The Indiana University Ballet Theater presents Perspectives 1900s FALL BALLET Les Sylphides Choreography by Michael Fokine Music by Frederic Chopin Staged by Cynthia Gregory Isadora Dances Choreography by Isadora Duncan Music by Johannes Brahms and Christoph Willibald Gluck Staged by Lori Belilove L’Après-midi d’un Faune Choreography by Vaslav Nijinsky Music by Claude Debussy Revived from his dance notation score by Ann Hutchinson Guest & Claudia Jeschke Le Spectre de la Rose Original Choreography by Michael Fokine Music by Carl Maria von Weber Re-Choreographed and Re-Staged by Michael Vernon Brandenburg IV New Choreography by Michael Vernon Music by Johann Sebastian Bach Robert O’Hearn, Set and Costume Designer Patrick Mero, Lighting Designer ____________________ Musical Arts Center Friday Evening, October Fifth Saturday Evening, October Sixth Eight O’Clock One Hundred Fifty-Second Program of the 2007-08 Season music.indiana.edu Les Sylphides (1909) Music by Frederic Chopin (1810-1849) Choreography by Michael Fokine Staged by Cynthia Gregory The IU Ballet Theater wishes to thank David Dzubay and the Composition Department for their collaboration and assistance with this project. Prelude & Nocturne Nocturne in A-Flat Major, Op. 32 No. 2 Orchestrated by Nikolas (Allen) Jeleuiauskas Ava Chatterson & Anton LaMon (10/5) Jessi Schachne & Paul Dandridge (10/6) Lucia Jimenez (10/5)/Heidi Satterthwaite (10/6) Emily Grimshaw (10/5)/Ashley Thursby (10/6) Juliann Hyde & Jenna Sagraves Colleen Anthonisen, Carly Baum, Samantha Benoit, Kelsey Dick, Anja Hoover, Caitlin Kirschenbaum, Courtney Ramm, Demetria Schioldager, Kate Schroeder, Jennifer Sherry, Lacy Simpson, Alison Trumbull, Kim Williams, Mary Wroth Valse Waltz in G-Flat Major, Op. 70 No. 1 Orchestrated by Austin Jaquith Emily Grimshaw (10/5) Ashley Thursby (10/6) Mazurka Mazurka in C, Op. 67 No. 3 Orchestrated by Daniel Highman Ava Chatterson (10/5) Jessica Schachne (10/6) Mazurka Mazurka in D, Op. 33 No. 2 Orchestrated by Austin Jaquith Anton LaMon (10/5) Paul Dandridge (10/6) Prelude Prelude in A, Op. 28 No. 7 Lucia Jimenez (10/5) Heidi Satterthwaite (10/6) Pas de Deux Valse in C-Sharp Minor, Op. 64 No. 2 Orchestrated by Daniel Highman Ava Chatterson & Anton LaMon (10/5) Jessi Schachne & Paul Dandridge (10/6) Finale Valse Brillante Grand Valse Brillante in E-Flat Major, Op. 18 No.1 Orchestrated by David Schneider Entire Ensemble Musicians Andres Moran, Conductor Michael Waterman, Violin I Alison Stewart, Violin II Jasmine Beams, Viola Robert Chamberlain, Cello Ashley Eidbo, Bass Daniel Stein, Flute Krista Weiss, Clarinet Maggie Grove, Harp Intermission Isadora Dances (1900) Choreography by Isadora Duncan Staged by Lori Belilove Irina Ter-Grigoryan, Piano The Many Faces of Love From Sixteen Waltzes, Op. 39 . Johannes Brahms (1833-1897) Greeting No. 1 in B Major Ivy Chow Lullaby No. 2 in E Major Grace Reeves Scarf Gypsy No. 4 in E Minor Danielle Dyson Spanish Gypsy No. 11 in B Minor Lauren Collier Flames of the Heart No. 14 in G-Sharp Minor Kjersti Cubberley Bacchanal From Don Juan. .Christoph Willibald Gluck (1714-1787) Ivy Chow, Lauren Collier, Kjersti Cubberley, Danielle Dyson, Courtney Ramm, Grace Reeves, Ashley Thursby Dance of the Blessed Spirits From Orpheus and Eurydice . Christoph Willibald Gluck Minhwa Choi, Isabel Cullather, Christina Dragnea, Sarah Young Ivy Chow, Lauren Collier, Kjersti Cubberley, Danielle Dyson, Courtney Ramm, Grace Reeves, Ashley Thursby Isadora Duncan’s works presented this evening include dances from her early period set to the music of C. W. Gluck (Bacchanal and Dance of the Blessed Spirits) to dances from her middle period when she created the Brahms suite of waltzes The Many Faces of Love. Transposed one against another, this selection offers the chance to see Duncan’s growth as an artist through the increasingly faceted prism of her life as a woman. Early works were created as she toured Europe in her youth, dancing barefoot in London salons and causing riots on the Continent as students carried her triumphantly through the streets. The suite of Brahm’s waltzes was created at the height of her tumultuous love affair with the scenic designer Gordon Craig. L’Après-midi d’un Faune (1912) Music by Claude Debussy (1862-1918) Choreography by Vaslav Nijinsky Revived from his dance notation score by Ann Hutchinson Guest & Claudia Jeschke The Indiana University Jacobs School of Music gratefully acknowledges the Vaslav & Romola Nijinsky Foundation, which authorized the performance of Nijinsky’s L’Aprés-midi d’un Faune. Faune. Ben Delony (10/5) Daniel Morales (10/6) Chief Nymph . Jessica Schachne (10/5) Kate Schroeder (10/6) Nymphs . Carly Baum, Samantha Benoit, Anja Hoover, Caitlin Kirschenbaum, Heidi Satterthwaite, Jennifer Sherry Musicians Andres Moran, Conductor Daniel Stein, Flute Erika Grimm, Oboe Krista Weiss, Clarinet Michael Waterman, Violin I Alison Stewart, Violin II Jasmine Beams, Viola Robert Chamberlain, Cello Ashley Eidbo, Bass Maggie Grove, Harp Chee Yean Wong, Piano Joni Chan, Harmonium Nicholas Stone, Percussion Nijinsky’s first ballet, L’Après-midi d’un Faune, is a landmark in the history of Di- aghilev’s Ballet Russes. It marked the close of its first period, in which Fokine was predominant, and the emergence of the dancer Vaslav Nijinsky as a choreographer whose ideas, stimulated no doubt by Diaghilev, lay outside, and even ran counter to, the classical tradition of St. Petersburg. Prepared with an unprecedented number of rehearsals, the ballet puzzled and even shocked the Paris public when first performed at the Théâtre du Châtelet on May 12, 1912, but the role of the faun, with its hints of sensuality and languor, was to eclipse the more virtuosic parts on which Nijinsky’s reputation in Western Europe originally rested. This production ofL’Après-midi d’un Faune is based on the 1915 choreographic score, recorded by Vaslav Nijinsky himself in his own dance notation system. Since Nijin- sky’s system of dance notation lay undeciphered for many years, and he himself was unavailable, through mental illness, to reproduce his work, later stagings of this ballet relied exclusively on memory and photographic evidence with an accumulating loss of detail and addition of personal preferences. Even as early as 1916, Nijinsky was urging withdrawal of his ballet due to distortions appearing in versions restaged from dancers’ memories: The New York Times then quoted Nijinsky as saying that “it was not fair to me to use my name as (the ballet’s) author and continue to perform the work in a way that did not meet my ideas.” It was not until 1987, when dance researchers Dr. Ann Hutchinson Guest and Dr. Claudia Jeschke deciphered Nijinsky’s system, that a translation, into Labanotation, of the choreographer’s painstaking notes on his ballet was at last possible. The resuscitated original version of L’Après-midi d’unFaune adheres strictly to Nijinsky’s original, and restores what Nijinsky’s sister, Bronislava, called its “finely wrought filigree”; it was first presented at the Teatro San Carlo, Naples, on April 11, 1989, with Eric Vu An as the Faun and Carla Fracci as the First Nymph. Le Spectre de la Rose (World Premiere) Music by Carl Maria von Weber (1786-1826) Original Choreography by Michael Fokine Re-Choreographed and Re-Staged by Michael Vernon Chun Chi An & Irina Ter’Grigoryan, Piano Invitation to the Dance Juliann Hyde & Daniel Ulbricht* (10/5) Jenna Sagraves & Daniel Ulbricht* (10/6) *Appears courtesy of the New York City Ballet Originally choreographed for Vaslav Nijinsky in 1911, this updated and re-choreographed version also alludes to a young girl’s excitement after attending a grand ball and is intended as homage to its original choreographer. Intermission Brandenburg IV (World Premiere) New Choreography by Michael Vernon The IU Ballet Theater wishes to thank Stanley Ritchie and the Baroque Orchestra for their collaboration and assistance with this project. Brandenburg Concerto No. 4 in G Major . Johann Sebastian Bach (1685-1750) First Movement Paul Dandridge Brittany Balthrop, Lauren Collier (10/5), Kate Schroeder (10/6), Elaine Sinclair Heidi Satterthwaite, Lacy Simpson, Ashley Thursby Elliot O’Glasser, Pablo Sanchez, Benjamin Warner Second Movement Ava Chatterson & Anton LaMon Third Movement Ben Delony Samantha Benoit, Danielle Dyson, Jessi Schachne, Demetria Schioldager, Jennifer Sherry Vincent Brewer, Daniel Morales Baroque Orchestra Stanley Ritchie, Director Go Yamamoto, Violin Soloist Lúcia Alves Melo, Recorder Soloist Miyo Aoki, Recorder Soloist Violin Viola Violone Eva Bader Neesa Sunar Jens ten Broek Brandi Berry Misha Shapiro Leslie Conner Harpsichord Janelle Davis Cello Dawn Kalis Armee Hong Caroline Bean Koji Otsuki Philipp Schiemenz Albert Rodriguez Vanessa Mio Valerie Weber Choreographers Isadora Duncan (1877-1927), Isadora Dances One of the most enduring influences on twentieth-century culture, Isadora Duncan restored the art of dance back to its roots as a sacred art. Inspired by the classical Greek arts, folk dances, and nature, Duncan’s technique is based on weight and flow connecting joyful skips, runs, jumps, and leaps, with full-bodied oppositional swings and gestures. With free-flowing costumes, bare feet, and loose hair, Duncan brought a new vitality to dance utilizing the solar plexus and the torso as the generating force for all movements to follow. Her celebrated simplicity was oceanic in depth—Isadora is credited with inventing what later came to be known as Modern Dance. Duncan was born in San Francisco, where she studied ballet, Delsarte technique, and burlesque forms (skirt dancing) as a child. Her professional career began in Chicago in 1896 and continued in Europe, where she lived from 1988 to 1907. In London, Duncan was influenced by groups of artists and painters. When in Germany, Duncan was inspired by the works of Fredrick Nietzsche and began to devise her own philoso- phy of dance. She believed that the dance of the future would be natural and free like the dances of the Greeks.