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Home , Alexei Ratmansky, Anna Pavlova, Bolshoi Theatre, Boris Eifman, Bugaku (ballet), Carlotta Grisi

Cal Performances Presents Program A

Th ursday, February , to Sunday, February ,  Th ursday, February , , pm Zellerbach Hall Zellerbach Hall State of , Artistic Director Nina Ananiashvili, Artistic Director Berkeley Symphony Orchestra

PROGRAM

Chaconne

Corps de ballet in

Choreography © Th e George Balanchine Trust Lasha Khozashvili and Lali Kandelaki in Chaconne Music Ballet music from the ed with (  and ) by Christoph Willibald Gluck Berkeley Symphony Orchestra Conductor Robert Cole Staging Bart Cook, Cal Performances and David Eden Productions, Ltd. are very grateful to the Georgian Government for supporting this tour. Costumes Natia Sirbiladze Lighting Amiran Ananeli Support for the State Ballet of Georgia’s  tour is provided by the Trust for Mutual Understanding. State Ballet of Georgia Premiere , November ,  Cal Performances’ – season is sponsored by Wells Fargo Bank.

4 CAL PERFORMANCES CAL PERFORMANCES 5 Program A Program A

Dancers Bizet Anna Muradeli, Vasil Akhmeteli (American Premiere)

Rusudan Kvitsiani, Ekaterine Chubinidze, Otar Khelashvili Choreography Music Chromatic Variations by Georges Bizet Tsisia Cholokashvili, David Khozashvili Costumes Mikhail Makharadze Lighting Amiran Ananeli Mariam Aleksidze, Teona Akhobadze, Lana Kiknadze, Nino Gogsadze, Nino Makhashvili Piano John Parr

Ana Turazashvili, Nino Sanadze, Irakli Bakhtadze, David Ananeli Dancers Nina Ananiashvili , Nino Ochiauri, Maya Dolidze Shorena Khaindrava, Natalia Rigvava, Ina Azmaiparashvili, Viktoria Kuznetsova, Nino Magradze, Vasil Akhmeteli, David Khozashvili, Irakli Bakhtadze Lili Labadze, Evgenia Godziashvili, Ekaterine Lominadze, Lana Mgebrishvili

Artur Ivanov, Giorgi Saginashvili, Saro Karichashvili, Giorgi Beridze, Irakli Shengelia, Dimitri Bartosh INTERMISSION Vera Kikabidze, Tamara Tchelidze, Nino Macharashvili, Tatiana Katamadze, Nino Megrelishvili, Natia Bunturi, Gvantsa Gavashelishvili, Tea Kopaleishvili, Sophiko Phantsulaia

Th e Balanchine presented in this program, Chaconne and , are protected by Sagalobeli copyright. Any unauthorized recording is prohibited without the expressed written consent of Th e George (American Premiere) Balanchine Trust and the State Ballet of Georgia. Choreography Yuri Possokhov Th e performances of Chaconne and Duo Concertant, Balanchine® Ballets, are presented by arrangement with Th e George Balanchine Trust and have been produced in accordance with the Balanchine Style® and Georgian Traditional Music Sagalobeli Ensemble Balanchine Technique® Service standards established and provided by the Trust. Costumes Anna Kalatozishvili Lighting Amiran Ananeli

Dancers INTERMISSION Tsisia Cholokashvili, Nino Gogua, Anna Muradeli, David Khozashvili, Vasil Akhmeteli, Lasha Khozashvili Gvantsa Gavashelishvili, Maya Dolidze, Lana Mgebrishvili, Lili Labadze, David Ananeli, Otar Khelashvili, Artur Ivanov, Dimitri Bartosh Duo Concertant Sagalobeli Choreography George Balanchine © Th e George For anyone who had lived in the former , Georgian polyphonic songs, folk dances, the- Balanchine Trust ater, cinema and art are an essential part of cultural awareness. Music Duo Concertant by I must say, I was very surprised when Nina Ananiashvili, my friend from the time we studied together Piano John Parr at the School, asked me to stage a ballet to Georgian music—and not just any Georgian Violin Franklyn D’Antonio music but the music of Tbilisi’s urban folklore! “Is there anything new that a Russian-American dancer Staging Bart Cook and choreographer can say about this music that the Georgians themselves had not already said?,” I kept Lighting Amiran Ananeli asking myself. But the longer I listened to the Georgian melodies, the more I succumbed to the tempta- tion. And in the end I said, “Yes.” Dancers From the start, we dismissed the idea of staging a “folkloric” ballet. We attempted to create choreog- Nino Gogua, Lasha Khozashvili raphy that would express my attitude to Georgia, its people and music. I hope that I have managed to get at least a small part of my appreciation and feelings across to the audiences.—Yuri Possokhov

PAUSE

6 CAL PERFORMANCES CAL PERFORMANCES 7 Program B Program B

Friday, February , , pm FRIDAY CASTING Saturday, February , , pm Nino Gogua Sunday, February , , pm Count Albrecht Lasha Khozashvili Zellerbach Hall Hilarion Irakli Bakhtadze Myrta, the Queen of Wilis Nino Ochiauri Wilfrid, Count’s squire Iuri Sorokin State Ballet of Georgia Berthe, Giselle’s mother Teona Charkviani Nina Ananiashvili, Artistic Director Duke of Courland Giorgi Takashvili Batilda, Duke’s daughter Maia Alpaidze PROGRAM Pas de six Tsisia Cholokashvili, Mariam Aleksidze, Teona Akhobadze, Nino Makhashvili, ’s Artur Ivanov, David Khozashvili Giselle Zulma Tsisia Cholokashvili Mona Ekaterine Chubinidze Ballet in Two Acts

SATURDAY CASTING Giselle Nina Ananiashvili Count Albrecht Vasil Akhmeteli Hilarion Irakli Bakhtadze Myrta, the Queen of Wilis Nino Ochiauri Wilfrid, Count’s squire Iuri Sorokin Berthe, Giselle’s mother Teona Charkviani Duke of Courland Giorgi Takashvili Batilda, Duke’s daughter Maia Alpaidze Pas de six Tsisia Cholokashvili, Mariam Aleksidze, Teona Akhobadze, Lana Mgebrishvili, David Khozashvili, Lasha Khozashvili Zulma Tsisia Cholokashvili Mona Ekaterine Chubinidze

SUNDAY CASTING Giselle Anna Muradeli Count Albrecht Lasha Khozashvili Hilarion Irakli Bakhtadze Myrta, the Queen of Wilis Shorena Khaindrava Wilfrid, Count’s squire Iuri Sorokin Nino Gogua and Lasha Khozashvili in Giselle Berthe, Giselle’s mother Teona Charkviani Berkeley Symphony Orchestra Duke of Courland Giorgi Takashvili Robert Cole, conductor Batilda, Duke’s daughter Maia Alpaidze Pas de six Tsisia Cholokashvili, Mariam Aleksidze, Th éophile Gautier, J. Saint-Georges Teona Akhobadze, Nino Makhashvili, Choreography , , Artur Ivanov, David Khozashvili Staging Alexei Fadeyechev, Tatiana Rastorgueva Zulma Ekaterine Chubinidze Scenery and Costumes Viacheslav Okunev, after Alexander Benois Mona Tsisia Cholokashvili Lighting Paul Vidar Saevarang State Ballet of Georgia Premiere Tbilisi, March , 

8 CAL PERFORMANCES CAL PERFORMANCES 9 Synopsis Orchestra Roster

Berkeley Symphony Orchestra

Kent Nagano, Music Director James A. Kleinmann, Executive Director

Violin I Franklyn D’Antonio, Concertmaster Emma Moon, Principal Kevin Neuhoff , Principal Phillip Santos, Assistant Concertmaster Gail Edwards Eugene Chukhlov Percussion Virginia Baker Piccolo Ward Spangler, Principal Candy Sanderson Gail Edwards Larisa Kopylovsky Harp Lisa Zadek Wendy Tamis, Principal Josie Fath Deborah Shidler, Principal Daryl Schilling Bennie Cottone Administration Randell Weiss René Mandel, Artistic Administrator/ Personnel Manager Violin II Anthony Striplen, Principal Th eresa Gabel, Director of Operations David Ryther, Principal Diana Dorman Kevin Shuck, Director of Communications Jory Fankuchen Murrey Nelson, Director of Development Sophie Alscher Bassoon Ming Luke, Director of Education Deborah Cornelius Carla Wilson, Principal Richey Tally, Patron Services Manager Lili Byers Charles Moehnke Candace Sanderson, Music Librarian David Cheng Christine Browne, Bookkeeper Annie Li Horn Lasha Khozashvili and Nino Gogua in Giselle Dale Chao Stuart Gronningen, Principal Lorin Tayerle Giselle Erin Vang Marcel Gemperli, Principal Nicki Roosevelt Act I Ilana Matfi s Darcy Rindt Trumpet On the day of the village Wine Festival, Prince with Albrecht’s sword, hears the Wilis summoning Patrick Kroboth Kale Cumings, Principal Albrecht disguises himself as a peasant in order her, goes mad and dies in her mother’s arms. Jason Totzke Laurie McGaw to court Giselle, a beautiful young village girl. Katy Juneau Unaware of Albrecht’s noble birth, Giselle falls in Act II love with him. Cello Th omas Hornig, Principal A hunting party stops for refreshments at the Hilarion is discovered mourning at Giselle’s grave. Carol Rice, Principal Craig McAmis house where Giselle and her mother Berthe live. She has been buried deep in the forest and has Nancy Bien-Souza Th e party includes the Duke and his beautiful become one of the Wilis. Myrtha, the Queen of Wanda Warkentin Bass Trombone David Wishnia Kyle Mendiguchia daughter Bathilde, to whom Albrecht is already the Wilis, summons the maidens and they force Joan Hadeishi engaged. Upon meeting Giselle, Bathilde, un- Hilarion to dance until he dies. Tuba aware that they are in love with the same man, is When Albrecht, now full of remorse, comes Bass Alex Kramer, Principal enchanted by her youthful innocence. Th ey fall to mourn at Giselle’s grave, the Queen commands Michel Taddei, Principal into conversation and Giselle tells the Princess that Giselle to rise from her grave and entice him to Karen Horner she is engaged to marry. Bathilde gives her a beau- dance. Giselle is obliged to obey the Queen and Andrei Gorbatenko tiful necklace. dances with Albrecht through the night. She still Hilarion, the village gamekeeper who is deeply loves him despite his betrayal, and manages to in love with Giselle and is very jealous of Albrecht, keep him alive until daybreak. discovers Albrecht’s disguise and true identity. When With the arrival of dawn, Giselle and the other Hilarion reveals this to Giselle, she becomes so dis- Wilis lose their power and vanish. From beyond traught that she loses her reason. Uncontrollable the grave, the power of Giselle’s selfl ess love has and inconsolable, Giselle attempts to kill herself saved Albrecht’s life.

10 CAL PERFORMANCES CAL PERFORMANCES 11 About the Artists About the Artists

State Ballet of Georgia ’s Green; and ’s (which she performed for the fi rst time with the Since , Nina Ananiashvili has been the acclaimed Romeo and Juliet, among others. Bolshoi Ballet in Hamburg at the age of ; the of American Ballet Th eatre, per- Th e establishment of the Georgian Ballet Th eater in performance received a -minute ovation); Aurora forming at the House Swan Tbilisi was initiated by Count Mikhail Vorontsov, in Th e Sleeping Beauty; title roles in Giselle, Romeo Lake, , ; Makarova’s ver- a Russian governor of Georgia, in . For more and Juliet (original production of the Lavrovsky sion of La Bayadère; MacMillan’s Th e Sleeping than  years, ballet troupes from St. Petersburg, and Grigorovich version) and ; Kitri Beauty, Romeo and Juliet and Manon; Hynd’s Th e , Kiev and have presented per- in Don Quixote; Medora in ; Clara in Merry Widow; Stevenson’s and Th e Snow formances there of choreographies by Manokhin, Th e Nutcracker (Grigorovich version); Nikia in Maiden (the title role was created for her); Medora Mordkin, Litvinenko, Yorkskiy and others. Th e in- La Bayadère; Eleonore in ’s in Le Corsaire; and works of Balanchine, Tudor, comparable , Matilda Kshesinskaya, Kermesse in Bruges; Rita in Th e Golden Age; lead- Mark Morris and more. , Olga Preobrazhenskaya, ing roles in La Sylphide, , , Le “Nina Ananiashvili’s Odette/Odile allowed Ekaterina Geltser, and oth- Spectre de la Rose; and others. Th e title role in the us to gauge the sweep and breadth of her sover- ers graced its stage. In the early s, Mikhail Bolshoi Th eatre’s production of the opera-ballet eign, if not to say, monumental interpretation Fokine tested his innovative ballets in Tbilisi be- by Rimsky-Korsakov was created for her. of the role. It is the purity and authenticity with fore presenting them to audiences in Paris at Serge Ms. Ananiashvili’s superb technique, virtuos- which Ms. Ananiashvili epitomizes the Great Diaghilev’s Saisons Russes. ity, exquisite and refi ned style, fl owing movements Russian school. She dances her Odette/Odile, In , dancer and choreographer Vakhtang and dramatic talent quickly turned her into the which is such a colossal creation, in a direct line Chabukiani, composer Andrey Balanchivadze most sought-after ballerina of the present day. of succession from the Great Russian ballerinas of (George Balanchine’s brother) and designer Simon Her unique place in the ballet world has aff orded the past,” raved Ballet Review after her New York Virsaladze (longtime chief designer of the Bolshoi Ms. Ananiashvili the opportunity to enlarge her performances. and Kirov) established the State Ballet of Georgia theatrical and artistic perceptions by performing Ms. Ananiashvili has also guested with the (SBG) as the resident company of the Th eatre. In the masterpieces of the Western choreography , Norwegian National Ballet, , Chabukiani became Artistic Director of with almost all of the great companies of Europe National Ballet of Portugal, National Ballet of the SBG, transforming the Company into one of and North America. In a historic  engagement Finland, Bavarian National Ballet, Grand Ballet the leading dance ensembles of the former Soviet with Ballet, Ms. Ananiashvili re- de Monte Carlo, , Union. During the  years of his directorship, he Born in Tbilisi, Georgia, Nina Ananiashvili be- ceived the rapturous reception of audiences and and . Together with the had choreographed ballets that instantly became came a champion ice skater at the age of , be- critics alike as the fi rst guest ballerina to appear in artistic director of the , Frank Soviet classics: Th e Heart of Mountains, Sinatle, fore entering the State Choreographic School of Balanchine’s , Andersen, she has created its touring group, con- Laurensia, Gorda and Othello. Georgia. She continued her training at the Bolshoi and . sisting of the best dancers from , France, Leningrad choreographer George Aleksidze Choreographic School under the famous teacher She has frequently guested with the Royal Denmark and the , which has per- was invited to become the next Artistic Director Natalia Zolotova. “Today she is the classical bal- Ballet in , where since  she has per- formed successfully in Moscow, St. Petersburg, of the Company in  after Chabukiani’s retire- let’s undeniable superstar,” wrote Clive Barnes in formed the role of Princess Rose in MacMillan’s , Paris, Dallas, Tokyo, Osaka and ment. Aleksidze, famous for his works for Natalia the New York Post. Prince of the Pagodas; Lise in ’s other cities of Japan. Makarova and , has created Nina Ananiashvili unprecedentedly holds the La Fille Mal Gardée; the title roles in MacMillan’s In –, Ms. Ananiashvili premiered at more than forty throughout his tenure of  years four highest awards of compe- Romeo and Juliet, Ashton’s Cinderella and Folkine’s the Bolshoi Th eatre’s Vasiliev production of Giselle; and brought the SBG to another level. tition: Gold Medal at the th Varna (Bulgaria) Firebird; Sugar Plum Fairy in Wright’s Nutcracker Alexei Ratmansky’s Charms of Mannerism, Dreams In , Nina Ananiashvili, prima ballerina Competition,  (junior group); Grand Prix and many others. About Japan and Leah; Balanchine’s of the Bolshoi and principal of American Ballet at the Fourth Moscow Competition,  (ju- Ms. Ananiashvili was the fi rst Russian bal- and Symphony in C; Alexei Fadeyechev’s Don Th eatre, returned to Georgia to lead the SBG. nior group); Gold Medal at the Fifth Moscow lerina to be invited by the Royal Danish Ballet Quixote; ’s Pharaoh’s Daughter; and Th e Company has premiered  ballets since Competition,  (senior group); and Grand Prix to Copenhagen to perform the title role in La Stanton Welch’s Green and Opus X. Ms. Ananiashvili’s arrival, including Petipa’s at the Th ird Jackson (United States) competition, Sylphide, Terezina in and Th e Flower Festival Ms. Ananiashvili became the fi rst balle- , Giselle and Don Quixote; Balanchine’s  (senior group). in Genzano (all by Bournonville), as rina to be awarded the National Prize of Russia , Apollo, Mozartiana, Donizetti Variations, In , Ms. Ananiashvili joined the Bolshoi well as other ballets. “Triumph” for outstanding achievements in Fine Th e , Chaconne, Duo Concertant, Th eatre as a ballerina. Today, she is the prima bal- She had been a regular guest with the Mariinsky Arts and State Prize of Georgia for outstanding Tchaikovsky Pas de deux and ; Ashton’s lerina of the Company. Over the years, she has (formerly Kirov) Ballet, where she premiered the contribution to Georgian culture. In , she La Fille Mal Gardée and Two Pigeons; Ratmansky’s been coached by legendary Russian dancers Raissa revival of the legendary production of Lavrovsky’s became the recipient of the highest Russian State Dreams About Japan and Leah; McIntyre’s Second Struchkova and for the roles of Romeo and Juliet, and had performed Don Quixote, Award, the “Order for Outstanding Services to the Before the Ground and Midsummer Night’s Dream; Swanilda in Coppélia; Odette/Odile in Swan Lake Swan Lake and Th e Sleeping Beauty, among others. Fatherland.”

12 CAL PERFORMANCES CAL PERFORMANCES 13 About the Artists About the Artists

In , the American Biography Institute formal concert dress and then, in , changing Robert Cole (conductor) received his MA in mu- of vocal and recitals, at Old First awarded Ms. Ananiashvili the title of “Woman its name to the Berkeley Symphony Orchestra. In sic from the University of Southern California, Church in San Francisco. In May , Mr. Parr of the Year.” In , she was named a Dance , the orchestra moved from the -seat First and went on to study conducting with Richard appeared with one of the world’s greatest cellists, Magazine awardee, receiving the most prestigious Congregational Church to UC Berkeley’s ,- Lert in California; Leonard Bernstein and Leon Lynn Harrell, in chamber music concerts in the annual dance prize of the United States. seat Zellerbach Hall. Barzin at the Tanglewood Music Center; and Bay Area. Nina Ananiashvili is People’s Artist of Georgia In , Berkeley Symphony’s performances Hans Swarowsky in Europe. He served as associate and Russia. She has been Artistic Director of the of works by Frank Zappa, featuring an augmented conductor of the Buff alo Philharmonic Orchestra Franklyn D’Antonio (violin) has accumulated a State Ballet of Georgia since September . orchestra, life-sized puppets and moving stage and was the executive director and music director wealth of solo, chamber music and orchestral expe- sets, brought the orchestra international atten- of the of Los Angeles. Since , he rience since his studies as a pupil of Jascha Heifetz tion. Maestro Nagano and the orchestra have also has been director of Cal Performances on the cam- at the University of Southern California. He won Music championed several young composers, includ- pus of UC Berkeley. Mr. Cole is also general direc- his fi rst audition at  to become a member of the ing Th omas Adès, whose opera, Powder Her Face, tor of the Berkeley Festival & Exhibition, an inter- Los Angeles Chamber Orchestra conducted by Sir French composer Adolphe Charles Adam (– was performed here in a concert version in , national festival of early music he founded in June Neville Marriner before moving on to positions in ) was born in Paris. He was educated at day well before its much-heralded performances in of . He has conducted in various theaters in the Detroit Symphony, Chicago Symphony and school there and entered the Conservatoire in , Brooklyn, London and Chicago. Russia, and recently conducted the Kirov Orchestra Los Angeles Philharmonic. A former faculty mem- studying organ and harmonium under Francois Th e orchestra has received ASCAP Awards with the Perm Ballet at the Mariinsky Th eatre in ber of California State University, Northridge, Adrien Boieldieu. for Adventurous Programming of Contemporary St. Petersburg as part of the White Nights Festival. Mr. D’Antonio’s solo, chamber music and orches- Adam is remembered now almost entirely as Music in fi ve out of the past six seasons. Th ey Mr. Cole has conducted Th e Hard Nut with the tral performances have taken him on many con- the composer of Giselle and Le Corsaire, although have recorded music by William Kraft, Jeff Beal, Mark Morris Dance Group at Cal Performances, cert tours throughout the United States, Europe, those were only two of  scores he wrote for bal- Peter Scott Lewis and Frank Martin for Harmonia at the Brooklyn Academy of Music in New York the Middle East and Asia over the last  years. let. He was also a prolifi c composer for , Mundi, Tri-loka and New Albion records, re- and at Sadler’s Wells in London. In , Mr. Cole He is currently teaching in Sacramento and the light operas and vaudevilles. spectively. Th eir most recent CD is Th e Butterfl y was named a Chevalier of the Order of Arts and Bay Area and is Acting Concertmaster of Berkeley He created Giselle closely to detailed require- Tree, released in  and featuring Jean-Pascal Letters by the Government of France. Symphony Orchestra. ments from Coralli and Perrot, and his talent en- Beintus’s musical rendition of the two years Julia abled it to be composed quickly. His memories Butterfl y Hill spent on a tiny platform  feet up John Parr (piano) is San Francisco Opera’s Head claim eight days for the sketch and three weeks for in a redwood tree that was slated to be felled. Th e of Music Staff . A native of Birmingham, England, Choreography the full work. Giselle is written as a wordless opera, story is narrated by Ms. Hill and sung by folk mu- Mr. Parr studied piano at the Royal Northern in the Italian cantilena style of Bellini or Donizetti. sic Joan Baez. Also on the disc is Beintus’s College of Music with Sulamita Aronovsky and “Do you know Balanchine? If you do not, let me Adam uses leitmotif and musical reminiscence to charming setting of Th e Brementown Musicians, musicology at Manchester University. He worked tell you he is a Georgian by the name of George achieve dramatic eff ect. Adam sought no great narrated by noted Bay Area actress Joy Carlin. for the , Covent Garden, from Balanchivadze. He possesses exceptional charm, depth of invention, not originality of structure or Berkeley Symphony supports local compos- –, touring with the company to Japan and he is a slim, short, dark-haired man and the most harmony, but certainly in Giselle he left one of the ers through its informal Under Construction new Korea in . He was engaged at Scottish Opera skilful creator of ballets that I have come across.... great monuments in ballet history. music events at the First Congregational Church. Berkeley Symphony also serves every public el- from –. In , he joined the Lower He is capable of creating a miracle and it hap- Berkeley Symphony Orchestra was founded ementary school in Berkeley with its year-long, Saxony State Opera in Hannover, Germany, where pens right before our eyes.” Th is is how Lincoln in  as the Berkeley Promenade Orchestra by award-winning Music Education Program, which he was Head of Music Staff and Musical Assistant Kirstein, organizer of one of the most famous Th omas Rarick, a young protégé of Sir Adrian provides every student with the experience of be- to Music Directors George Alexander Albrecht, American companies, New York Boult, the great English maestro. Refl ecting the coming a performer. Christof Perick and Andreas Delfs, specializing City Ballet, described renowned choreographer spirit of the times, the Promenade replaced tuxedos New this season, Berkeley Akademie Ensemble in Wagner and Strauss operas. During this time, George Balanchine (Chaconne, Duo Concertant). with informal dress and performed in unusual lo- debuts under the co-artistic directorship of Maestro he developed an extensive series of Lieder recitals George was born in St. Petersburg in  cations, such as the University Art Museum. Nagano and concertmaster Stuart Canin with two and chamber music programs for the Opera, and to the family of prominent composer Meliton When Kent Nagano took over the orchestra in performances in December  and May  at also broadcast on SFB Radio Berlin and NDR Balanchivadze, considered to be “Georgia’s , he charted a new course by off ering innova- First Congregational Church. Berkeley Akademie Television. With San Francisco Opera, Mr. Parr Glinka,” and Maria Vasilieva. Two years later, an- tive programming that included a good number of Ensemble will examine intimate works by Bach, has developed and performed in numerous recital other boy followed, Andria Balanchivadze, who rarely heard th-century scores. Under Maestro Strauss, Mozart and others. programs. Since , he has worked as a coach at would become a famous Georgian composer and Nagano, the orchestra also took measures to de- For more information on Berkeley Symphony’s the summer Wagner Festival at Bayreuth and has musician. As a child, George wanted to be a priest, velop an image congruous with its more serious current season, please visit berkeleysymphony.org also given recitals at the Wagner Museum there. In while his father dreamed of his son becoming a and sophisticated programming, fi rst switching to or call () -. June , he initiated “Basically British,” a series naval offi cer. However, fate brought him at age

14 CAL PERFORMANCES CAL PERFORMANCES 15 About the Artists About the Artists nine to the Ballet School at the Mariinsky Th eatre, whether the movements corresponded to the mu- Perrot worked under Jean Coralli in diff erent ballet shares the distinction of being the most where he studied under and Samuel sic—this was the principle of his work. theaters until, in , he was engaged as a dancer frequently produced ballet on the world’s stages. Andrianov. Upon graduation, he joined the Th eatre “He took dancers that inspired him and he by the , where he became partner of Needless to say, Petipa’s version of Giselle reached as the character dancer. At , he started creating would create the choreography on that dancer in Marie Taglioni and , for whom he the end of the th century almost without any dances. He always aspired to create something of that moment. And if someone got sick, he would created dances in Giselle. changes. his own, something new and diff erent. He used make a diff erent for another dancer, Perrot worked for more than  years as a ballet It must be remembered that Petipa was not to inspire the dancers, fi nd the place for rehearsals change it entirely, for this was a diff erent dancer,” master at the Imperial Th eatres of St. Petersburg merely a choreographer; he was the fi rst artistic and produce dances. Jacques d’Amboise recalls. and Moscow, where he spent his most prolifi c director in true sense of this word. Not only did George Balanchivadze had a passion also Balanchine often produced ballets to music not working years. He worked also at of he create the ballets of his own, but he also super- for music. From –, he studied music meant for the genre. Such productions usually had , theaters in Naples, Venice, London and vised the work of other choreographers, design- theory, composition and piano at St, Petersburg no dramatic plot. His ballets combined the clas- , and created more than  ballets. ers, composers and the School. Conservatory, and he had an exquisite under- sics of Petipa, whose successor he was considered Perrot’s dancing and ballets refl ected the Th anks largely to Petipa, ballet in Russia by the standing of music. Unlike other choreographers, to be, with contemporary jazz, modern, eurhyth- Romantic spirit and sympathy for the individual late th century had long surpassed its Western he never feared enacting musical masterpieces. It mics and ballroom dancing elements. Th ough he gave his characters human depth. Also Romantic counterpart. was due to such a great fascination with music that was loyal to the classical traditions, he also favored was his concern to make the stage picture totally Marius Petipa is considered one of the great- enabled his partnership with the outstanding com- everything new, looking backwards and forwards convincing. Perrot’s greatest gift was his ability to est choreographers of all time. His classicism inte- poser Igor Stravinsky. simultaneously. use dancing directly to further the action. It was a grated the purity of the French school with Italian In , George went to Europe on a tour from Nearly all of his ballets are in one act. Th e only route that ballet would follow all over Europe dur- virtuosity. He elevated to interna- which he was to return to Russia almost  years exceptions are A Midsummer Night’s Dream () ing the next half-century. tional fame and laid the cornerstone for th-cen- later as a world famous celebrity. Serge Diaghilev, in two acts and Don Quixote () in three acts. tury ballet. having learned about the tour of the Russian danc- Balanchine originated new language in th- French-Russian dancer, choreographer and bal- ers, found and invited them to his Ballet Russes. At century choreography that enabled the spectators let master Marius Petipa (Giselle) was born in Yuri Possokhov (Sagalobeli) was born in age , George, already known as Balanchine, be- “to see the music and listen to the dance.” Marseilles on March , . He studied dancing Lugansk, Ukraine, in . After graduating from came a choreographer of this prominent Company. George Balanchine died on April , , with his father Jean Antoine Petipa, and later with the Moscow Choreographic School (class of Peter It was for the Ballet Russes that, at , he created leaving behind his school, the excellent New York Auguste Vestris. Petipa made his stage debut with Pestov), he was enlisted in the Bolshoi Ballet. his fi rst masterpiece, Apollo, to music by Stravinsky. City Ballet and a vast repertoire. his father’s dancing company in  in Brussels. Mr. Possokhov performed the leading roles in Th us began the partnership, considered to be the From  to , he worked as a dancer and bal- Swan Lake, Th e Sleeping Beauty, Th e Nutcracker, most fruitful in the ballet history, between these Italian dancer and choreographer Jean Coralli let master at theaters in Bordeaux, Nancy, New Giselle, Romeo and Juliet and others. He was the two coryphaeuses of art. Between  and , (Giselle) was born into Bolognese family in Paris York and Madrid. fi rst to dance George Balanchine’s ballet Prodigal Balanchine created  ballets to Stravinsky’s music, on January , . He studied at the Paris Opera In , Petipa was called to Russia as a Son (music by Prokofi ev). including , Apollon Musagète, School and made his debut as a dancer in Paris dancer. In the course of time he branched in other He was invited to join the Danish Royal Ballet Le Baiser de la Fée, Le Coq d’Or and . Opera in  and as a choreographer in Vienna at directions—he worked as a teacher at the theater in , and in  he performed Prince Desire After Diaghilev’s death in , it was not the Hofburgoperntheater. school of St. Petersburg and as a choreographer at in the Sleeping Beauty edition of Helgi Tomasson certain how the things would have turned out for Coralli worked at La Scala, theaters in Lisbon Mariinsky Th eatre; since , he had been chief at . He has been a principal Balanchine had he not met a young American bal- and Marseilles. He was of the Paris ballet master there. of this company since . letomane from a rich family, Lincoln Kirstein. In Opera for  years (–). It was the best time Petipa’s fi rst full-length ballet, Pharaoh’s Mr. Possokhov has been actively working as a , with Kirstein’s help Balanchine opened the to work at the Opera, for avid ballet audiences and Daughter, which he created in six weeks, became choreographer since . Among his works are School of American Ballet and later founded New for such dancers as (for whom he cre- an outstanding success, followed by the rapturous Spanish Songs (), staged for San Francisco York City Ballet. Balanchine created nearly  ated four works) and Carlotta Grisi (for whom he reception of Th e Little Humpbacked Horse and King Ballet Principal Dancer Muriel Maff re; A Duet for productions for this company. Th e dancers wor- created one). Coralli created more than  ballets, Candaule. Petipa then entered a busy period, creat- Two (), for SF Ballet Principal Dancer Joanna shiped him and lovingly called him Mister B. and his vision of ballet fi t well with his audiences’. ing over  ballets, including such masterpieces Berman; and Impromtu, based on Scriabin’s music Balanchine often worked on several ballets at as Raimonda, Don Quixote, Le Corsaire, Coppélia, (), staged for former SF Ballet soloist Felipe once. Ideas would be generated in the course of French dancer and choreographer Jules Joseph Paquita and Le Bayadère. Petipa’s collaboration Diaz. Th e piece was presented at the Jackson working. Th e music was always foremost, but his Perrot (Giselle) was born in Lyons on August , with Tchaikovsky resulted in classics such as Th e International Contest. choreography also required observing the bodies of . Son of a theater machinist, Perrot spent his Sleeping Beauty, Swan Lake and Th e Nutcracker. In , he staged Curse, based on Euripides’ the dancers. It was impossible for him to be sitting youth as a dancer in Paris boulevard theaters. He Giselle, created in  in the tradition of tragedy Medea. Th e work was included in the and thinking of dancing—he would have had to also studied ballet with one of the greatest teachers, Coralli and Perrot, is unquestionably Petipa’s clas- Company’s tour program and was presented dance. He would make dancers move, observing Auguste Vestris. sic choreography. Together with Swan Lake, this at New York City Center. A collaboration with

16 CAL PERFORMANCES CAL PERFORMANCES 17 About the Artists About the Artists

Helgi Tomasson in  resulted in his staging of Op. . He has appeared with the Bolshoi Ballet the Bolshoi Th eatre, being coached by his father, then, the Th eatre has staged and performed Green Minkus’s Don Quixote, which was subsequently and Imperial Russian Balle, and partnered with the legendary artist and regular partner of great and Opus X (choreography by Welch), Second Before presented in Los Angeles. in L’Après-midi d’un faune. and Maya Plisetskaya, Nikolai the Ground (choreography by McIntyre) and Leah Mr. Possokhov was awarded the Isadora His fi rst choreographic works were created as Fadeyechev. Since then, Alexei has mounted and (choreography by Ratmansky), with great success. Duncan Dance Award for outstanding choreog- soon as he left ballet school, when he was dancing performed over  leading parts from the Russian Since , she has been working with Tbilisi raphy of Magrittomania, staged in the frame of with the Shevchenko Th eatre. Mr. Ratmansky’s classical ballet repertoire. Opera and Ballet Th eatre as a choreographic as- San Francisco Ballet project. Th e award is pre- works—such as Yurliberlyu and Whipped Cream— Mr. Fadeyechev has been very successful at the sistant on Second Before the Ground, Green, Dreams sented by ballet critics to the Western California were often included in the programs of Moscow Royal Ballet of Covent Garden, where he had per- About Japan, Swan Lake and Don Quixote. ballet companies. ballet concerts and went down well with the pub- formed the title and leading roles in MacMillan’s, In , Yuri Possokohov staged Prokofi ev’s lic. Th e initial stage of Mr. Ratmansky’s Moscow Ashton’s and Wright’s masterpieces. He had also Cinderella for the Bolshoi. career is linked to a large extent with Postmodern- performed with the Mariinsky Ballet (formerly Design Th eatre, a fi rm that organized his guest appearanc- Kirov), the Royal Danish Ballet, the Royal Swedish Alexei Ratmansky (Bizet Variations) was es with, among others, famous Canadian ballerina Ballet, National Ballet of the , National Viacheslav Okunev (Giselle) is the Chief born in Leningrad. In , he completed his Evelyn Hart in Giselle (), and produced the Ballet of Finland, National Ballet of Portugal, Designer at St. Petersburg Opera and Ballet training at the Moscow Academic College of ballets he created for Nina Ananiashvili. Birmingham Royal Ballet, Boston Ballet, Tokyo Th eatre. He graduated from Leningrad Th eatre, Choreography (today the Moscow State Academy Th e Charms of Mannerism was produced in an- Ballet and others. Music and Cinematography Institute. He has de- of Choreography), where his teachers were Pyotr swer to a commission from the latter ballerina. Ms. In –, Mr. Fadeyechev worked as the signed the scenery and costumes for more than  Pestov and Anna Markeyeva; later on, he stud- Ananiashvili was also among the Bolshoi Ballet Artistic Director of the Bolshoi Th eatre Ballet. performances in Russia, CIS and other countries, ied at the Choreographers’ Faculty of GITIS (the soloists who danced in Mr. Ratmansky’s Dreams During this period, the Bolshoi stages Balanchine’s among them: Levenskiold’s La Sylphide (Bolshoi State Institute of Th eatre Arts), today RATI (the of Japan, and she danced the lead in the fi rst ver- Symphony in C, Agon and Mozartiana for the fi rst Th eatre), Prokofi ev’s Th e Love for Th ree Oranges, Russian Academy of Th eatre Art). On January , sion of Leah, hsi ballet based on Th e Dybbuk, the time, as well as the Pharaoh’s Daughter in Pierre Delibes’ Coppélia, Adam’s Giselle (Mariinsky , he was appointed Artistic Director of the famous play by Semyon Ansky, which, in its time, Lacotte’s choreography. Fadeyechev also remounts Th eatre), Rimsky-Korsakov’s Th e Tsar’s Bride Bolshoi Ballet. won fame for Moscow’s Jewish Habimah Th eatre the Don Quixote in a new edition. In , he (Kiev), Mozart’s Th e Magic Flute, Shostakovich’s From  to  and from  to , and Yevgeny Vakhtangov and inspired Leonard staged Don Quixote at the Rostov State Musical Katerina-Izmailova (Minsk), Mussorgsky’s Boris he was soloist with the of the Bernstein to write a ballet on the subject. Th eatre and Swan Lake and Don Quixote at the Godunov (Odessa), Puccini’s Tosca (Novosibirsk), Kiev Shevchenko Th eatre of Opera and Ballet Following the success of his ballet Capriccio, Paliashvili Academic Th eatre of Opera and Ballet Tchaikovsky’s Queen of Spades (Ekaterinburg), Th e (National Opera of the Ukraine), where he danced which was included in the Bolshoi Th eatre’s New in Tbilisi. Karamazovs, Red Giselle (St. Petersburg, Eifman lead roles in ballets of the classical repertoire. Year Premieres program for young choreographers, In , Alexei Fadeyechev was awarded the Ballet Th eatre), Stravinsky’s Petrouchka (Scotland), From  to , he worked in Canada with the Mr. Ratmansky was invited to work with the title of People’s Artist of Russia. Prokofi ev’s Cinderella (Greece), Menot’s Medium, . While he was with this Mariinsky Th eatre. By this time, he was already Tchaikovsky’s Th e Sleeping Beauty, Th e Nutcracker Company, he added ballets by Balanchine, Ashton, soloist with Royal Danish Ballet, where he soon Born in Moscow, Tatiana Rastorgueva and Swan Lake; Minkus’s Don Quixote; Verdi’s , , Rudi van Dantzig began to make his mark as choreographer, after (Giselle) graduated from Moscow Choreographic La Traviata, Rigoletto and others (St. Petersburg and Twyla Th arp to his repertoire. In , he which doors to other European and American the- School in  and was immediately engaged by Opera and Ballet Th eatre). For Tbilisi State Opera joined Royal Danish Ballet, where he danced lead aters were opened to him. the Bolshoi Ballet. During her -year dancing ca- and Ballet Th eatre, Mr. Okunev has created sets roles in the ballets of August Bournonville—the In , Mr. Ratmansky was invited to mount reer, she performed the leading parts in Swan Lake, and corstumes for the ballets: Don Quixote, Giselle Company’s choreographer-in-chief for all time, a full-length ballet—Th e Bright Stream—at the Th e Sleeping Beauty, Don Quixote, Raymonda, Th e and costumes for ballet Romeo and Juliet. and in other ballets in the classical repertoire; he Bolshoi Th eatre, a production which would win Nutcracker, , Giselle and others. With the Viacheslav Okunev is an Honored Artist of likewise signifi cantly extended his repertoire to for him the appointment of Bolshoi Th eatre direc- Bolshoi, she has performed on such famous stages Russia and a Moldova and Belarus State Award include works by contemporary choreographers. tor of ballet. Th e fi rst ballet he would mount at the as the New York State Th eater, Paris Opera, La recipient. He has worked with choreographers Mats Ek, Bolshoi Th eatre, in his new capacity of Company Scala and the Royal Albert Hall. Jiri Kylian, John Neumeier, Maurice Bejart, Peter director, was the second version of Leah. In , Ms. Rastorgueva began producer- Paul Vidar Saevarang (Giselle) is Norwegian by Martins, Kevin O’Day and Stanton Welch. ship. As President of Triol Productions, she has origin. He has been in lighting design since  Mr. Ratmansky is the creator of roles in Mark actively participated in arranging Bolshoi Th eatre and is currently working at the Norwegian Opera. Godden’s Refl ections to music by Ravel and Darkness Staging tours abroad (to Turkey, Israel, Egypt, Australia, His previous works include Th e Evening Land Between Us to music by Webern; Tim Rushton’s Austria, England and elsewhere). (choreography by Anders Døving), Don Giovanni Sweet Complaints to music by Gorécki; Refrain and Born in Moscow, Alexei Fadeyechev (Giselle) Since , Ms. Rastorgueva has been working (directed by Marius Podolski), Notre Dame (direct- Nomads to music by Arvo Pärt; Dominum to music was a principal dancer of the Bolshoi Ballet from as a Producer at Moscow Dance Th eatre established ed by Podolski), Mummitroll (directed by Podolski), by ; and Anna Laerkesen’s Shostakovich,  to . Mr. Fadeyechev started to work in by Nina Ananiashvili and Alexei Fadeyechev. Since Naked Boys Singing (directed by Robert Scrock),

18 CAL PERFORMANCES CAL PERFORMANCES 19 About the Artists About the Artists

Peer Gynt (directed by Svein Hungnes), Th e Magic formed the leading parts in Swan Lake (Prince), Green; Ratmanski’s Dreams About Japan; lead- V. Chabukiani Tbilisi State Choreographic School Flute (directed by Sigve Bø) and Fairytale of Swan Don Quixote (Basile) and La Fille Mal Gardée ing roles in Fadeyechev’s Swan Lake, Don under the tutorship of Tamar Vixodzeva, Natalia Lake (choreographed by Toni Herlofson). (Collan), as well as in Balanchine’s Mozartiana and Quixote and Giselle; Balanchine’s Serenade, Apollo Zolotova and Ninel Silvanovich. Western Symphony. Musagete, Western Symphony, Mozartiana and Duo In , Ms. Ochiauri was a ballet artist at In , Natia Sirbiladze (Chaconne) graduated Concertant; Ashton’s La Fille Mal Gardée and Th e Tbilisi Z. Paliashvili Opera and Ballet Th eatre. from Tbilisi Academy of Fine Arts mastering cos- Irakli Bakhtadze was born in Tbilisi, Georgia, Two Pigeons; Bournonville’s and From  to , she was a ballet artist at Ballet tume design. In –, she worked as the de- in . From  to , he was student at Th e Flower Festival in Genzano; and Romeo and Company of the Academy of Renesans Ballet un- signer at the Amirani factory. In –, she the V. Chabukiani Tbilisi State Choreographic Mercutio in Lavrovsky’s Romeo and Juliet. der the supervision of Nikolai Fadeyechev. studied at Milan Academy of Fine Arts (NABA) at School under the tutorship of Levan Mkhitariani. Since , Ms. Ochiauri has been a soloist the faculty of fashion and textile design. In – From  to , he studied at the Moscow Nino Gogua was born in Tbilisi, Georgia, in of the State Ballet of Georgia. Her repertory in- , Natia worked as a designer at PUPAZA, the Choreographic School. . From  to , she was a student at the cludes Myrta (Giselle), Lucia (Don Quixote), Juliet’s theatrical costumes manufactory in Milan. From  to , Mr. Bakhtadze was a V. Chabukiani Tbilisi State Choreographic School friend (Romeo and Juliet), Chinese Doll (Th e In , Ms. Sirbiladze joined Tbilisi Opera ballet artist at the ’s Th eatre in under the tutorship of Svetlana Mtvarelishvili and Nutcracker), leading parts in Aleksidze’s ballets and Ballet Th eatre, where together with the pro- St. Petersburg. From –, he was a principal Larisa Chkhikvishvili. Symphonic Dances, Th eme and Variations, Evening duction designer Viacheslav Okunev she created of the Tbilisi Z. Paliashvili State Opera and Ballet. Since , she has been a soloist of the State of ; leading parts in Balanchine’s the costumes for Swan Lake, Don Quixote, Giselle In –, he was a principal of Mersin Opera Ballet of Georgia. Ms. Gogua’s repertoire includes Serenade, Apollo Musagete, Western Symphony, and Romeo and Juliet. Together with designer and Ballet Th eatre (Turkey), and in – he Giselle (Giselle); I Variation (Don Quixote); Juliet Donizetti Variations, Chaconne and Tarantella; Alexander Vassiliev she created costumes for the was a ballet artist of the Art-Ballet in Budapest. (Romeo and Juliet); French Doll (Th e Nutcracker); Ratmanski’s Dreams About Japan and Leah; and ballets Th e Two Pigeons and Laurencia. She also cre- Since , Mr. Bakhtadze has been a princi- leading parts in George Aleksidze’s Symphonic McIntyre’s Second Before the Ground. ated costumes for Balanchine’s Western Symphony, pal of the State Ballet of Georgia. His repertoire Dances, Th eme and Variations and Evening of Chaconne, Donizetti Variations, Tarantella, includes Albert (Giselle); Siegfrid (Th e Swan Lake), Neoclassical Ballet; leading parts in Balanchine’s Shorena Khaindrava was born in Tbilisi, Tchaikovsky Pas de deux and ; Ashton’s La Basil (Don Quixote); Prince (Th e Nutcracker); Apollo Serenade, Apollo Musagete, Western Symphony, Georgia, in . In  she graduated from Fille Mal Gardée; McIntyre’s Midsummer Night’s (Apollo Musagete), leading roles in Aleksidze’s Mozartiana and Duo Concertant; McIntyre’s Bat-Dor Dance Studio in Tel-Aviv, Israel. In , Dream; and Bournonville’s Le Conservatoire. Symphonic Dances, Th eme and Variations and Second Before the Ground and Midsummer Night’s she graduated from V. Chabukiani Tbilisi State Evening of Neoclassical Ballet; McIntyre’s Second Dream; and Ashton’s Th e Two Pigeons. Choreographic School. She was a member of the Since , Amiran Ananeli (Sagalobeli, Before the Ground and Midsummer Night’s Dream; Royal Academy Dancing summer course. Chaconne, Duo Concertant) has been working at Welch’s Green; and Ratmanski’s Leah and Dreams Anna Muradeli was born in Tbilisi in . She Since  Mrs. Khaindrava has been a ballet the Tbilisi Z. Paliashvili Opera and Ballet State About Japan. Since , he has added leading graduated from the State Choreographic School of artist of State Ballet of Georgia. Her repertoire in- Th eatre. Since , he has been in the lighting parts in Fadeyechev’s Swan Lake, Don Quixote and Georgia (class of Margarita Zertsalova, Svetlana cludes Myrta (Giselle); Queen of the Dryads, Lucia design fi eld. Mr. Ananeli’s works include Don Giselle; Balanchine’s Serenade, Western Symphony Gochiashvili and Anna Tsereteli) in , joining and II Variation (Don Quixote); Th ree Swans and Carlos, Carmen, Macbeth, Medea, Rigoletto, Th e and Chaconne; Bournonville’s Le Conservatoire; the State Ballet of Georgia soon after. From  Spanish Dance (Swan Lake); third part of Western Nutcracker, Don Quixote, Laurencia, Th e Two Romeo and Tibalt in Lavrovsky’s Romeo and Juliet; to , she was a principal of Mersin Opera and Symphony; and the Gypsy Dance (Laurencia). Pigeons, and Balanchine’s Serenade, Apollo, Western and Young Man in Ashton’s Th e Two Pigeons. Ballet Th eatre (Turkey), where she performed the Symphony and Chaconne. leading roles of Don Quixote, Le Corsaire, Romeo Lasha Khozashvili was born in Tbilisi, Georgia, and Juliet, Giselle, A Th ousand and One Nights. Production in . From  to , he was student of V. Since September , Ms. Muradeli has been Principal Dancers Chabukiani Tbilisi State Choreographic School a principal of the State Ballet of Georgia. Her rep- For over  years, David Eden Productions, under the tutorship of David Khozashvili. After ertoire includes leading roles in Welch’s Green, Ltd. (DEP) has been one of the leading American Vasil Akhmeteli was born in Akhmeta, Georgia, graduation in , he was enrolled in to Ballet Ratmanski’s Dreams About Japan and Balanchine’s organizations devoted to producing international in . He graduated from the State Choreo- Company of the Tbilisi Z. Paliashvili Opera and Chacone, Western Symphony, Apollon Musagete, and work in the United States. Most recently, DEP graphic School of Georgia in , and joined the Ballet State Th eatre. Serenade, as well as Odette/Odile in Swan Lake has produced national US tours of the State Ballet State Ballet of Georgia as a soloist. From  to Mr. Khozashvili’s repertoire includes Pas de and Chelita in Don Quixote (Aleksei Fadeechev); of Georgia and the Russian Patriarchate Choir of , he was the principal of the Mersin Opera trois (Swan Lake); French Doll and Prince (Th e the Young Lady in Ashton’s Th e Two Pigeons; Moscow. In , DEP was responsible for na- and Ballet Th eatre (Turkey), and from  to Nutcracker); Basil (Don Quixote); Solor’s Variation Bournonville’s Conservatory; and Juliet in Leonid tional tours of Gate Th eatre Dublin’s Waiting for , he was the principal of the Macedonian (La Bayadère); leading roles in Aleksidze’s Lavrovsky’s Romeo and Juliet. Godot, ’s Twelfth Night and the National Th eatre. Symphonic Dances, Th eme and Variations and Batsheva Dance Company. In , DEP toured In , Mr. Akhmeteli returned to the Evening of Neoclassical Ballet; leading roles in Nino Ochiauri was born in Tbilisi, Georgia, Propeller Th eatre’s Th e Winter’s Tale, directed State Ballet of Georgia as a soloist and per- McIntyre’s Second Before the Ground; Welch’s in . From  to  she was a student of by Edward Hall and Piccolo Teatro di Milano’s

20 CAL PERFORMANCES CAL PERFORMANCES 21 About the Artists

Arlecchino. In , David Eden curated Lincoln Island: Arts from Ireland () and Art of the Center Festival’s Ashton Celebration, a two-week State: Israel at  (); Lev Dodin’s Maly Drama retrospective at the Metropolitan Opera House cel- Th eater of St. Petersburg’s Gaudeamus, BAM Next ebrating the th birthday of Sir Frederick Ashton Wave Festival/National Tour () and Brothers featuring the master choreographer’s ballets. and Sisters; Lincoln Center Festival (); Kirov Other highlights include: the -city premiere Ballet/Vaganova Ballet Academy Project at BAM tour of Rezo Gabriadze’s Forbidden Christmas (); and the Russian Village Festival National or Th e Doctor and the Patient starring Mikhail Tour (, ,  and ). Baryshnikov (); the fi rst national US tour of London’s Royal Court Th eatre’s . Psychosis by Production Manager Patrice Th omas Sarah Kane (); national tours of the Batsheva Tour Manager Kari Schloner Dance Company ( & ) and British di- Production Consultant David Bradford rector Declan Donnellan’s (). Associate Stage Manager/ St. Petersburg State Academic Capella National Interpreter Tanya Scott Tour (); Bolshoi Ballet National Tour (, General Manager Erica Charpentier ); Gate Th eatre Dublin’s Beckett Festival Visa Coordinator Elise Ann Konstantin (); John F. Kennedy Center for the Performing Travel Agent Lori Harrison, Arts: Arts of the United Kingdom (summer ), Atlas Travel

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