ARTISTIC & PRODUCTION CREDITS SAN FRANCISCO BALLET 2017

War Memorial Opera House, 301 Van Ness at Grove For tickets, call the Ticket Services Office at 415.865.2000

SENSORIUM

Running Time: Opening Video & Intro. 5 minutes Diamonds 35 minutes Twitter Feed & Social Media 5 minutes Trailer 3 minutes Intermission 20 minutes Tunes 2 minutes Fearful Symmetries 33 minutes Closing Goodbye 2 minutes Total: 1 hour, 45 minutes Diamonds Composer: Peter Ilyich Tchaikovsky Choreographer: George Balanchine Staged by: Judith Fugate Costume Design: Karinska World Premiere (Jewels): April 13, 1967—New York City Ballet, New York State Theater; New York, New York San Francisco Ballet Premiere: January 30, 1987—War Memorial Opera House; San Francisco, California

Fearful Symmetries Composer: John Adams Choreographer: Liam Scarlett Scenic and Lighting Design: David Finn Costume Design: Jon Morrell

World Premiere: January 27, 2016—San Francisco Ballet, War Memorial Opera House; San Francisco, California

Sensorium Credits/Page 2 Production Credits Diamonds: Music: Tchaikovsky: Symphony No. 3 in D major, Op. 29, movements 2, 3, 4 & 5. Costumes courtesy of National Ballet of Canada. The performance of Diamonds, a Balanchine Ballet©, is presented by arrangement with The George Balanchine Trust© and has been provided in accordance with the Balanchine Style© and Balanchine Technique© service standards established by The Trust. Fearful Symmetries: Music: “Fearful Symmetries” by John Adams used by arrangement with Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright holder. Costumes constructed by Parkinson Gill, London, England.

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CONTACT:

Kyra Jablonsky 415.865.6603 kjablonsky@sfballet.org Rena Nishijima 415.865.6610 rnishijima@sfballet.org

SAN FRANCISCO BALLET HOSTS THIRD ANNUAL SENSORIUM: A POPULAR EVENING OF DANCE, ART, AND MUSIC, ON MARCH 21, 2017

SAN FRANCISCO, Tuesday, February 7, 2017—San Francisco Ballet presents the third annual Sensorium at the War Memorial Opera House on Tuesday, March 21, from 7:30pm to midnight. SF Ballet, long recognized for pushing boundaries in dance, has created an innovative, interactive evening, tailored toward a younger audience. In addition to a performance by SF Ballet, accompanied by the SF Ballet Orchestra, the event will feature an original lobby installation, food and drink, interactive pop-up experiences, and a themed After Party. Local artist and former Twitter product innovation team leader James Buckhouse will once again host the evening. “It’s been thrilling to see our past Sensorium events so well attended and this upcoming event promises to be just as fun and vibrant,” said SF Ballet Executive Director Glenn McCoy. “There is something for everyone at Sensorium, including a chance to dance alongside SF Ballet dancers at the After Party—and no previous knowledge of ballet is required.” Sensorium Doors to Sensorium will open at 7:30pm and attendees are invited to explore pop-up experiences and an original installation in the lobby, and to purchase drinks and food before the performance, which begins at 8:30pm. The performance will include two works: George Balanchine’s Diamonds and Liam Scarlett’s Fearful Symmetries. Following the performance, an After Party will be held in the Opera House basement with a DJ spinning. Concurrently, other pop-up activities will take place in the lobby spaces throughout the Opera House. Balanchine’s Diamonds is the third section of Balanchine’s full-evening work Jewels. Set to music by Peter Ilyich Tchaikovsky, Diamonds was premiered by New York City Ballet in 1967 and was first performed by SF Ballet as part of the evening-length Jewels in 2002. The grandeur and classicism of the work is an homage to Imperial Russia and includes a principal couple and eight demi-soloists, plus a large corps de ballet. SF Ballet premiered Scarlett’s Fearful Symmetries, set to music by John Adams, in the 2016 Season. The name Fearful Symmetries is taken from a William Blake poem, “The Tyger,” and the work for 16 dancers, features costume design by Jon Morrell and lighting design by David Finn.

Sensorium/Page 2 Pre-sale Tickets Pre-sale tickets for general seating ($29) and a discounted VIP Box Experience ($125 for Box Center or $85 for Box Side) will be available starting February 21 through February 27 for members of The List and ENCORE! at sensoriumdance.com. Those who purchase the VIP Box Experience have access to the best seats in the house, an intermission mixer with the dancers, and a complimentary copy of SF Ballet’s Season Guide. Prices for the VIP Box Experience will increase to $165 for Box Center or $100 for Box Side on February 28. About The List and ENCORE! The List, SF Ballet’s rush ticket program for ballet fans ages 21-39, offers deeply discounted tickets as well as invitations to exclusive insider events. ENCORE! hosts premier social, networking, and educational events for young Bay Area men and women interested in gaining a perspective of SF Ballet from behind the scenes. ENCORE! is extending membership through June 30, 2018 for those who purchase new memberships between now and Sensorium. To join The List or learn more, visit sfballet.org/thelist. To join ENCORE! or learn more, visit sfballet.org/encore. General Public Tickets Tickets go on sale to the general public on February 28 at sensoriumdance.com. General seating is $29, and the VIP Box Experience is $165 for Box Center or $100 for Box Side. San Francisco Ballet San Francisco Ballet, long recognized for pushing boundaries in dance, has a history of making history. The Company has enjoyed a long and rich tradition of artistic “firsts” since its founding in 1933, including performing the first American productions of Swan Lake and Nutcracker, as well as the first 20th-century American Coppélia. SF Ballet is one of the three largest ballet companies in the United States and currently presents more than 100 performances annually, both locally and internationally. The mission of SF Ballet is to share its joy of dance with the widest possible audience—in its community and worldwide—and to provide the highest caliber of dance training in its School. Under the direction of Helgi Tomasson, the Company has achieved an international reputation as one of the preeminent ballet companies in the world. For more information, visit sfballet.org.

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SAN FRANCISCO BALLET ARTISTS OF THE COMPANY 2017 REPERTORY SEASON

ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER

Helgi Tomasson

PRINCIPAL DANCERS Dores André

Carlo Di Lanno Mathilde Froustey

Tiit Helimets Maria Kochetkova

Aaron Robison Sarah Van Patten

Frances Chung Taras Domitro

Jaime Garcia Castilla Luke Ingham

Vitor Luiz Sofiane Sylve Joseph Walsh

Sasha De Sola Lorena Feijoo Angelo Greco

Davit Karapetyan Carlos Quenedit Yuan Yuan Tan

Vanessa Zahorian

PRINCIPAL CHARACTER DANCERS Ricardo Bustamante Val Caniparoli

Anita Paciotti Rubén Martín Cintas

SOLOISTS

Daniel Deivison-Oliveira Julia Rowe

Lauren Strongin Hansuke Yamamoto

Koto Ishihara James Sofranko Anthony Vincent

Francisco Mungamba Jennifer Stahl

Wei Wang WanTing Zhao

CORPS DE BALLET

Kamryn Baldwin Samantha Bristow

Diego Cruz Jahna Frantziskonis

Jillian Harvey Blake Kessler

Lee Alex Meyer-Lorey Sean Orza

Alexander Reneff-Olson Skyla Schreter

Miranda Silveira Mingxuan Wang

Sean Bennett Max Cauthorn

Isabella DeVivo Benjamin Freemantle Esteban Hernandez

Elizabeth Mateer Steven Morse

Lauren Parrott Rebecca Rhodes Natasha Sheehan

John-Paul Simoens Lonnie Weeks

Ami Yuki

Ludmila Bizalion Thamires Chuvas

Megan Amanda Ehrlich Jordan Hammond

Ellen Rose Hummel Norika Matsuyama

Kimberly Marie Olivier Elizabeth Powell

Emma Rubinowitz Henry Sidford

Myles Thatcher Maggie Weirich

APPRENTICES Alexandre Cagnat Nathaniel Remez

Shené Lazarus

Davide Occhipinti Isabella Walsh

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BALLET MASTER & ASSISTANT TO THE ARTISTIC DIRECTOR Ricardo Bustamante

BALLET MASTERS

Felipe Diaz Betsy Erickson Anita Paciotti Katita Waldo

COMPANY TEACHERS Helgi Tomasson Patrick Armand*

Ricardo Bustamante Felipe Diaz

CHOREOGRAPHER IN RESIDENCE

Yuri Possokhov

MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR Martin West

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*guest teacher

HELGI TOMASSON

ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER

Helgi Tomasson has held the position of artistic director for San Francisco Ballet since July 1985. Since then, the Company has evolved from a respected regional troupe to an international company praised for its broad repertory, dancers of uncommon range and skill, and a vision that continually sets the standard for the international dance world. San Francisco Ballet is dancing better than it has at any point in its history. As a choreographer, teacher, and coach, Tomasson has fostered an uncompromising classicism that has become the bedrock of the Company’s training. The dancers are energized and inspired by this rigorous training and continue to rise to new heights with each passing year. Born in Reykjavik, Iceland, Tomasson began his early ballet training there with an Icelandic teacher and then joined the National Theatre’s affiliated school, which was led by Danish instructors Erik and Lisa Bidsted. At 15, the emerging dancer began his professional career with the celebrated Pantomime Theatre in Copenhagen’s Tivoli Gardens. Two years later, Jerome Robbins met Tomasson and, impressed by his dancing, arranged a scholarship for him to study at the School of American Ballet in New York City. Soon after, Tomasson began his professional career with The Joffrey Ballet and two years later joined The Harkness Ballet. Over the next six years, he became one of the company’s most celebrated principal dancers. In 1969, Tomasson entered the First International Ballet Competition in Moscow as a United States representative and returned with the Silver Medal (the Gold Medal was awarded to Mikhail Baryshnikov). The following year, Tomasson joined New York City Ballet as a principal dancer and over the course of his career became one of the finest classical dancers of his era. He was one of the foremost interpreters of George Balanchine and Jerome Robbins, and both men created several roles expressly for him. In 1982, Tomasson choreographed his first ballet for the School of American Ballet Workshop, which elicited encouragement from Balanchine to continue choreographing. In 1985, Tomasson accepted the invitation from SF Ballet to become artistic director of America’s oldest professional ballet company, drawing to a close a glorious performing career. Since assuming this role, Tomasson has choreographed over 40 ballets, including stunning full-length productions of Don Quixote (co-staged by Yuri Possokhov), Giselle, Romeo & Juliet, The Sleeping Beauty, and two productions of Swan Lake (1988 and 2009). His intricate and varied works, such as 7 for Eight, Chi-Lin, Concerto Grosso, The Fifth Season, Handel—a Celebration, Meistens Mozart, Nanna’s Lied, and Sonata, showcase the unique qualities of individual dancers. Tomasson’s Prism, which debuted in 2000 at New York City Ballet, received rave reviews and was deemed a “triumph” by The New York Times. In 2004, his new production of

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Tomasson/Page 2 Nutcracker, created in collaboration with an internationally recognized design team, debuted to enthusiastic critic and audience response. The New York Times proclaimed, “This is a Nutcracker on a grand scale…striking, elegant and beautiful.” On December 17, 2008, Tomasson’s Nutcracker was broadcast nationally on Great Performances on PBS, in partnership with KQED Public Television in San Francisco. The strong classical base instilled by Tomasson enables the dancers to effortlessly navigate a myriad of styles by a range of internationally distinguished choreographers. Those invited by Tomasson to create works on the Company have included David Bintley, Val Caniparoli, Jorma Elo, William Forsythe, James Kudelka, Lar Lubovitch, Mark Morris, Justin Peck, Yuri Possokhov, Alexei Ratmansky, Paul Taylor, Stanton Welch, and Christopher Wheeldon. Tomasson has also continued to expand SF Ballet’s repertory through acquiring works by renowned choreographers such as Sir Frederick Ashton, George Balanchine, August Bournonville, Michel Fokine, Hans van Manen, Wayne McGregor, Sir Kenneth McMillan, Agnes de Mille, Nacho Duato, Flemming Flindt, Roland Petit, Jerome Robbins, and Antony Tudor, among others. Tomasson’s own works have been performed by New York City Ballet, Royal Danish Ballet, Houston Ballet, Alberta Ballet, Les Grands Ballets Canadiens de Montréal, Ballet Estable del Teatro Colón, and Asami Maki Ballet. In Denmark, Tomasson’s 1993 staging of The Sleeping Beauty was the most lavish production ever produced in the Royal Danish Ballet’s history and was filmed for Danish public television in April 1995. Under Tomasson’s direction, SF Ballet has toured the world, receiving praise for its purity and verve. Engagements in China (2009, 2015), Copenhagen (1998, 2010), London (1999, 2001, 2004, 2012), Moscow (2012), New York City (1991, 1993, 1995, 1998, 2002, 2006, 2008, 2013), and Paris (1989, 1994, 2001, 2005, 2014) are among the highlights of the Company’s history. For the Company’s 2004 London engagement, SF Ballet won the prestigious Laurence Olivier Award, its first, in the category of Outstanding Achievement in Dance. Of the tour, The Guardian (UK) noted, “As director of SF Ballet, Helgi Tomasson has started to acquire an aura of infallibility, his expertise in laying down repertory, and in balancing great evenings of dance, is held in envy by the rest of the profession.” Tomasson’s vision, commitment, and dedication to the art of classical dance were demonstrated when he conceived UNited We Dance: An International Festival, produced in San Francisco in May 1995. Created to celebrate the 50th anniversary of the signing of the United Nations Charter, it included 12 international companies of the highest caliber that Tomasson had invited to present new works created by native choreographers. Never before had a dance event brought together over 150 artists for an unprecedented two weeks of creative exchange and inspiration. In spring 2008, as part of its yearlong 75th anniversary celebration, SF Ballet presented a New Works Festival of 10 world premieres by 10 of the dance world’s most diverse and acclaimed choreographers. The festival was called “ambitious and unprecedented” by The Washington Post and the San Francisco Chronicle hailed it as a “daring onslaught of fresh work… this is what the

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Tomasson/Page 3 ballet world needs now.” Tomasson’s achievements have garnered him numerous awards and honors, and he has participated as a judge for ballet competitions in Italy, Russia, France, Finland, and Japan. During the 1970s in his homeland of Iceland, he was named a Knight of the Order of the Falcon for his achievements as a dancer. In 1989, he received Dance Bay Area’s Isadora Duncan Award for his outstanding choreography of Swan Lake. In June 1990, Tomasson was named Commander of the Order of the Falcon by then-President of Iceland Vigdís Finnbogadóttir, for his continuous achievements in the arts. In recognition of his artistic excellence, Tomasson received the Golden Plate Award from the American Academy of Achievement in 1992. That same year, he received the Dance Magazine Award in recognition of his contributions to the dance world. In 1995, Tomasson joined the Artistic Advisory Board of The Ballet Theatre in Prague, directed by Jana Kurová. Also in 1995, Tomasson was honored with the Cultural Award of The American-Scandinavian Foundation. In 1996, he was presented with a Doctor of Humane Letters, honoris causa, from Dominican College of San Rafael, in recognition of his value as a role model, his extraordinary career, and his community-service accomplishments. That same year, he was awarded the Isadora Duncan Special Award for UNited We Dance: An International Festival. In 2012, he was named recipient of the Dance/USA Honor, acknowledging individuals’ contributions to dance in America and the role they play in the national dance community. Currently, Tomasson serves on the Board of Directors of the School of American Ballet and the Artistic Committee for the New York Choreographic Institute, and has served as a member of the National Endowment for the Arts Dance Advisory Panel. In May 2001, Tomasson was granted the rank of Officier in the French Order of Arts and Letters, established in 1957 to recognize those who have contributed significantly to furthering the arts in France and throughout the world. Hugues Gall, then director of the Opéra National de Paris, presented the award in a ceremony attended by the President of Iceland Ólafur Ragnar Grimsson, following SF Ballet’s triumphant opening at the Palais Garnier. In spring 2002, the Board of Trustees of New York’s Juilliard School unanimously voted to bestow an honorary doctoral degree upon Tomasson, as one of five doctorates given annually in different artistic disciplines. In 2005, Tomasson was awarded the prestigious Lew Christensen Medal in honor of his 20th anniversary as artistic director of SF Ballet. In spring 2007, Tomasson won a sustained achievement award from the Isadora Duncan Dance Awards, also in recognition of his distinguished, ongoing tenure as artistic director. In May of the same year, during a tour to Iceland’s Reykjavik Arts Festival, Grimsson awarded Tomasson the Grand Cross Star of the Order of the Falcon, the country’s most prestigious honor. In 2008, he was awarded the Commonwealth Club of California’s Distinguished Citizen Award. In January 2010, the Company’s Opening Night Gala, Silver Celebration, honored Tomasson’s remarkable achievements to date.

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Tomasson/Page 4 In 2015, on the occasion of his 30th anniversary as artistic director of the Company, the San Francisco Chronicle noted, “What Tomasson has done here over these three decades is to transform a respected regional American ballet company into an international-caliber organization that commands worldwide respect for the depth of its repertoire and its superb technical standards.” In addition to his role as artistic director and principal choreographer of the Company, Tomasson is the director of the San Francisco Ballet School. For Tomasson, the School is central to the life and development of the Company. Just as he expects the finest dancing and most meticulous attention to detail from his dancers, he demands the highest standards for training the students in the School. Tomasson lives in San Francisco with his wife, Marlene, who was dancing with The Joffrey Ballet when they met. They have two sons, Erik and Kris.

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HELGI TOMASSON ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER

REPERTORY

Choreographed for San Francisco Ballet:

Caprice (2014)

Trio (2011)

Swan Lake (2009)

On a Theme of Paganini (2008)

On Common Ground (2007)

Blue Rose (2006)

The Fifth Season (2006)

Bagatelles (2005)

Nutcracker (2004)

7 for Eight (2004)

Don Quixote (2003)

Concerto Grosso (2003)

Chi-Lin (2002)

Bartok Divertimento (2002)

Chaconne for Piano and Two Dancers (1999)

Giselle (1999)

Silver Ladders (1998)

Two Bits (1998)

Twilight (1998)

Criss-Cross (1997)

Pandora Dance (1997)

Soirées Musicales (1996)

Tuning Game (1995)

Sonata (1995)

When We No Longer Touch (1995)

Quartette (1994)

Romeo & Juliet (1994)

Nanna’s Lied (1993)

Le Quattro Stagioni (The Four Seasons) (1992)

Forevermore (1992)

Two plus Two (1992)

Aurora Polaris (1991)

Meistens Mozart (1991)

“Haffner” Symphony (1991)

The Sleeping Beauty (1990)

Con Brio (1990)

Valses Poeticos (1990)

Handel—a Celebration (1989)

Swan Lake (1988)

Intimate Voices (1987)

Bizet pas de deux (1987)

Concerto in d: Poulenc (1986)

Confidencias (1986)

Additional Ballets: Prism (2000), choreographed for New York City Ballet “Much Ado…” (1999), choreographed for Alberta Ballet Simple Symphony (1996), choreographed for SF Ballet School Showcase. Beads of Memory (1985), choreographed in 1985 for Houston Ballet Little Waltz (1985), choreographed for New York City Ballet’s Gala on students of School of American Ballet Menuetto (1984), choreographed for New York City Ballet Contredanses (1984), choreographed in 1984 for Finis Jhung’s Chamber Ballet USA Ballet d’Isoline (1983), choreographed for School of American Ballet Giuliani: Variations on a Theme (1982), choreographed for School of American Ballet

GEORGE BALANCHINE

CHOREOGRAPHER

George Balanchine (1904-1983) is regarded as one of the foremost ballet choreographers and one of the great artists of the twentieth century. His influence in the worlds of ballet, music, and modernism is immense, and he had a great and lasting impact on New York’s cultural scene during a particularly creative period of the city’s history. The son of a composer, Balanchine began studying the piano at the age of five, then studied at the Imperial Ballet School in St. Petersburg from 1913 to 1921. He continued his education with three years at the state’s Conservatory of Music, where he studied piano and musical theory, including composition, harmony, and counterpoint. Balanchine made his dancing debut at the age of 10 as a cupid in the Maryinsky Theatre Ballet Company production of The Sleeping Beauty. He joined the company’s corps de ballet at age 17 and also staged one work, Enigmas. In the summer of 1924, Balanchine—along with Tamara Geva, Alexandra Danilova, and Nicholas Efimov—left the newly formed Soviet Union for a tour of Western Europe. All four dancers were invited by impresario Serge Diaghilev to join his Ballets Russes in Paris. After watching Balanchine stage a new version of the Stravinsky ballet Le Chant de Rossignol, Diaghilev hired him as ballet master to replace Bronislava Nijinska. Balanchine served as ballet master with Ballets Russes until the company was dissolved following Diaghilev’s death in 1929. After that, he spent his next few years on a variety of projects which took him all over Europe, then returned to Paris to form his own company, Les Ballets 1933. It was then that he met American dance connoisseur Lincoln Kirstein. Kirstein’s great passion for the contemporary arts included the dream to establish an American ballet school and an American ballet company that would rival those of Europe. He persuaded Balanchine to come to the United States and help him fulfill this dream, and in 1934, the pair founded the School of American Ballet. The first original ballet Balanchine choreographed in this country—Serenade, set to music by Tchaikovsky—was created for dancers from the School and had its world premiere outdoors on the estate of Kirstein’s friend, Edward Warburg, near White Plains, New York. The School remains in operation to this day, training students for companies throughout the United States and the world, but the first ballet companies founded by Balanchine and Kirstein were not as long-lived. American Ballet, Ballet Caravan, and American Ballet Caravan came and went in the years between 1936 and 1940. In 1946, following World War II, Balanchine and Kirstein joined forces again to form Ballet Society, a company which introduced New York

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Balanchine/Page 2 subscription-only audiences over the next two years to such new Balanchine works as The Four Temperaments (1946), Stravinsky’s Renard (1947), and Orpheus (1948). Morton Baum, chairman of the City Center of Music and Drama, was so impressed by the program that he invited Ballet Society to join City Center, but with a new name. On October 11, 1948, New York City Ballet was born, dancing an all-Balanchine program consisting of Concerto Barocco, Orpheus, and Symphony In C. Balanchine served as ballet master for New York City Ballet from that year until his death in 1983. An authoritative catalogue of his works lists 425 works created from 1920 to 1982, and many of these continue to be danced today, including Firebird (1949; restaged with Jerome Robbins, 1970); Bourrée Fantasque (1949); La Valse (1951); The Nutcracker, Ivesiana, and Western Symphony (1954); Allegro Brillante (1956); Agon (1957); The Seven Deadly Sins (a revival of the original Les Ballets 1933 production) and Stars and Stripes (1958); Episodes (1959); Monumentum Pro Gesualdo and Liebeslieder Walzer (1960); A Midsummer Night’s Dream (1962); Movements For Piano And Orchestra and Bugaku (1963); Don Quixote and Harlequinade (1965); Jewels–his only full-length plotless ballet (1967); Who Cares? (1970); Duo Concertant, Stravinsky Violin Concerto, and Symphony In Three Movements (1972); Coppélia (1974); Pavane (1975); Union Jack (1976); Vienna Waltzes (1977); Ballo della Regina and Kammermusik No. 2 (1978); Robert Schumann’s “Davidsbündlertänze” (1980); and Mozartiana (1981). Though it is for his ballet choreography that Balanchine is most admired, he also choreographed for theater, movies, and opera. He choreographed numerous musical comedies, including On Your Toes, Cabin in the Sky, Babes in Arms, Where’s Charley?, Song of Norway, I Married an Angel, The Boys from Syracuse, The Merry Widow, and The Ziegfeld Follies of 1935. His film credits include Star Spangled Rhythm, I Was an Adventuress, and The Goldwyn Follies. Balanchine’s style has been described as neo-classic. His response to the Romantic classicism was to de-emphasize the plot in his ballets, preferring to let “dance and music be the star of the show.” Balanchine always preferred to call himself a craftsman rather than a creator, comparing himself to a cook or a cabinetmaker (both hobbies of his), and he had a reputation throughout the dance world for the calm and collected way in which he worked with his dancers and colleagues. Above all, he emphasized the primacy of music, choosing important composers and commissioning new works rather than relying on traditional ballet scores. “Choreography can only be the result of great music,” he said, and “The music is always first.” In 1970, U.S. News & World Report attempted to summarize Balanchine’s achievements:

“The greatest choreographer of our time, George Balanchine, is responsible for the successful fusion of modern concepts with older ideas of classical ballet ... often working with modern music, and simplest of themes, he has created ballets that are celebrated for their imagination and originality. He has made American dance the most advanced and richest in choreographic development in the world today.”

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Balanchine/Page 3

Balanchine was the recipient of many honors in his lifetime, including one of the first Kennedy Center Honors; induction into Hollywood’s Entertainment Hall of Fame; a Knighthood of the Order of Dannebrog, First Class, by Queen Margrethe II of Denmark; the Gold Medal of Merit from the National Society of Arts and Letters; the Austrian Cross of Honor for Science and Letters, First Class; the French Legion of Honor; French Commander of the Order of Arts and Letter decoration; and National Institute of Arts and Letters award for Distinguished Service to the Arts. Shortly before his death in 1983, he received his last major award: the Presidential Medal of Freedom, the highest honor that can be conferred upon a civilian in the United States. Biography, with amendments, courtesy of New York City Ballet.

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JUDITH FUGATE

REPETITEUR Judith Fugate is a former principal dancer with New York City Ballet who performed roles in virtually every ballet in the repertoire, counting among her partners Peter Martins, Mikhail Baryshnikov, and Helgi Tomasson. During her career, she toured extensively with groups led by renowned artists such as Baryshnikov, Cynthia Gregory, and Martins. Fugate appeared on Live from Lincoln Center with Ray Charles in Peter Martins’ A Fool for You. In the Metropolitan Opera’s production of La Traviata, conducted by Plácido Domingo, she was partnered by Fernando Bujones and Peter Boal. Fugate left New York City Ballet in 1997 and currently works as repetiteur for The George Balanchine Trust and the Jerome Robbins Rights Trust, staging these renowned choreographers’ works worldwide. In addition, along with her husband Medhi Bahiri, she directs Ballet NY, a small contemporary ballet company based in New York City. Founded in 1997, it is a company of accomplished dancers who have performed not only in New York City but also have toured the U.S., Canada, and Mexico.

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BARBARA KARINSKA

COSTUME DESIGNER In 1930, Barbara Karinska, a widow, arrived in Paris from the Soviet Union with a young daughter and a nephew, unknown and without money. Within two years, with the costumes she made from Christian Berard’s sketches for George Balanchine's ballet Cotillon, Karinska found her niche in costume design. Thus began the long career of a remarkable woman, already in her mid-forties. In addition to Balanchine and Berard, other colleagues of her Paris years included Andre Derain, Leonide Massine, Louis Jouvet, Jean Cocteau, and Boris Kochno. In Karinska’s career the usually separate roles of artist and manufacturer were fused. For five decades, from the 1930s through the 1970s, in Paris, London, Monte Carlo, Hollywood, and New York, Karinska’s work was superb in quality, and impressive in quantity. Although at ease in a variety of theatrical media, her affinity for the design and manufacture of dance clothes was apparent early in her career. Like Rodgers and Hart, Karinska and Balanchine were a team; she designed and made costumes for 40 of his ballets and executed many others. In 1963, through a grant from the Ford Foundation arranged by W. McNeil Lowry, Karinska relinquished most other theatrical work and devoted herself to Balanchine, Lincoln Kirstein, Jerome Robbins, and New York City Ballet. By the end of her illustrious career, she had produced costumes for 14 films, 30 operas, 53 theater productions, 136 ballets, and countless miscellaneous productions, as well as gowns for admiring clients. Karinska’s honors include the first Oscar awarded in costume design, for the Ingrid Bergman film Joan of Arc in 1948, and the Capezio Dance Award in 1962. Lincoln Kirstein compared her work to that of the great Russian jeweler, Peter Carl Fabergé. John Martin, dance critic for the New York Times called her “a great artist who invented her art.”

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LIAM SCARLETT

CHOREOGRAPHER Born in Ipswich, England, Liam Scarlett trained at the Linda Shipton School of Dancing and the The Royal Ballet School before joining The Royal Ballet in 2005. He was promoted to first artist in 2008, and as a dancer his repertory included Alain (La Fille mal gardée), Magdaveya (La Bayadère), Peter Rabbit (Tales of Beatrix Potter), Neapolitan pas de deux (Swan Lake), Elite Syncopations, Chroma, Dancing Master (Cinderella), Beggar Chief (Manon), Les Patineurs, Texan Kangaroo Rat (“Still Life” at the Penguin Cafe), “Rubies,” Puss in Boots (The Sleeping Beauty), and The Rite of Spring among others and working with choreographers such as Christopher Wheeldon, David Bintley, Wayne McGregor, and Will Tuckett. In 2012 Scarlett retired from dancing and was appointed artist in residence at The Royal Ballet, creating his first full-length work, Hansel and Gretel (2013), in the Linbury Studio Theatre. He worked closely with designer John Bausor who created a dark, unique twist to the old children’s tale. While at the school Scarlett won both the Kenneth Macmillan and Ursula Moreton Choreographic Awards and was the first recipient of the De Valois Trust Fund Award presented by Sir Peter Wright and Lady Deborah Macmillan. He was commissioned to create Monochromatic (2004) and Allegro de jeunesse (2005) for The Royal Ballet School's annual performances at the Royal Opera House. Since joining The Royal Ballet, he has created Few Things Are (2005), Vayamos al Diablo (2006), and Despite (2006) for ROH2's In Good Company. He has worked with several of the principal dancers, creating pas de deux for galas world-wide including Fantasie-Impromptu, Nocturne, Querencia, and Somente. For The Royal Ballet's New Works in the Linbury, he created Of Mozart (2008) and Consolations and Liebestraum (2009), both of which were nominated for a Critics’ Circle National Dance Award for Best Choreography in the classical category. Scarlett returned to The Royal Ballet School in 2009 to create Danse bohemienne and in 2010 to choreograph Toccata for the graduating students. In 2009 he participated in the New York Choreographic Institute’s fall program, creating gargoyles with members of New York City Ballet. He has also participated in ROH2's DanceLines for three years, led by Kim Brandstrup. In 2011, Scarlett was a member of the jury for the first Beijing International Ballet and Choreography Competition. His first commission for the main stage with The Royal Ballet, Asphodel Meadows (2010), was nominated for a South Bank Show Award and an Olivier Award; the work won the Critics’ Circle National Dance Award for Best Classical Choreography. He followed this with Sweet Violets (2012), a psychological dance drama based on the painter Walter Sickert and the

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Scarlett/Page 2 notorious Jack the Ripper cases. Scarlett was part of the creative team involved in The Royal Ballet and The National Gallery's Metamorphosis: Titian 2012, in which he choreographed Diana and Actaeon (2012), working with Turner Prize winner Chris Ofili. In America he created and designed Viscera (2012) for Miami City Ballet which entered The Royal Ballet repertoire later that year. He also created and designed Euphotic (2013) for Miami City Ballet, his first scenic and costume design. Scarlett created gala works for The Royal Ballet such as Jubilee pas de deux (2012) for Her Majesty the Queen as part of the Our Extraordinary World gala and a défilé set to Beethoven with members of The Royal Opera and The Royal Ballet for the International Olympic Committee. He also created Summertime (2015) for the Life Reimagined Gala. Serpent (2013) for BalletBoyz was his first commission for a contemporary dance company. His first commission for K-Ballet Company was Promenade sentimentale (2013) set to music by Debussy. In 2013 Scarlett created The Firebird for the Norwegian National Ballet, followed closely by Vespertine, his second commission, for which he also designed the costumes. Linking up with Bausor again in 2014, Scarlett created No Man’s Land for the English National Ballet in memory of World War I, garnering a Critics’ Circle National Dance Award nomination. 2014 brought a busy year of new commissions: Hummingbird for San Francisco Ballet, Acheron for New York City Ballet, With a Chance of Rain for American Ballet Theatre, and The Age of Anxiety for The Royal Ballet based on Leonard Bernstein's Symphony No. 2, inspired by W. H. Auden's epic poem. In 2015 the Norwegian National Ballet once again commissioned him, this time for a three-act Carmen with designs by Bausor and music arranged by Martin Yates. Scarlett’s future commissions include a co-production with The Royal Ballet and San Francisco Ballet, Frankenstein, and a full-length work for the Royal New Zealand Ballet, A Midsummer Night’s Dream.

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DAVID FINN

LIGHTING DESIGNER David Finn's professional career as a lighting designer began at the age of 16, working for the puppeteer Burr Tillstrom in Kukla, Fran & Ollie. For five years, Finn assisted lighting designer Jennifer Tipton—beginning in 1988 with Jerome Robbins' Broadway—with works by Mike Nichols, Robert Wilson, Agnes de Mille, Paul Taylor, and Dan Wagoner. He recreated Tipton's lighting for Jerome Robbins and Twyla Tharp ballets for major companies in London, Paris, Munich, Boston, Sydney, Stockholm, and Buenos Aires. Finn toured as the lighting director for Twyla Tharp & Dancers and designed the lighting for Grand Pas, Sextet, The Men's Piece, and Octet for Tharp. As resident lighting designer for Mikhail Baryshnikov’s White Oak Dance Project from 1993-2000, Finn designed works by acclaimed choreographers Merce Cunningham, Hanya Holm, José Limón, Sara Rudner, Dana Reitz, Tamasaburō Bandō, Karole Armitage, Kevin O’Day, Neil Greenberg, Lucy Guerin, and Kraig Patterson. Finn’s first lighting design for dance, however, was for The Birmingham Royal Ballet of Birmingham, England in 1989 in Sir Peter Wright’s The Nutcracker with costume and set designs by John Macfarlane. Finn collaborated with Macfarlane again in Swan Lake for The Bayerisches Staatsballett in Munich and back at The Birmingham Royal Ballet in 2010 for Cinderella. Other designs for dance include works by Paul Taylor, José Limón, Helgi Tomasson, Guillaume Côté, and James Kudelka that have been seen with The Australian Ballet, Les Ballets de Monte-Carlo, Houston Ballet, Hubbard Street Dance Chicago, Lyon Opera Ballet, The National Ballet of Canada, Paul Taylor Dance Company, ODC, and San Francisco Ballet. In 2007, Finn collaborated with Sasha Waltz on her Roméo et Juliette for the Paris Opéra Ballet, and in 2015, he designed both scenery and lighting for a world premiere of the ballet Camino Real conceived and directed by Helen Pickett for the Atlanta Ballet. Since 1997, Finn’s career has shifted to the world of opera where he has designed such works as the Ring Cycle for the Canadian Opera Company with designer/director Michael Levine and directors Atom Egoyan, Francois Girard, and Tim Albery; six productions for the famed Salzburg Festival including Ariadne auf Naxos, Opernwelt’s 2001 Production of the year; Boris Goudonov, Lucia Silla, Don Giovanni, Cosí fan tutte, and The Marriage of Figaro for Het Musiktheater; Bluebeard’s Castle/Erwartung, Tannhauser, The Flying Dutchman, and Peter Grimes for The Royal Opera; Ariane et Barbe-Bleu for director/designer Anna Viebrock and the Paris Opera; Das Rheingold, The Tales of Hoffman, and Monteverdi’s L’Orfeo for The Stuttgart Opera; Otello for Opera de la Monnaie (Brussels); Falstaff for Maggio Musicale a

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Finn/Page 2 (Florence); Massacre, a world premiere for the Vienna Festwochen; Lost Highway, an operatic transposition of David Lynch’s film for Steirischer Herbst (Graz); Rusalka and Tannhauser for the Lyric Opera of Chicago; Tannhauser for the Berlin Staatsoper; and Alcina, Doktor Faust, and Lady MacBeth of Mtsensk for San Francisco Opera. Lighting design for theater includes: A Hunting Gun for Usine C in Montreal and the Parco Theater in Tokyo; Angst for the Salzburg Festival; A Doll’s House for Carey Perloff at American Conservatory Theater in San Francisco; Elektra and The Nerve Meter for the Burgtheater (Vienna); Fit for Life for Stadttheater Köln; The National Theater of Czechoslovakia’s production of King Lear directed by Royal Shakespeare Company's Barry Kyle; Pirates of Penzance for Teater des Westens in Berlin; performance pieces Wege und Machierungen Projects I & II for Theater Basel (Switzerland); A Century of Lust for the Archa Theater in Prague; Gypsy, Cinderella, Oliver, and The Umbrellas of Cherbourg for Robert Redford’s Sundance Institute; and two world premieres for the Children’s Theatre Company of Minneapolis. Finn has also designed several Off-Broadway premieres in New York. Much of Finn’s current work as a designer is for groundbreaking, interdisciplinary work including the dance-operas Les l’armes du ciel for the Luzerner Theater (Switzerland) and La Guerra d’Amore (Lausanne, San Francisco, and Braunshweig) and dance-theater works Senza Fine and The Day I go to the Body by director/choreographer Joachim Schlömer for the Salzburg Festival. Finn and Schlömer began the interdisciplinary project at the fischhouse in 2001 in the Bay Area. In 2003, the fischhouse produced four one-hour-long salons and a workshop of the bluegrass dance-theater musical Cindy & Alice. As an architectural lighting designer, Finn collaborated with Herzog & de Meuron from Basel, Switzerland on concepts for the Kramlich Residence, a case-study glass house. He designed the lighting for the entire sitescape of World Expo 1988 in Brisbane, Australia for Artistic Director Sir John Truscott. In New York, Finn worked on dozens of commercial restaurants, retail, and theater spaces such as Le Bernardin, The Hudson River Club, Polo Ralph Lauren, and the studio performance space at the Jacob’s Pillow Dance Festival. In 2001, he designed an installation entitled Steps in Time in the Hyperion Theater for Disney’s California Adventure theme park. Finn continues to consult for many architects throughout the world, including Ron Pompei of Pompei A.D. (Urban Outfitters, Anthropologie), Architecture & Light, and Gensler (QVC). Finn’s film work includes the lighting design for stage scenes in Martin Scorsese’s The Age of Innocence. He directed a documentary film, The Green Monster, which premiered for POV on PBS in June 1999. The film was inducted into the Museum of Television and Radio in New York City as one of the ten best documentary films of that year.

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Finn/Page 3 Recent awards include the 2015 Dora Mavor Moore Award for Best Lighting Design for Walkure at the Canadian Opera Company, the 2012 Knight of Illumination Award for Best Dance Lighting Design for Sweet Violets at The Royal Ballet, and the 2011 Yomiuri Award for Outstanding Lighting Design for The Hunting Gun at the Parco Theater in Tokyo. Slated projects for 2015 and beyond include Hansel and Gretel at Het Muziektheater in Amsterdam to be directed by Lotte DeBeer and designed by Michael Levine; Le Nozze di Figaro and Così fan tutte for The Australian Opera, directed by Sir David McVicar; a world premiere full-length ballet of Frankenstein for choreographer Liam Scarlett at The Royal Ballet and San Francisco Ballet; Waiting for Godot for the Theatre du Nouveau Monde in Montreal; a new work for choreographer Ashley Page at the Joffrey Ballet in February 2016; and a world premiere full-length ballet of Le Petit Prince for choreographer Guillaume Côté and The National Ballet of Canada. Finn designed the Cirque de Soleil productions Michael Jackson ONE at the Mandalay Bay resort in Las Vegas and ZED in Tokyo for director Francois Girard.

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JON MORRELL

DESIGNER Jon Morrell trained at the Central School of Art and Design in London. Designs for ballet include many collaborations with Ashley Page at Scottish Ballet (Nightswimming Into Day, 32 Cryptograms) and The Royal Ballet (This House Will Burn, Sawdust and Tinsel, Room of Cooks). For San Francisco Ballet he designed Christopher Wheeldon’s Rush© and Ashley Page’s Guide to Strange Places, and for New York City Ballet and Houston Ballet he designed Wheeldon’s Carnival of the Animals. For theater, Morrell was awarded the Olivier Award for Best Costume Design for the U.K. tour and London West End premiere of the musical Top Hat directed by Matt White. He also designed costumes for J. M. Barrie’s Peter Pan at Regent’s Park Open Air Theatre and the National Theatre’s His Dark Materials and The Winter’s Tale, both directed by Nicholas Hytner. Set and costume designs for opera include Othello at the English National Opera and Royal Swedish Opera, Maometto II at Santa Fe Opera, Rigoletto at Scottish Opera and New Zealand Opera, Iphigenie en Tauride at Staatsoper Hamburg in Germany, Werther at Vilnius Congress Hall in Lithuania, and La Clemenza di Tito at Teatro Regio di Torino in Italy. Other costume designs include La Finta Giardiniera (Santa Fe Opera); Partenope, which was performed by the English National Opera (Olivier Award for Best New Opera Production), Opera Australia (Helpmann Award for Best Opera), and San Francisco Opera; Tannhauser (Royal Opera House, Chicago Lyric Opera); Aida (Canadian Opera Company); Angels in America (Théâtre du Châtelet); Tosca (Opera Australia, Opera North); Jenufa (Olivier Award for Best New Opera Production at English National Opera, Houston Grand Opera, Washington National Opera); Norma (Gran Teatre del Liceu Barcelona, Grand Théâtre de Genève); Wozzeck (The Dallas Opera); and Kat’a Kabanová (English National Opera, Polish National Opera, Teatro Nacional de São Carlos in Lisbon, The Dallas Opera, Houston Grand Opera).

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MARTIN WEST

MUSIC DIRECTOR & PRINCIPAL CONDUCTOR

Martin West is acknowledged as one of the foremost conductors of ballet, garnering critical acclaim throughout the world. Born in Bolton, England, he studied math at St. Catharine’s College, Cambridge University, before studying at the St. Petersburg Conservatory of Music and London’s Royal Academy of Music. In fall 1997, West made his debut with English National Ballet and was immediately appointed resident conductor. There, he conducted almost half of the company’s performances throughout England and abroad. From 2004-2007 he held the position of principal conductor before relinquishing the post to allow him the flexibility to guest with other companies. West has worked with many of the top companies in North America such as New York City Ballet, Houston Ballet, and The National Ballet of Canada as well as the The Royal Ballet in England. West has worked with the Hallé Orchestra, Holland Symfonia, Royal Liverpool Philharmonic Orchestra, and Odense Symphony Orchestra in Denmark. He made his U.S. symphonic conducting debut with Silicon Valley Symphony, resulting in an immediate re-invitation. From 1998 to July 2005, West was the music director of the Cambridge Philharmonic Society. In addition, he had a long association with Pimlico Opera, including conducting a ground-breaking performance of West Side Story inside a prison with the inmates as part of the cast. In fall 2005, West joined San Francisco Ballet, having been a frequent guest since his debut two years earlier. In his ten years as music director he has been credited with raising the standard and profile of the San Francisco Ballet Orchestra to new levels and has made a number of critically acclaimed recordings with them, including the complete scores of Tchaikovsky’s Nutcracker, excerpts from Delibes’ Coppélia and Sylvia, and a CD of Shostakovich and Tchaikovsky cello music. He and the Orchestra have also made many world premiere recordings, including music by composers such as Bizet, Moszkowski, Shinji Eshima, Kip Winger, and Maury Yeston whose full-length ballet Tom Sawyer was recorded in 2013. In addition, he conducted on the award-winning DVD of John Neumeier’s The Little Mermaid as well as Helgi Tomasson’s productions of Nutcracker for PBS and Romeo & Juliet for Lincoln Center at the Movies: Great American Dance.

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