Born in Jacksonville, Florida Born in Seoul, South Korea Named apprentice in 2015 Joined in 2017 Joined in 2016

DAVIDE OCCHIPINTI† ALEXANDER RENEFF-OLSON† Born in Rome, Italy Born in San Francisco, California Named apprentice in 2016 Named apprentice in 2012 Joined in 2017 Joined in 2013

SHENÉ LAZARUS† LAUREN PARROTT† Born in Durban, South Africa Born in Palm Harbor, Florida Named apprentice in 2016 Named apprentice in 2012 Joined in 2017 Joined in 2013

KIMBERLY MARIE OLIVIER† REBECCA RHODES† Born in New York, New York Born in Chicago, Illinois Named apprentice in 2009 Named apprentice in 2008 Joined in 2010 Joined in 2009

ELIZABETH MATEER ELIZABETH POWELL† Born in Boca Raton, Florida Born in Boston, Massachusetts Joined in 2016 Named apprentice in 2011 Dancer head shots // © Chris Hardy and David Allen Joined in 2012

PROGRAMS 07 & 08 | 415 865 2000 | 21 CORPS DE BALLET

EMMA RUBINOWITZ† ISABELLA WALSH† Born in San Francisco, California Born in Rolling Hills, California Named apprentice in 2012 Named apprentice in 2016 Joined in 2013 Joined in 2017

MIRANDA SILVEIRA† MAGGIE WEIRICH† Born in Rio de Janeiro, Brazil Born in Portland, Oregon Named apprentice in 2013 Named apprentice in 2014 Joined in 2014 Joined in 2015

SKYLA SCHRETER MINGXUAN WANG† Born in Chappaqua, New York Born in Qingdao, China Joined in 2014 Named apprentice in 2013 Joined in 2014 NINA HATVANY JOHN-PAUL SIMOENS† AMI YUKI† Born in Omaha, Nebraska Born in Saitama, Japan Named apprentice in 2014 Named apprentice in 2014 Joined in 2015 Joined in 2015

APPRENTICES

NATASHA SHEEHAN† JOSEPH WARTON† ETHAN CHUDNOW† Born in San Francisco, California Born in Beaverton, Oregon ANATALIA HORDOV† Joined in 2016 Joined in 2017 CARMELA MAYO† SWANE MESSAOUDI† LARISA NUGENT† MYLES THATCHER† BENJI PEARSON† Born in Atlanta, Georgia Named apprentice in 2009 Joined in 2010

HENRY SIDFORD† LONNIE WEEKS Born in Marblehead, Massachusetts Born in Los Alamos, New Mexico Named apprentice in 2011 Joined in 2010 †Received training at San Francisco Ballet School Joined in 2012 Dancer head shots // © Chris Hardy and David Allen

22 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 EXPERIENCE, DEDICATION, RESULTS. Simply the Best!

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Natasha Sheehan // © Erik Tomasson

24 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 ARTISTIC DIRECTOR AND PRINCIPAL CHOREOGRAPHER HELGI TOMASSON CONCEIVED OF AND CREATED THE UNBOUND FESTIVAL, INVITING 12 INTERNATIONAL CHOREOGRAPHERS TO MAKE NEW BALLETS WITH THIS COMPANY’S

UNIQUELY EXPRESSIVE AND DARING DANCERS. HE RECENTLY SPOKE TO FESTIVAL PRESENTING SPONSOR DIANE B. WILSEY ABOUT THIS UNPRECEDENTED CELEBRATION OF CREATIVITY.

CREATING UNBOUND CULTIVATING CHOREOGRAPHERS Whenever I travel, I make it a point to see a range of dance by choreographers from all over. A few years ago, I started to think about how wonderful it would be to bring some of them together, to give audiences a snapshot of what’s happening with the art form. It’s important that a company like ours performs classical works like Swan Lake, and we also need to provide opportunities for the choreographic voices of the next generation to be heard. This is what will keep ballet vital.

PRIORITIZING CREATIVITY I spent my early years in America with The Joffrey Ballet. Robert Joffrey was not only creating his own inventive work, but also presenting modern and contemporary works to ballet audiences, by choreographers like Alvin Ailey. Later, at [New York] City Ballet where I danced for George Balanchine, it was also a hotbed of creativity—there were many great showcases for new work, including the Stravinsky and Tchaikovsky Festivals. The excitement of being exposed to so much creativity and experimentation has never left me, and new work has always been a priority for me in planning the Company programming.

COLLABORATIVE INNOVATION I hope that this festival will show audiences what dance is now and what it can be. We need to take risks in our art form and create space for diverse voices and points of view; part of what SF Ballet is known for is innovation. During the rehearsal period for the festival last summer, many of the choreographers commented on how nice it was to work alongside their peers. In the end, this is an experiment, in the spirit of collaboration—just bringing it to fruition feels like an achievement.

Artistic Director and Principal Choreographer Helgi Tomasson and Festival Presenting Sponsor Diane B. Wilsey

PROGRAMS 07 & 08 | SFBALLET.ORG | 25 PROGRAM A 07Program Notes by Cheryl A.Ossola APR 20—MAY 06 THE COLLECTIVE AGREEMENT / ALONZO KING

BOUND TO© / CHRISTOPHER WHEELDON HURRY UP, WE'RE DREAMING / JUSTIN PECK

FESTIVAL PRESENTING SPONSOR: Diane B. Wilsey

THE COLLECTIVE AGREEMENT Composer: Jason Moran Choreographer: Alonzo King Image Technology by: Jim Campbell Costume Design: Robert Rosenwasser Lighting Design: James F. Ingalls The 2018 world premiere of The Collective Agreement is made possible by Festival Grand Benefactor Sponsor Kate and Bill Duhamel.

BOUND TO© Composer: Keaton Henson Choreographer: Christopher Wheeldon Scenic and Costume Design: Jean-Marc Puissant Lighting Design: James F. Ingalls The 2018 world premiere of Bound To© is made possible by Festival Grand Benefactor Sponsor David and Kelsey Lamond.

HURRY UP, WE’RE DREAMING Composers: Anthony Gonzalez, Yann Gonzalez, Bradley Laner, and Justin Meldal-Johnsen Choreographer: Justin Peck Costume Design: Reid Bartelme and Harriet Jung Lighting Design: James F. Ingalls The 2018 world premiere of Hurry Up, We’re Dreaming is made possible by Festival Grand Benefactor Sponsor Ms. Susan A. Van Wagner.

Festival Grand Benefactor Sponsor Gaia Fund is proud to support SF Ballet Orchestra’s contribution to Unbound: A Festival of New Works. Above: Solomon Golding rehearsing King’s The Collective Agreement // © Erik Tomasson Head shot: Alonzo King // © Franck Thibault

26 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08

THE COLLECTIVE AGREEMENT Program Notes If there’s a movement or a texture the human body can make, Alonzo makes a universal statement,” he says. The classical ideal, ruled by King will give it to his dancers, and this rich vocabulary shines in his reason, says the individual doesn’t matter. In art, how those ideals first work for San Francisco Ballet. The founder and artistic director of are balanced define the work and the artists. “We’re talking about Alonzo King LINES Ballet, King infiltrates his work with his belief that humans, the choices that we make, put into movement form,” creating is an act of service. “You’re serving humanity and you want King says. them to be well fed, so you’re thinking about how to feed the heart and the mind,” he says. “And that means ideas that are soaked in truths.” In King’s perspective, in creating a ballet “we’re all building a house together,” he says. “So let’s look at what we can bring, and let’s look Chat with King for a few minutes and you’ll learn that he is a philosopher at what’s needed.” To do that, it’s essential to experiment. “You want who imports theories and meanings from outside of dance into his to use the imagination in different ways,” he says. He tells dancers creative process. He describes ballets as “thought structures—because to visualize layers of movement qualities—from the feet to the knee, they’re theories, they’re theses, they’re contemplative constructions of the knee to the hip, and so on. “Those levels could be color, they shrunken-into-abstract-form large ideas,” he says. “You’re building a could be temperature, they could be elements—fire, water, air, ether,” work for your fellow human beings—this whole treatise is the he says. “These are devices of thought to get [the dancers] to move communication of ideas.” in certain ways, and respond, and more importantly, to have heightened awareness.” Working with ideals and human interactions in mind, King explores the eternal and the transient, the spiritual and the physical, which, In that state of heightened awareness, “we’re helping each other to combined, translate into works that bear his unique stamp. For Artistic get somewhere that we couldn’t alone,” King says. “And what a way Director and Principal Choreographer Helgi Tomasson, what’s most to be in the world.” striking is how King uses the classical vocabulary “in a very fluid, contemporary way,” he says. And Tomasson appreciates King’s music choices, which he says are always interesting. CREATIVE TEAM King’s choice of music for his new ballet is an original score by jazz ALONZO KING pianist and composer Jason Moran. He and Moran have worked Choreographer together four or five times, King says, and “his music really moves me.” Alonzo King has directed the What he asked of the composer this time was no small feat: “I would San Francisco-based Alonzo King like you to create some music that’s going to be played long after you LINES Ballet since 1982. In addition and I are dead.” to choreographing for his own company, King has created works for Creating, for King, is all about relationships and interactions—and that’s Alvin Ailey American Dance Theater, where the heart comes in, in both music and movement. For example, Les Ballets de Monte-Carlo, Béjart a sound like a whip cracking punctuates the score at times. King calls Ballet Lausanne, Frankfurt Ballet, these sounds “interruptions” and, like any interruption, he had to , Hubbard Street Dance Chicago, The Joffrey decide whether to accept the disruptions without comment or Ballet, and . Among his many collaborators are respond to them. “That’s one of the choices you have when you’re musicians/composers Pharaoh Sanders, Zakir Hussain, Hamza El Din, in a dialogue,” he says, “and it’s fun to make that choice.” Pawel Szymanski, Charles Lloyd, and Jason Moran. King’s training philosophy undergirds the programming at Alonzo King LINES Dance The idea of dialogue—a conversation, a —is visible Center, which includes pre-professional training, and at Dominican everywhere, particularly in the ballet’s beginning, two sequential University of California, a LINES-affiliated BFA program. Named duets of contrasting tones. The first is a struggle, with counterbalances a Master of Choreography by The Kennedy Center in 2005, King and hyperextensions, a vocabulary of pushing and pulling and has received an NEA Choreographer’s Fellowship, a Jacob’s Pillow manipulation. The second conveys an air of serenity but lacks any Creativity Award, the Irvine Fellowship in Dance, a Bessie Award, hint of acquiescence. In rehearsing a long, partnered slide, King tells the Doris Duke Artist Award (for his contributions to contemporary Soloist Jahna Frantziskonis that the move “has to be like a cutting dance), several Isadora Duncan awards, San Francisco Foundation’s machine, a Cuisinart; it can’t be flowery. You’re showing your power. Community Leadership Award, and the Excellence Award from KGO. I don’t want to see a helpless female.” Dance Heritage Coalition named him one of America’s “Irreplaceable Dance Treasures” and San Francisco Museum and Historical Society For King, duality also manifests as two ideals, the romantic and the named him a “San Francisco Treasure.” King has received honorary classical, which he says coexist in any work of art. The romantic ideal doctorates from Dominican University of California and CalArts. expresses the notion that “what I feel is so deep and personal that it The Collective Agreement is his first work for SF Ballet.

PROGRAMS 07 & 08 | 415 865 2000 | 27 JASON MORAN JAMES F. INGALLS Composer Lighting Designer Jason Moran is a pianist, composer, and educator. Born in Houston, he James F. Ingalls designs lighting for dance, theater, opera, and symphony earned a degree from the Manhattan School of Music. Moran has produced concerts. He is a Department of Dramatic Arts graduate of The University ten albums and six film soundtracks, including scores for Ava DuVernay’s of Connecticut and studied at the Yale School of Drama. His designs Selma and 13th. In 2007, Moran was commissioned to create IN MY MIND: for SF Ballet include , Onegin, Sylvia, Nutcracker, Helgi Monk at Town Hall, 1959. Recent releases include The Armory Concert Tomasson’s Silver Ladders, and the 2008 New Works Festival. Ingalls’ (2016), Thanksgiving at the Vanguard (2017), BANGS (2017), and MASS work is seen in the repertories of , Boston Ballet, {Howl, eon} (2017) under his own label Yes Records. Moran is the artistic Dutch National Ballet, Mark Morris Dance Group, The National Ballet of director for Jazz at the Kennedy Center and teaches at the New England Canada, and . Recent designs include Concertiana, Conservatory of Music. In 2010 he was named a MacArthur Fellow. Half Life, and The Beauty of Grey for Paul Taylor’s American Modern Dance and for . His work in opera and theater with director Peter Sellars spans 37 years. Ingalls often JIM CAMPBELL collaborates with The Wooden Floor dancers in Santa Ana, California. Image Technology Jim Campbell is a San Francisco-based light artist, known for his innovative installations. Born in Chicago, Campbell earned degrees in PRODUCTION CREDITS electrical engineering and mathematics from the Massachusetts Institute Music: Original composition by Jason Moran. Costumes constructed by of Technology. His work is in the collections of the Metropolitan Museum Joan Raymond, San Francisco, California. of Art, the Museum of Modern Art, the Smithsonian American Art Museum, The Whitney Museum of American Art, and the San Francisco Museum of Modern Art. As an engineer he holds more than a dozen patents in the field of video image processing. His “Day for Night” will be a permanent LED exhibit at the top of the new Salesforce Tower in San Francisco.

ROBERT ROSENWASSER Costume Designer Robert Rosenwasser, a co-founder of Alonzo King LINES Ballet, shapes the aesthetic and artistic direction of each of the company’s projects, including conceptual design and production. Rosenwasser has also designed for Les Ballets de Monte-Carlo, Béjart Ballet, the Royal Swedish Ballet, The Joffrey Ballet, Frankfurt Ballet, and Alvin Ailey American Dance Theater. Rosenwasser was the art director for Kelsey St. Press for more than two decades, where he collaborated with artists and poets. His work is found at the New York Museum of Modern Art in the Department of Books and Illustrated Prints, at the Whitney Museum, and at the Spencer Collection of the New York Public Library.

Above: Sasha De Sola and Yuan Yuan Tan rehearsing Wheeldon’s Bound To© // © Erik Tomasson Head shot: Christopher Wheeldon // © Angela Sterling

28 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08

BOUND TO © Program Notes The curtain rises on Christopher Wheeldon’s new ballet, Bound To©, up partly informing what I’m doing,” he says. “I saw the movie Detroit to reveal dancers mesmerized by their cellphones. For viewers the the other night, which was so hard to watch, but such a reflection, moment of recognition is instantaneous—we are bound to technology. especially now, of the times we live in and the times we come from and In this ballet, Wheeldon comments on what happens to us when we’re how little we’ve learned.” Enter the temptations and pressures of social tucked behind our screens. “It’s a false sense of safety because you’re media, inundating us with reminders of what Wheeldon calls this “very not actually with someone; the screen is like a shield,” he says. When weird world we live in now.” Choreographing is, for him, a way to put we let the world rush by unnoticed, “we’re not seeing the beauty in his mind and energy into something productive. “One of the joys of life.” On the flip side, he’s addressing what we can achieve when being immersed in making a new work,” he says, “is that you really are we’re together—when we see, acknowledge, and interact without immersed in it.” any screens to shield us.

Wheeldon recognizes that he is as bound to technology as anyone else. Last year, on vacation, he saw kids and their parents hunkered CREATIVE TEAM down with cellphones or iPads instead of talking to each other, and he CHRISTOPHER WHEELDON realized that he wanted to make a ballet about “this lack of connectivity, Choreographer the way that technology is shifting our instincts for community and Christopher Wheeldon is a social interaction,” he says. “I think it’s definitely heading in a bit of a choreographer working in dance, scary direction.” theater, opera, and film. Born in Yeovil, England, he trained at The The phones come and go in Bound To ©, giving the ballet something of Royal Ballet School and danced with a narrative at times; the rest of the time, they’re metaphorical. At first, The Royal Ballet and New York City the phones dominate. Later, right before a pas de deux made on Ballet (NYCB). Wheeldon served as Principal Dancers Yuan Yuan Tan and Carlo Di Lanno, a dancer NYCB’s first-ever artist in residence snatches Tan’s phone from her hand. In the pas de deux, the dancers before being named NYCB’s first resident choreographer in July 2001. reconnect, hardly separating, as if they need to touch each other in He has created ballets for NYCB, The Royal Ballet, American Ballet as many ways as possible. “It’s the idea of literal human connection, Theatre, , Dutch National Ballet, Royal Swedish the need for the warmth of skin and not just the icy-cold blue of a Ballet, the Bolshoi Ballet, and The National Ballet of Canada. In 2007, screen,” Wheeldon says. In contrast, a dance for four women is filled Wheeldon founded Morphoses/The Wheeldon Company and was with embraces, dependence, the love and longing of friendship. “If appointed an associate artist for Sadler’s Wells Theatre in London. there’s going to be a subtitle about this dance,” Wheeldon tells the His Broadway credits include The Sweet Smell of Success and women, “it would be ‘Remember when we used to talk?’” An American in Paris, for which he won a 2015 Tony Award for choreography. He has choreographed for Metropolitan Opera Much of the movement in Bound To © features resistance, groundedness, productions of La Gioconda and Carmen, Brigadoon at City Center or manipulation of the body, all of which represent both the theme and the feature film Center Stage (2000). He has been awarded and a visual aesthetic. The women do not wear pointe shoes. the Martin E. Segal Award from Lincoln Center, the American “There’s something free about the movement of the shoe,” Wheeldon Choreography Award, a Dance Magazine Award, two Benois de la says, “of the toes on pointe, but”—he hesitates for fear of being overly Danse awards, and the 2014 Leonard Massine Prize for choreography. literal—“[Bound To© addresses] a bit of a heavy subject, so the idea of Wheeldon was awarded an OBE in the 2016 New Year’s Honours and weight in movement makes sense. The pointe shoe is something very was made an Honorary Fellow of American Academy of Arts and special and quite inhuman, in a way. That’s one of the things that’s so Sciences. Wheeldon’s work for the 2018 Season is his 10th for appealing and beautiful about ballet—they’re like gods up there. And SF Ballet. I didn’t want this to be about gods; I wanted it to be about people.” And he wants it to be about people who reveal their struggles and their humanity. Rehearsing a solo with dancer Lonnie Weeks, who is hunched KEATON HENSON on the floor, Wheeldon asks for more vulnerability; Weeks pulls his legs Composer in, deepens his posture. Later, Wheeldon wants more risk: “After you Keaton Henson is a musician, writer, and visual artist from London. break and fall forward, can you be a little bit braver about where you He has released four albums: Dear…, Birthdays, Romantic Works, put your foot?” As Weeks whirls through an insanely fast sequence of and Kindly Now. Henson has played sold-out shows in cathedrals, chaînés (a series of turns on two feet), Wheeldon calls, “It should be museums, and concert halls around the world; has exhibited his visual manic—you should be busting out about now.” art in galleries internationally; and has written scores for film, ballet, and concert performances. He has released two books, Gloaming As a choreographer, Wheeldon says he’s in “a constant state of and Idiot Verse. Due to a long struggle with anxiety as well as a private evolution.” His work on Broadway and with contemporary companies is nature, Henson has shied away from interviews, social media, and part of that evolution, as is day-to-day life. “I’m very much a person who touring. His books and albums are a small window into his sometimes tries to live in the moment, so what I’m reading or listening to often ends unsettling, but hopefully engaging, world.

PROGRAMS 07 & 08 | SFBALLET.ORG | 29 JEAN-MARC PUISSANT Scenic and Costume Designer Jean-Marc Puissant is an award-winning set and costume designer spaciousness, as if 110-degree heat had loosened their joints. working internationally in theater, musicals, opera, and dance. He The movement is both grounded and buoyant, the result of that completed the Motley Theatre Design Course in London and studied looseness. And there’s at least one fluid, jazzy moment when you art history at La Sorbonne in Paris. Nominated as Best Scenographer at could mentally swap in Fred Astaire. Moves like these reveal Peck’s the 2016 Benois de la Danse, he has designed for several productions origins as a tap dancer. “I love that style,” he says. “There’s definitely that have won Laurence Olivier, South Bank Show, and National Dance a quickness and a lightness and a meticulous timing to some of the Awards. Previously a dancer, Puissant graduated from Paris Opera movement [in this ballet] that’s inspired by the dancing of Fred Astaire Ballet School before dancing with Birmingham Royal Ballet and and Gene Kelly, and tap and soft shoe. I think that early training in tap . Puissant is a 2018 Fellow at New York University’s dance really influenced my musicality as a choreographer.” Center for Ballet and the Arts. Along with the style, there’s a feeling of unabated joy, of “Hey, I can do that.” In the big ensemble section where the “Fred Astaire” JAMES F. INGALLS movement happens, Principal Dancer Joseph Walsh bounds in, his Lighting Designer movements exuberant, fast, athletic. He joins the men, first one, then See page 28. another, copying them move for move with a smile that tell us this imitation is a game. The moment echoes an earlier section set to “Raconte-moi une histoire,” which includes a child’s voice. Dancers PRODUCTION CREDITS Music: “Elevator Song (Kid Kanevil Remix)” (Faber Music), and “Elevator Song congregate and disperse, seemingly at a playground, displaying both (Ulrich Schnauss Remix)” (Faber Music)—all written and performed by Keaton the abandon of childhood and a pronounced sense of community. Henson. “Arpeggio,” “Healah Dancing,” “Nearly Curtains,” “Urgent,” and “Field” (Faber Music). Courtesy of Keaton Henson. “Epilogue” (Kobalt Music Publishing), written and performed by Keaton Henson. Costumes constructed by Parkinson Community is a recurring theme in Peck’s work, and as large as it Gill Ltd. London, United Kingdom. Scenic construction and painting by looms in this ballet, it’s secondary to what Peck calls “the real heart”— San Francisco Ballet Carpentry and Scenic Departments. the two duets. “I was exploring the range of human relationships, trying to expose certain complexities that we experience when we interact, especially in intimate ways,” he says. Each duet has discrete choreography, but even more important is the body language. In “Wait,” created on Principal Dancers Sarah Van Patten and Luke Ingham, HURRY UP, WE'RE DREAMING “if you look closely, Sarah hardly ever looks at or acknowledges Luke,” Program Notes says Peck. Their movement is dreamy, buoyant, floaty, punctuated by In Hurry Up, We’re Dreaming, choreographer Justin Peck takes us on a sharpness. A simple yet beautiful moment illustrates their disconnect— life-cycle journey of dream states. Peck’s second work for San Francisco she pivots and he circles backward with her, matching her open arms Ballet is set to songs by electronic band M83, that, the choreographer without touching her. In contrast, in “Splendor,” created on Walsh and says, are about “how we dream as children, how we dream as young, Principal Dancer Dores André, “they’re interacting with each other in coming-of-age adults, and how we dream as fully matured adults. a much more symbiotic and balanced way,” Peck says. They circle, fold, I thought that would be an interesting thing to explore through dance.” spring, separate to move in unison, then reunite.

Peck links these songs, from M83’s album Hurry Up, We’re Dreaming, Although Peck is an in-demand choreographer, “the few days leading via a key aspect of the ballet’s structure: walking transitions that he up to the first day, I’m incredibly anxious,” he says. But this time, “once calls the “glue that bonds the world of this ballet together.” Transitions we got into the studio and started working, it just sort of flowed.” Think in general are important to Peck, within choreography as well as of Astaire’s ease, his energized fluidity, and you’ll know exactly what between music movements. In this ballet, geometric shapes materialize Peck means. from movement that seems random or chaotic at first. And when the dancers get where they’re going, they don’t stay long—patterns shift, disappear, reappear. The transitions serve a thematic purpose too— Peck says he wanted to create “a group of spirits or energies” and to CREATIVE TEAM explore “how they influence each other and connect with each other.” JUSTIN PECK Choreographer There’s an expansiveness to this ballet, and it’s visible not only in the Justin Peck is resident choreographer space-eating patterns—“occupy space,” Peck tells the dancers—and and a soloist dancer with New York City the shifting moods, but also in the movement quality. This is due in Ballet (NYCB). Peck joined NYCB in part to the dancers’ footwear. “Sneakers create a different posture 2006 and was promoted to soloist in and approach to dance,” says Peck. “It’s a different type of platform 2013. He began choreographing in for dancers to express themselves. They relax a little bit, and the 2009 at the New York Choreographic foundation is less precarious than the ballet shoe and the pointe Institute. In 2014, after the creation shoe, so I think it allows them to take greater risks.” In this ballet, of Everywhere We Go, Peck was the dancers’ bodies seem fluid, with infinite freedom and appointed resident choreographer of NYCB. He has created more

30 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 Above: SF Ballet rehearsing Peck's Hurry Up, We're Dreaming // © Erik Tomasson Head shot: Justin Peck // © Ryan Pfluger

than 30 ballets, which have been performed by Paris Opera Ballet, have worked with choreographers Justin Peck, Doug Varone, San Francisco Ballet, Miami City Ballet, Pacific Northwest Ballet, Pam Tanowitz, and Matthew Neenan, and designed productions LA Dance Project, Dutch National Ballet, The Joffrey Ballet, for New York City Ballet, American Ballet Theatre, Pacific Northwest Houston Ballet, and Pennsylvania Ballet. In 2014, Peck was the Ballet, Hubbard Street Dance Chicago, and Miami City Ballet. subject of the documentary Ballet 422, which followed him as he created Paz de la Jolla, NYCB’s 422nd original dance. Peck choreographed the 2018 Broadway revival of Carousel and HARRIET JUNG choreographed and consulted on the 20th Century Fox feature Costume Designer film Red Sparrow. His : Four Dance Episodes won the Harriet Jung is a New York-based artist with experience in costume Bessie Award for Outstanding Production in 2015. Hurry Up, design, womenswear design, and illustration. Jung studied visual We’re Dreaming is Peck’s second work created for SF Ballet; arts at a young age and attended Orange County School of the Arts his first was In the Countenance of Kings. in Southern California. She earned a degree in molecular and cell biology from the University of California, Berkeley, before studying fashion design at the Fashion Institute of Technology. Upon graduating, ANTHONY GONZALEZ, YANN GONZALEZ, BRADLEY LANER, she joined the womenswear design team at Jill Stuart and worked as AND JUSTIN MELDAL-JOHNSEN an associate designer. Jung founded Reid & Harriet Design with Reid Composers Bartelme (above) in 2011. Along with Justin Peck, they are featured in M83 is the electronic music project led, since 2001, by Anthony the documentary Ballet 422. Jung and Bartelme have recently started Gonzalez, a vocalist, songwriter, multi-instrumentalist, and record a capsule collection. producer. Gonzalez, who grew up in Antibes, France, released M83’s self-titled first album in 2001 and Dead Cities, Red Seas & Lost Ghosts in 2003 with Nicolas Fromageau. Gonzalez has made an additional five JAMES F. INGALLS studio albums on his own, including the breakthrough double album Lighting Designer Hurry Up, We’re Dreaming. For this album, Gonzalez collaborated with See page 27. filmmaker and writer Yann Gonzalez; bassist, producer, and writer Justin Meldal-Johnsen; and musician and producer Brad Laner. PRODUCTION CREDITS Music: “Where the Boats Go” written by Anthony Gonzalez (EMI Blackwood Music Inc. [BMI]) and Justin Meldal-Johnsen (Reach Music). “Raconte-Moi Une REID BARTELME Histoire” written by Anthony Gonzalez and Yann Gonzalez (EMI Blackwood Costume Designer Music Inc. [BMI]) and Justin Meldal-Johnsen (Reach Music). "Train To Pluton” Reid Bartelme is a New York-based fashion and costume designer written by Anthony Gonzalez (EMI Blackwood Music Inc. [BMI]) and Justin Meldal-Johnsen (Reach Music). “Wait” and "New Map” written by Anthony who specializes in costuming dance. Born in New York, he trained at Gonzalez and Yann Gonzalez (EMI Blackwood Music Inc. [BMI]) and Justin Pacific Northwest Ballet School and danced with BalletMet, Alberta Meldal-Johnsen (Reach Music). “Splendor” written by Anthony Gonzalez (EMI Blackwood Music Inc. [BMI]) and Bradley Laner (Brava Entertainment). “Outro” Ballet, and Shen Wei Dance Arts. Bartelme then enrolled at the Fashion written by Anthony Gonzalez (EMI Blackwood Music Inc. [BMI]) and Justin Institute of Technology, where he met Harriet Jung (below). Bartelme Meldal-Johnsen (Reach Music). All performed by M83. Courtesy of Bank and Jung founded Reid & Harriet Design in 2011. Collaboratively, they Robber Music, LLC o/b/o Mute. Costumes constructed by Colin Davis Jones Studios, New York, New York.

PROGRAMS 07 & 08 | 415 865 2000 | 31 PROGRAM B 08 Program Notes by Cheryl A.Ossola APR 21—MAY 04 OTHERNESS / MYLES THATCHER

SNOWBLIND / CATHY MARSTON ANIMA ANIMUS / DAVID DAWSON

Above: SF Ballet rehearsing Thatcher’s Otherness // © Erik Tomasson Head shot: Myles Thatcher // © Rolex/Reto

FESTIVAL PRESENTING SPONSOR: Diane B. Wilsey

OTHERNESS SNOWBLIND ANIMA ANIMUS Composer: John Adams Composers: Amy Beach, Philip Feeney, Composer: Choreographer: Myles Thatcher Arthur Foote, and Arvo Pärt Choreographer: David Dawson Scenic Design: Alexander V. Nichols Music Arranged by: Philip Feeney Scenic Design: John Otto Costume Design: Sylvie Rood Choreographer: Cathy Marston Costume Design: Yumiko Takeshima Lighting Design: James F. Ingalls Scenic and Costume Design: Patrick Kinmonth Lighting Design: James F. Ingalls Lighting Design: James F. Ingalls The 2018 world premiere of Otherness is made The 2018 world premiere of Anima Animus possible by Festival Grand Benefactor Sponsor Adaptation of Edith Wharton’s is made possible by Festival Grand Benefactor Miles Archer Woodlief. by Cathy Marston and Patrick Kinmonth Sponsor Yurie and Carl Pascarella. The 2018 world premiere of Snowblind is made possible by Festival Grand Benefactor Sponsor Mr. and Mrs. John S. Osterweis. Festival Grand Benefactor Sponsor Gaia Fund is proud to support SF Ballet Orchestra’s contribution to Unbound: A Festival of New Works.

32 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08

OTHERNESS Program Notes In his fourth work for San Francisco Ballet, Myles Thatcher addresses Dancer Vitor Luiz. Thatcher also paired Soloist Max Cauthorn as the PROGRAM B the topic of humanity, exploring it in terms of binaries, or a black-and- Protagonist with Corps de Ballet member Sean Orza, which produced Program Notes by Cheryl A.Ossola white way of thinking. When do labels mask the individual? When do a different dynamic. “Max and Sean got kind of aggressive and APR 21—MAY 04 we retreat behind the comfort of a limited view? By using humor, and by masculinized, and they needed to find a way to soften things,” 08 setting the ballet to John Adams’ energetic and playful Absolute Jest, says Thatcher. “The realization we had with Lauren was that she was OTHERNESS / MYLES THATCHER Thatcher makes a point about rigid societal thinking in a way that’s true trying to erase the womanliness in her movement, which was the

to his temperament—thoughtful, sensitive, and kind. wrong idea.” Strongin does wear pointe shoes, a decision Thatcher SNOWBLIND / CATHY MARSTON made “because of the binaries we have in ballet—women in pointe ANIMA ANIMUS / DAVID DAWSON Riffing on the term “binary,” Thatcher wrote down word pairs to serve shoes and men in slippers. I wanted to be careful not to devalue the as conceptual guides: simple and complex, order and chaos, ignorance female technique by switching everyone to shoes traditionally and knowledge, artificial and authentic. People use labels “because associated with male technique.” that’s how we see danger, and that’s how we survive,” he says. “And there’s something really beautiful about that; it’s how we connect to Aside from the shoes, Thatcher tries to step away from what he calls like-minded people. But at the same time, it can prevent us from seeing “the gendered pressures” of classical ballet. “I’m not saying that’s not the humanity in each other. And it can be a great excuse for evil.” a valid thing,” he says, “but I would love to see men finding power in being soft onstage. I always love a woman who’s grounded and not It takes choreographic maturity to tackle a subject of this complexity, a waif.” Gender is only one of the binaries he’s commenting on, but and 27-year-old Thatcher has it. “You can see there is experience, it’s the most visible and thus stage-worthy. “I think it’s important to there is maturity, a different approach,” says Artistic Director and challenge how we see genders onstage,” he says, “because it’s the Principal Choreographer Helgi Tomasson. Music Director and Principal heart of humanity.” Conductor Martin West echoes Tomasson’s sentiment in terms of Thatcher’s music choice. Absolute Jest “is not an easy piece to conceptualize,” he says. “I really like what Myles was doing with it [in rehearsals].” CREATIVE TEAM MYLES THATCHER Thatcher heard a narrative in Adams’ score, so he invented a Choreographer Protagonist, who challenges the status quo, and two hyper-regimented Myles Thatcher is a dancer with groups, who can’t tolerate any deviation. His characters hide behind San Francisco Ballet and a comfortable definitions of themselves and thus fail to see one another’s choreographer. After training at individuality. “I like the idea that John Adams took these traditional The , Ellison Beethoven themes and showed them to us in a different way; that’s Ballet, and San Francisco Ballet what I [did] with these traditional binaries and gender roles,” Thatcher School, he joined SF Ballet in 2010. says. “I’m taking things that we think we know and twisting them so As a dancer, he has performed they’re just a little bit off. That’s what I experienced listening to that principal or featured roles in many music—it’s like a circus on crack.” classical and contemporary ballets, including Lensky in Onegin, and Paris in the 2015 film of Tomasson’s Romeo & Juliet for Lincoln Listening to the music, Thatcher imagined “this weird pink-and-blue Center at the Movies’ Great American Dance. Thatcher began Above: SF Ballet rehearsing Thatcher’s Otherness // © Erik Tomasson world—Wes Anderson, kind of 1950s-esque, because that’s when we choreographing while a Trainee at SF Ballet School and has created Head shot: Myles Thatcher // © Rolex/Reto really started gendering colors.” The color scheme (skewed from the five works for the School. His In the Passerine’s Clutch premiered at traditional girl-and-boy shades) makes the point about gender binaries, SF Ballet’s 2013 Repertory Season Gala; followed by his Manifesto, FESTIVAL PRESENTING SPONSOR: Diane B. Wilsey while the uniform costumes, with swim-style caps and glasses, obscure which premiered as part of the 2015 Repertory Season; and his Ghost gender. For Thatcher, the two groups represent left brain/right brain in the Machine, which premiered as part of the 2017 Repertory Season. people. “That’s why I wanted both genders in each group, and to cover In 2015, Thatcher also created Passengers for The Joffrey Ballet, OTHERNESS SNOWBLIND ANIMA ANIMUS their hair,” he says. “I wanted to take gender out of it in order to be able Polaris for New York City Ballet, and Body of Your Dreams for the Composer: John Adams Composers: Amy Beach, Philip Feeney, Composer: Ezio Bosso to talk about it.” Each group has a distinctive, quirky movement style, Rolex Arts Weekend in Mexico City. Earlier this year, his Redbird Arthur Foote, and Arvo Pärt Choreographer: Myles Thatcher Choreographer: David Dawson one modeled on a synchronized swimming team and the other on premiered at . Thatcher was selected by Alexei Music Arranged by: Philip Feeney Scenic Design: Alexander V. Nichols Scenic Design: John Otto “1950s swing dancing, rugby-esque circus clowns,” Thatcher says. Ratmansky to participate in the 2014–15 Rolex Mentor & Protégé Costume Design: Sylvie Rood Choreographer: Cathy Marston Costume Design: Yumiko Takeshima Arts Initiative. He has been nominated for Isadora Duncan Awards Lighting Design: James F. Ingalls Scenic and Costume Design: Patrick Kinmonth Lighting Design: James F. Ingalls Thatcher addresses gender, and simultaneously ignores it, by casting for Outstanding Achievement in Choreography for Manifesto and Lighting Design: James F. Ingalls The 2018 world premiere of Otherness is made The 2018 world premiere of Anima Animus both men and women in the role of the Protagonist, a decision he knew Ghost in the Machine. Otherness is his fourth work for SF Ballet. possible by Festival Grand Benefactor Sponsor Adaptation of Edith Wharton’s Ethan Frome is made possible by Festival Grand Benefactor Miles Archer Woodlief. by Cathy Marston and Patrick Kinmonth Sponsor Yurie and Carl Pascarella. would push him beyond his own gender-biased tendencies. He had to devise movement that ignored the small stature of Soloist Lauren The 2018 world premiere of Snowblind is made possible by Festival Grand Benefactor Sponsor Strongin (the Protagonist) and required her to partner Principal Mr. and Mrs. John S. Osterweis. Festival Grand Benefactor Sponsor Gaia Fund is proud to support SF Ballet Orchestra’s contribution to Unbound: A Festival of New Works.

32 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 PROGRAMS 07 & 08 | SFBALLET.ORG | 33

JOHN ADAMS SNOWBLIND Composer Program Notes John Adams is a Pulitzer Prize–winning American composer of music In her first work for San Francisco Ballet, British choreographer and opera, a conductor, and a writer. Born and raised in New England, Cathy Marston zeroes in on the heart of Edith Wharton’s 1911 novella Adams began composing at the age of 10. After earning two degrees Ethan Frome. Her ballet, Snowblind, tells a story of repression, love, from Harvard, Adams became composer in residence of San Francisco desperation, and dependence—the forces underlying Wharton’s Symphony. In addition to orchestral and film scores, Adams has composed tale, a love triangle. After watching rehearsals, Artistic Director and the groundbreaking operas Nixon in China, The Death of Klinghoffer, and Principal Choreographer Helgi Tomasson commented that Marston, Doctor Atomic. He wrote the music for choreographer Lucinda Childs’ a storyteller at her core, “was approaching it from the drama, as you Available Light and Mark Morris’ Joyride (2008); Ashley Page’s Guide to would with an actor, and that is the driving force to make this work Strange Places (2012) was set to Adams’ music. Adams at 70, a yearlong come to life.” international celebration, wrapped up with the world premiere of Girls of the Golden West at San Francisco Opera last November. Acting is central to Marston’s method. In Snowblind, she draws us into the lives of Wharton’s three central characters—Ethan, a farmer trapped by poverty, loneliness, and a dried-up marriage; his somewhat ALEXANDER V. NICHOLS older wife, Zeena, a hypochondriac; and Zeena’s helper, beautiful Scenic Designer young Mattie. The snow that dominates the setting, embodied by Alexander Nichols designs lighting, scenery, costumes, and projections 11 dancers, becomes a metaphor for Ethan and Mattie’s passion and for theater, opera, music, and dance. His designs for San Francisco torment. The two are blinded by love (or infatuation) and winter Ballet include Death of a Moth, Later, Thread, RAkU, Trio, Francesca da whiteout and bound together when they sacrifice themselves, in an Rimini, Swimmer, and Ghost in the Machine. Nichols has been resident attempted suicide, to the brutal environment. For SF Ballet, Marston lighting designer for Pennsylvania Ballet, Hartford Ballet, and American wanted to tell an American story, which is one reason she chose Ethan Repertory Ballet and lighting supervisor for American Ballet Theatre. His Frome. “What I love about it is there’s a lot of passion,” she says. “And I Broadway credits include Hugh Jackman: Back on Broadway, Nice Work liked the elemental feel”—the snow and the wind, which she realized If You Can Get It, and Carrie Fisher’s Wishful Drinking. He has received a could reinforce the story’s powerful emotions. Best of all is the ending, San Francisco Certificate of Honor, four Isadora Duncan Awards, four Bay with its complexities and room for interpretation. Area Critics Circle Awards, and three Dean Goodman Awards. In developing her ballets, Marston begins with emotions. She uses prompts in creating movement for specific characters and situations: SYLVIE ROOD among them “torn” and “hope” for Ethan, “numb” and “bitter” for Costume Designer Zeena, “dreamy” and “hyperventilate” for Mattie, “caress” and Sylvie Rood is a fashion and costume designer from New York City. “stinging” for the snow. At times she sends the dancers off with her Trained as a Balanchine dancer, she was formerly a member of assistant Jenny Tattersall to explore how these words feel in the body. San Francisco Ballet's corps de ballet. She then attended the Fashion This found movement, rooted in emotion, “brings a few non-balletic Institute of Technology, earning a degree in fashion design with specialties steps in, which I think helps pepper [the choreography],” Marston says. in women’s sportswear, swimwear, and lingerie. She has previously “It’s like putting flecks of black on a watercolor.” collaborated with Myles Thatcher for the San Francisco Ballet School 2017 Student Showcase, for which she designed and created costumes In Snowblind, every move is character driven. Alone with his wife, for Panorama. Sylvie has worked for such fashion companies as Thom Ethan (Principal Dancer Ulrik Birkkjaer) shows despair, his arms like Browne, Proenza Schouler, and Pamella Roland. a pendulum marking endless time. “Show us your pain,” Marston says to Principal Dancer Sarah Van Patten as Birkkjaer lifts her, and Van Patten, her body rigid, adds an agonized twist of her head. JAMES F. INGALLS Their bodies show anger and resentment, the pain of their coexistence. Lighting Designer In contrast, dancing a suppression-fueled, erotic pas de deux, See page 28. Birkkjaer and Principal Dancer Mathilde Froustey (Mattie) are desire personified. They dare not kiss, yet they cannot stay apart. Even Mattie’s apron becomes an extension of their desire.

PRODUCTION CREDITS Music: Absolute Jest by John Adams, used by arrangement with Abstraction is key for Marston, in both choreography and design. Hendon Music, Inc., a Boosey & Hawkes company, publisher and “I’m not working with the classical vocabulary, so all these details of copyright owner. Costumes constructed by Sylvie Rood, New York, New York. Scenic construction and painting by movement do get rather drowned by a big dress [in a period piece],” San Francisco Ballet Carpentry and Scenic Departments. she says. “We start at the point where a story is based, and I will keep challenging the designers to reconsider how we can suggest something without spelling it out. I love ambiguity in the right moment; it can be quite beautiful.”

34 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 CREATIVE TEAM CATHY MARSTON Choreographer Ambiguity is exactly what she wants—and achieves—in the ballet’s Cathy Marston is a choreographer, ending, a trio that illustrates the characters’ struggles but also their artistic director, and Clore Cultural interdependence. “There’s warmth; there’s passion” in the way the Leadership Fellow. Born in Newcastle, story ends, Marston says. The book seems like “a horror story; it must she studied in Cambridge and at be living hell for the next 30 years, those two women and Ethan in a The Royal Ballet School before room together with no way out. And that is one reading. What I’m trying launching an international career as to do is look under that surface—how do you live with someone? Well, a choreographer. She has created you have to forgive a little bit, and you have to take their weight, and more than 50 works that have been you have to trust.” performed in 10 countries. As an associate artist at The from 2002 to 2006, Marston created a critically acclaimed Tying story and movement together is the music, a compilation of interpretation of Henrik Ibsen’s Ghosts and a dance-opera, Echo pieces by Amy Beach and Arthur Foote, arranged and augmented by and Narcissus, among other works. As director of Bern Ballett composer Philip Feeney. For the ballet’s ending, Marston chose Arvo from 2007 to 2013, she developed a hybrid signature style, visible Pärt’s Lamentate—delicate, haunting, and forgiving. Ethan, Zeena, and in her history-inspired Witch-hunt and her literature-based Ein Mattie, moving together, inseparable and acquiescing, literally taking Winternachtstraum, Juliet and Romeo, and Wuthering Heights. one another’s weight, are “a tangle that traps and supports at the same She brought new perspectives to old narratives in Three Sisters time,” Marston says. “That’s what I’m trying to get at, and to make and Hamlet (for Ballett im Revier), Jane Eyre and A Tale of Two Cities something that is bittersweet, beautiful, and human.” (for ), Lolita (for Copenhagen Summer Ballet), Blood Wedding (for The ), and Dangerous Liaisons (for Royal Danish Ballet). In addition, Marston has choreographed for The Royal Ballet, Ballett Basel, Danza Contemporanea de , English National Ballet, Ballett des Theater Koblenz, , Ballet Boyz, Graz Oper Ballett, Images of Dance, Ballet Central, The Royal Opera, and Opera Australia, among other companies. Snowblind is her first work for SF Ballet.

PHILIP FEENEY Composer & Music Arranger British composer Philip Feeney, best known for his compositions in dance, has worked with a wide range of companies including , the White Oak Project, Cedar Lake Contemporary Ballet, Milwaukee Ballet, and most especially Northern Ballet, with whom he has created an impressive back catalogue of narrative ballets, in particular Dracula (1996). Feeney has been a frequent collaborator with choreographer Cathy Marston, most notably on Swan Maidens for Ballett des Theater Koblenz as well as Northern Ballet’s critically acclaimed 2016 production of Jane Eyre. He is currently composer in residence for Ballet Central.

ARVO PÄRT Composer Arvo Pärt is a celebrated composer recognized worldwide for his tintinnabuli (Latin for “little bells”), a compositional style influenced by early European music. Born in 1935 in Paide, Estonia, Pärt studied at the Tallinn Music School and the Tallinn State Conservatoire. His unique style emerged in the 1970s with a piano piece (“Für Alina”), followed by masterpieces, “Tabula Rasa” and “Fratres.” In addition to honorary doctorates from 12 institutions, CDs with Pärt’s music have been awarded two Grammy Awards. Among many international awards, Pärt was given a Lifetime Achievement Award for Culture Above: Mathilde Froustey and Ulrik Birkkjaer rehearsing Marston's Snowblind // © Erik Tomasson from the Estonian government. Head shot: Cathy Marston // Isak Hoffmeyer

PROGRAMS 07 & 08 | 415 865 2000 | 35

AMY BEACH ANIMA ANIMUS Composer Program Notes Amy Beach (1867–1944) was an American composer and pianist. Born in David Dawson’s first commission for San Francisco Ballet, Anima New Hampshire, she was a music prodigy as a child but, after marrying, Animus, is, as he puts it, “physically emotional virtuosity combined shifted mainly to composition. In 1892, Boston’s Handel and Haydn Society to make something human.” It is indeed physical, emotional, and Boston Symphony performed her Mass in E-flat, Op. 5, the first work virtuosic, and human—but there’s something transcendent about by a women to be performed by those orchestras. She later became the this combination. It’s most tangible in the section Dawson calls youngest member of the Boston Six (with Arthur Foote, below). After she “Angels,” when the dancers seem to move beyond their mortal selves was widowed in 1910, Beach performed her own music across Europe to into a state of throat-clenching beauty. “Don’t do what you know,” great acclaim. In 1925, she established the Society of American Women he tells his dancers in rehearsal, “do something beyond. Unbound.” Composers and was appointed its first president.

ARTHUR FOOTE Composer Arthur Foote (1853–1937) was a classical composer and a member of the Boston Six, a group of composers who collaborated in the late 19th and early 20th centuries. Born in Salem, Massachusetts, Foote studied at the New England Conservatory of Music and Harvard, where he earned the first Master of Arts degree in music awarded by an American university. A dedicated music teacher, he was also organist and choirmaster of the First Unitarian Church in Boston for 32 years. He received honorary doctorates from Trinity College and Dartmouth College and was elected to the National Institute of Arts and Letters.

PATRICK KINMONTH Above: Maria Kochetkova and Joseph Walsh rehearsing Dawson's Anima Animus // Scenic and Costume Designer © Erik Tomasson. Head shot: David Dawson // © Patrick Wamsgamz Patrick Kinmonth is an artistic polymath. He has worked diversely as an opera director, painter, stage and costume designer, and as a film director, Anima Animus offers a rich mix of contrasts, most meaningful among writer, architectural designer, editor, and exhibition curator. Kinmonth them Carl Jung’s concept of animus (the male aspect of the female studied literature at Oxford before becoming art editor of British Vogue. psyche) and anima (the female aspect of the male psyche). Another His contact with ballet began In 1993, when his paintings were adapted contrast can be found in the music by Italian composer Ezio Bosso. for ’s Tombeaux at Covent Garden. He has since designed “It felt to me like music that looks to the past and the future at the or directed more than 45 opera and ballet productions all over the world, same time, much how I like to make dance,” Dawson says. collaborating extensively with choreographers Fernando Melo, Pontus Lidberg, and Cathy Marston on the form, structure, light, and libretti of In making this ballet, Dawson found himself responding to the the works he designs. polarized present-day world. He understands the world’s opposites— light and dark, humanity and architecture, individual and group— “but between those opposites, there’s so much room where people JAMES F. INGALLS can have choice without judgment,” he says. The spaces between Lighting Designer extremes are a kind of fluidity, which Dawson wanted to explore See page 28. within dance. “My language is the classical art form; I’m trying to do something with that,” he says. Historically, some ballet steps are for women or men only; Dawson shifts this by giving “the opposing energy as a starting point”—in other words, giving animus choreography to a PRODUCTION CREDITS Music: “Dreaming” from Four Sketches Op. 15 by Amy Beach; dancer who seems more anima, and vice versa. At times he gives the Violin Sonata in A minor, Op. 34. II. Scherzo by Amy Beach; same choreography to both genders; for example, Principal Dancer Young Birches, Op. 128, No. 2 by Amy Beach; 2 Piano Pieces, Op. 62, No. 2 Exaltation by Arthur Foote; Lamentate: Stridendo, Fragile e conciliante by Carlo Di Lanno’s solo starts with some of the movement from Principal Arvo Pärt, used by arrangement with European American Music Distributors Dancer Maria Kochetkova’s solo, then goes in a different direction. Company, U.S. and Canadian agent for Universal Edition Vienna, publisher and In the “Angels” part of the second movement, “we go to archetype,” copyright owner; original compositions by Philip Feeney. Costumes constructed by Parkinson Gill Ltd. London, United Kingdom. Scenic construction and Dawson says. “In Jung’s philosophy, the female is the nurturer, the painting by San Francisco Ballet Carpentry and Scenic Departments. mother, the angel, the pure. And the man is the warrior, the strong, the hero. I’m trying to show it all.” Even in these archetypes, the theme of contrasts shows—the two principal women, Kochetkova and Principal Dancer Sofiane Sylve, couldn’t be more different. Watching them do the same steps, you see the potential in the movement— there is never only one way. Then, when the women float high above

36 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 the stage, “that’s when they show their form as angels,” Dawson says. As the first British choreographer to choreograph for , “That’s when they touch the sky and they show who they really are.” he created the Golden Mask Award-winning Reverence. He received the Choo-San Goh Award for The Gentle Chapters and Golden Swan Dawson sends his dancers skyward, but he wants them grounded too. Award nominations for Overture and 00:00. Anima Animus is his first This reads as a paradox—the dancers fly through intricate moves that work for SF Ballet. do indeed make them seem as untethered as angels, and yet they have weight, form, and substance that goes far beyond the light, lifted aesthetic of classical ballet. In rehearsals, Dawson constantly asks the EZIO BOSSO dancers to let their classicism go, asking for movement that is “deeper, Composer squashed, crunched. I want it odd.” Ezio Bosso is a composer for dance, theater, and film; a conductor; and double-bass soloist. Born in Turin, Italy, Bosso learned to read But don’t think for a minute that Anima Animus is odd or ugly. Dawson and play music before the age of four. He has worked extensively compares traditional ballet to Rembrandt or Leonardo da Vinci, “and of in the dance world, including collaborations with Ballet Boyz at the course I’m not that. I don’t want to be that; I want to be [graffiti artist] Southbank Centre and Sadler’s Wells, Rafael Bonachela at the Sydney Banksy. I want to take history and show somebody my view on it.” Dance Company, and Edwaard Liang at Houston Ballet. He is the only To get there, he starts with an internal process—which leads us back classical Italian composer to have been awarded the prestigious to this idea of physically emotional virtuosity. In choreographing, “I feel Italian Music Award. In 2010, Bosso’s composition We Unfold was my way through the movement,” he says. “Because for me, physicality named Best Music/Sound Composition at Australia’s Green Room is driven by emotion. If someone’s angry or sad, it becomes physical— Awards. His works have been produced at ’s studio in it’s expressed through the body.” New York and have been performed on five continents.

In Bosso’s music, Dawson hears both hope and doom. “You are here to tell us something,” he tells the dancers. “You’re saying to the JOHN OTTO public, ‘Be careful. It’s not going to end well if you keep going this way.’” Scenic Designer Though his message acknowledges doom, it keeps reverting to hope. John Otto is a scenic designer working in opera, theater, and dance. He’s interested “in the power of the human being,” he says, a mindset Born in New Zealand, he studied industrial design and graduated from that is, in effect, his spirituality. “I believe in the universe,” he says. the celebrated Motley Design Course in London under Margaret Harris. “We’re energy and carbon and atomic; creation is happening all the He made his design debut with the opera Les Malheurs d’Orphée for time. That’s why I love what we do, because we’re embodying what the Netherlands Opera and has since designed productions across life is all about.” Europe and North America. Otto has collaborated extensively with David Dawson, designing works for Semperoper Ballet Dresden, Royal Ballet of Flanders, Norwegian National Ballet, , CREATIVE TEAM and Dutch National Ballet. DAVID DAWSON Choreographer YUMIKO TAKESHIMA David Dawson is an associate artist Costume Designer at Dutch National Ballet and a prolific Yumiko Takeshima is a costume designer who also started and runs dancemaker. A former resident a successful dancewear company. Born in Asahikawa, Japan, she choreographer at Dutch National trained at at Miharu Ishikawa ballet school and SF Ballet School Ballet, Semperoper Ballet, and Royal before dancing with , Alberta Ballet, Feld Ballet, Ballet of Flanders, Dawson's work is in Dutch National Ballet, and Semperoper Ballett. In early 2002 she the repertories of such companies as launched YUMIKO dancewear. Takeshima has also designed costumes Boston Ballet, English National Ballet, for numerous choreographers, notably David Dawson and William Finnish National Ballet, Mariinsky Ballet, Pacific Northwest Ballet, Forsythe. Her dancewear was featured in the 2010 film Black Swan. Pennsylvania Ballet, The Royal Ballet, , Takeshima was the 2003 and 2005 recipient of the “Best Female Royal Swedish Ballet, Scottish Ballet, Hungarian National Ballet, Dancer” award by Dance Europe magazine and won a gold medal Staatsballett Berlin, and Vienna State Opera Ballet. Among his works at the 1996 International Ballet Competition in Kiev. are full-length productions of Tristan + Isolde, Swan Lake, and Giselle. Other significant works include A Million Kisses to My Skin, Empire Noir, The Human Seasons, The Third Light, Morning Ground, Citizen JAMES F. INGALLS Nowhere, The Disappeared, A Sweet Spell of Oblivion, Faun(e), Lighting Designer The World According to Us, Styx, dancingmadlybackwards, and See page 28. timelapse/(Mnemosyne). For his ballet The Grey Area, Dawson PRODUCTION CREDITS received the Award and was nominated Music: Violin Concerto #1 “Esoconcerto” by Ezio Bosso. Costumes constructed by S-Curve Apparel & Design, San Francisco, California. Scenic for the UK Critics’ Circle National Dance Award. construction and painting by San Francisco Ballet Carpentry and Scenic Departments.

PROGRAMS 07 & 08 | SFBALLET.ORG | 37 BESPOKE / STANTON WELCH PROGRAM C 07Program Notes by Cheryl A.Ossola YOUR FLESH SHALL BE A GREAT POEM / TREY MCINTYRE APR 24—MAY 05 GUERNICA / ANNABELLE LOPEZ OCHOA

Above: Frances Chung rehearsing Welch’s Bespoke // © Erik Tomasson Head shot: Stanton Welch // © Amitava Sarkar

FESTIVAL PRESENTING SPONSOR: Diane B. Wilsey

BESPOKE YOUR FLESH SHALL BE A GREAT POEM GUERNICA Composer: Composer: Chris Garneau Composers: Joe Andrews, Michel Banabila, Choreographer: Stanton Welch Choreographer: Trey McIntyre Tom Halstead, and Charles Valentin-Alkan Costume Design: Costume Design: Reid Bartelme and Harriet Jung Choreographer: Annabelle Lopez Ochoa Lighting Design: James F. Ingalls Lighting Design: James F. Ingalls Scenic Design: Alexander V. Nichols Costume Design: Mark Zappone Lighting Design: James F. Ingalls The 2018 world premiere of Guernica is made Festival Grand Benefactor Sponsor Gaia Fund is proud to support possible by Festival Grand Benefactor Sponsor SF Ballet Orchestra’s contribution to Unbound: A Festival of New Works. Denise Littlefield Sobel.

38 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08

BESPOKE Program Notes In Stanton Welch’s new ballet, Bespoke, expressions of love and pointed foot. An arm motif that arcs in a swimming motion looks gestures of caring abound. This piece, his seventh for San Francisco courtly when done with one arm; with two, it’s contemporary. Welch’s YOUR FLESH SHALL BE A GREAT POEM / TREY MCINTYRE Ballet, is indeed about love, but it’s not about romance. Instead, Welch “hands of a clock” motif came from wanting to “start with this sort of explores the love of dancers for their art form—the technique of ballet, cross shape,” he says, crossing his arms to demonstrate. “That was GUERNICA / ANNABELLE LOPEZ OCHOA the artistry, the rush of live performance. It’s an intense relationship, geometry, because I find that my first reaction to Bach, often, is that and one that’s all too fleeting. it’s very metered and mathematical.” Other embellishments are very human: a dancer runs her brow along her forearm; a hand rebounds That intensity, and the brevity of a dance career, occupy Welch’s off a chest; a man “conducts” his partner’s turns. thoughts quite often these days. “It’s a deep love dancers have with ballet,” says Welch, artistic director of Houston Ballet. “I don’t think Welch calls these dancers “fantastically musical,” a trait he thinks is many professions have that commitment, where you love it and when one of the Company’s strengths. “[Principal Dancer] Frances [Chung] you’re around 30 to 40, it leaves you.” With the realization that his is a great model of that—she could do the same step 50 times and dancing days are behind him, Welch longed to turn back the clock. just change it by accent, and that’s great dancing, and clever. I wanted And so clock imagery, the idea of time passing, persists throughout to make that [musicality] part of the work because I think that’s this ballet. San Francisco.”

Bespoke begins with a solo man moving in silence. Welch hadn’t planned to start that way, but the idea emerged as he worked with Principal Dancer Angelo Greco. “He’s young and he’s fearless,” Welch CREATIVE TEAM says. “He’s exactly what we should be when we first fall in love with STANTON WELCH ballet.” In the first movement, the dancers are “vital and alive,” Welch Choreographer says, with stellar technique—a truth that’s gloriously apparent in the Stanton Welch is an Australian opening moments of silence. choreographer who became artistic director of Houston Ballet, America’s Along with demonstrating brilliant technique, the brief solo introduces fifth-largest classical ballet company, some of the movement motifs that characterize Bespoke. One is the in 2003. Prior to his appointment he “ticking” of straight arms; they snap into place, replicating the movement danced with The Australian Ballet, of a clock’s second hand. One dancer begins this movement, and the where he rose to the rank of leading others join in—no one is spared the marking of time. With the central soloist, performed principal roles, and pas de deux, quiet and poignant, the next stage begins. There’s a worked with choreographers Jiří Kylián, , and Maurice struggle here—the man is moving on and the woman can’t accept it. Béjart. In 1995, Welch was named resident choreographer at The The last movement, dominated by walking (symbolizing togetherness) Australian Ballet. At Houston Ballet, Welch has revitalized the company and rocking motifs, is about aging dancers being left behind as class by bringing in new dancers, commissioning new works, and attracting and ballet companies go on, eternal. a top-flight artistic staff. He has choreographed more than 20 works for Houston Ballet, including the full-length story ballets Giselle (2016), At times the dancers race across the stage and disappear into the Romeo and Juliet (2015), La Bayadère (2010), Marie (2009; inspired wings, a device prompted in part by Welch’s memory of when he first by the life of Marie Antoinette), and Swan Lake (2006). In addition, he came to the United States from Australia and saw how much space the has created works for San Francisco Ballet, American Ballet Theatre, American dancers covered. “It’s thrilling to see,” he says. The other The Australian Ballet, Birmingham Royal Ballet, and Royal Danish Ballet. impetus behind this sprinting is the idea that the ballet takes place in For his contributions to the world of dance, Welch was awarded the a universe we see only part of. “So when [the dancers] shoot across Order of Australia in June 2015. Bespoke is his seventh for SF Ballet; the stage, they’re just doing a pas de deux on another stage.” previously, he created Maninyas, La Cathédrale Engloutie, Taiko, Tu Tu, Falling, and Naked. This is all subtext, however. What’s on the surface are steps that delve deeply into the intricacies of two violin concertos from the early 1700s, the only two by Johann Sebastian Bach that have survived JOHANN SEBASTIAN BACH their own passage of time. For Welch, illuminating the music is part of Composer the joy of choreographing. Bach has many layers, he says, and “the Johann Sebastian Bach (1685–1750) was a German composer deeper you get into it, the richer it is.” Through movement, he points and musician of the Baroque period, celebrated for his musical out melodies, rhythms, accents, undertones. “Great choreographers masterpieces. Born in Eisenach, Germany, Bach learned music from like [Jiří] Kylián and Balanchine . . . always teach me something his large and distinguished family of professional musicians. As a about music,” he says. “You go home and re-listen to it and go, composer, his work was influenced by his family’s Lutheran faith, “Wow, that is how that’s phrased.” with much of his work written to be used in church. Bach worked as a church organist and as a court musician for royalty before becoming It’s phrasing, but it’s also texture, from the staccato “ticking” to an cantor of Leipzig in 1723. The complete list of Bach’s works has 1,127 elastic push through flexed wrists, counterpointed by the flick of a compositions for voice, organ, harpsichord, violin, cello, flute, chamber

PROGRAMS 07 & 08 | 415 865 2000 | 39 music for small ensembles, orchestral music, concertos for violin and he has begun to think that “all time is happening at once,” he says. orchestra, and for keyboard and orchestra. “I always thought that was kind of woo-woo. But I thought of the piece in that way—[my grandfather’s] lifetime is happening all at once.”

HOLLY HYNES Two aspects of his grandfather’s life give the ballet its emotional tone— Costume Designer death and dementia. “There is a picture I paint because he was an Holly Hynes is a costume designer of ballet, opera, and theater. undertaker,” McIntyre says. “There’s a morbidity to living in a funeral She has designed costumes for American Ballet Theatre, the Bolshoi home, in a way that resonates with me. I’m interested in the darkness Ballet, The National Ballet of Canada, The Royal Ballet, Paris Opera Ballet, of experience; I’m interested in the contrast of light and dark.” Images and Ballet, where she was resident costume designer. of death permeate the ballet, in lingering leave-takings, loving touches Hynes served as the director of costumes for New York City Ballet for 21 tinged by sadness. years, and acts as the primary authority for original costume reproduction for the Estate and the George Balanchine Trust. Hynes’ The ballet’s ending, though, comes from a specific memory. McIntyre’s theatrical design credits include two Broadway productions and grandfather had dementia late in life, “and I remember one story of him The Metropolitan Opera’s La Gioconda. Four of her costume renderings walking around the neighborhood in his underwear,” the choreographer are in the permanent collection of the Museum of the City of New York. says. What he liked about the story was “thinking about life as reincarnation—going through life [from childhood], and in our old age returning to a childlike state,” he says. “Dementia underlines that even JAMES F. INGALLS more because you lose the experience that you had. And so I wanted, Lighting Designer especially in the final solo, to have it be my grandfather wandering See page 28. around in his underwear and experiencing life in reverse.”

PRODUCTION CREDITS Music: Violin Concerto in A Minor BWV 1041 and E Major BWV 1042 The ballet’s themes are both supported and belied by the music, songs by Johann Sebastian Bach. Backdrop courtesy of Houston Ballet. by Chris Garneau from his album El Radio. Some of the rhythms are Costumes constructed by Cygnet Studio Inc., New York, New York. bouncy, the melodies catchy; others lament, “We left too soon,” or “It drags me down.” “I wanted something that had some quietness to it,” says McIntyre. “I like how varied and interesting the instrumentation is; it isn’t just a bunch of ballads.” With these songs as a soundtrack, he fills the ballet with buoyancy, playfulness, charm—yet somehow instills YOUR FLESH SHALL BE A GREAT POEM an undertone of loss. “You learn happiness because you have it in Program Notes contrast to the sorrow that you’ve had,” he says. “I like having those Trey McIntyre came to San Francisco Ballet knowing he would elements all in play at once.” make a piece about his grandfather. What he didn’t know was how that idea would play out choreographically—but he always Being a filmmaker has influenced McIntyre’s approach to transitions, trusts his subconscious during the creative process. And when and it has slowed him down. “There are probably more moments of he finished his ballet, Your Flesh Shall Be a Great Poem, he saw quiet in this piece, and stillness, because of making film,” he says. He that it was about loss and remembrance, pain and happiness— doesn’t mean pauses or inaction; the stillness is built into the steps. a mind-meld of sorts between grandson and grandfather in a It’s an approach that accommodates introspection. McIntyre, imagining family from the American Great Plains. looking back at life after death, says “it would be pure empathy for every moment.” That’s how he imagines his grandfather would see this The idea for this ballet, McIntyre’s second for the Company, ballet. “You realize that life is just this big, amazing experience and that began percolating when McIntyre’s father died a few years ago. the pain was just as valuable as the joy.” 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 the grandfather’s life. The solo man is the grandfather, but so are all the men, conceivably. For McIntyre, the eclipse is potent because Above: SF Ballet rehearsing McIntyre’s Your Flesh Shall Be a Great Poem // © Erik Tomasson Head shot: Trey McIntyre // © Kyle Morck 40 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08

CREATIVE TEAM TREY MCINTYRE GUERNICA Choreographer Program Notes Trey McIntyre is a choreographer, When Guernica, Annabelle Lopez Ochoa’s first work for San Francisco filmmaker, writer, and photographer. Ballet, dominates the stage, it’s easy to see that the choreographer Born in Wichita, Kansas, he trained found inspiration in the art of Picasso. In studying the brilliant Cubist at North Carolina School of the Arts painter’s life and work, Lopez Ochoa discovered an umbrella theme and Houston Ballet Academy. McIntyre for a ballet that encompasses bullfighting, painting, flamenco dance, spent 13 years as choreographic and love. associate to Houston Ballet, a position that was created especially for him. In creating Guernica, Colombian-Belgian choreographer Lopez Ochoa He has also created works for American Ballet Theatre, Pennsylvania brings the imagination that led Helgi Tomasson, artistic director and Ballet, Hubbard Street Dance Chicago, New York City Ballet, principal choreographer, to invite her to choreograph for the Unbound , Stuttgart Ballet, and The Washington Ballet, festival. After watching rehearsals, Tomasson was struck by Guernica’s among others. The company he founded, Trey McIntyre Project, subject matter, calling it “fascinating.” Fascinating, yes, and dramatic has been lauded as a new model of an arts organization, developing and fierce, fueled by unromantic sexuality, plus rage, conflict, and new models of community engagement while being highly visible domination. Bullfighting—a symbol of Spain—is a central idea, depicted worldwide through touring. In 2014, he transitioned the company to by the bull horns the four principal dancers wear and the circle the focus on photography and video projects. He continues to choreograph other dancers form around them. The bull symbolizes violence and and teach dance worldwide and is working on two books of power, aggressor and victim—all of which, in a sense, tie into the photography, a Patreon site, and a documentary entitled Gravity Hero. choreographer’s anti-war interpretation of Picasso’s Guernica (1937). McIntyre has received a Choo-San Goh Award for choreography, a That painting, mural-sized and virtually black and white, is one of Lifetime Achievement Award from the National Society of Arts and two Cubist artworks that inspired Lopez Ochoa. More inspiration Letters, and two National Endowment for the Arts grants for came from two of Picasso’s lovers: a portrait of Marie-Thérèse Walter, choreography. He is also a United States Artists Fellow. Your Flesh Marie-Thérèse, Face and Profile (1931), sparked Lopez Ochoa’s Shall Be a Great Poem is his second work for SF Ballet, following imagination, as did photographer Dora Maar, who documented Presentce for the 2017 Opening Night Gala. the creation of Picasso’s Guernica.

When Lopez Ochoa creates a ballet, she’s attempting to answer CHRIS GARNEAU a question. For Guernica, it’s “how do you put Cubism into Composer movement? What does it mean? What does my brain do when it Chris Garneau is an American singer/songwriter. Born in Boston, Garneau sees a Cubist painting of a face that’s dislocated?” she says. She briefly attended Berklee College of Music, then moved to New York to had a second question too: could she create an atmosphere that write and perform his music. His full-length albums Music for Tourists suggests Picasso? By putting the bull, a powerful and erotic symbol, (2006), El Radio (2009), and Winter Games (2013) have been released in into the ballet, she hopes to show us “the spirit of Picasso.” North America, Europe, China, Japan and South Korea—where he has also toured extensively. His music was used as a soundtrack in advertising, In trying to create a Cubist effect, Lopez Ochoa creates transient television, and the film The Skin I Live In. Garneau’s newest album, Yours, tableaux in which she layers the dancers into poses “so that my will be released this year. brain sees four heads and only two legs,” she says. She’s aiming for fragmentation—of the body, of formations. Cubism captivates her because of how the brain sees and re-sees, trying to make sense REID BARTELME of shapes that can be interpreted in multiple ways. To illustrate that, Costume Designer in working on a turning lift, she slows down the lift while keeping the See page 31. speed of the rotation, so that “we see something different with each turn,” she says. Even thinking of the four principal dancers as multiple figures is like Cubism, in a way—four embodiments of a person, HARRIET JUNG sometimes separate, sometimes in pairs or a foursome. Costume Designer See page 31. A rich array of source material fuels Lopez Ochoa’s movement. Flamenco is visible in the arms, held behind the body in a sizzling arc; in the exuberant, staccato stomping of zapateado-like bourrées (tiny steps on pointe); and in the cupped hands with fingers splayed, an PRODUCTION CREDITS Music: “The Leaving Song”, “Dirty Night Clowns”, “Raw and Awake”, “Fireflies”, exaggerated version of flamenco styling. Elsewhere, pointing index “No More Pirates”, “Les Lucioles en Re Mineur”, “Hands on the Radio” and fingers symbolize bullfighting, either the bull’s horns or the arrows that “Black Hawk Waltz” — all written and performed by Chris Garneau, and published by Sony/ATV Songs (BMI) Courtesy of Bank Robber Music o/b/o kill the animals in the end. The energy of violence and attack that Absolutely Kosher. Costumes constructed by Colin Davis Jones Studios, infuses most of the movement is inspired by the painting Guernica, New York, New York. Video Design by Photon Creative Video Agency, Picasso’s expression of rage and sorrow at the 1937 target-practice San Francisco, California. bombing of the Basque town of Guernica, which killed many women

PROGRAMS 07 & 08 | SFBALLET.ORG | 41 42 | SAN FRANCISCO BALLET | & 08 PROGRAMS 07

Above: Dores André rehearsing Lopez Ochoa’s Guernica // © Erik Tomasson. Head shot: Annabelle Lopez Ochoa // © Titus Tiel Groenestege CHARLES-VALENTIN ALKAN Composer and children. “I need violence in your eyes,” Lopez Ochoa tells the Charles-Valentin Alkan (1813–1888) was a composer and virtuoso dancers. “All your frustration, put it in.” In one pas de deux, a gesture pianist. Born in Paris into a Jewish musical family, Alkan was a child that might be an embrace transforms into a strangle; what started as a prodigy and began his training at the Conservatoire de Paris at an tender cupping of a woman’s face in the crook of her partner’s arm unusually early age. He performed in concert halls and salons in Paris, becomes agonized when Lopez Ochoa adds a silent scream. A recurring and befriended Frédéric Chopin, , George Sand, and Victor step in which a woman drops and is caught with legs folded beneath her, Hugo in 1830s Paris. He became increasingly reclusive and shifted his knees open, rocking side to side, captures the emotion of the painting— focus to writing music. The vast majority of his compositions are for the a mother’s grief. keyboard, ranging from the fiendishly difficult and massive works to the simpler, evocative Esquisses (Sketches). Though Guernica’s music—pieces by Raime, Michel Banabila, and Charles-Valentin Alkan—seems tailor made, there’s no story arc. Instead of characters who change over time, Lopez Ochoa gives us JOE ANDREWS AND TOM HALSTEAD ideas and images. “As a choreographer,” she says, “I’m looking at Composers ‘What are we saying with this? What is the intention, energetically, of Joe Andrews and Tom Halstead together are Raime, a London-based that moment?’” Whatever she shows us onstage, it’s part of herself, a electronic music duo formed in 2010. The pair, who have known each physical expression of what she feels when she looks at Picasso’s art. other since their teens, are also avid record collectors inspired by a multitude of styles, including UK bass music, detroit techno, avant-garde, minimalism, and ’80s goth subculture. Andrews and Halstead play live shows and DJ around the world, and are widely praised for their use of CREATIVE TEAM a synthesis of electronic and acoustic elements to create immersive ANNABELLE LOPEZ OCHOA atmospheres. Raime is a leading act of the UK’s Blackest Ever Black label, Choreographer which released their multiple EPs, 12”, and albums Quarter Turns Over A Annabelle Lopez Ochoa is a versatile Living Line and Tooth. choreographer who has created works for more than 50 dance companies worldwide. The Colombian-Belgian ALEXANDER V. NICHOLS Lopez Ochoa trained at Royal Ballet Scenic Designer School of Flanders in Belgium and See page 34. danced for 12 years, including as a soloist at Scapino Ballet, before shifting to choreography. Lopez Ochoa has choreographed for Atlanta MARK ZAPPONE Ballet, , Ballet Nacional de Cuba, , Costume Designer Compañia Nacional de Danza, Dutch National Ballet, English National Mark Zappone has worked with Pacific Northwest Ballet, Ballet du Ballet, Finnish National Ballet, The Joffrey Ballet, New York City Ballet, Nord Roubaix, Les Ballets de Monte-Carlo, Le Cabaret de Monte-Carlo, Pacific Northwest Ballet, Pennsylvania Ballet, Royal Ballet of Flanders, Holiday on Ice , Miss USA, Miss Universe, and the Lido Scottish Ballet, and The Washington Ballet. Among many accolades, and the Moulin Rouge in Paris. Zappone has collaborated with Lucinda her Broken Wings was named one of 2016’s best premieres by Dance Childs, Yuri Possokhov, , Molissa Fenley, Christopher Europe; Sombrerisimo received Cuba’s Villanueva Award in 2015; Wheeldon, Mark Morris, Martin Pakledinaz, Edwaard Liang, Maurice A Streetcar Named Desire won the Best Choreography (Classical) Sendak, Helgi Tomasson, James Kudelka, , and award from Critics’ Circle National Dance Awards in 2012; and Replay Nicolo Fonte. He has designed for New York City Ballet, Pennsylvania won first prize at the Choreographers Competition in Bornem, Ballet, The Joffrey Ballet, Pittsburgh Ballet Theatre, The Perm Ballet, Belgium, in 2002. Guernica is her first work for SF Ballet. , Teatro Zinzanni, and Wear Moi Dancewear of London.

MICHEL BANABILA Composer JAMES F. INGALLS Michel Banabila is a sound artist, composer, and producer. Born in Lighting Designer the Netherlands, Banabila has produced musical scores for films, See page 28. documentaries, theater, and dance around the world. Banabila's work varies from minimal loop-based electronica, fourth world, and PRODUCTION CREDITS neo-classical pieces, to drones, experimental electronica, and tribal Music: “Coax” and “Dead Heat” written by Joe Andrews and Tom Halstead ambient. In addition to acoustic instrumentation, Banabila uses electronics, (published by Music Sales o/b/o Mute). Performed by Raime. Courtesy of Blackest Ever Black Records. “Jump Cuts” written, published, and performed field recordings, and snippets from radio, television, and the internet. by Michel Banabila. Courtesy of Base One Productions. 49 Esquisses, Op. 63 Book 1, No. 1 La Vision in C Major by Charles Valentin-Alkan. Costumes constructed by Mark Zappone et Co., Seattle, Washington. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments.

PROGRAMS 07 & 08 | 415 865 2000 | 43 PROGRAM D APR 26—MAY 05 08 Program Notes by Cheryl A.Ossola THE INFINITE OCEAN / EDWAARD LIANG

LET'S BEGIN AT THE END / DWIGHT RHODEN BJÖRK BALLET / ARTHUR PITA

FESTIVAL PRESENTING SPONSOR: Diane B. Wilsey

THE INFINITE OCEAN Composer: Oliver Davis Choreographer: Edwaard Liang Scenic Design: Alexander V. Nichols Costume Design: Mark Zappone Lighting Design: James F. Ingalls The 2018 world premiere of The Infinite Ocean is made possible by Festival Grand Benefactor Sponsor Denise Littlefield Sobel.

LET'S BEGIN AT THE END Composers: Johann Sebastian Bach, Philip Glass, and Michael Nyman Choreographer: Dwight Rhoden Scenic Design: Alexander V. Nichols Costume Design: Christine Darch Lighting Design: James F. Ingalls

BJÖRK BALLET Composers: Björk Gudmundsdottir and Sjón Choreographer: Arthur Pita Costume Design: Marco Morante Lighting Design: James F. Ingalls The 2018 world premiere by Björk Ballet is made possible by Festival Grand Benefactor Sponsor Kathleen Scutchfield.

Festival Grand Benefactor Sponsor Gaia Fund is proud to support SF Ballet Orchestra’s contribution to Unbound: A Festival of New Works.

Above: Yuan Yuan Tan rehearsing Liang’s The Infinite Ocean // © Erik Tomasson Head shot: Edwaard Liang // © Zaire Kacz

44 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08

THE INFINITE OCEAN Program Notes As a dancer, Edwaard Liang loved being in a company, being part of “a choppy adventure,” shows the angst involved in letting go of life, something bigger than himself, one player in the complex, mentally he says. and physically challenging process of creating art. After a major career in ballet and on Broadway, he turned to choreographing, a role in which In a duet created on Principal Dancers Yuan Yuan Tan and he not only participates in the creative process, he drives it. Today, Vitor Luiz, Liang plays with the idea of soul mates. Their relationship as a longtime choreographer, and artistic director of BalletMet since is tumultuous, “a constant circling and trying to find each other,” he 2013, Liang is known for creating dramatic works, fueled by extreme says. For this couple, especially the woman, accepting that it’s time to emotions. His third work for San Francisco Ballet, The Infinite Ocean, leave bodily life is more difficult than it is for the others. “Obviously hovers in the space between life and death, when spirits must let there’s some unresolved thing,” Liang says. go of whatever ties them to the physical world. It’s a time he calls “the awakening.” One day, during a rehearsal break, Liang turned on the music and started dancing. He began slowly, moving with concentration and Liang’s focus of late, both personally and professionally, has been on obvious emotion. Maybe it was then that he got the first inkling of spirituality and life and death. When Liang was 13, his father died of what he realized when the rough draft of the ballet was done—that it cancer; in recent years, many of his friends have grappled with terminal is “a love letter to my father,” he says. “It’s been so long since his illnesses. The idea behind this ballet began to simmer when he got a death that I didn’t realize how desperate I am to reconnect with him. Facebook message from one of those friends: “I will see you on the That was my journey through this process.” other side of the infinite ocean.”

Before coming to San Francisco, Liang had tackled the life-after-death theme with 13th Heaven at , but he wanted CREATIVE TEAM to work more with the idea of the transition to death. It's how that EDWAARD LIANG transition occurs that captivates him; he wanted to create something Choreographer different from what most people might imagine. For his music, he turned Edwaard Liang is a choreographer to composer Oliver Davis, with whom he'd worked on 13th Heaven. and artistic director of BalletMet in "I like that he writes such a quirky, interesting blend of minimalist music Ohio. Born in Taipei, Taiwan, Liang but with this baroque feel," says Liang. "And he loves to work with trained at Marin Ballet and the strings, and I really wanted a violin concerto [for this ballet]. So it was School of American Ballet. He a natural fit." was a medal winner at the Prix de Lausanne International Ballet To prepare, Liang pondered what he wanted the dancers to think Competition in 1993 and won the about. “These are the same questions I was going to ask myself,” he Mae L. Wien Award that same year. He joined New York City Ballet says. “Who would you like to see [before you go]? And it doesn’t have in 1993 and was promoted to soloist five years later. In 2001, he to be who—what would you like to see? What touches and moves and joined the cast of the Tony Award-winning Broadway show Fosse and inspires you about the unknown? And whatever your belief is, what is it performed in “From Broadway: Fosse” in the PBS television series that makes your heart sing? We want to be heard, we want to be seen, Great Performances: Dance in America. Subsequently, he joined we want to feel connected to something. What does that mean to you?” Netherlands Dance Theater. Liang became artistic director of Ballet The dancers’ responses would inform and individualize their movement. Met in 2013. His choreography is in the repertories of the Bolshoi Ballet, Houston Ballet, The Joffrey Ballet, Mariinsky Ballet, New York City When the ballet opens, the “transitioners” are struggling with these Ballet, Pacific Northwest Ballet, Shanghai Ballet, Singapore Dance questions. “Everybody’s in silhouette,” Liang says, “and they’re walking Theatre, and The Washington Ballet. He has won numerous awards toward the infinite ocean,” toward a light source inspired by a brilliant for his choreography, including the 2006 National Choreographic orb in a 2003 light installation by Olafur Eliasson at the Tate Modern Competition. The Infinite Ocean is his third work for SF Ballet; in London. As they walk, they should reveal themselves as individuals, he also created Symphonic Dances and Finding Light. with their own needs and desires, Liang says. “You want to walk like the pure essence of you, as energy.” OLIVER DAVIS At first, these transitioning souls resist leaving. “There’s a lot of Composer reconnecting with each other, disconnecting,” Liang says. “But they’re Oliver Davis has composed and produced albums, soundtracks, and really not looking at each other, not until a little bit later, when they’re television scores. After graduating from the Royal Academy of Music, reliving their relationships.” In a duet created on Principal Dancers Davis went on to collaborate with choreographer Erico Montes; their Sofiane Sylve and Tiit Helimets, the interaction is “soft, spiritual, joint work was performed by The Royal Ballet. Davis’ work in recent romantic,” Liang says. Another couple is young, facing the loss of years has been centered on a trilogy of albums; Flight, Seasons, promise and potential when their lives are cut short. A men’s dance, and Dance. Music from Flight and Dance has been choreographed

PROGRAMS 07 & 08 | SFBALLET.ORG | 45 to by Ma Cong for , by Edwaard Liang for Singapore Dance refuge—from an area “where they actually have to deal with whatever Theatre, and by Peter Walker for New York City Ballet. is going to happen in life,” he says. The wall, of course, is symbolic, as are the doors—think of them as portals and they become as much mental as physical. When the dancers emerge from upstage—the only ALEXANDER V. NICHOLS entrance possible—the image is one of thoughts and feelings Scenic Designer emerging from the depths of consciousness. See page 34. Rhoden choreographs in a lush style, embellishing ballet steps with movements that convey emotion via both action and expression. MARK ZAPPONE “When you sink your abdominals into the back of your spine [in a Costume Designer contraction], there’s an emotion associated with that,” he says. See page 43. “When you arch your back, there’s another emotion.” He points out that his steps could be done without the movement of the spine he asks for, but they would lose expressiveness. “I’m asking [the dancers] JAMES F. INGALLS to round and then re-stretch and extend; I think that has depth to it.” Lighting Designer He says he loves classical ballet and that’s why he works in this world, See page 28. “but I primarily was a contemporary dancer. I think the melding of those worlds is one of the most beautiful and interesting things. I think it’s where we are.” PRODUCTION CREDITS Music: Original composition by Oliver Davis. Costumes constructed by Mark Zappone et Co., Seattle, Washington. Scenic construction and Rhoden strives for contrasting dynamics, rich movement that swings painting by San Francisco Ballet Carpentry and Scenic Departments. from suspension to sharpness and gives equal time to arcing torsos and straight-edge arms. There are near-embraces, almost-kisses, emotion-dense collapses, impassive walks, traumatized rocking. When the lead man confines and represses his partner, she reacts with intent that’s unmistakable. “It’s like you don’t want to hear what LET'S BEGIN AT THE END the other person has to say,” Rhoden says. “Sometimes that could Program Notes be the most honest thing, and sometimes the truth hurts and doesn’t When choreographer Dwight Rhoden began rehearsals for his push things forward; it actually takes them back. We’re all so imperfect new ballet, he told the dancers that they were going to make an in terms of saying the right thing at the right time. How do you know? abstract piece about “love, and connection and disconnection, How would you know?” discord and harmony.” Early on, though, the ballet developed a subtle narrative around the lead couple and an invading presence. These days, truth is Rhoden’s priority. As a young choreographer he Though there’s no actual story, relationships shift—from giving to cared what people thought of his work; now, he says, “I just try to be confining, communicating to repressing—and the ballet’s intensity truthful. I have to say that getting to San Francisco Ballet at this time— builds to an emotional punch that we never see coming. it’s probably a good thing, because as a young choreographer, a young artist, I was very impetuous. But I like that Helgi asked me at “I knew we were going to explore the ups and downs, the ins and this stage. I feel like I’m in the crux of a new chapter.” outs, the roller-coaster of love,” says Rhoden, whose company, Complexions Contemporary Ballet, is in its 25th season. “I knew we were going to explore dark areas of love, things that divide us and things that bring us together. But I never pretend that I have the best CREATIVE TEAM ideas. I want the dancers to influence and also inhabit the journey. DWIGHT RHODEN And if they can do that, then it’s golden.” Choreographer Dwight Rhoden is founding artistic In this case, his mind was made up—he would make a ballet about director and resident choreographer love, for seven couples. But Soloist Esteban Hernandez kept pulling of Complexions Contemporary Ballet. Rhoden’s focus, and suddenly his ballet was about seven couples plus Born in Dayton, Ohio, he performed one. This solo man could be a real person, or he could be a force, a with Dayton Contemporary Dance representation of the lead couple’s conflict or inability to communicate. Company, Les Ballets Jazz de Montréal The other six couples are refractions of the lead couple, embodying and as a principal dancer with Alvin love’s complexity and differing perspectives. To amp up that idea, Ailey American Dance Theater. He has Rhoden separates the dancers by gender at times. “It’s not so much choreographed for New York City Ballet, Alvin Ailey American Dance about men and women as it is about differences of opinion,” he says. Theater, , BalletMet, , Dance “I’m making the most out of the idea that two people don’t always speak Theatre of Harlem, Dayton Contemporary Dance Company, The Joffrey the same language, even if they have been together forever.” Ballet, Miami City Ballet, Pennsylvania Ballet, Philadanco, Pittsburgh Ballet Theater, The Washington Ballet, Ballet Nice Mediterranean, The set illustrates this divide. Seven doors, when closed, form a wall Rome Opera Ballet, and Tulsa Ballet, among others. Rhoden has that divides the offstage area—what Rhoden calls a place of directed and choreographed for television, film, and theater, including

46 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 Above: Frances Chung and Angelo Greco rehearsing Rhoden’s LET'S BEGIN AT THE END // © Erik Tomasson. Head shot: Dwight Rhoden // © Jae Man Joo

PHILIP GLASS Composer So You Think You Can Dance, Cirque du Soleil, world tours for Prince Philip Glass is one of the most renowned composers of our time. and Lenny Kravitz, and the feature film One Last Dance. Rhoden was Born in Baltimore, he studied at the University of Chicago, the nominated for a Benois de la Danse Award for his Juilliard School, and with Darius Milhaud. Over the past 25 years, for the Mariinsky Ballet. He’s been artist in residence at USC Kaufman, Glass has composed more than twenty operas and ten symphonies, Boston Conservatory, The Juilliard School, New York University, and as well as numerous concertos and film soundtracks. Glass is a rare Southern Methodist University. Honors include a New York Foundation composer who simultaneously garners a wide, multi-generational for the Arts award, induction into the NYFA Hall of Fame, the Choo-San audience across the symphonic, dance, and opera worlds, in addition Goh Award for Choreography, and an Honorary Doctorate from Boston to film and popular music. He has collaborated with Paul Simon and Conservatory. LET’S BEGIN AT THE END is his first work for SF Ballet. Yo-Yo Ma, among others, and regularly gives lectures, workshops and solo keyboard performances globally, while still appearing with the Philip Glass Ensemble. JOHANN SEBASTIAN BACH Composer See page 40.

PROGRAMS 07 & 08 | 415 865 2000 | 47

MICHAEL NYMAN BJÖRK BALLET Composer Program Notes Michael Nyman is a composer of opera, string quartets, film There might be no better combination of artists than choreographer soundtracks, and orchestral works, and a conductor, pianist, author, Arthur Pita and Icelandic music superstar Björk. If you’ve never seen musicologist, photographer, and filmmaker. In 1968, he coined the a ballet rave—and who has?—get ready. Pita delivers that and more term “minimal music” and, in 1976, he formed the Michael Nyman Band. with his second piece for the Company, Björk Ballet, an imaginative His film scores include the Peter Greenway films The Draughtsman’s spectacle that will make you want to jump up and dance. Contract and The Cook, the Thief, His Wife & Her Lover ; as well as Andrew Niccol’s Gattaca and Jane Campion’s The Piano. Operatic Pita never forgot the moment he first heard Björk’s music. During works include The Man Who Mistook His Wife for a Hat, Facing Goya, his training at London Contemporary Dance School, a friend and Man and Boy: Dada. Nyman’s multiscreen installations include introduced him to Björk’s album Debut, “which I loved so much,” Nyman with a Movie Camera, combining extracts from Nyman’s films he says. In thinking about his music for the Unbound festival, he with his soundtrack for Dziga Vertov’s Man with a Movie Camer a. wondered what he could do to make the dancers feel unbound. Nyman was awarded the Commander of the Most Excellent Order “And I thought, ‘The music is going to drive them,’ and immediately of the British Empire in 2008. Björk made sense,” he says. “The music is so theatrical—it’s big, but in a modern way.” And, he reasoned, Artistic Director and Principal Choreographer Helgi Tomasson is Icelandic. “I knew [Björk’s ALEXANDER V. NICHOLS music] would mean something to him,” says Pita. Scenic Designer See page 34. In this ballet’s episodic form, Björk's music provides a framework for fragmented stories, dances that are more thematic than descriptive. A lone fisherman provides a ghost of a narrative and, because Björk’s CHRISTINE DARCH music often references nature, a link to the natural world. Though the Costume Designer set is minimal and abstract, tall grasses create a focal point throughout Christine Darch has designed and constructed costumes for Julia Adam, the ballet. At first they “appear magically,” Pita says; then the dancers , Nicolo Fonte, James Kudelka, Matthew Neenan, David Palmer, rearrange them, emphasizing humans’ relationship to the Earth. Amy Seiwert, Mérian Soto, and Septime Webre, among others. She is the resident designer for Complexions Contemporary Ballet and collaborates Pita sees the fisherman as “the simple human being.” He wears frequently with Dwight Rhoden. Darch is the longtime partner of American two masks, one happy, one sad—an idea that came to Pita because ballet composer Matthew Pierce. Her home and studio are in East of a duality he sees in Björk. “She’s this very playful, naughty fairy, Northport, Long Island. dancing nymph, otherworldly creature, full of light and love,” he says. “And then you’ve got this very deep, mournful, sorrowful, almost tragedy in some of her songs. So it’s like the theater masks.” JAMES F. INGALLS The fisherman’s journey ends with “The Anchor Song,” which Pita says Lighting Designer he read “as a lovely kind of sailor song.” The lyrics—“I live by the ocean See page 28. / and during the night / I dive into it / down to the bottom / underneath all the currents / I drop my anchor / and this is where I’m staying / this is my home”—might be a suicide note or a love letter to one’s native PRODUCTION CREDITS Music: “Love Doesn’t End” from The End of the Affair by Michael Nyman, land; either way, the song conveys a feeling of peace. used by arrangement with G. Schirmer, Inc. publisher and copyright owner. Allemande from Partita No. 2 in D minor for Solo Violin BWV 1004 by Johann Sebastian Bach. Symphony No. 3 for Strings, Part 2 and Etude No. 2 from Etudes for Piano Vol. 1 by Philip Glass used by arrangement with G. Schirmer, Inc. and Dunvagen Music Publishers Inc. publisher and copyright owner. “Time Lapse” from A Zed and Two Noughts by Michael Nyman, used by arrangement with G. Schirmer, Inc. publisher and copyright owner. Costumes constructed by Christine Darch. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments.

Above: SF Ballet rehearsing Pita’s Björk Ballet // © Erik Tomasson Head shot: Arthur Pita // © Vivian Altair 48 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 Woven around the fisherman’s tale are snippets of love stories. and Stepmother/Stepfather for DanceEast, where Pita is currently artist In “Bachelorette,” Björk sings that “she’s ‘a path of cinders’ for the in residence. Björk Ballet is his second work for SF Ballet, following last person to step on,” Pita says. At the other extreme, “All Is Full of Love” season’s Salome. is dangerous, “about falling off things and running and catching and being held. Tempestuous, deep-rooted, immense love,” he says. “Hyperballad” is even more dangerous. Paraphrasing the lyrics, Pita BJÖRK GUDMUNDSDOTTIR says the song is about “imagining ‘what it feels like to jump off a cliff Composer just so that when I wake up I can feel safe with you.’ That’s so extreme.” Björk Gudmundsdottir, known as Björk, is an Icelandic singer, songwriter, actress, record producer, and DJ. She was born in Reykjavik, Iceland The fisherman, the pas de deux couples, the pixie-like creature who where she attended music school. The versatile singer-songwriter first flits through the action—everyone in this ballet is Björk. In trying to garnered attention as the lead singer of the alternative rock band, The capture her essence, Pita goes to extremes with his movement, giving Sugarcubes. Since 1993, when she became a solo artist, Björk has released the dancers flicks, squats, and lunges along with concave shapes, a series of acclaimed albums and has worked on a range of multi-media flung arms, and references to nature. There are cantilevered duets with projects with various prominent artists. In total, 30 of her singles have an underwater quality and a classically based octet, set to “Frosti,” that reached the top 40 on pop charts worldwide. A full-scale retrospective Pita says “should look like a ballerina music box on acid.” And then exhibition dedicated to Björk was held at the Museum of Modern Art in there’s “Hyperballad,” Pita’s ballet rave, with a long jumping sequence 2015. She is the recipient of numerous awards and has been nominated for to a pumping, driving rhythm. “It’s a metaphor—jumping for joy, 14 Grammy Awards, an Academy Award, and two Golden Globe Awards. jumping for love,” he says. As the ensemble moves into a sideways kick step Pita borrowed from Björk herself, one couple moves into a slow, sinuous, stretched pas de deux, and the pixie-like figure darts SJÓN past. It’s an enchanting and exhilarating moment. Composer Sjón is a celebrated Icelandic novelist, poet, and lyricist. He has Ultimately, Björk Ballet is about birth, life, sex, and death, he says. won the Nordic Council Literary Prize for his novel The Blue Fox and When Björk sings—about love or joy, sex or death—“it comes the Icelandic Literary Prize in 2014 for Moonstone—The Boy Who from such a human place,” Pita says. For him, “All Is Full of Love” Never Was. As a librettist and lyricist he has written four opera libretti says everything. “It’s such a beautiful lyric—‘You’ll be given love,’ and frequently worked with singer-songwriter Björk. His latest literary and ‘You’ll be taken care of,’ ” he says. “What a beautiful message! work CoDex 1962 will be published by Farrar, Straus & Giroux in We have to remember that we do have love in the world.” autumn, 2018. Sjón is the president of the Icelandic PEN Centre. His novels have been translated into thirty-five languages.

CREATIVE TEAM MARCO MORANTE ARTHUR PITA Costume Designer Choreographer Marco Morante established his label, Marco Marco, in 2002 and under Arthur Pita is a Portuguese this moniker has designed and created iconic garments for celebrity choreographer born in South Africa artists and performers of all métiers. This is his first project for San who graduated from London Francisco Ballet. He is well known for runway shows that feature his Contemporary Dance School with designs shown on an array of contemporary artists as well as society a master’s degree. He has worked and nightlife personalities. Recent credits include Ringling Bros. and internationally in opera, musicals, Barnum & Bailey's circus, Britney Spears’ Piece of Me, and Todrick Hall's plays, and film, and created Forbidden. Morante earned his BFA in costume design from CalArts. commissions for , Candoco, Bare Bones, Theatre Rites, Ballet Black, and Body Traffic. Recent work includes The Wind for The Royal Ballet, JAMES F. INGALLS Paris Opera Ballet’s 2016 production of Casse-noisette/The Nutcracker, Lighting Designer Run Mary Run with Natalia Osipova and , The Ballad of See page 28. Mack and Ginny for and , and Facada

for Natalia Osipova and Ivan Vasiliev. His work for Men in Motion PRODUCTION CREDITS includes Volver Volver for Edward Watson, and Jingling from the Zills Björk Ballet is a ballet set to a selection of existing songs and composed for Irek Mukhamedov. He created The Metamorphosis, an adaptation pieces by Björk from her album collection. Music: “Overture”, “All Is Full of Love”, “You’ve Been Flirting Again” “Bachelorette”, “Vokuro”, “Frosti”, “The Gate”, of Kafka’s short story that won both South Bank and National Dance “Hyperballad”, and “Anchor Song”— all written exclusively by Björk Gudmundsdottir Awards. Pita’s original productions include BoomShe SheBoom, (Kobalt Music Publishing), except “Bachelorette” which is co-written with Sjón (Universal Music Publishing). Performed by Björk. Courtesy of One Little Indian. Bugger: a fairytale, Camp (The Place); The World’s Greatest Show, Costumes constructed by Marco Morante, Los Angeles, California. Scenic The Little Match Girl (Sadlers Wells, international touring); construction and painting by San Francisco Ballet Carpentry and Scenic Departments.

PROGRAMS 07 & 08 | SFBALLET.ORG | 49 UNBOUND INTERTWINED In addition to 12 distinctly different ballets, the choreographers of Unbound bring a wide range of backgrounds and experience. NEW YORK Trained at So much so that we went looking for connections. Where might they have crossed paths? This infographic doesn’t represent all of these artists’ accomplishments, instead focusing on THE SCHOOL OF AMERICAN BALLET some shared elements of their past and present. NEW YORK CITY BALLET For more complete information about each choreographer, please see their bios in the program pages. Resident Choreographer COMPLEXIONS Performed with CONTEMPORARY BALLET Performed with Artistic Director at Trained Trained at

Performed with JUSTIN PECK Born in Washington, D.C. EDWAARD LIANG Performed with Born in Taiwan ALVIN AILEY AMERICAN DANCE THEATER DWIGHT RHODEN SAN FRANCISCO Born in Ohio Choreographer for Choreographer SAN FRANCISCO BALLET SCHOOL Trained at ALONZO KING SAN FRANCISCO BALLET Performs with Born in Georgia

Trained at

TREY MCINTYRE Born in Kansas

Trained at Trained MYLES THATCHER Born in Georgia Choreographic Associate

Trained at STANTON WELCH Born in Australia HOUSTON HOUSTON BALLET ACADEMY

Performed with HOUSTON BALLET

Artistic Director

50 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 CATHY MARSTON Born in The United Kingdom CHRISTOPHER WHEELDON Born in The United Kingdom

Performed with Governor Trained at Trained

LONDON Associate Artist Choreographer for Choreographer

THE ROYAL BALLET Artistic Associate BALLET BLACK

JUSTIN PECK THE ROYAL BALLET SCHOOL Trained at Born in Washington, D.C.

THE PLACE Trained at Trained

DAVID DAWSON Born in The United Kingdom

Artistic Associate

Trained at

DUTCH NATIONAL BALLET

AMSTERDAM Choreographer for Choreographer Choreographer for Choreographer Choreographer for Choreographer

ANNABELLE LOPEZ OCHOA Born in Belgium ARTHUR PITA

Born in South Africa Head shots: For photo credits, please see choreographer's bios in the program pages.

PROGRAMS 07 & 08 | 415 865 2000 | 51 SAN FRANCISCO BALLET ORCHESTRA

MUSIC DIRECTOR & PRINCIPAL CONDUCTOR PRINCIPAL GUEST CONDUCTORS MARTIN WEST MING LUKE DAVID BRISKIN

VIOLIN I FLUTE TRUMPET Cordula Merks, Concertmaster Barbara Chaffe, Principal Adam Luftman, Principal Heeguen Song, Associate Concertmaster Stephanie McNab* Joseph Brown, Principal Beni Shinohara, Assistant Concertmaster Julie McKenzie John Pearson* Heidi Wilcox Mia Kim Robin Hansen PICCOLO TROMBONE Brian Lee Julie McKenzie Jeffrey Budin, Principal Mariya Borozina Paul Radke** Karen Shinozaki* OBOE Julie Kim* Laura Griffiths, Principal BASS TROMBONE

James Moore III* Scott Thornton, Principal VIOLIN II Marilyn Coyne Craig Reiss, Principal TUBA Jeanelle Meyer, Associate Principal ENGLISH HORN Peter Wahrhaftig, Principal Wenyi Shih, Assistant Principal** Marilyn Coyne Marianne Wagner

Clifton Foster TIMPANI Rebecca Jackson** CLARINET James Gott, Principal Emma Votapek* Natalie Parker, Principal George Hayes* Steve Sanchez* Andrew Sandwick PERCUSSION ALONZO KING

David Rosenthal, Principal VIOLA Todd Manley* Yi Zhou, Principal BASS CLARINET Peter Thielen* Anna Kruger, Associate Principal Andrew Sandwick Joy Fellows, Assistant Principal Caroline Lee HARP Paul Ehrlich BASSOON Annabelle Taubl, Principal Elizabeth Prior* Rufus Olivier, Principal Shawn Jones* Patrick Johnson-Whitty KEYBOARDS CELLO Mungunchimeg Buriad * Eric Sung, Principal Natal’ya Feygina * Jonah Kim, Associate Principal CONTRABASSOON Brenda Vahur * Victor Fierro, Assistant Principal Patrick Johnson-Whitty Thalia Moore Nora Pirquet ORCHESTRA PERSONNEL MANAGER & Ruth Lane* SAXOPHONES MUSIC ADMINISTRATOR David Henderson* Tracy Davis Dale Wolford* CONTRABASS Kevin Stewart* Steve D’Amico, Principal MUSIC LIBRARIAN Shinji Eshima, Associate Principal Matthew Naughtin Jonathan Lancelle, Assistant Principal HORN Mark Drury Kevin Rivard, Principal Keith Green Brian McCarty, Associate Principal * Extra player William Klingelhoffer ** Season Substitute

52 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 35TH ANNIVERSARY SEASON 2017 - 2018

The Propelled Heart with Lisa Fisher Yerba Buena Center for the Arts Nov 15 - 19, 2017

RJ Muna | LINES Ballet SFO Airport Exhibition Feb 13 - May 3, 2018

The Propelled Heart with Lisa Fisher Théâtre de Chaillot, Paris March 9 - 16, 2018

Aspen Institute Morris Series: Leadership and Innovation McEvoy Foundation March 22, 2018

World Premiere with Zakir Hussain Yerba Buena Center for the Arts April 6 - 15, 2018

National tour Boston, Minneapolis, Dallas, New York, Vail April 20 - Aug 1, 2018

Unbound Festival San Francisco Ballet April 20 - May 3, 2018

Biophony, Coal + Ice Festival Fort Mason Center for Arts & Culture Sept 13, 2018

Through-LINES: The Art Of Ballet @836M Gallery 836M San Francisco Sept 20, 2018 - Jan 17, 2019

World Premiere with Kronos Quartet Yerba Buena Center for the Arts Oct 5 - 14, 2018

Season Sponsor

ALONZO KING LINES BALLET www.linesballet.org

Photo: RJ Muna Dancer: Michael Montgomery

EAP full-page template.indd 1 3/12/18 1:38 PM SAN FRANCISCO BALLET STAFF

HELGI TOMASSON ARTISTIC DIRECTOR & MUSIC MARKETING & COMMUNICATIONS PRINCIPAL CHOREOGRAPHER MARTIN WEST, Music Director JULIE BEGLEY, Chief Marketing Officer & Principal Conductor Kyra Jablonsky, Associate Director, GLENN MCCOY Mungunchimeg Buriad, Communications EXECUTIVE DIRECTOR Natal'ya Feygina, Nina Pinzarrone, Mary Goto, Associate Director, Company Pianists Analytics & Relationship Marketing

Orchestra Personnel Tracy Davis, Valerie Megas, Senior Manager, Manager & Music Administrator ARTISTIC Retail Operations Music Librarian Ricardo Bustamante, Felipe Diaz, Matthew Naughtin, Monica Cheng, Senior Manager, Ballet Masters & Assistants to the Graphic Design

Artistic Director Caitlin Sims, Senior Manager,

Content & Editorial Betsy Erickson, Anita Paciotti, Katita Waldo, ADMINISTRATION Ballet Masters Jane Ann Chien, Web & Digital DARIN CONLEY-BUCHSIEB, Platforms Manager Yuri Possokhov, Choreographer in Residence Human Resources Director Marketing Abby Masters, Artistic Administrator Laura Simpson, Board Relations Manager Jillian Vasquez, & Promotions Manager Alan Takata-Villareal, Logistics Manager Rocio Salazar, Human Resources Generalist Nannette Mickle, Group Sales Amelia Bear, Assistant to the Artistic Staff Katharine Chambers, Assistant to Representative Senior Executive Staff Lea Lamprecht, Social Media Producer Emily Munoz, Relationship Marketing Coordinator OPERATIONS Rena Nishijima, Communications Associate DEBRA BERNARD, General Manager DEVELOPMENT Rachel Bauer, Media Asset Administrator Juliette LeBlanc, Company Manager Elizabeth Lani, Associate Director & Francis Zhou, Graphic Designer Amy Hand, Operations Manager Interim Department Manager Amy Drew, Senior Officer, Corporate Giving Sarah Warner, Senior Officer, Major Gifts

Kera Jewett, Senior Officer, Major Gifts TICKET SERVICES PRODUCTION Associate Director, Ingrid Roman, Senior Manager, Special Events BETSY LINDSEY, CHRISTOPHER DENNIS, Production Director Ticket & Patron Services Ari Lipsky, Senior Manager, Individual Gifts Daniel Thomas, Technical Manager Jennifer Peterian, Box Office Manager/ Laurel Skehen, Senior Manager, Membership Kate Share, Manager of Wardrobe, Wig, Treasurer Make-up & Costume Construction Jim Sohm, Research Manager Mark Holleman, Sales & Service Supervisor Jim French, Lighting Supervisor Elizabeth Luu, Grants Manager Elena Ratto, Patron Services Specialist Jane Green, Production Stage Manager Catherine Davis, Donor Relations Officer David Clark, Box Office Supervisor Kathryn Orr, Stage Manager Colette Whitney, Corporate Giving Officer Arielle Hazan, Jericho Lindsey, Patricia Pearson, Nixon Bracisco, Master Carpenter Ashley Rits, Development Database Michelle Schafer, Cherryl Usi, Coordinator Ticket Services Associates Kelly Corter Kelly, Master Electrician Emma Lundberg, Special Events Coordinator Ticket Services Assistant Kenneth M. Ryan, Master of Properties Claudia Schwartz, Joshua Schaffer, Membership Coordinator Kevin Kirby, Audio Engineer Haley O’Neil, Individual Gifts Coordinator John O'Donnell, Flyman Jamie Bergos, Development Associate Patti Fitzpatrick, Head of Women’s Wardrobe FINANCE Juanita Lam, Development Associate Paige Howie, Head of Men's Wardrobe KEVIN MOHR, Chief Financial Officer Meg Monks, Special Events Associate Richard Battle, Head of Hair & Make-up Kristin Klingvall, Controller Megan Anderson, Corporate Giving Associate Thomas Richards, Assistant Head of Valerie Ruban, Accounting Supervisor Hair & Make-up Evangelina Maravilla, Payroll Manager Matthew Czarnecki, Senior Accountant

Jonathan Creecy, Leanna Wright, Staff Accountants Jennifer Kovacevich, Lean Ops Project 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.

54 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 FACILITIES Yuko Katsumi Education & Training Administration NATHAN BRITO, Facilities Manager Tina LeBlanc ANDREA YANNONE, Director of Education Adrian Rodriguez, Facilities Coordinator Jeffrey Lyons & Training Todd Martin, Stanley Wong, Rubén Martín Cintas, Jennie Scholick, PhD, Associate Director Facilities Assistants Lee R. Crews Endowed Faculty Member of Audience Engagement Tamara de la Cruz, Nicole Drysdale, Ilona McHugh Christina Gray Rutter, School Assistant Administrative Director Yana Vincent, Receptionists Pascal Molat, Trainee Program Assistant Jasmine Yep Huynh, Manager of Youth Jaime Diaz, Ballet and Strengthening Programs and Teacher Support Ballet, Contemporary Dance Dana Genshaft, Jennifer Bakane, School Operations INFORMATION TECHNOLOGY & Conditioning Manager Adult Ballet MURRAY BOGNOVITZ, Director of Cecelia Beam, Tai Vogel, School Registrar and Information Technology Brian Fisher, Contemporary Dance Summer Session Coordinator Stacy Desimini, IT Operations Leonid Shagalov, Character Dance Karen Johnson, School Programs & Project Manager Henry Berg, Conditioning Coordinator Karen Irvin, Application Administrator Jamie Narushchen, Daniel Sullivan, Miles Petty, Administrative Assistant, & Help Desk Coordinator Music Education & Training Josh Marshall, Web Administrator Lisa Giannone, Mateo Santos Perry, School Assistant Jiapeng Jiang, IT Specialist Conditioning Class Consultant Cecelia Beam, Audience Engagement

Sofiane Sylve, Principal Guest Faculty Coordinator

Naima McQueen, Residence Manager

FRONT OF HOUSE Matt McCourt, Will Reese, School Pianists Resident Assistants JAMYE DIVILA, House Manager Jamie Narushchen, School Pianist Supervisor, Marialice Dockus, Head Usher Leslie Donohue, Chris Fitzsimons, Lee R. Crews Endowed Pianist School Physical Therapists Rodney Anderson, Danica Burt, Anthony Cantello, Ella Belilovskaya, Ritsuko Micky Kubo, Laurent Dela Cruz, Martin Dias, Starsky Dias, Daniel Sullivan, Galina Umanskaya, Jonathan Drogin, Chip Heath, Elaine Kawasaki, Billy Wolfe, Julia Ganina, Sky Tan Eileen Keremitsis, Ryszard Koprowski, Bill Laschuk, COMPANY PHYSICIANS Sharon Lee, Lenore Long, Doug Luyendyk, Evelyn Martinez, Leontyne Mbele-Mbong, Richard Gibbs, M.D. & Rowan Paul, M.D., Dance in Schools & Communities Supervising Physicians Sam Mesinger, Dale Nedelco, Wayne Noel, Teaching Artists Beth Norris, Jan Padover, Julie Peck, Michael Leslie, PT Alisa Clayton Robert Remple, Bill Repp, Rilla Reynolds, Director, Dancer Wellness Center CJ Ru, Robyn Sandberg, Kelly Smith, Sammay Dizon Kristin Wingfield, M.D., Stephanie Somersille, Theresa Sun, Tom Taffel, Cynthia Pepper Primary Care Sports Medicine , Steve Weiss, Elaine Yee, Phoenicia Pettyjohn Frederic Bost, M.D., On-site Orthopedist Ushers Jessica Recinos Peter Callander, M.D., Joti Singh Keith Donatto, M.D., Jon Dickinson, M.D., Orthopedic Advisors to the Company Genoa Sperske EDUCATION & TRAINING Karl Schmetz, Consulting Physical Therapist Maura Whelehan San Francisco Ballet School Active Care, Lisa Giannone, Director, Off-site Physical Therapy HELGI TOMASSON, Artistic Director Dance in Schools & Communities & Conditioning Classes PATRICK ARMAND, Director Accompanists Leonard Stein, D.C., Chiropractic Care

School Faculty David Frazier Henry Berg, Rehabilitation Class Instructor Patrick Armand Omar Ledezma Kelsey Anderson, Wellness Program Manager Kristi DeCaminada Zeke Nealy Karen Gabay Wade Peterson Jordan Hammond-Tilton Bongo Sidibe

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.

PROGRAMS 07 & 08 | SFBALLET.ORG | 55 SPONSOR AND DONOR NEWS The San Francisco Ballet Board of Trustees and Artistic Director and Principal Choreographer Helgi Tomasson NEW GREAT BENEFACTORS thank the following for their support of Unbound: A Festival of New Works: To commission adventurous new work, stage the classics, and develop the next generation of dancers, we rely on the generous support of donors. In 2005, we created the honor of Great Benefactor to recognize dedicated donors whose cumulative giving to SF Ballet is $1 million FESTIVAL PRESENTING SPONSOR or more. We are pleased to recognize Kate and Bill Duhamel, and James C. Hormel and Michael P. Nguyen as Great Benefactors. Diane B. Wilsey

KATE AND BILL DUHAMEL JAMES C. HORMEL AND MICHAEL P. NGUYEN FESTIVAL GRAND BENEFACTOR SPONSORS Kate and Bill Duhamel support the ballet both Appointed U.S. Ambassador to Luxembourg by President Bill Clinton, Kate and Bill Duhamel Yurie and Carl Pascarella David H. Spencer as donors and artistic collaborators. In 2015, James Catherwood Hormel was the first openly gay United States Gaia Fund Kathleen Scutchfield Ms. Susan A. Van Wagner Kate and Bill were the Lead Sponsor of Yuri ambassador. He was a member of the 1995 U.N. Commission on Human David and Kelsey Lamond Denise Littlefield Sobel Miles Archer Woodlief Possokhov’s world premiere, Swimmer, for Rights and the 1996 U.S. delegation to the U.N. General Assembly. In 1981, Mr. and Mrs. John S. Osterweis which Kate created unique video designs. he co-founded the Human Rights Campaign, and he funded the creation FESTIVAL LEAD SPONSORS Kate, an SF Ballet Board member since 2012, of the James C. Hormel Gay & Lesbian Center at the San Francisco Bently Foundation, in honor of Ms. Laura Clifford* has been a subscriber since 2010. Public Library in 1995. Glenn McCoy’s 30 years of leadership Randee Seiger at San Francisco Ballet Judy C. Swanson As a producer and director of both narrative and documentary films, Dedicated to civic and social Kate is currently focusing her work on dance and movement for the justice, and an animal and FESTIVAL MAJOR SPONSORS screen through her independent film production company, Fountain 3 environmental welfare advocate, Sue and John Diekman Tom Horn and the Bob Ross Foundation Films. Her dance films have shown in festivals around the world. She Michael Peter Nguyen works Teri and Andy Goodman Koret Foundation recently directed two short dance films for our Unbound On Screen. alongside Hormel on their Kate collaborated with Unbound choreographers by Annabelle Lopez charitable giving foundation, and FESTIVAL SPONSORS CIRCLE Ochoa and Alonzo King to create films based on their ballets has served on the San Francisco Alison and Michael Mauzé Jennifer and Steven Walske Guernica and The Collective Agreement. (To watch the films, visit: Public Library Commission for two National Endowment for the Arts sfballet.org/unbound). terms. A musician, choreographer, writer, and trustee of the American Conservatory Theater, Nguyen is FESTIVAL PATRONS CIRCLE “I’m delighted to support an organization like San Francisco Ballet that profoundly passionate about the arts and humanities. Bank of America honors the integrity, discipline, and beauty of dance so powerfully,” she J. Riccardo Benavides Event Styling, Inc. Chaomei Chen and Dr. Yu Wu says. “It’s such an exciting time at SF Ballet, and I couldn’t be more Left to right: Trustee and Great Benefactor Kate Duhamel // © Drew Altizer Photography thrilled to be a part of it.” Great Benefactors James C. Hormel and Michael P. Nguyen Beth and Brian Grossman Elaine Kartalis* Nancy A. Kukacka* SF BALLET’S DIVERSITY AND INCLUSION INITIATIVES Brenda and Alexander Leff San Francisco Ballet is grateful to invest in diversity and inclusion programs with the support of Bank of America and Visa. Cynthia Bowman, Chief Marie and Barry Lipman Diversity Officer at Bank of America, participated in a roundtable discussion with SF Ballet and other diversity and inclusion thought leaders. “Diversity Ms. Tiffany Lockridge* and inclusion are central to Bank of America’s values,” says Bowman. “We’re excited to support SF Ballet’s initiative, because diversity makes us all Michael and Mary Schuh stronger.” SF Ballet also welcomed Jolen Anderson, Chief Diversity Officer at Visa, to the roundtable discussion. “At Visa, we believe real inclusion Visa invites everyone to feel comfortable and confident that they belong, and that means fostering a workplace where individuals can proudly display their TRAILBLAZERS differences. We’re happy to partner with SF Ballet to ensure that every voice matters in a conversation.” SF Ballet will continue to seek ways to celebrate Mary Jo and Dick Kovacevich and respect differences. This work is not a finite goal, but a journey that we stand committed to—both as an organization and as individuals. Mark and Christa Lopez Amy and John Palmer ENDURING SUPPORT FROM THE WILLIAM AND KORET FOUNDATION SUPPORTS INNOVATION AND Anne and Michelle Shonk FLORA HEWLETT FOUNDATION EDUCATION E. L. Wiegand Foundation

The William and Flora Hewlett Foundation has supported SF Ballet Koret Foundation, a dedicated supporter for more than three decades, INNOVATORS for nearly four decades, helping to maintain and improve diverse has been vital to ensuring the continued growth and excellence of SF Amelia Kaymen and Eric Yopes artistic and educational programming. We are very grateful for the Ballet and SF Ballet School. We are grateful for the Foundation’s continued Helgi and Marlene Tomasson foundation’s longtime support. commitment as a Major Sponsor of Unbound: A Festival of New Works and as a generous supporter of SF Ballet School. Koret’s sponsorship of the CREATORS Established in 1966 by William R. Hewlett and his wife Flora Lamson Unbound festival plays an important role in helping us present 12 world Bart and Ann Kathryn Baer Katie Colendich Tanya Marietta Powell Hewlett, along with their eldest son, Walter Hewlett, the foundation premieres by 12 international choreographers, while their support of SF is now one of the largest philanthropic institutions in the country. Ballet School allows us to train the next generation of dancers and inspire Kathy Huber and Larry Binkley Mr. Richard J. Thalheimer *Sponsors Dinner Host Committee The foundation provides roughly $400 million in grants each year that future audiences through our education and outreach programs. Wanda Kownacki Jody Thelander and Igal Sarfaty Donor list as of March 26, 2018 support efforts to advance education for all, preserve the environment, improve lives and livelihoods in developing countries, promote the Established in 1979, the San Francisco-based Koret Foundation is one of health and economic well-being of women, and more. The Hewlett the major philanthropic foundations in the Bay Area and has a dual focus: Foundation’s Performing Arts Program provides grants that support strengthening the Jewish community and supporting Bay Area anchor vibrant performing arts in the Bay Area, giving California students institutions that promote a vibrant and distinctive community. Since its access to arts education and encouraging a thriving arts ecosystem. founding, Koret Foundation has invested nearly $500 million to support education, the arts, and civic institutions.

56 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 The San Francisco Ballet Board of Trustees and Artistic Director and Principal Choreographer Helgi Tomasson thank the following for their support of Unbound: A Festival of New Works:

FESTIVAL PRESENTING SPONSOR Diane B. Wilsey

FESTIVAL GRAND BENEFACTOR SPONSORS Kate and Bill Duhamel Yurie and Carl Pascarella David H. Spencer Gaia Fund Kathleen Scutchfield Ms. Susan A. Van Wagner David and Kelsey Lamond Denise Littlefield Sobel Miles Archer Woodlief Mr. and Mrs. John S. Osterweis

FESTIVAL LEAD SPONSORS Bently Foundation, in honor of Ms. Laura Clifford* Glenn McCoy’s 30 years of leadership Randee Seiger at San Francisco Ballet Judy C. Swanson

FESTIVAL MAJOR SPONSORS Sue and John Diekman Tom Horn and the Bob Ross Foundation Teri and Andy Goodman Koret Foundation

FESTIVAL SPONSORS CIRCLE Alison and Michael Mauzé Jennifer and Steven Walske National Endowment for the Arts

FESTIVAL PATRONS CIRCLE Bank of America J. Riccardo Benavides Event Styling, Inc. Chaomei Chen and Dr. Yu Wu Beth and Brian Grossman Elaine Kartalis* Nancy A. Kukacka* Brenda and Alexander Leff Marie and Barry Lipman Ms. Tiffany Lockridge* Michael and Mary Schuh Visa

TRAILBLAZERS Mary Jo and Dick Kovacevich Mark and Christa Lopez Amy and John Palmer Anne and Michelle Shonk E. L. Wiegand Foundation

INNOVATORS Amelia Kaymen and Eric Yopes Helgi and Marlene Tomasson

CREATORS Bart and Ann Kathryn Baer Katie Colendich Tanya Marietta Powell

Kathy Huber and Larry Binkley Mr. Richard J. Thalheimer *Sponsors Dinner Host Committee Wanda Kownacki Jody Thelander and Igal Sarfaty Donor list as of March 26, 2018 2017–18 SEASON SPONSORS

2017 NUTCRACKER LEAD SPONSORS MAJOR SPONSORS PROGRAM 04 The Herbert Family Kate and Bill Duhamel Frankenstein The Swanson Foundation Jennifer and Steven Walske LEAD SPONSORS SPONSORS SPONSORS Fang and Gary Bridge Yurie and Carl Pascarella Kathleen Grant, M.D. and Elaine Kartalis Kathleen Scutchfield Thomas Jackson, M.D. Mary Jo and Dick Kovacevich The Smelick Family Kacie and Michael Renc MAJOR SPONSORS Larissa Roesch and Calder Roesch OFFICIAL AIRLINE OF NUTCRACKER Karen S. Bergman United Airlines O.J. and Gary Shansby Sonia H. Evers

Rodeo: Four Dance Episodes 2018 REPERTORY SEASON LEAD SPONSORS PROGRAM 01 PROGRAM 05 Teri and Andy Goodman Opus 19/The Dreamer The Sleeping Beauty Randee Seiger LEAD SPONSORS Judy C. Swanson LEAD SPONSOR Ms. Laura Clifford Mr. Richard C. Barker MAJOR SPONSORS Alison and Michael Mauzé Hannah and Kevin Comolli SPONSOR San Francisco Ballet Auxiliary Katherine and Gregg Crawford Catherine and Mark Slavonia MAJOR SPONSORS SPONSORS The Cage Stephen and Margaret Gill John G. Capo and Orlando Diaz-Azcuy Family Foundation MAJOR SPONSORS Robert and Laura Cory Mr. and Mrs. James C. Katzman Innovation Global Capital Nion McEvoy and Leslie Berriman Alex and Carolyn Mehran David H. Spencer Mrs. Henry I. Prien Other Dances Michael and Mary Schuh PROGRAM 03 LEAD SPONSOR SPONSORS PROGRAM SPONSOR Mr. and Mrs. James D. Marver Joseph and Marianne Geagea The Bernard Osher Foundation Mark and Debra Leslie MAJOR SPONSORS Dr. Timothy Marten, M.D. and On a Theme of Paganini Chaomei Chen and Dr. Yu Wu Ms. Mary Heylin Sue and John Diekman MAJOR SPONSOR Richard Thalheimer Family Athena and Timothy Blackburn

SPONSOR SPONSORS PROGRAM 02 Almaden H. B. and Lucille Horn Foundation Glenn H. Reid Ibsen's House BRAVO LEAD SPONSOR MAJOR SPONSOR Diane B. Wilsey Kathleen Scutchfield MAJOR SPONSORS PROGRAM 06 David and Vicki Cox Ghost in the Machine The National Ballet of Canada in Christa and Mark Lopez LEAD SPONSORS Nijinsky: A Ballet by Mr. and Mrs. Kurt Mobley Shelby and Frederick Gans PRESENTING SPONSOR David and Kelsey Lamond SPONSORS Diane B. Wilsey Gioia and John Arrillaga MAJOR SPONSORS MAJOR SPONSOR Mr. and Mrs. Edward Roach Brenda and Alexander Leff Marie and Barry Lipman ENCORE! Charles and Kara Roell The Chairman Dances—Quartet For Two SPONSORS Christine and Pierre Lamond SATURDAY NIGHT SUBSCRIPTION SERIES LEAD SPONSORS San Francisco Ballet Allegro Circle Lucy and Fritz Jewett Saturday Night Series Gaia Fund Mr. and Mrs. John S. Osterweis UNBOUND: A FESTIVAL OF NEW WORKS SPONSORS Please see page 57.

58 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 CELESTIAL 2018 OPENING NIGHT GALA PERFORMANCE SPONSOR INVITATION SPONSOR Fang and Gary Bridge, Pacific Union Real Estate PRESENTING SPONSOR in honor of Helgi Tomasson Osterweis Capital Management APERITIF SPONSOR AFTER PARTY SPONSOR Lillet BENEFACTOR DINNER SPONSOR La Perla KPMG PROSECCO PROMENADE SPONSOR PATRON DINNER SPONSOR Shreve & Co. JPMorgan Chase & Co.

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

Official Gym of San Francisco Ballet

EDUCATION & TRAINING WE USE 100% NATURAL Lead Sponsors of San Francisco Ballet’s Education Programs

Additional support is provided by Major Sponsor Kaiser Permanente and Sponsors Gap Foundation, MESQUITE U.S. Bank Foundation, and the Zellerbach Family Foundation.

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

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

Fourteen signature cuts of meat roasted over a mesquite grill. Lead Sponsor of San Francisco Ballet School We use fresh produce to prepare our salads daily. Nothing comes from cans.

2018 SEASON MEDIA SPONSOR TASTE THE DIFFERENCE!

SAN FRANCISCO | SAN MATEO NUTCRACKER ESPETUS.COM MEDIA SPONSOR MEDIA SPONSOR

PROGRAMS 07 & 08 | 415 865 2000 | 59 GREAT BENEFACTORS Our most loyal donors are dedicated to supporting exquisite art and also 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 Kate and Bill Duhamel, and James C. Hormel and Michael P. Nguyen as our newest Great Benefactors.

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

(415)-287-6599 www.b-sidesf.com

60 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 ARTISTIC DIRECTOR'S COUNCIL San Francisco Ballet gratefully acknowledges the members of the Artistic Director’s Council. Their generous annual support of $100,000 or more has been instrumental to the success of SF Ballet, SF Ballet School, and SF Ballet’s education programs. Council members receive customized benefits including special access to performances, exclusive events, and rehearsals. For more information, please contact Sarah Warner, Senior Officer, Major Gifts,

Alison and Michael Mauzé at [email protected] or 415 865 6634. Andrew W. Mellon Foundation Nicola Miner and Robert Mailer Anderson GRAND BENEFACTORS ARTISTIC DIRECTOR’S COUNCIL National Endowment for the Arts Gifts of $250,000 and Above Gifts of $100,000–$249,999 The Bernard Osher Foundation John Osterweis and Barbara Ravizza Ms. Laura Clifford Mr. Richard C. Barker Pacific Gas and Electric Company Kate and Bill Duhamel Anne T. and Robert M. Bass Yurie and Carl Pascarella Gaia Fund Fang and Gary Bridge The Thomas J. and The Hellman Family Sue and John Diekman Gerd Perkins Foundation David and Kelsey Lamond Sonia H. Evers Pillsbury Winthrop Shaw Pittman LLP Mr. and Mrs. John S. Osterweis Shelby and Frederick Gans Kenneth Rainin Yurie And Carl Pascarella Teri and Andy Goodman Mr. George R. Roberts Kathleen Scutchfield Beth and Brian Grossman Arthur and Toni Rembe Rock Mrs. Randee Seiger Lucy Jewett Bob Ross Denise Littlefield Sobel Ms. Elaine Kartalis Gordon Russell Ms. Susan A. Van Wagner Mary Jo and Dick Kovacevich San Francisco Ballet Auxiliary Diane B. Wilsey Brenda and Alexander Leff The San Francisco Foundation Mr. and Mrs. James D. Marver Kathleen Scutchfield Alison and Michael Mauzé Randee Seiger Arthur and Toni Rembe Rock O.J. and Gary Shansby David H. Spencer Shubert Foundation, Inc. Judy C. Swanson The Smelick Family Jennifer and Steven Walske Denise Littlefield Sobel Miles Archer Woodlief Estate of Natalie H. Stotz The Swanson Foundation Richard J. Thalheimer Ms. Susan A. Van Wagner Visa Inc. Wallis Foundation Phyllis C. Wattis Wells Fargo The E. L. Wiegand Foundation Diane B. Wilsey Akiko Yamazaki and Jerry Yang The Zellerbach Family : Yurie Pascarella, Principal Dancer Tiit Helimets, Laura Clifford, and SF Ballet Left to right Board Chair Carl Pascarella © Jessica // Monroy for Drew Altizer Photography

PROGRAMS 07 & 08 | SFBALLET.ORG | 61 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 March 9, 2018. 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 Kera Jewett, Senior Officer, Major Gifts, [email protected] or 415 865 6638. We are pleased to give special recognition to donors who have been honored as ten-year members of the Chairman’s Council or Christensen Society. Their names are followed by a plus sign (+) in this section. Former SF Ballet Trustees and Associate Trustees are noted with an asterisk (*).

PRODUCER’S COUNCIL SPONSOR’S COUNCIL CHAIRMAN’S COUNCIL Gifts of $75,000–$99,999 Gifts of $25,000–$49,999 Gifts of $15,000–$24,999

Chaomei Chen and Dr. Yu Wu Gioia and John Arrillaga+ Brenton and Lysbeth Warren Anderson+ Marie and Barry Lipman+ Eleonore Aslanian+ in memory of Edward Aslanian Rosemary B. Baker*+ Michael and Mary Schuh+ Ms. Eliza M. Brown+ Courtney Benoist and Jason M. Fish*+ Catherine and Mark Slavonia John G. Capo and Orlando Diaz-Azcuy+ Lydia and Steven Bergman Stacey B. Case+ Ms. Susan Blake+ Mr. and Mrs. Scott Connors Mr. and Mrs.* William S. Brandenburg PRESENTER’S COUNCIL Robert and Laura Cory Rachel Brass and Richard Foster Gifts of $50,000–$74,999 Katherine and Gregg Crawford+ Ron and Susan Briggs+ Dana and Robert Emery+ Paula and Bandel Carano Carol Emory and The Wingate Foundation+ J. and J. Chang Karen S. Bergman+ J. Stuart Francis and Diana Stark+ Rosalyn Chen Chavez Athena and Timothy Blackburn+ Joseph and Marianne Geagea Mr. and Mrs. Sol Coffino Hannah and Kevin Comolli Drs. Richard D. and Patricia Gibbs Ms. Phoebe Cowles+ David and Vicki Cox+ Kathleen Grant, M.D. and Thomas Jackson, M.D.+ Mrs. Nancy Curtiss and Mr. Todd Curtiss Margaret and Stephen Gill+ James C. Gries+ Dr. and Mrs. Jordan Deschamps-Braly Jim and Cecilia Herbert+ Thomas E. Horn+ Mr. Josh Elkes and Ms. Rachel Happ Mr. Hiro Iwanaga Ms. Jeri Lynn Johnson+ Paula M. Elmore* Mr. and Mrs. James C. Katzman+ Christine and Pierre Lamond+ Jacqueline* and Christian P. Erdman+ Nancy A. Kukacka Dr. and Mrs. Stephen Leavitt Lynn Feintech and Tony Bernhardt+ Christa and Mark Lopez Mark and Debra Leslie+ Randi and Bob Fisher Marissa Mayer and Zachary Bogue+ Ms. Tiffany Lockridge Mr. Robert S. Fisher*+ Mr. and Mrs. Kurt Mobley Dr. Timothy Marten, MD and Ms. Mary Heylin+ Mrs. Mortimer Fleishhacker+ Mrs. Henry I. Prien+ Ms. Laura McCabe-Edgar Patty Garbarino Charles and Kara Roell Nion McEvoy and Leslie Berriman Tim and Amanda Garry Joyce L. Stupski+ Alexander R. Mehran*+ James K. and Helen L. Goodwine+ Mr. and Mrs. Michael O'Sullivan Mary and Nicholas Graves+ AN INVITATION TO DANCE Mr. and Mrs. Norman C. Pease Brian and Elizaveta Gustafson Karl and Holly Peterson Mr. Isaac Hall Glenn H. Reid+ Brian and Rene Hollins+ San Francisco Ballet School Kacie and Michael Renc+ James C. Hormel and Michael P. Nguyen+ 2018 Student Showcase

Mr. and Mrs. Edward Roach+ Mr. and Mrs. Terry Houlihan Mr. George R. Roberts+ Ms. Kathryn Huber and Mr. William Larry Binkley May 23–25, 2018 Larissa Roesch and Calder Roesch+ John G. Kerns*+ O.J.* and Gary Shansby+ William and Gretchen Kimball Fund+ PERFORMANCE AND DINNER Marc Sinykin and Kevin Osinski Patrice and Walther Lovato Celebrating its 25th year, the San Francisco Ballet School Student Showcase Mr. and Mrs. Robert M. Smelick+ Ms. Susan Marsch demonstrates the School’s remarkable accomplishments throughout the DATE Wednesday, May 23, 2018 Tom Steyer and Kat Taylor+ Mr. Gregg Mattner | year and gives audiences the rare opportunity to experience a performance Mr. Richard J. Thalheimer+ Justin T. McBaine TIME | Performance at 6 pm, followed by dinner Mr. and Mrs. William Truscott Jane and Roger McCarthy+ by the next generation of ballet professionals. Following the opening night Barbara and Stephan Vermut Stewart McDowell Brady and Philip Brady performance on May 23, the SF Ballet Auxiliary hosts An Invitation to Dance: VENUES | Yerba Buena Center for the Arts Theater Anonymous Mr. Ronald W. Miller+ and Four Seasons Hotel San Francisco Mr. James E. Milligan*+ San Francisco Ballet School 2018 Student Showcase Dinner at Four Seasons Mrs. Stuart G. Moldaw+ Hotel San Francisco. The evening will celebrate the achievements of the Mr. and Mrs. Robert L. Newman+ students and faculty of SF Ballet School and raise funds to support the Roland G. Ortgies and Ms. Donna Bachle, 2018 Student Showcase Chair Carmela C. Anderson-Ortgies+ School’s scholarship and financial aid programs. Mr. James Parsons and Ms. Andrea Hong Dave and Judy Redo+ Full evening tickets to the Wednesday opening night dinner and performance Mr. Gordon Russell and Dr. Bettina McAdoo+ begin at $500 for adults and $200 for children. PERFORMANCE DATES Mr. and Mrs. Robert Shaw Christine Sherry and Lawson Fisher+ Performance-only tickets begin at $50. Wednesday, May 23 at 6 pm The Honorable and Mrs. George P. Shultz+ Mr. and Mrs. George H. Sollman Thursday, May 24 at 7:30 pm Michael and Susanna Steinberg Friday, May 25 at 7:30 pm Roselyne C. Swig*+ Adam J. Thaler Mr. and Mrs. William R. Timken+ Helgi and Marlene Tomasson Cynthia and Edgar Whipple+ The Whitman Family Foundation BUY TICKETS NOW Beatrice Wood Ms. Patricia Wyrod Event & Performance Tickets | sfballet.org/studentshowcase Ms. Zhenya Yoder Performance-only Tickets 415 865 2000 Diane and Howard Zack+ | Dr. Janice and Mr. Jonathan Zakin+ SF Ballet School students perform Thatcher’s Panorama at the SF Ballet School 2017 Anonymous (3) Student Showcase // © Erik Tomasson; Design by Cheree Berry Paper

62 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 AN INVITATION TO DANCE San Francisco Ballet School 2018 Student Showcase

May 23–25, 2018

Celebrating its 25th year, the San Francisco Ballet School Student Showcase PERFORMANCE AND DINNER demonstrates the School’s remarkable accomplishments throughout the DATE | Wednesday, May 23, 2018 year and gives audiences the rare opportunity to experience a performance TIME | Performance at 6 pm, followed by dinner by the next generation of ballet professionals. Following the opening night performance on May 23, the SF Ballet Auxiliary hosts An Invitation to Dance: VENUES | Yerba Buena Center for the Arts Theater San Francisco Ballet School 2018 Student Showcase Dinner at Four Seasons and Four Seasons Hotel San Francisco Hotel San Francisco. The evening will celebrate the achievements of the students and faculty of SF Ballet School and raise funds to support the Ms. Donna Bachle, 2018 Student Showcase Chair School’s scholarship and financial aid programs.

Full evening tickets to the Wednesday opening night dinner and performance begin at $500 for adults and $200 for children. PERFORMANCE DATES Performance-only tickets begin at $50. Wednesday, May 23 at 6 pm Thursday, May 24 at 7:30 pm Friday, May 25 at 7:30 pm

BUY TICKETS NOW Event & Performance Tickets | sfballet.org/studentshowcase Performance-only Tickets | 415 865 2000 SF Ballet School students perform Thatcher’s Panorama at the SF Ballet School 2017 Student Showcase // © Erik Tomasson; Design by Cheree Berry Paper THE 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 March 9, 2018. For more information about the Christensen Society, please contact Ari Lipsky, Senior Manager, Individual Gifts, at [email protected] or 415 865 6635. The names of donors who have been honored as ten-year members of the Christensen Society are followed by a plus sign (+) in this section. Former SF Ballet Trustees and Associate Trustees are noted with an asterisk (*).

CHOREOGRAPHER’S COUNCIL Gifts of $7,500–$14,999

Joseph and Brooke Marta L. Morando+ Mr. and Mrs. Donald Chaiken+ Sig Anderman Michael Moritz and Harriet Heyman Dr. Annie Chang and Prof. Frederik Mooi Norby Anderson Mrs. Janet Morris+ Robert Clegg*+ Kristen A. Avansino+ Manfred K. Mundelius+ Jack and Gloria Clumeck Mr. and Ms. Bartley B. Baer Miriam Sedman and Ralph Nyffenegger Ms. Margaret Coblentz Dr. Margaret Bates and Mr. Scott Johnson+ Michel and Mekhala Oltramare Mr. Thomas J. Cooney+ Mr.* and Mrs. Joachim Bechtle+ Beth Price+ Mary B. Cranston*+ Davidson Bidwell-Waite and Edwin A. Waite+ Leslie and Nick Podell+ Mr. and Mrs. Angelos Dassios Claire and Jared Bobrow+ Mr. and Mrs. Neal I. Powers Mr. and Mrs. James A. Davidson Bruce Braden+ Mr. Fritz Quattlebaum+ Mr. Frank J. Espina and Mrs. Andrea Valo-Espina Kelly and Samuel* Bronfman II Mr. Gordon L. Radley+ Buck Farmer and Leida Schoggen The Robinson Family - AB Butler Family Mr. Jeremy Rishel Mr.* and Mrs. Irwin Federman+ Dr. Heidi H. Cary Mr. and Mrs. Sanford R. Robertson+ Brent and Sandra Fery Ms. Carolyn Chandler Mr. and Mrs. Mark J. Ryan+ Ms. Katherine M. Fines and Mr. Henry Heines+ Jon B. Chaney+ Dorothy Saxe+ Mr. Dennis N. Fluet+ Antoinette Chatton+ Kamran and Helena Shamsavari+ Camille and Sean Flynn+ Ms. Karen K. Christensen+ Mr. and Mrs. Roderick W. Shepard Ms. Mayhill Fowler Ms. Katie Colendich Dr. and Mrs. Stephen Sherwin+ Mr. David B. Franklin and Mr. Ruedi F. Thoeni Dr. Charles Connor+ Anne and Michelle Shonk+ Mr. Douglas Frantz Ms. Phyllis Cook+ Ms. Cherida Collins Smith+ Phyllis K. Friedman+ Michele Beigel Corash and Laurence Corash+ Mrs. Linda Snyder Marilyn & Robert Funari Family Foundation Peter G. Curran The Spero Family Ms. Jane Gazzola Mrs. Courtney C. Dallaire Susanne Stevens+ Ms. Malin Giddings and Mr. Richard Hechler Jill Daly The Streets Family+ Sally L. Glaser and David Bower+ Ms. Bonnie De Clark Alan and Patricia Tai+ Donald W. and Patricia L. Green Juanita and Manuel Del Arroz+ Mr. and Mrs. Charles V. Thornton+ William J. Gregory Mr. and Mrs. Kevan Del Grande Drs. Oldrich and Silva Vasicek+ Linda Groah Mrs. Suzy Kellems Dominik*+ Mr. and Mrs. Alan B. Vidinsky Duncan and Jeanie Gurley Mr. and Mrs. David Dossetter+ Paul A. Violich Mr. and Mrs. John and Lucie Hall Ms. Paulette Doudell+ The Watkins Family+ Michael and Julie Hawkins Robert and Judith Duffy+ Daniel and Marie Welch Miranda Heller and Mark Salkind+ Samantha DuVall and Darren Bechtel Helena and William Wheeler Joan and Alan Henricks Mr. Mory Ejabat Ms. Deann Wright and Dr. Luke Evnin Ms. Mary Herman Douglas and Barbara* Engmann+ Mr. Tim C. Wu and Mr. Eric Murphy+ Cynthia Hersey Mr. Edward G. Fernandez Anonymous Mr. and Mrs. John S. Hoch Doris Fisher+ Mr. Patrick M. Hogan Mr. and Mrs. David Fleishhacker+ Hank J. Holland* Mr. and Mrs.* Greg Flynn Ms. Kathryn Holmes John and Marcia Goldman+ DANCER’S COUNCIL Susan and Lyman Hurd Ann M. Griffiths+ Gifts of $5,000–$7,499 Ms. Giovanna Jackson* Dr. Elizabeth A. Harrison Ms. Andrea Jacoby Dr. Birt Harvey Ms. Diane K. Aaron Dennis and Paula Jaffe Mr. and Mrs. A. Grant Heidrich III+ Mr. and Mrs. Andy Ach Ms. Dorothy Kaplan Ms. Kimberly M. Hughes Judy and David Anderson Mr. and Mrs. Jim Kautz Arnold and Laurel Jacobson Mr. and Mrs. Hiroki Asai Ms. Lisa A. Keith+ Mr. and Mrs. Richard Jasen Ms. Corine Assouline Kristen Kelly Guyton Jinkerson+ Mr. John Atwater and Ms. Diana L. Nelson Rev. Keenan C. Kelsey Mrs. Barbara L. Johnson Dr. Thomas and Julie Ballard Mr. and Mrs. Alan F. Klein Dana and Larry Klamecki Ms. Deborah Taylor Barrera Ms. Patricia D. Knight Ms. Micki Klearman Mr. Charles Barrett Mrs. Maureen Knoll Linda and Robert Klett+ Jeanne and William Barulich Ms. Suzanne Knott and Mr. Tom Rose Arlene and Steve Krieger+ Mr. and Mrs. Gene Becker Mr. and Mrs. Martin M. Koffel Mrs. Maja Kristin Valli Benesch and Bob Tandler Mr. and Mrs. Mark Kostic Ms. Linda Kurtz Ms. Sandra Moore Berrey Sharon Lambert and Charles Cohen+ Captain Witold Klimenko and Dr. Darlene Lanka-Klimenko+ Mrs. Jan Birenbaum Mr. and Mrs. Jude Laspa+ Laube Family Foundation Mr. Charles Alden Black, Jr. and Mr. C. Grisham, Jr. Dr. and Mrs. G. Karl Ludwig, Jr.+ Ms. Betsy A. Linder+ Mr. William Bonville Mr. and Mrs. Laurence R. Lyons Mark and Lori Litwin+ Mr. and Mrs. Ronald Borelli Mr. Michael Manning Carol and Hal Louchheim+ Dr. Thomas and Janice Boyce+ Mr. Patrick McCabe Mr. and Mrs. Allen Luniewski Ms. Carolyn J. and Mr. David W. Brady Mr. and Mrs. John A. McQuown Dr. and Mrs. David Joseph Martin Cynthia and Fred Brinkmann+ Mr. Steve Merlo Dr. Jack M. McElroy and Dr. Mary Ann Skidmore+ James R. and Melinda M. Brown Mr. Wallace Mersereau Dr. Maya Meux Kelli and Steve Burrill+ Mary Mewha* Mr. David Morandi Nina Cardoza and John Krowas Ms. Carole Middleton

64 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 Fred A. Middleton+ George Becker MD. Mr. Ted E. Mitchell+ Ms. Lydia Beebe Ms. Alexandra Moses+ Ms. Desa C. Belyea Kathleen Much and Stanley Peters Ms. Anne Leland Benham Peggy and Willis Newton Christopher and Camille Bently+ Ms. Carla Oakley and Mr. Kevin McCarthy Ms. Carol Benz Sandy Otellini+ Mrs. LaVerne Beres Mrs. Alexandra Ottesen Ms. Catherine Bergstrom Dennis Otto and Robert Meadows Diana Bersohn Ms. Mindy Owen Philip Bettens Ms. Elizabeth A. Peace RADM and Mrs. John W. Bitoff+ Melanie and Rob Pedrick+ Amos and Carla Blackmon Patricia Sanderson Port Ms. Phyllis Blair Tanya Marietta Powell+ Ms. Kathleen Blanchard Ms. Ruth Quigley Mr. Noel T. Blos Ursula Elisabeth Ralph Ms. Janet M. Bollier Reach-A-Star Foundation Bon Air Center Dr. and Mrs. Robert E. Richardson+ Dr. Stephen C. Born Ms. Kathryn Roberts Germaine Brennan Foundation+ Ms. Marianne B. Robison+ Ms. Marilyn Brennan Ms. Patricia Rock and Mr. John Fetzer Ms. Erin Brooks and Mr. Todd Gottula Mr. and Mrs. David E. Rosenkrantz+ Mr. and Mrs. Kent F. Brooks Ms. Susan Rosin and Mr. Brian Bock Ms. Barbara Brown+ Tiffany Loren Rowe Catherine Brown and Gerald Gwathney Paul Sack and Shirley Davis+ Carole and Ed Brown+ Mr. Michael Scagliotti and Mrs. Miya R. Peard Mrs. Kathleen M. Brown* Kathleen Schiebold Josephine Brownback+ Carolynne Schloeder Julie Brown-Modenos Dr. David Tai-Man Shen and Mrs. Elaine Shen+ Julie and David Burns Mr. and Mrs. Drew Sievers Peggy and Donald Burns+ Mary Ann Somerville+ Adrian and Carol Byram Mr. Matthew Stepka Mrs. John Callander+ Ms. Fran A. Streets+ Libi Cape+ Maureen and Craig Sullivan Damian S. Carmichael Mr. and Mrs. Jim Swartz+ Nina Carroll+ Ms. Nadine Tang Ms. Linda Carson+ Ms. Jody K. Thelander Charles R. Castellano and Deryl Castellano Mr. and Mrs. William L. Thornton+ Mr. and Mrs. Robert Cauthorn Mr. Harry Tierney+ Mr. Benedick Chai Mr. and Mrs. Edward Tortorici Drs. Valerie and Devron Char+ Janet Sassoon-Upton and John R. Upton, Jr.+ Mr. Marvin Charney Ms. Lida Urbanek Mr. Philip Chou Larry M Vales Mr. Paul Clifford Ms. Susan Warble Douglas Clough and Erin Uesugi Daphne and Stuart Wells Annelle Clute Mr. and Mrs. Wallace Wertsch+ Susan and Mitchell Cohen+ Benjamin and Mary Ann Whitten Ms. Claudia Coleman+ Karen and Stephen Wiel+ Ms. Janet Coleman Ms. Leslie Wilson Richard and Sylvia Condon+ Mr. and Mrs. Michael Woodall Mrs. Glenna Cook Travis and Jim Wright+ Jane A. Cook Dr. Keith R. Yamamoto+ Alice M. Corning+ Sharon and Robert Yoerg Colette V.A. Cornish Anonymous (7) Joan and Victor Corsiglia Ms. Carmen Côté De Vaughn Ms. Sandi Covell+ Ms. Nora C. Cregan ASSOCIATE’S COUNCIL Ms. Lilly Creighton Gifts of $2,500–$4,999 Ms. Jennifer Crutchfield Mrs. Mary A. Culp+ Mr. John Abbott and Mr. Clifford Clark Ms. Amy & Jamie Dananberg Michael C Abramson+ Dr. Stephen J. Danko Norman Abramson and David Beery Ms. Susan J. Davenport Mr. Amir Adibi Mr. Dan Davies Molly and Stewart Agras+ Dr. and Mrs. R.L. Davis+ Mr. Bruce Albert and Dr. Chady F. Wonson+ Ms. Joan Dea and Mr. Lionel Conacher Lisa and Maria Alvarez Mr. Keith Dehoff Ms. Sue Alvarez Dr. Richard M. Delfs+ Mrs. Diane E. Anderson Marvin Dennis+ Jola and John M. Anderson+ Mr. Curtis E. Dennison Mr. Zachery Anderson Ms. Simone Derayeh Dr. and Mrs. Joseph S. Andresen+ Mr. David E. DeSilva Ms. Gigi Anthony+ Julie Desloge and George A. Newhall Ms. Christine DeSanze and Mr. Scott Anthony Mr. and Mrs. Robert Dickson Ms. Carol Blake Applebury Ms. Patricia Dobashi Ms. Maren Armour Mr. and Mrs. Theodore S. Dobos+ Mr. and Mrs. Greer Arthur+ Mrs. Abigail Donahue Lori Arthur Mr. and Mrs. William H. Draper III Asmus Family Michael E. Dreyer and Harry B. Ugol Chris and Janet Bajorek Mr. Garrettson Dulin, Jr. Mr. Stephen A. Bansak III Mr. Fritz Eberly Nate Hennings and Nora Barr Hennings Ms. Freya Eduarte and Mr. Philippe Courtot Karen Bartholomew Diane and Joseph Ehrman III+ Marie-José and Kent Baum+ Dr. Robert Elfont and Ms. V'Anne Singleton Mr. and Mrs. David W. Beach+ Ms. Susan English and Mr. Michael H. Kalkstein

PROGRAMS 07 & 08 | 415 865 2000 | 65 THE CHRISTENSEN SOCIETY CONTINUED

Mr. Greg Evans Reiko and Yasunobu Kyogoku The Phillips Family Mrs. Mickey Evans Laura La Gassa Jin-Piao Trust Rev. Richard Fabian Mrs. Carla L. Labat Hilary C. Pierce and Keir J. Beadling Tawna and John Farmer+ Ms. Elmira C. Lagundi Michael Pirrung Mr. Zé Figueirinhas Mrs. Brigitte Laier Edward and Linda Plant+ Mr. William E. Fisher+ Ms. Nancy L. Larson Melissa and Ritchie Post+ Ms. Linda Jo Fitz+ Mr. Bill L. Lee Dale and Danielle Power John and Kelly Foley Patricia W. Leicher Mrs. Twyla Powers Mr. and Mrs. Roy A. Francies Jr Julius Leiman-Carbia & Kyle Thomas Smith Ms. Sandra Price+ Mr. Ernest Freeman Mr. and Mrs. Edward M. Leonard+ Mr. John Pringle Ms. Baerbel Freytag Mr. and Mrs. Mark R. Lepper+ Louis Ptacek and Ying-Hui Fu+ Dr. and Mrs. A. W. Fricke Mrs. Mona Lessing-Harroch+ Ms. Mary J. Quinn Mr. Ian Friedland Mr. Robert Levenson Mr. and Mrs. Jeffrey Ralph Ms. Joyce Friedman Mr. Roy Levin and Mrs. Jan Thomson Barbara Rambo* and Thomas A. Goossens+ Mr. Markus Fromherz Pam G. Lewis James Deveney and Steve Rausch Ellen Fujikawa Ms. Allison Jacobs Drs. Garry and Kathy Rayant+ Mr. Philip Fukuda Ms. Debra A. Leylegian+ Ms. Elizabeth S. Reed Dr. Kim Fullerton-Nelson Ms. Judy Lichterman Judge and Mrs. Charles B. Renfrew Mr. and Mrs. Toshi Funaki Claire and Herbert Lindenberger+ Louise and Paul Renne Penny and Gregory Gallo+ Dr. Mary Jane W. Loda Ms. Kathryn Renschler Mr. John Garfinkle Carol and Bill Lokke Jon Q. and Ann S. Reynolds+ Joan and Jim Gillette John and Kate Lord+ Thomas C. Rindfleisch and A. Carlisle Scott+ Ms. Joy Gim Dr. and Mrs. Kevin Louie Mr. Chip Roame Glaucoma Center of San Francisco Mr. and Mrs. Steve Love Deborah Robbins and Henry Navas Ms. Barbara Glynn Dan Lowenstein & Mylo Schaaf L.L. Roberts and A.R. Wilbanks+ Jennie Golde Mr. and Mrs. Lawrence Ludgus+ Jack and Fran Rominger Nora Goldschlager Mr. Harvey Lynch Mr. and Mrs. Richard Roothman Drs. Meryl Gordon and Robert Schermer Mrs. Rhondalee Mahendroo Ms. Jeanne Rose Phillip and Philippa Newfield Gordon+ Howard and Siesel Maibach+ Ms. Patricia Rosenberg Ms. Shelley Gordon Ms. Janice Maloney Mr. and Mrs. Herbert Rosenthal Mr. James Gosling+ Dr. Aditi Mandpe Kate Rowe+ Mr. Michael Grady Mr. Richard Martin Mr. Paul L. Rowe and Mr. Michael Sereno Richard L. Grant and James L. Miller+ Ms. Virginia Martin Mrs. Chandra K. Rudd Ms. Joan Green Ms. Anita Martinez+ Mr. Roberto Ruiz and Mr. Kevin Lee Judy and Josh Green Ms. Connie V. Martinez Dr. Ellen Salwen Nonie H. Greene and Todd Werby+ Ms. Mary E. Massee Louise Adler Sampson Ms. Kera Jewett and Dr. William Greene Holly and Stephen Massey Ms. Jennifer Sandell Claude and Nina Gruen+ Ms. Dosia Matthews Mr. Warren H. Sandell Mimi Haas+ Niko and Steven Mayer+ Ms. Letitia Sanders Stephen Halprin+ Mr. John Mazurski Donald and Terry Sarver+ Ms. Maria Hilakos Hanke Jennifer J. McCall+ Mr. and Mrs. Richard Saveri Alexander and Catherine Hargrave+ Dr. and Mrs. W. D. McCallum+ Gwendy and Anthony Scampavia+ Sara and Catherine Harkins+ Mr. Glenn McCoy+ William and Linda Schieber Mr. and Mrs. David M. Haskin+ Dan McDaniel, M.D. Peter Lotnar Schmidt Mr. and Mrs.* Kenneth Hecht Ms. Kathleen McEligot+ Warren A. Schneider Mr. and Mrs. Ronald Heckmann Joan and Robert McGrath+ Mr. and Mrs. Paul A. Schroeder John F. Heil+ Ms. Roberta McMullan Ms. Deborah Schultz Mary Lou Ambinder Heine Lisa and Jason McPhate Mrs. S. D. Schwabacher+ Troy and Alysia Helming Dr. and Mrs. Bruce Mebine Mrs. Avé M. Seltsam and Mr. James D. Seltsam, Jr. Dr. and Mrs. I. C. Henderson+ Mr. David E. Meders Joan and Lynn Seppala Ms. Shelly Hernandez Mr. Martin Melia Ms. Teresa Serata Virginia Hind Hodgson Dr. Beryl Mell+ Mr. and Mrs. Gary J. Shapiro+ Susan and Russell Holdstein Philanthropic Fund Mr. and Mrs.* James J. Messemer+ Mr. Lawrence J. Simi Sunny Holland and Alan Pryor+ Byron R. Meyer*+ Mrs. Harriet J. Simpson+ Mr. and Mrs. Christopher Hollenbeck Mr. and Mrs. Lou Meylan Earl Singer Ms. Carol Ann Holley Richard Miller and John Vinton+ Dr. Dale Skeen+ JHGM Foundation Mr. and Mrs. Michael Millman Mrs. Paula Anne Smith Dr. Serena Hu Mrs. Elizabeth Robinson Mitchell Ms. H. Marcia Smolens+ Cordell and Susan Hull Susan and Jack Molinari+ Ms. Eileen Soden Ms. Marie Louise Hurabiell Mr. and Mrs. Ken Moonie+ James Sokol Ms. Margaret C. Hutchins Gary and Eileen Morgenthaler Mr. Scott C. Sollers Carolyn T. Hutton Dianne and Brian Morton Rosemary G. Southwood Ms. Meghan Imrie Mr. Milton J. Mosk and Mr. Thomas Foutch+ Ms. Ellice Sperber and Ms. Emma Elizalde Ms. Karen J. Irvin Ms. Christine Motley Mr. and Mrs. Mathew Spolin+ Ms. Jane L. Johnson Ms. Sharon S. Muir Mr. and Mrs. Will Stegall Todd Jolly and Judith Murio Mr. Roger Murray Ruth and Alan Stein+ Debra and Blake Jorgensen Ms. Vija Hovgard Nadai Lisa J. Stern-Hazlewood+ Mr. Peter Joshua Ms. Donna Neff Mr. Paul Stone Sandra Juracich+ Mrs. Shirley Negrin+ Mr. and Mrs. Philip Strause Mr. and Mrs. Paul Kahn Dr. Alex Nellas Mrs. Dwight V. Strong+ Ms. Roberta Kameda Ms. Amanda Nelson Mrs. Mary Stuard Ms. Daru H. Kawalkowski+ Drs. Andrew and Lynn Newman+ Joseph J. Sturkey+ Mr. and Mrs. Jascha Kaykas-Wolff Jeanne Newman Ms. Jane Su Dr. Amelia Kaymen Ms. Allison Nielsen Mr. Peter Sullivan Mr. Kris Kazaks Patricia and Hayes Noel Kimberly and Philip Summe Tom Kennedy and Brad Hipkins Mr. Paul Nordine Ms. Joan Sutton Drs. Douglas and Carol Kerr Mrs. Wilma J. Nurenberg Mr. and Mrs. Peter Swartz Ms. Kathryn Kersey Mr. Karl F. Nygren Darian and Rick Swig+ Ms. Jennifer H. Kilpatrick Ms. Linda L. Olson and Mr. David Polnaszek Ms. Lita Swiryn Kevin King and Meridee Moore+ Mr. and Mrs. Philip Ouyang+ Mr. John J. Tallarida Mrs. Jerome Ormond Kirschbaum+ Mr. William D. Parent+ Ms. Trecia Knapp and Mr. Bruno Tapolsky Ms. Nancy Kittle Mr. Deric Patrick Mrs. Bente Tellefsen+ Mr. and Mrs. Mark S. Koenig Mr. Frank Patt Mr. James Teter Mr. Abner Korn Dr. Eugene H. Peck Judy and Harold Ticktin Hal and Iris Korol+ Ms. Patricia Peterson Howard and Ann Timoney

66 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 The Phillips Family Mr. Ronald R. Titus Jin-Piao Trust Ms. Mary Tobias Hilary C. Pierce and Keir J. Beadling Mr. and Mrs. Vincent Tobkin Michael Pirrung Mr. Dana Tom Edward and Linda Plant+ Lowell Tong and Alasdair Neale Melissa and Ritchie Post+ Ms. Christine Z. Tooby Dale and Danielle Power Ms. Amanda Topper+ Mrs. Twyla Powers Ms. Esther Torres Ms. Sandra Price+ Suzanne M. Tucker and Timothy F. Marks Mr. John Pringle Ms. Helen Tyree Louis Ptacek and Ying-Hui Fu+ Gayla Tyson and Dan Cotter Ms. Mary J. Quinn Mr. Herbert Uetz Mr. and Mrs. Jeffrey Ralph Patricia Unterman and Tim Savinar Barbara Rambo* and Thomas A. Goossens+ Dr. Conrad Vial James Deveney and Steve Rausch Mr. Richard A. Votava Drs. Garry and Kathy Rayant+ Mrs. Virginia Wade Ms. Elizabeth S. Reed Ms. Adrian Walker Judge and Mrs. Charles B. Renfrew Mr. Richard Walsh Louise and Paul Renne Emily and Bob Warden Ms. Kathryn Renschler Rosalie V. Weaver Jon Q. and Ann S. Reynolds+ Eitan Fenson and Barbara Weinstein Thomas C. Rindfleisch and A. Carlisle Scott+ Melanie and Ronald Wilensky Mr. Chip Roame Ms. Freddi Wilkinson Deborah Robbins and Henry Navas David and Karima Wilner L.L. Roberts and A.R. Wilbanks+ Ms. Faye Wilson Jack and Fran Rominger Mr. and Mrs. Terry Winograd

Mr. and Mrs. Richard Roothman Mr. and Mrs. Eric Wold The Sleeping Beauty // © Erik Tomasson Ms. Jeanne Rose Ms. Muriel Wolverton Ms. Patricia Rosenberg Celeste and Darryl Woo Mr. and Mrs. Herbert Rosenthal Laureen Woodruff+ Kate Rowe+ Ms. Daphne Wray Mr. Paul L. Rowe and Mr. Michael Sereno Ms. Kelly Wulff Mrs. Chandra K. Rudd Miss Carla J. Wytmar Mr. Roberto Ruiz and Mr. Kevin Lee Dr. Frances H. Yankie Dr. Ellen Salwen Mr. Babak Yazdani Louise Adler Sampson Jacqueline Young Ms. Jennifer Sandell Ms. Tatyana Yurovsky Mr. Warren H. Sandell Mr. James Zawada Ms. Letitia Sanders Catherine Zimmerman

Donald and Terry Sarver+ Mr. and Mrs. Harold Zlot Sasha De Sola and Sean Orza in Tomasson’s Mr. and Mrs. Richard Saveri Anonymous (7) Gwendy and Anthony Scampavia+ William and Linda Schieber Peter Lotnar Schmidt Warren A. Schneider Mr. and Mrs. Paul A. Schroeder Ms. Deborah Schultz Mrs. S. D. Schwabacher+ JOIN FRIENDS OF Mrs. Avé M. Seltsam and Mr. James D. Seltsam, Jr. Joan and Lynn Seppala SAN FRANCISCO BALLET Ms. Teresa Serata Mr. and Mrs. Gary J. Shapiro+ Mr. Lawrence J. Simi Celebrate your love of ballet by becoming a Friend of SF Ballet. Mrs. Harriet J. Simpson+ Earl Singer Our Friends get closer than ever before. Watch a ballet come Dr. Dale Skeen+ to life in an open dress rehearsal, get early access to purchase Mrs. Paula Anne Smith Ms. H. Marcia Smolens+ tickets, and meet fellow donors and Company artists at special Ms. Eileen Soden events. Loyal supporters like you ensure that the Ballet will be James Sokol Mr. Scott C. Sollers around for future generations to enjoy. Rosemary G. Southwood Ms. Ellice Sperber and Ms. Emma Elizalde Mr. and Mrs. Mathew Spolin+ Mr. and Mrs. Will Stegall Ruth and Alan Stein+ Lisa J. Stern-Hazlewood+ Mr. Paul Stone Mr. and Mrs. Philip Strause JOIN US, WON’T YOU? Mrs. Dwight V. Strong+ Mrs. Mary Stuard Visit sfballet.org/donate or call 415 865 6628 Joseph J. Sturkey+ to make your gift and receive exclusive benefits Ms. Jane Su Mr. Peter Sullivan designed to enhance your SF Ballet experience. Kimberly and Philip Summe Ms. Joan Sutton Mr. and Mrs. Peter Swartz Darian and Rick Swig+ Ms. Lita Swiryn Mr. John J. Tallarida Ms. Trecia Knapp and Mr. Bruno Tapolsky Mrs. Bente Tellefsen+ Mr. James Teter Judy and Harold Ticktin Howard and Ann Timoney

PROGRAMS 07 & 08 | SFBALLET.ORG | 67 CORPORATE AND FOUNDATION SUPPORT Forward-thinking organizations understand the need to create a vibrant civic life in the places they do business. 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. 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. To learn more about Corporate giving, contact Colette Whitney, Corporate Giving Officer, [email protected] or 415 865 6651. To learn more about Foundation giving, contact Elizabeth Luu, Grants Manager, at [email protected] or 415 865 6616.

CORPORATE SUPPORT ARTISTIC DIRECTOR’S COUNCIL DANCER’S COUNCIL CHAIRMAN’S COUNCIL Gifts of $100,000–$249,999 Gifts of $5,000–$9,999 Gifts of $15,000–$24,999

Osterweis Capital Management Athleta Allegra Entertainment & Events Denning and Company Ernest Vineyards PRODUCER’S COUNCIL Lillet Sutter Securities Incorporated Gifts of $75,000-$99,999 McRoskey Mattress Company Wish Social Events SpotHero Bank of America CHOREOGRAPHER’S COUNCIL ASSOCIATE'S COUNCIL Gifts of $10,000–$14,999 PRESENTER’S COUNCIL Gifts of $2,500–$4,999 Gifts of $50,000–$74,999 Almaden Burberry KQED TV Chevron GI Partners Miette Innovation Global Capital JPMorgan Chase & Co. DANCER’S COUNCIL KPMG IN-KIND SUPPORT Gifts of $5,000–$9,999 Pacific Gas and Electric Company GRAND BENEFACTOR’S COUNCIL Gifts of $250,000 and above Bouchaine Vineyards SPONSOR’S COUNCIL Bay Area Rapid Transit Etude Wines Gifts of $25,000–$49,999 FITNESS SF KGO-TV Freed of London FOUNDATION & GOVERNMENT San Francisco Chronicle Kaiser Permanente SUPPORT Tiffany & Co. GRAND BENEFACTORS Visa ARTISTIC DIRECTOR’S COUNCIL Gifts of $250,000 and above Gifts of $100,000–$249,999 San Francisco Grants for the Arts CHAIRMAN’S COUNCIL Cibo Koret Foundation Gifts of $15,000–$24,999 KCBS

Almaden ARTISTIC DIRECTOR’S COUNCIL Dodge & Cox PRESENTER’S COUNCIL Gifts of $100,000–$249,999 Gifts of $50,000–$99,999 La Perla Bently Foundation, in honor of Glenn McCoy’s Pacific Union Real Estate J Riccardo Benavides 30 years of leadership at San Francisco Ballet KNTV The William and Flora Hewlett Foundation CHOREOGRAPHER’S COUNCIL KPIX George F. Jewett Foundation Gifts of $10,000–$14,999 McCalls Catering & Events The Bernard Osher Foundation Nob Hill Gazette Bob Ross Foundation B|O|S (Bingham, Osborn & Scarborough, LLC) Pillsbury Winthrop Shaw Pittman LLP Gap Foundation San Francisco magazine PRESENTER’S COUNCIL Mechanics Bank Wealth Management Gifts of $50,000–$99,999 Shreve & Co. UBS SPONSOR’S COUNCIL Flora Family Foundation U.S. Bank Foundation Gifts of $25,000–$49,999 Stephen and Margaret Gill Family Foundation Willis Towers Watson The San Francisco Examiner / SF Weekly The Diana Dollar Knowles Foundation Sterling Brands National Endowment for the Arts United Airlines The Shubert Foundation, Inc.

68 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 CHAIRMAN’S COUNCIL SPONSOR’S COUNCIL Gifts of $15,000–$24,999 Gifts of $25,000–$49,999

Allegra Entertainment & Events Heising-Simons Foundation Ernest Vineyards The Hellman Foundation Sutter Securities Incorporated H. B. and Lucille Horn Foundation Wish Social Events The William G. Irwin Charity Foundation Jerome Robbins Foundation CHOREOGRAPHER’S COUNCIL The Charles Henry Leach, II Fund Gifts of $10,000–$14,999 E. L. Wiegand Foundation

Almaden CHAIRMAN’S COUNCIL KQED TV Gifts of $15,000–$24,999 Olivia and Jim Guthrie, residents since 2015 Miette Mimi and Peter Haas Fund DANCER’S COUNCIL John Brockway Huntington Foundation Gifts of $5,000–$9,999 Their Shared CHOREOGRAPHER’S COUNCIL Bouchaine Vineyards Gifts of $10,000–$14,999 Etude Wines The Guzik Foundation Walter & Elise Haas Fund VISION FOUNDATION & GOVERNMENT Taube Philanthropies SUPPORT With children and grandchildren in California and Zellerbach Family Foundation GRAND BENEFACTORS a teaching history that includes Stanford and UC Gifts of $250,000 and above DANCER’S COUNCIL San Francisco Grants for the Arts Gifts of $5,000–$9,999 Berkeley, Olivia and Jim decided that San Francisco Koret Foundation Mervyn L. Brenner Foundation, Inc. Towers not only is the city’s most appealing Life Plan Fleishhacker Foundation ARTISTIC DIRECTOR’S COUNCIL Lisa and Douglas Goldman Fund Community, but also offers an address central to Gifts of $100,000–$249,999 The Hope and Norman Hope Foundation Bently Foundation, in honor of Glenn McCoy’s Walter S. Johnson Foundation the best of the Bay Area. To learn more, or for your 30 years of leadership at San Francisco Ballet The Kingsley Foundation personal visit, please call 415.447.5527. The William and Flora Hewlett Foundation George F. Jewett Foundation ASSOCIATE’S COUNCIL The Bernard Osher Foundation Gifts of $2,500–$4,999 Bob Ross Foundation The Amphion Foundation Lakeside Foundation PRESENTER’S COUNCIL Wender Weis Foundation for Children Gifts of $50,000–$99,999

Flora Family Foundation Stephen and Margaret Gill Family Foundation The Diana Dollar Knowles Foundation National Endowment for the Arts 1661 Pine Street, San Francisco, CA 94109 sanfranciscotowers-esc.org The Shubert Foundation, Inc. A not-for-profit community owned and operated by Episcopal Senior Communities. License No. 380540292 COA #177 EPSF752-06WB 030117

PROGRAMS 07 & 08 | 415 865 2000 | 69

CLIENT ESC / San Francisco Towers PUB Encore AD NAME Gutheries REF NO EPSF752-06wb TYPE 2/3 page vertical, 4C SIZE 4.75 x 9.875 ISSUE March Ballet DUE 1.27.17 VERSION 03 AGENCY RESIN CONTACT Tim Paschke 415.987.4274 THE 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, Associate Director, Development, at [email protected] or 415 865 6623.

Michael C. Abramson Arthur Bienenstock Robert Clegg Ms. Frances Eubanks Patricia Lindsay and Norman Abramson and Patricia Ellis Bixby Bette Jean Clute Joan Falender Donald W. Green David Beery Phyllis B. Blair Michael Q. Cohen and Merritt and Mary Lou Fink Roger W. Green Sophie and Ted Aldrich Aviva Shiff Boedecker Carol Berman Cohen C. Candace Fitzgerald James Gries Anthony J. Alfidi Jon Borset Maggie Collins Richard Fitzgerald Martin C. Hamilton Cal Anderson Dr. Carol Bowden Jane A. Cook Victoria Flavell Rosemary (Rosie) Hayes Jola and John M. Anderson Bruce Braden Mary Ellen Copner Frannie Fleishhacker Terry Hynes Helm David and Judith Preves Anderson Lisa K. Breakey Colette V.A. Cornish Mr. and Mrs. Thomas W. Foote Cecilia and Jim Herbert Steven D. Arias Ron and Susan Briggs Sandi Covell Mary Jo Francis Jerry Hill Roulhac and Tom Austin Leonard Brill and Richard Sanjour Deborah Pearson Cowley Douglas Frantz Linda K. Hmelo Nancy R. Axelrod Cynthia and Frederick Brinkmann Kenneth and Diane Cox Sandra and Alfred Fricke Betty Hoener ML Baird, in memory of Ms. Agnes Chen Brown Lynda Meyer Cronin Joseph and Antonia Friedman Holly and Chris Hollenbeck Travis & Marion Baird James R. and Melinda M. Brown Gerald Currier Connie Marie Gaglio Thomas E. Horn Rosemary B. Baker Marjorie and Gerald Burnett Ramona Manke Davis Shelby and Frederick Gans Mr. and Mrs. Terry Houlihan Richard C. Barker Julie and David Burns Wesley F. Day John Garfinkle Vija M. Hovgard Valera Ferrea Barnhart Patricia Butler Cornelia Y. de Schepper Jacqueline Ghosin Harold D. and Jocelyn P. Hughes Marie Schoppe Bartee Adrian and Carol Byram Martha Debs Stephen and Margaret Gill Marie Louise Hurabiell Margaret Bates, M.D. Patricia J. Campbell David and Alaina DeMartini S. Bradley Gillaugh Gary Isoardi Richard and Kathy Beal Jack Capito Karel and Mark Detterman Jane Gitschier Dorothy and Bradford Jeffries Cecelia Beam Linda Parker Cassady Charles Dishman Teri and Andy Goodman Berdine Jernigan Dr. and Mrs. Walter E. Berger Michaela Cassidy Earl Diskin Meryl Gordon, M.D. Mrs. Barbara Johnson Karen S. Bergman Annag Rose Chandler Christine H. Dohrmann Michael W. Grady Susan E. and John E. Johnson Jr. Shannyn Bessoni Antoinette Chatton Sam Alicia Duke Jeneal Granieri Mark G. Jones Davidson Bidwell-Waite and Larry Chow and Ralph Wolf Joseph Ehrman III Lawrence Grauman, Jr. Mrs. René Jopé Edwin A. Waite Diane and William Clarke Carol Emory Joan and Michael Green Dr. Devorah Joseph in memory of Nerrissa Joseph David A. Kaplan Rose Adams Kelly ESTATE GIFTS John Kerns Mrs. Jerome Ormond Kirschbaum San Francisco Ballet gratefully recognizes the following patrons whose contributions to SF Ballet through Peter and Ludmila Eggleton their estates have provided meaningful support since July 1, 2013. The Ballet is honored by their generosity Linda and Robert Klett Suzanne Knott and Tom Rose and vision for the future of the institution. Bequests and other estate gifts, both large and small, are an Carole Dillon Knutson integral part of the Ballet’s financial well-being. Ms. June Kronberg Joan Shelbourne Kwansa Gifts of $1,000,000 and Above Gifts of $100,000–$249,999 Gifts up to $50,000 Sharon Lampton Chris Hellman Nancy Croley Thomas D. Benson Mr. and Mrs. Norman Graham Leaper Donald F. Houghton Barbara A. Daily Eileen Bobrow Kimun Lee Diana Dollar Knowles William K. Dick Ms. Margaret M. Cronin Marcia Lowell Leonhardt Natalie H. Stotz Lloyd N. Harper Paul E. Fey Irv Lichtenwald and Gloria R. Hendricks James Flanagan and E. Katherine Wells Stephen R. Ripple Gifts of $500,000–$999,999 George W. Lord Mr. and Mrs. Rudolf Glauser Betsy Lim Lee R. Crews Ms. Vera M. Long Ruth Caron Jacobs Susan R. Lin Milan Milton Holdorf Phyllis W. Nelson John E. Leveen Carol and Hal Louchheim Mary Jo Pace Dr. Florence R. Oaks Ruth Morse Barbara Lowe Olivia Thebus Lee J. Mosley James J. Ludwig Gifts of $250,000–$499,000 Julia Nash Mr. and Mrs. Laurence R. Lyons Ruth A. Copley Gifts of $50,000 to $99,999 Rachel H. Norman Susan Adair Malecki Delores M. Schweizer Ms. Edith Hammerslough Jessica M. Putney Jo Markovich Anonymous Bernice Itkin Michelle Scholz John Robert Martin S. Grace Williams Paul C. Silva Connie V. Martinez Marion and Willis Slusser Mr. James D. Marver L. Jay Tenenbaum Erika-Marie Matthes The Wingate Foundation Dosia Matthews Anonymous (10) Gwen and Hamp Mauvais Steven and Niko Mayer

70 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 Ms. Shawna Marie McDonald Sue Sommer Suzanne and Charles Thornton Benjamin and Mary Ann Whitten Kathlyn McDonough and Sharon St. James Jazz Tigan Karen and Stephen Wiel Dennis Yamamoto Stephen B. Steczynski Mr. and Mrs. Howard Timoney Mr. Burlington Willes Donald L. McGee Nancy Stern Michael E. Tully Miles Archer Woodlief Mrs. William L. McGee Susanne Stevens Janet Sassoon-Upton and Laureen Woodruff Dr. Terri McGinnis Mrs. Dwight V. Strong John R. Upton, Jr. Dr. Robert and Sharon Yoerg Betsy and Ed McGuigan Jane and Jay Taber Carolyn and Terry Voet Janice Hansen Zakin James H. McMurray Tom Taffel and Bill Repp Mrs. Katherine Wallin Kristine A. Zeigler Susan J. Meadows Mr. and Mrs. Alan Tai Mrs. Barbara W. Wanvig Mrs. Stephen A. Zellerbach Robert L. Merjano Jack Eugene Teeters Rosalie V. Weaver Anonymous (68) Steve Merlo Sam Thal, M.D. Dr. Frieda Weiner Karl Meyer and Kelly Hails Richard J. Thalheimer Daphne and Stuart Wells J. Sanford Miller Ms. Joyce E. Miller Mr. Sidney F. Mobell Nancy and Larry Mohr Patricia Mok Milton J. Mosk Elise Mosse Kathleen Much BARBARA FRACCHIA ART STUDIO Tom and Anne Muller Peter Johnson Musto Operatic and Ballet Paintings Virginia Mylenki and James J. Pidgeon Mr. and Mrs. Robert L. Newman Tom Nicoll Jeffrey A. Nigh Norman and Hillevi Null Peter Nye and James Marks John S. Osterweis James O. Pearson, Jr. Karen Posner Steve and Cleo Postle Roger and Deborah Potash Mr. and Mrs. Albert M. Price Jane Radcliffe Dave and Judy Redo Glenn H. Reid M.A. Rey-Bear Trust Mr. and Mrs. Richard D. Ringe Pat Roberts Elsie Robertson Pauline and Richard Roothman Renee and Dennis Ross Renee Rubin Karl Ruppenthal and Jo Maxon Pat Sanderson R. L. Sauer Dorothy Saxe Norman Schlossberg Ms. Catherine Schmidt Walter and Sharon Schneider Al Schroeder Leonard C. Schwab Harold E. Segelstad Mr. and Mrs. Jack Self Christine Selle Michael and Daryl Shafran J. Gary and O.J. Shansby Foundation oil on canvas, 12 x12 John-Luke Sheridan Mrs. Carter Parrish Sherlin Carol R. Sholin Edward M. Silva and James H. McMurray Marc Sinykin and Kevin Osinski Charles G. Smith Dr. W. Byron Smith M. Eileen Soden, Ph.D. Scott C. Sollers

PROGRAMS 07 & 08 | SFBALLET.ORG | 71 YOUR LEGACY, “Our bequest to San Francisco Ballet is a way of immortalizing our love of this art form. For us, ballet represents the highest and most exquisite expression of beauty, power, and discipline– OUR FUTURE combining movement, music, and cultural values. Our gift gives us the satisfaction of knowing that, through our legacy, our spirit (in some small way) will live on; engaging, enlightening, and enriching others for generations to come.”

Tom Taffel and Bill Repp are familiar faces in the War Memorial Opera House. Both have served as ushers for more than twenty years and have helped countless patrons—whether in the SF Ballet season or the SF Opera season—enjoy their experience.

For information about bequests, charitable gift annuities, and other estate gift options, contact Elizabeth Lani in SF Ballet’s planned giving office at415 865 6623 or [email protected]. Patrons who include SF Ballet in their will or other estate plans are invited to membership in the Jocelyn Vollmar Legacy Circle and celebrated as essential members of the SF Ballet family.

Tom Taffel and Bill Repp, Jocelyn Vollmar Legacy Circle members, and Principal Dancer Angelo Greco // © Chris Hardy 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 new ballet season, Ballet Auxiliary members comprise an exclusive group of women who leverage their talents in fundraising events that each year raise more than $2 million for SF Ballet.

LEADERSHIP Mrs. Alexander Leff, President Mrs. G. Steven Burrill, Recording Secretary Ms. Beverley Siri Borelli, Treasurer Ms. Ann Kathryn Baer, Vice President Mrs. John E. Fetzer, Corresponding Secretary Mrs. Robert W. Wood, Event Treasurer

ACTIVE MEMBERS Ms. Blanca Aguirre Mrs. Rhonda Mahendroo Ms. Rosemary B. Baker Miss Elizabeth Leep Ms. Donna Bachle Mrs. Heather Cassady Martin Ms. Katherine Banks Ms. Debra A. Leylegian Ms. Deborah Taylor Barrera Ms. Laura V. Miller Mrs. Patrick V. Barber Mrs. Barry R. Lipman Miss Carol Benz Mrs. Emily Millman Mrs. Kent T. Baum Ms. Sheila M. Lippman Mrs. Steven Bergman Dr. Shokooh Miry Ms. Barbara Bechelli Mrs. John C. Lund Ms. Catherine Bergstrom Mrs. Elizabeth Robinson Mitchell Mrs. Peter Berliner Mrs. Robert W. Maier Mrs. Ashley Berman Ms. Margaret Mitchell Mrs. John W. Bitoff Ms. Susan A. Malecki Ms. L’Ann Bingham Mrs. Monika Moscoso-Riddle Mrs. Athena Blackburn Ms. Sandra Mandel Ms. Giselle Bosc Mrs. Sarah Newmarker Mrs. Richard A. Bocci Mrs. Michael L. Mauzé Mrs. William S. Brandenburg Mrs. Michael O’Sullivan Mrs. Caroline Krawiec Brownstone Mrs. Mark A. Medearis Mrs. Rada Brooks Mrs. Jack Preston Mrs. Walter Carpeneti Mrs. James J. Messemer Mrs. David Byers Ms. Virginia Leung Price Mrs. Charles E. Clemens Mrs. Jane S. Mudge Mrs. Kathleen Coffino Ms. Kacie Renc Miss Robin Collins Ms. Vickie Nelson Ms. Rebecca Cooper Mrs. Patricia D. Roberts Ms. Christine Leong Connors Mrs. Robert L. Newman Mrs. Angelos J. Dassios Ms. René Rodman Mrs. Daniel P. Cronan Mrs. Peggy L. Newton Ms. Melissa del Sol Ms. Stephanie B. Russell Ms. Gail De Martini Ms. Carole A. Obley Ms. Carole A. Demsky Ms. Meg Ruxton Mrs. Theodore S. Dobos Mrs. Edward Plant Ms. Christine DeSanze Mrs. James D. Seltsam, Jr. Mrs. David Dossetter Mrs. Nick Podell Mrs. Samara Diapoulos Mrs. Ally Sievers Mrs. Happy Dumas Dame Tanya Marietta Powell Ms. Jane Gazzola Ms. V’Anne Singleton Dr. DiAnn Ellis Ms. Merrill Randol Mrs. Vincent Golde Mrs. Shelley Sorani Mrs. Douglas J. Engmann Mrs. Todd G. Regenold Ms. Shelley Gordon Ms. Grace Nicolson Sorg Mrs. Christian P. Erdman Ms. Katherine Robertson Mrs. Christy Swartz Ms. Patricia Ferrin Ms. Lorrae Rominger YOUR LEGACY, “Our bequest to San Francisco Ballet is a way of immortalizing Mrs. Colin Greenspon Mrs. David Grove Ms. Holli Thier Ms. Dixie D. Furlong Ms. Dara C. Rosenfeld our love of this art form. For us, ballet represents the highest Ms. Lori Harmon Mrs. Andrea Valo-Espina Mrs. Alison Morr Gemperle Mrs. Jay Ryder and most exquisite expression of beauty, power, and discipline– Mrs. Joseph Harris, Jr. Ms. Amy Wender-Hoch Mrs. Stephen Ghiselli Ms. Isabel M. Sam-Vargas OUR FUTURE combining movement, music, and cultural values. Our gift gives Mrs. Ronald R. Heckmann Ms. Freddi Wilkinson Ms. Nonie H. Greene Ms. Ellen Sandler us the satisfaction of knowing that, through our legacy, our spirit Mrs. Christopher Hemphill Mrs. Eric Wold Mrs. John P. Grotts Mrs. Elaine Wong Shen Ms. Patricia Wyrod Ms. Catherine D. Hargrave Ms. Karen L. Skidmore (in some small way) will live on; engaging, enlightening, and Mrs. Holly Hollenbeck Ms. Kathryn A. Huber Miss Carla Wytmar Mrs. Michael R. Haswell Mrs. Susan Solinsky enriching others for generations to come.” Ms. Marie Louise Hurabiell Mrs. Ronald Zaragoza Mrs. Terrence M. Hazlewood Mrs. Mathew Spolin Mrs. Michelle Gilman Jasen Ms. Mindy Henderson Mrs. Judy Swanson Tom Taffel and Bill Repp are familiar faces in the War Memorial Mrs. Jonathan Kaufman Mrs. Helgi Tomasson Ms. Kelli Hill Ms. Jody K. Thelander Opera House. Both have served as ushers for more than twenty Mrs. James C. Kelly Honorary Member Mrs. Michael F. Jackson Mrs. Charles V. Thornton Ms. Daru H. Kawalkowski Ms. Elizabeth W. Vobach years and have helped countless patrons—whether in the SF Ballet Mrs. Trecia Knapp Mrs. Carolyn Koenig SUSTAINING MEMBERS Ms. Lisa A. Keith Mrs. Gregg von Thaden season or the SF Opera season—enjoy their experience. Ms. Claire Stewart Kostic Jola Anderson Mrs. William N. Keller Ms. Barbara Waldman Ms. Rochelle Lacey Mrs. Judy Anderson Mrs. Robert D. Kroll Mrs. Wallace Wertsch For information about bequests, charitable gift annuities, and other Ms. Betsy A. Linder Mrs. James P. Anthony Mrs. William D. Lamm Mrs. Aimee West estate gift options, contact Elizabeth Lani in SF Ballet’s planned Mrs. Carol Louie Mrs. Thomas G. Austin Ms. Jean Larette giving office at415 865 6623 or [email protected]. Patrons who include SF Ballet in their will or other estate plans are invited ALLEGRO CIRCLE to membership in the Jocelyn Vollmar Legacy Circle and celebrated Allegro Circle is one of our newest organizations—a small and mighty group of donors who also volunteer their networks as essential members of the SF Ballet family. and their professional expertise to SF Ballet. For more: sfballet.org/allegrocircle

LEADERSHIP Stewart McDowell Brady and Paula Elmore Susan Marsch Patrice Lovato, Co-Chairs Isaac Hall Gregg Mattner Tom Taffel and Bill Repp, Jocelyn Vollmar Legacy Circle members, and Principal Dancer Angelo Greco // © Chris Hardy

PROGRAMS 07 & 08 | 415 865 2000 | 73 THANK YOU TO OUR VOLUNTEERS CONTINUED

ENCORE PROGRAM 01 | Jan 25–Feb 02 If you’re a young professional who loves dance and a great party, dust off the tux, get out that gown, and join our 300 plus 2019 Don Quixote ENCORE! members at a wide variety of social, educational, and networking events. For more, visit sfballet.org/encore SEASON Choreographers: Helgi Tomasson and Yuri Possokhov, after Alexander Gorsky and LEADERSHIP Christopher Correa, President Daniel Cassell, Treasurer Alex Christie Elizabeth Sgarrella Susan Lin, Vice President Emily Hu, Immediate Past President Vanessa Jn-Baptiste Jamie Taylor PROGRAM 02 | Feb 12–Feb 23 Angela Zhang, Secretary Jacqueline Barrett Kelcie Lee Gary Williams Divertimento No. 15 Maggie Winterfeldt Clark Choreographer: George Balanchine BRAVO Appassionata Each year BRAVO members contribute a collective total of more than 10,000 hours of volunteer assistance to SF Ballet. In the Choreographer: Benjamin Millepied process they get a personal close encounter with the inner workings of the world of SF Ballet. For more: sfballet.org/bravo Encore Work TBA // © Erik Tomasson Don Quixote LEADERSHIP Patricia D. Knight, President Martha Debs Giovanna Jackson PROGRAM 03 | Feb 14–Feb 24 Steve Merlo, Vice President Joan Green Pirkko Lucchesi The Fifth Season Paulette Cauthorn, Secretary Julie Hawkins Kathryn Roberts Choreographer: Helgi Tomasson We are pleased to recognize BRAVO members who contributed 40 hours or more during the 2016–2017 Season. Etudes 250+ HOURS Choreographer: Harald Lander Corine Assouline Roberta McMullan Maria Lawrence 40–54 HOURS Paulette Cauthorn Deric Patrick Cyndy Lee Lynn Barbaria Encore Work TBA Joan Green Twyla Powers Aldona Lidji Alexis Beckman James Gries Pauline Roothman Betsy Lim Julie Brown-Modenos Julie Hawkins Eileen Soden Steve Loving Tiffany Chin PROGRAM 04 | Mar 09–Mar 16 Frances Chung in Tomasson/Possokhov's Frances Chung in Tomasson/Possokhov's Giovanna Jackson Lacy Steffens Betsy McGuigan Linda Drake The Sleeping Beauty Patricia D. Knight Karen Weil Linda Miyagawa Inna Edwards Suzanne Knott Michael Williams Keiko Moore Roslyn Eng Choreographer: Helgi Tomasson, after Marius Petipa Pirkko Lucchesi Steve Wong Patricia Nelson Jonathan Gohstand Dosia Matthews Daphne Wray Gale Niess Bettina Graf PROGRAM 05 | Mar 27–Apr 07 Steve Merlo Jill Zerkle Deborrah Ortego Lydie Hammack Kathryn Roberts Johanna Payne Michae Hart Yuri Possokhov World Premiere 55–99 HOURS Sue Plasai Carolyn Hutchinson Leap into a thrilling 2019 100–249 HOURS Edie Bazjanac Sara Pope Susan Kalian Encore Work TBA Margaret Anderson Jenya Bordas Mercedes Rodriguez Sanae Kelly Encore Work TBA Jenny Au-Yeung Mary Davi Herm Sinoy Priscilla Law Season with season tickets. Carolyn Balsley Doris Duncan Tracy Stoehr Barbara Lim Marilyn Breen Vicente Garcia Brad Stokes Anne Snowball Thomas Brown Keiko Golden Sherrie Szalay Erika Stuart PROGRAM 06 | Mar 29–Apr 09 Martha Debs Piers Greenhill Leslie Tsirkas Audrey Tse Treanor World Premiere Philip Fukuda Kiyoshi Kimura Lizzy Woodham Steve Trenam Added perks for Roger Green Robin Kinoshita May Yasui Desmond Torkornoo 2019 season ticket holders: Rodeo: Four Dance Episodes Susanne Johnson Kenneth Kitch Mary Yee Susan Warble Choreographer: Justin Peck Kathy Judd Carrie Kost Stas Yukevich The best seats in the house Elmira Lagundi Christine Lasher Encore Work TBA John Mazurski David Lau Exceptional savings on tickets (up to 30%) Flexible ticket exchanges PROGRAM 07 | Apr 19–Apr 28 Priority ordering for Nutcracker Discounts on additional tickets The Little Mermaid SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER Choreographer: John Neumeier Convenient payment plans War Memorial Opera House is owned and operated by the city and county of San Francisco through the board of trustees of Discounts at The Shop at SF Ballet PROGRAM 08 May 7–May 12 the War Memorial, The Honorable Mark Farrell, Mayor. Discounts on classes | Limited edition Season Guide Shostakovich Trilogy TRUSTEES Discounts at local restaurants Choreographer: Alexei Ratmansky NANCY H. BECHTLE, President VAUGHN R. WALKER, Vice President

Belva Davis Paul F. Pelosi Thomas E. Horn Charlotte Mailliard Shultz Lt. Col. Wallace I. Levin CSMR (Ret.) Diane B. Wilsey Gorretti Lo Lui 2018 Principal Package subscribers, Mrs. George R. Moscone ELIZABETH MURRAY, Managing Director renew today and save Major General J. Michael Myatt, USMC (Ret.) JENNIFER E. NORRIS, Assistant Managing sfballet.org/renew Director/Executive Secretary Principal Packages go on public sale June 28, 2018. 415 865 2000 | Mon–Fri, 10 am–4 pm 74 | SAN FRANCISCO BALLET | PROGRAMS 07 & 08 2019 PROGRAM 01 | Jan 25–Feb 02 Don Quixote SEASON Choreographers: Helgi Tomasson and Yuri Possokhov, after Alexander Gorsky and Marius Petipa

PROGRAM 02 | Feb 12–Feb 23 Divertimento No. 15 Choreographer: George Balanchine BRAVO Appassionata Each year BRAVO members contribute a collective total of more than 10,000 hours of volunteer assistance to SF Ballet. In the Choreographer: Benjamin Millepied process they get a personal close encounter with the inner workings of the world of SF Ballet. For more: sfballet.org/bravo Encore Work TBA // © Erik Tomasson Don Quixote

PROGRAM 03 | Feb 14–Feb 24 The Fifth Season Choreographer: Helgi Tomasson

Etudes Choreographer: Harald Lander Encore Work TBA

PROGRAM 04 | Mar 09–Mar 16 Frances Chung in Tomasson/Possokhov's Frances Chung in Tomasson/Possokhov's The Sleeping Beauty Choreographer: Helgi Tomasson, after Marius Petipa

PROGRAM 05 | Mar 27–Apr 07 Leap into a thrilling 2019 Yuri Possokhov World Premiere Encore Work TBA Season with season tickets. Encore Work TBA

PROGRAM 06 | Mar 29–Apr 09 Added perks for Liam Scarlett World Premiere 2019 season ticket holders: Rodeo: Four Dance Episodes Choreographer: Justin Peck The best seats in the house Encore Work TBA Exceptional savings on tickets (up to 30%) Flexible ticket exchanges PROGRAM 07 | Apr 19–Apr 28 Priority ordering for Nutcracker Discounts on additional tickets The Little Mermaid Convenient payment plans Choreographer: John Neumeier Discounts at The Shop at SF Ballet Discounts on classes PROGRAM 08 | May 7–May 12 Limited edition Season Guide Shostakovich Trilogy Discounts at local restaurants Choreographer: Alexei Ratmansky

2018 Principal Package subscribers, renew today and save sfballet.org/renew

Principal Packages go on public sale June 28, 2018. 415 865 2000 | Mon–Fri, 10 am–4 pm EAP full-page template.indd 1 3/2/18 11:35 AM