san francisco ballet program 6 & 7 2015 encore arts san ... · commissioned score by eshima...
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C I T Y N AT I O N A L B A N K C R E AT I V E S E R V I C E S
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32015 S E A S O N / P R O G R A M S 6 & 7
2015 Season Programs 6 & 7 4 Greetings from the Artistic Director & Principal Choreographer
6 Board of Trustees and Endowment Foundation Board
8 History of San Francisco Ballet
9 For Your Information
10 SF Ballet Adult Education
12 SF Ballet Leadership
13 Artists of the Company
22 PROGRAM 6 Shostakovich Trilogy Back by popular demand!
28 PROGRAM 7 Caprice / Swimmer World Premiere! / The Four Temperaments
36 San Francisco Ballet Orchestra
38 San Francisco Ballet Staff
40 Calendar of 2015 Repertory Season Donor Events
42 Sponsor and Donor News
44 Great Benefactors
45 Artistic Director’s Council
46 San Francisco Ballet Season Sponsors
48 Chairman’s Council
50 Christensen Society
54 Corporate and Foundation Support of San Francisco Ballet
56 San Francisco Ballet Endowment Foundation
58 The Legacy Circle
60 Thank You to Our Volunteers
62 San Francisco War Memorial and Performing Arts Center
All San Francisco Ballet photos, unless otherwise noted, © Erik Tomasson
San Francisco Ballet Vol. 92, No. 6 2015 Repertory Season All editorial material © San Francisco Ballet, 2015 Chris Hellman Center for Dance 455 Franklin Street, San Francisco, CA 94102
COVER: Yuan Yuan Tan and Maria Kochetkova in Ratmansky’s Shostakovich Trilogy.
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FOLLOW US BEFORE AND AFTER THE PERFORMANCE!
April 2015Volume 92, No. 6
Paul Heppner Publisher
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4 S F B A L L E T.O R G
greetings from the artistic director & principal choreographer
Welcome!
We’re delighted to have you join us at the War Memorial Opera House for Programs 6 and 7, a diverse array of works that show the range of neoclassical ballet.
On Program 6 you’ll find a full-evening work, Alexei Ratmansky’s multifaceted Shostakovich Trilogy. This co-production of San Francisco Ballet and American Ballet Theatre made its West Coast premiere last season. Creating a full evening of work—three ballets that form a cohesive whole yet can stand alone, set to several pieces of music by a single composer—was an ambitious project, one that has earned accolades from audiences and critics around the globe. Alexei has set many of his ballets to Dmitri Shostakovich’s music, and it’s clear that the work of this master composer of the 20th century touches him deeply.
Program 7 opens with the reprise of my ballet Caprice, which premiered last season. It’s both a privilege and a joy for me to be able to spend time in the studio with our exceptional Company dancers, and on this occasion I chose to work with two symphonies by Camille Saint-Saëns. This music swept me along, and it seemed perfect for dance.
Next on the program is a world premiere by Choreographer in Residence Yuri Possokhov, Swimmer—another ambitious project. Yuri chose to collaborate once again with part of the creative team for his 2011 ballet RAkU, composer Shinji Eshima, scenic designer Alexander V. Nichols, and costume designer Mark Zappone. Swimmer combines a commissioned score by Eshima with songs performed by Tom Waits, elements of film created by SF Ballet Trustee Kate Duhamel, Nichols’ and Zappone’s designs, and of course Yuri’s imaginative concept and choreography.
Closing the program is The Four Temperaments by George Balanchine, one of his iconic “black-and-white” ballets. It was groundbreaking when it premiered in 1946, pushing the boundaries of neoclassical ballet, and today it’s as fresh as ever. Like all of Balanchine’s works, The Four Temperaments asks for the utmost in artistry and technique from the dancers who perform it.
As always, thank you for your support of SF Ballet. I hope you have a wonderful night in the theater watching our dancers. I couldn’t be more proud of them.
Sincerely,
Helgi Tomasson Artistic Director & Principal Choreographer
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6 S F B A L L E T.O R G
san francisco ballet association board of trustees 2014–2015
Chris Hellman† Chair Emeritus
Richard C. Barker† Immediate Past Chair
Margaret G. Gill Vice Chair
James H. Herbert, II† Vice Chair
Lucy Jewett Vice Chair
James D. Marver Vice Chair
Carl F. Pascarella Vice Chair
Robert M. Smelick Vice Chair
Diane B. Wilsey Vice Chair
Jennifer J. McCall Secretary
Susan S. Briggs Assistant Secretary
Christopher P. Johns Treasurer
Helgi Tomasson Artistic Director & Principal Choreographer
Glenn McCoy* Executive Director
Michael C. Abramson
Jola Anderson
Kristen A. Avansino
Rosemary B. Baker
Karen S. Bergman
Gary Bridge
Amy Burnett
Chaomei Chen
David C. Cox
Susan P. Diekman
Suzy Kellems Dominik
Kate Duhamel
Sonia H. Evers
Jason M. Fish
Julie A. Flynn
Shelby M. Gans
Dr. Richard Gibbs
Thomas E. Horn
Donald F. Houghton
James C. Katzman
Nancy Kukacka
Yasunobu Kyogoku
Kelsey Lamond
Irv H. Lichtenwald
Marie O’Gara Lipman
Karla L. Martin
Stephanie Marver
Alison Mauzé
Marissa Mayer
Deborah M. Messemer
Mary Mewha
James E. Milligan
Kurt C. Mobley
Christine Russell
Randee Seiger
O.J. Shansby
Christine E. Sherry
Charlotte Mailliard Shultz
Catherine Slavonia
David Hooker Spencer
Fran A. Streets
Arlene H. Sullivan
Judy C. Swanson
Richard J. Thalheimer
Jennifer M. Walske
Timothy C. Wu
Janice Hansen Zakin
TRUSTEES EMERITI
Thomas W. Allen
Marjorie Burnett
Charles Dishman
Garrettson Dulin, Jr.†
Millicent Dunham
J. Stuart Francis†
Sally Hambrecht
Ingrid von Mangoldt Hills
George B. James II†
Pamela J. Joyner†
David A. Kaplan
Mary Jo Kovacevich
James J. Ludwig†
Nancy H. Mohr
Gerald E. Napier
Thomas J. Perkins
Marie-Louise Pratt
George R. Roberts
Kathleen Scutchfield
Susan A. Van Wagner
Dennis Wu
Akiko Yamazaki
ASSOCIATE TRUSTEES
Marie Hurabiell President, San Francisco Ballet Auxiliary
Patricia D. Knight President, BRAVO
Emily Hu President, ENCORE!
Stewart McDowell Brady, Patrice Lovato Co-Chairs, Allegro Circle
† Past Chair * ex officio
san francisco ballet endowment foundation board of directors 2014–2015JAMES D. MARVER, President
Kim Ondreck Carim‡ Chief Financial Officer
Laura Simpson‡ Secretary
Elizabeth Lani‡ Assistant Secretary
Richard C. Barker
Susan S. Briggs
J. Stuart Francis
Nancy Kukacka
Hilary C. Pierce
Larissa K. Roesch
DIRECTORS EMERITI
Chris Hellman
George B. James II
‡ Non-Director
JOHN S. OSTERWEIS, Chair of the Board and Executive Committee
John S. Osterweis President Emeritus
Hank J. Holland Vice President
Thomas E. Horn Treasurer
8 S F B A L L E T.O R G
history of san francisco ballet
San Francisco Ballet, the oldest professional ballet company in America, has emerged as a world-class arts organization
since it was founded as the San Francisco Opera Ballet in 1933. Initially, its purpose was to train dancers to appear in opera productions, but it separated from the opera in 1942 and was renamed San Francisco Ballet. Headed by brothers Willam, Lew, and Harold Christensen from the late ’30s until the ’70s, it made its mark early on by staging the first full-length American productions of Swan Lake (1940) and Nutcracker (1944). Under Lew’s direction, the Company made its East Coast debut at Jacob’s Pillow Dance Festival in 1956 and toured 11 Asian nations the following year, marking the first performances of an American ballet company in the Far East.
In 1972 the Company settled in the War Memorial Opera House for its annual residency. The following year, Michael Smuin was appointed associate artistic director; in 1981, his The Tempest was nominated for three Emmy Awards (Willa Kim received the award for Outstanding Costume Design), and in 1984 Smuin received an Emmy Award for Choreography for the Great Performances: Dance in America national broadcast of A Song for Dead Warriors.
Helgi Tomasson’s arrival as artistic director in 1985 marked the beginning of a new era. Like Lew Christensen, Tomasson had been a leading dancer for the most important ballet choreographer of the 20th century, George Balanchine. He has since staged acclaimed full-length productions of Swan Lake (1988); The Sleeping Beauty (1990); Romeo & Juliet (1994); Giselle (1999); and a new Nutcracker (2004). In 1991, SF Ballet performed in New York City for the first time in 26 years. In May 1995, the Ballet played host to 12 ballet companies for UNited We Dance: An International Festival, commemorating the 50th anniversary of the signing of the United Nations Charter.
SF Ballet’s repertory includes works by George Balanchine, Lew Christensen, William Forsythe, Agnes de Mille, Sir Kenneth MacMillan, Mark Morris, Rudolf Nureyev, Marius Petipa, Jerome Robbins, Paul Taylor, Christopher Wheeldon, and many others. In recent years, the Company’s touring programs have become increasingly ambitious, with engagements at venues including the John F. Kennedy Center for the Performing Arts in Washington, D.C.; New York City Center; the Opéra de Paris-Palais Garnier in Paris; London’s Sadler’s Wells Theatre and the Royal Opera House in Covent Garden; and Athens’ Megaron Theatre.
The San Francisco Ballet School, overseen by Tomasson, attracts students from around the world, training approximately 350 annually. In addition to filling the ranks of San Francisco Ballet, graduates have gone on to join distinguished ballet companies throughout the world.
In 2004, SF Ballet debuted Tomasson’s critically acclaimed new production of Nutcracker. The following year, Tomasson was awarded the Lew Christensen Medal in honor of his 20th anniversary as artistic director of SF Ballet, and that year the Company won its first Laurence Olivier Award, for its 2004 fall season at Sadler’s Wells Theatre. A readers’ poll conducted in 2006 by Dance Europe magazine named SF Ballet “Company of the Year,” marking the first time a non-European company took that honor. In 2008, SF Ballet and the San Francisco Ballet School celebrated their 75th anniversary. In 2012, SF Ballet’s tour schedule included London and Washington, D.C., as well as first-time visits to Hamburg, Moscow, and Sun Valley, Idaho. In 2013, the Company performed at New York’s Lincoln Center, and in 2014 the SF Ballet returned to Paris for a three-week engagement.
This year, 2015, Tomasson marks his 30th anniversary as artistic director of SF Ballet.
On the eve of the 1957 Far East Tour, members of San Francisco Ballet bid the city adieu.
Willam, Lew, and Harold Christensen at the 1982 ceremonial groundbreaking for the San Francisco Ballet Association’s new facilities.
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92015 S E A S O N / P R O G R A M S 6 & 7
for your informationHOW TO PURCHASE TICKETSOrder online 24 hours a day at sfballet.org or call Ticket Services at 415.865.2000, Monday through Friday, 10am to 4pm. On performance dates, phones are open from 10am until the performance begins.
The San Francisco Ballet Box Office is open only on performance dates and is located in the War Memorial Opera House on Van Ness Avenue and Grove Street. The Box Office opens at noon Tuesday through Friday and at 10am Saturday and Sunday, and remains open through the first intermission. The hour prior to each perfor-mance is reserved for business related to that performance only.
GROUP SALES
Groups of 10 or more can save up to 30%. For information, call 415.865.6785 or visit sfballet.org/groups.
GIFT CERTIFICATES
Gift certificates are available online at sfballet.org or by calling 415.865.2000.
THE SHOP AT SF BALLET
The Shop at SF Ballet is open one hour before each performance, during inter-missions, and after weekend matinees. A Ballet Shop pass is available at the Box Office to non-ticket holders who wish to purchase merchandise. Visit our online shop at sfballet.org/shop.
PERSONS WITH DISABILITIES
Persons with wheelchairs may enter and exit the Opera House through the front doors (Van Ness Avenue), Taxi Ramp (Grove Street), and Carriage Entrance (north side). Wheelchair seating positions are located on the Orchestra and Dress Circle levels. Contact Ticket Services at 415.865.2000 for more information.
Wheelchair accessible stalls in restrooms can be found on all floors except the Main Lobby and fifth floor Balcony level. A lockable single user/special needs restroom is located on Floor 3. Please see the usher closest to this location for access. Accessible drinking fountains are located on all floors except the Balcony level.
Assistive listening devices (Sennheiser model infrared sound amplification head-sets) are available at both coat check loca-tions in the main lobby. A major credit card or driver’s license is required for deposit.
GENERAL ENJOYMENT
Coat-check rooms are located in the Main Lobby on the north and south promenades.
Lost & Found is located at the north coat-check room, or call 415.621.6600, 8:30–11:30am, Monday–Friday.
Opera glasses are available for $5 rental at the north coat-check room. A driver’s license or other form of valid ID is required as a deposit.
Restrooms are located on all floors except Orchestra level (Floor 1).
Courtesy telephones for local calls only, are located on the first floor Lobby level directly across from the elevators.
Patrons desiring a taxi after a per-formance should come to the Grove Street Taxi Ramp located on the south side of the Opera House. Accomodations are provided on a first come, first served basis, and cannot be guaranteed as service is based on availability of licensed taxis. Staff will be on hand to assist. This service is not available for Nutcracker.
Walking tours of the San Francisco War Memorial and Performing Arts Center, which includes Louise M. Davies Symphony Hall, War Memorial Opera House, and the Herbst Theatre, are available to the public on Mondays on the hour between 10am and 2pm. Tours leave from the Grove Street entrance of Davies Symphony Hall. There are no tours on holidays. General admission $7; seniors/ students $5. For information, call 415.552.8338.
Parcels, backpacks, luggage, etc., must be checked in the Opera House coat- check rooms.
Children of any age attending a perfor-mance must have a ticket and occupy that seat; no children-in-arms or infants, please. SF Ballet recommends that children be at least eight years old to attend Repertory Season performances.
Opera House management reserves the right to remove any patron who is creating a disturbance.
Latecomers will not be seated after the lights have been dimmed in order to not disturb patrons who have arrived on time.
No photography or recording is allowed during the performance. Please turn off phones and refrain from talking and texting during the performance. Eating and drinking are not permitted in the theater.
Smoking is not permitted in the Opera House. Patrons may smoke on the outdoor Loggia located on the Grand Tier level.
A nurse is on duty in the Opera House lower lounge during all performances.
DINING
The Café at the Opera House in the lower lounge level opens two hours prior to curtain time for a delicious pre-performance buffet (no buffet on Saturday matinees) and is also open during intermission for refreshments. Call 415.861.8150 for buffet reserva-tions. Patrons arriving before front doors open will be admitted at the North Carriage entrance on the north side of the Opera House.
Refreshments are available on the lower level as well as the Box, Orchestra, and Dress Circle levels during all perfor-mances. Refreshments may not be carried beyond the concession areas in which they are served. No outside food or beverages are allowed. Drinking foun-tains are located on all levels near the elevators. No food or beverages, except bottled water, are permitted inside the auditorium at any time.
FOR FURTHER GENERAL INFORMATION, PLEASE VISIT SFBALLET.ORG.
10 S F B A L L E T.O R G
Seeing Ballet New this season! Do you love ballet, but want to understand and more deeply appreciate specific works? Join us for Seeing Ballet! Through a facilitated process led by experts in the ballet field, participants will learn to recognize key elements of choreography, staging, and design in a short segment from a work currently on stage at the Opera House. Learn more at sfballet.org/seeingballet.
TICKETS:$25 general public $20 SF Ballet subscribers $60 for all 3
adult education
2015 DATESSAT, APR 11 / 5:30PM Ratmansky’s Shostakovich TrilogySAT, APR 18 / 5:30PM Balanchine’s The Four Temperaments SAT, MAY 2 / 5:30PM Tomasson’s Romeo & Juliet
Talk About Ballet!Talk about Ballet! combines a 60-minute lecture (including a Q & A) with a 30-minute reception with wine and snacks. Learn more at sfballet.org/talkaboutballet.
READY, AIM, DANCE! DANGER AND SOVIET BALLETMON, APR 136-7:30PM
Stanford dance historian Janice Ross—author of Like a Bomb Going Off, a new book focusing on Soviet ballet during the Stalin era—explores the fascinating and dangerous intersections between politics and ballet in Soviet Russia. Enjoy rare archival video clips, and gain rich context for a performance of Ratmansky’s Shostakovich Trilogy.
Meet the Artist Interviews (and podcasts) FREE and open to all ticket holders for selected performances
Meet the Artist Interviews (MTAs) spotlight a work to be performed that afternoon/evening. These talks feature artists and choreographers in conversation with a moderator. Interviews are 30 minutes and take place on the Orchestra level one hour prior to the performance. Open to all ticket holders. Learn more at sfballet.org/MTA.
Select Meet the Artist podcasts are available at sfballet.org/podcasts.
TICKETS:$25 general public$20 SF Ballet subscribers
PROGRAM 6FRI, APR 17, 7PMSUN, APR 19, 1PM
PROGRAM 7FRI, APR 10, 7PMSUN, APR 12, 1PM
San Francisco Ballet in Ratmansky’s Shostakovich Trilogy.
PROGRAM 8FRI, MAY 1, 7PM SUN, MAY 3, 1PMSUN, MAY 10, 1PM
112015 S E A S O N / P R O G R A M S 6 & 7
Pointes of View (POV) Lecture Series FREE and open to the public
Lectures are 45-minute discussions about that evening’s performance. Learn more at sfballet.org/POV.
POV 6 / WED, APR 8, 6PM“When Ballet Became Dangerous: Shostakovich Trilogy and the Soviet Past”Stanford dance historian Janice Ross explores the fascinating and dangerous intersections between politics and ballet in Soviet Russia.
POV 7 / WED, APR 15, 6PM Choreographer in Residence Yuri Possokhov (below) and composer Shinji Eshima discuss the world premiere of Swimmer.
POV 8 / WED, MAY 6, 6PMThrough demonstration and discussion, explore how the artists of SF Ballet learn and execute sword-fighting scenes in Romeo & Juliet.
Mark your calendar for next season!
BALLET 101 A San Francisco Ballet Appreciation Course
Ballet 101 is our popular five-class program designed to share the talent and knowledge of the staff and artists of SF Ballet with committed adults in both studio and classroom settings.
Registration for Ballet 101 begins each year in November; courses are held in early January through February. Space is limited, so sign up for SF Ballet’s monthly e-news to be the first to know when registration begins. Learn more at sfballet.org/Ballet101.
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12 S F B A L L E T.O R G
H ELGI T OMASSON Artistic Director & Principal Choreographer
In 2015, Helgi Tomasson celebrates his 30th anniversary as artistic director of San Francisco Ballet. He is the longest serving sole artistic director of a major ballet company.
Under his leadership, SF Ballet has evolved from a respected regional troupe into a world-class company, praised for its diversity and broad repertory. Tomasson was first discovered by Jerome Robbins in his native Iceland and was offered a scholarship to New York’s School of American Ballet. Subsequently, he began his professional career with The Joffrey Ballet and Harkness Ballet, and later joined New York City Ballet where he became one of the company’s most celebrated principal dancers.
Tomasson has choreographed more than 40 works. His numerous awards include being named Officier in the French Order of Arts, an honorary degree from New York’s Juilliard School, and the Grand Cross Star of the Order of the Falcon, Iceland’s most prestigious honor. In 2005, Tomasson was awarded the prestigious Lew Christensen Medal in honor of his 20th anniversary as artistic director of SF Ballet. In 2012, Tomasson was presented the Dance/USA Honor Award for extraordinary leadership in the dance field, by reason of artistic excellence and force of vision. Tomasson is also the director of the San Francisco Ballet School.
GLENN MCCOY Executive Director
Glenn McCoy’s career in the performing arts spans more than 30 years of operations management and marketing in ballet and opera. He joined San Francisco Ballet in 1987, and has held the positions of company manager, general manager, and managing director. He was appointed to the position of executive director in April 2002.
McCoy has overseen the production of more than 60 new repertory and full-length ballets for SF Ballet and more than 45 domestic and international tours, including engagements in Paris, London, New York, and Washington, D.C.
McCoy supervised SF Ballet’s operations for the critically acclaimed international dance festival, UNited We Dance, in 1995; SF Ballet’s 75th Anniversary Season in 2008; and the tapings of Lubovitch’s Othello, Tomasson’s Nutcracker, and Neumeier’s The Little Mermaid, which have been broadcast on PBS by Thirteen/WNET New York’s performing arts series Great Performances.
Prior to joining SF Ballet, McCoy held marketing positions at the San Francisco Opera and at the Metropolitan Opera in New York City, where as advertising manager he was responsible for promoting the Met seasons of American Ballet Theatre, as well as international dance companies.
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 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 to 2007 he held the position of principal conductor. In recent seasons, he has worked with many of the top companies in North America, such as New York City Ballet, Houston Ballet, and National Ballet of Canada, as well as conducting a number of perfomances with The Royal Ballet, Covent Garden. He made his U.S. symphonic conducting debut with Silicon Valley Symphony.
In fall 2005, West joined SF Ballet, having been a frequent guest since his debut two years earlier. He has made a number of critically acclaimed recordings with the SF Ballet Orchestra, including the complete score of Tchaikovsky’s Nutcracker, a CD of Shostakov ich and Tchaikovsky cello music, an album of suites from Delibes’ Sylvia and Coppélia, and Bizet’s Symphony in C. In addition, he conducted on the award-winning DVD of Neumeier’s The Little Mermaid, as well as SF Ballet’s production of Nutcracker for PBS.
sf ballet leadership
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artists of the companyARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHERHelgi Tomasson
PRINCIPAL DANCERSJoan Boada Frances Chung Taras Domitro Lorena FeijooMathilde Froustey Jaime Garcia Castilla Tiit Helimets Luke Ingham Davit Karapetyan John and Barbara Osterweis Principal Dancer Maria Kochetkova Herbert Family Principal Dancer Vitor Luiz Pascal Molat Gennadi Nedvigin Carlos Quenedit Sofiane Sylve Yuan Yuan Tan Richard C. Barker Principal Dancer Sarah Van Patten Diana Dollar Knowles Principal Dancer Joseph Walsh Vanessa Zahorian Diane B. Wilsey Principal Dancer
PRINCIPAL CHARACTER DANCERS Ricardo Bustamante† Val Caniparoli†Rubén Martín Cintas Anita Paciotti†
SOLOISTSDores André Clara Blanco† Daniel Deivison-Oliveira† Sasha De Sola Carlo Di Lanno Dana Genshaft Koto Ishihara† James Sofranko Jennifer Stahl†Anthony Vincent† Hansuke Yamamoto
CORPS DE BALLETGaetano Amico III† Sean Bennett†Thomas Bieszka Kimberly Braylock† Max Cauthorn†Thamires Chuvas† Diego Cruz† Isabella DeVivo† Megan Amanda Ehrlich Lacey Escabar† Jordan Hammond† Jillian Harvey Esteban Hernandez Ellen Rose Hummel† Emily Kadow Kristina Lind† Carolyn LippertNorika Matsuyama† Lee Alex Meyer-Lorey† Steven Morse† Francisco Mungamba† Sean Orza† Lauren Parrott† Elizabeth Powell† Alexander Reneff-Olson†Aaron Renteria†Rebecca Rhodes† Julia Rowe† Emma Rubinowitz† Shannon Marie Rugani† Skyla Schreter Grace Shibley Henry Sidford† Miranda Silveira† Benjamin Stewart† Myles Thatcher† Raymond Tilton† Mingxuan Wang† Wei Wang† Lonnie WeeksAmi Yuki† WanTing Zhao†
APPRENTICESSamantha Bristow†Benjamin Freemantle†John-Paul Simoens†Maggie Weirich†
BALLET MASTERS & ASSISTANTS TO THE ARTISTIC DIRECTORRicardo Bustamante† Christopher Stowell
BALLET MASTERSFelipe Diaz† Betsy Erickson† Anita Paciotti† Katita Waldo†
COMPANY TEACHERSHelgi Tomasson Patrick Armand* Ricardo Bustamante† Felipe Diaz† Christopher Stowell
CHOREOGRAPHER IN RESIDENCEYuri Possokhov
MUSIC DIRECTOR & PRINCIPAL CONDUCTORMartin West
14 S F B A L L E T.O R G
principal dancers
JOAN BOADAA native of Havana, Cuba, Joan Boada trained at the National Ballet School of Cuba and danced with seven companies (including Ballet Nacional de Cuba, Ballet National de Marseille Roland Petit, The Australian Ballet, and Royal Ballet of Flanders) before joining SF Ballet as a principal dancer in 1999.
FRANCES CHUNGBorn in Vancouver, British Columbia, Frances Chung trained at the Goh Ballet Academy before joining SF Ballet in 2001. She was promoted to soloist in 2005 and principal dancer in 2009.
TARAS DOMITROBorn in Havana, Cuba, Taras Domitro trained at Alejo Carpentier School and National Ballet School of Cuba. He performed as a prin-cipal dancer with the Ballet Nacional de Cuba prior to joining SF Ballet as a principal dancer in 2008.
LORENA FEIJOOBorn in Havana, Cuba, Lorena Feijoo trained at the National Ballet School of Cuba. She danced with Ballet Nacional de Cuba, Ballet of Monterrey, Royal Ballet of Flanders, and The Joffrey Ballet prior to joining SF Ballet as a principal dancer in 1999.
MATHILDE FROUSTEYMathilde Froustey was born in Bordeaux, France, and received her training at the Marseille National School of Ballet and Paris Opéra Ballet School. At age 17, she joined the Paris Opéra Ballet, where she was a soloist. She joined San Francisco Ballet as a principal dancer in 2013.
JAIME GARCIA CASTILLAJaime Garcia Castilla was born in Madrid, Spain, and studied at the Royal Conservatory of Professional Dance. He was named an SF Ballet apprentice in 2001 and joined the Company as a corps de ballet member the following year. He was promoted to soloist in 2006 and to principal dancer in 2008.
TIIT HELIMETSBorn in Viljandi, Estonia, Tiit Helimets trained at the Tallinn Ballet School and began his career as a soloist with Estonian National Ballet. He was promoted to principal dancer six months later. He joined SF Ballet as a principal dancer in 2005.
LUKE INGHAM From Mount Gambier, South Australia, Luke Ingham trained at the Australian Ballet School and performed with The Australian Ballet from 2004–10. In 2008 he was promoted to soloist. Ingham danced with Houston Ballet for the 2011–12 season and joined as a soloist in 2012, and was promoted to principal dancer in 2014.
DAVIT KARAPETYAN Born in Yerevan, Armenia, Davit Karapetyan trained at the Armenian School of Ballet and Schweizerische Ballettberufsschule. After dancing with Zurich Ballet, he joined SF Ballet as a principal dancer in 2005. He was appointed John and Barbara Osterweis Principal Dancer in 2013.
MARIA KOCHETKOVA Born in Moscow, Russia, Maria Kochetkova trained at the Bolshoi School and danced with The Royal Ballet, English National Ballet, Tokyo Ballet, Bolshoi Ballet, and Mikhailovsky Theater before joining SF Ballet as a principal dancer in 2007. She was appointed Herbert Family Principal Dancer in 2012.
VITOR LUIZBorn in Juiz de Fora, Brazil, Vitor Luiz trained with Victor Navarro and Dalal Achcar, Pedro Kraszczuck, and the Royal Ballet School. He danced with Birmingham Royal Ballet and Ballet do Theatro Municipal do Rio de Janeiro prior to joining SF Ballet as a principal dancer in 2009.
PASCAL MOLATA native of Paris, France, Pascal Molat trained at Paris Opéra Ballet School and danced with Royal Ballet of Flanders and Les Ballets de Monte-Carlo before joining SF Ballet as a soloist in 2002. He was promoted to principal dancer the following year.
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principal dancers
principal character dancers
GENNADI NEDVIGIN Born in Rostov, Russia, Gennadi Nedvigin trained at the Bolshoi School and danced with Le Jeune Ballet de France and Moscow Renaissance Ballet before joining SF Ballet as a soloist in 1997. Three years later, he was promoted to principal dancer.
CARLOS QUENEDIT Born in Havana, Cuba, Carlos Quenedit trained at Cuba’s National Ballet School. He has danced with Ballet Nacional de Cuba, Miami City Ballet, Ballet de Monterrey, Royal Winnipeg Ballet, and Joffrey Ballet. He joined SF Ballet as a soloist in 2012 and was promoted to principal dancer in 2014.
SOFIANE SYLVE Sofiane Sylve was born in Nice, France. She has danced with HET Nationale, NYCB, Hong Kong, English, Australian, Finnish, and Hungarian National Ballets, and Teatro San Carlo. She performed as a guest with SF Ballet in 2007. In 2008 she joined as a principal and as guest faculty of the School.
YUAN YUAN TANYuan Yuan Tan was born in Shanghai. She trained at Shanghai Dancing School and John Cranko Dance Academy. She has danced with Hamburg, Bolshoi, and Hong Kong Ballet, and at Beijing Grand Theater. She joined SF Ballet as soloist in 1995, was promoted to principal in 1997, and was appointed Richard C. Barker Principal Dancer in 2012.
SARAH VAN PATTEN Sarah Van Patten trained at Ballet Workshop of New England with Jacqueline Cronsberg, and danced with Massachusetts Youth Ballet and the Royal Danish Ballet before joining the SF Ballet as a soloist in 2002. She was promoted to principal dancer in 2007. She was appointed Diana Dollar Knowles Principal Dancer in 2013.
JOSEPH WALSH Born in Doylestown, Pennsylvania, Joseph Walsh trained at Walnut Hill School of the Arts and Houston Ballet II, before joining Houston Ballet in 2007; he was promoted to soloist in 2010 and principal dancer in 2012. He joined SF Ballet as a soloist in 2014 and was promoted to principal that same year.
RICARDO BUSTAMANTE†Born in Medellin, ColombiaJoined in 1980Named Principal Character Dancer in 2007
VAL CANIPAROLI†Born in Renton, WashingtonJoined in 1973Named Principal Character Dancer in 1987
RUBÉN MARTÍN CINTASBorn in Reus, Spain Joined in 2000Named Principal Character Dancer in 2014
ANITA PACIOTTI†Born in Oakland, CaliforniaJoined in 1968Named Principal Character Dancer in 1987
VANESSA ZAHORIAN Born in Allentown, Pennsylvania, Vanessa Zahorian trained at the Kirov Academy and Central Pennsylvania Youth Ballet. She apprenticed at the Kirov, before joining SF Ballet in 1997. She was promoted to soloist in 1999 and to principal dancer in 2002. She was appointed Diane B. Wilsey Principal Dancer in 2014.
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DORES ANDRÉBorn in Vigo, SpainJoined in 2004 Promoted to Soloist in 2012
CLARA BLANCO†Born in Valladolid, SpainJoined in 2001Returned in 2007 Promoted to Soloist in 2012
DANIEL DEIVISON-OLIVEIRA†Born in Rio de Janeiro, BrazilJoined in 2005Promoted to Soloist in 2011
SASHA DE SOLABorn in Winter Park, FloridaNamed Apprentice in 2006Joined in 2007Promoted to Soloist in 2012
CARLO DI LANNOBorn in Napoli, Italy Joined as a Soloist in 2014
DANA GENSHAFTBorn in Moscow, Russia Named Apprentice in 2000 Joined in 2001Promoted to Soloist in 2008
JAMES SOFRANKOBorn in Marion, IndianaJoined in 2000Promoted to Soloist in 2007
JENNIFER STAHL†Born in Dana Point, California Named Apprentice in 2005 Joined in 2006Promoted to Soloist in 2013
ANTHONY VINCENT†Born in Phoenix, ArizonaNamed Apprentice in 2004Joined in 2006Promoted to Soloist in 2008
HANSUKE YAMAMOTOBorn in Chiba, Japan Joined in 2001 Promoted to Soloist in 2005
soloists
KOTO ISHIHARA†Born in Nagoya, JapanJoined in 2010 Promoted to Soloist in 2014
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GAETANO AMICO III†Born in Salem, OregonNamed Apprentice in 2006Joined in 2007
SEAN BENNETT†Born in San Francisco, CaliforniaNamed Apprentice in 2011Joined in 2012
THOMAS BIESZKA Born in Grand Rapids, MichiganJoined in 2013
KIMBERLY BRAYLOCK†Born in New York, New YorkNamed Apprentice in 2009Joined in 2010
MAX CAUTHORN†Born in Tucson, ArizonaNamed Apprentice in 2013Joined in 2014
THAMIRES CHUVAS†Born in Rio de Janeiro, BrazilNamed Apprentice in 2014Joined in 2015
DIEGO CRUZ†Born in Zaragoza, SpainJoined in 2006
ISABELLA DEVIVO†Born in Great Neck, New YorkJoined in 2013
MEGAN AMANDA EHRLICHBorn in Charleston, South CarolinaNamed Apprentice in 2011Joined in 2012
LACEY ESCABAR†Born in Fairfax, California Named Apprentice in 2012 Joined in 2013
JORDAN HAMMOND†Born in Irvine, CaliforniaJoined in 2010
JILLIAN HARVEYBorn in Holidaysburg, PennsylvaniaNamed Apprentice in 2011Joined in 2012
corps de ballet
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ESTEBAN HERNANDEZBorn in Guadalajara, MexicoJoined in 2013
ELLEN ROSE HUMMEL†Born in Greenville, South CarolinaNamed Apprentice in 2011Joined in 2012
EMILY KADOWBorn in Winter Park, FloridaJoined in 2012
KRISTINA LIND†Born in San Jose, CaliforniaJoined in 2009
CAROLYN LIPPERT Born in Boston, Massachusetts Joined in 2014
NORIKA MATSUYAMA†Born in Chiba, Japan Joined in 2014
LEE ALEX MEYER-LOREY†Born in Zurich, SwitzerlandNamed Apprentice in 2003 Joined in 2004 Returned in 2013
STEVEN MORSE†Born in Harbor City, CaliforniaJoined in 2009
FRANCISCO MUNGAMBA†Born in Madrid, SpainJoined in 2011
SEAN ORZA†Born in San Francisco, CaliforniaNamed Apprentice in 2007Joined in 2008
LAUREN PARROTT† Born in Palm Harbor, Florida Named Apprentice in 2012 Joined in 2013
ELIZABETH POWELL†Born in Boston, MassachusettsNamed Apprentice in 2011Joined in 2012
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corps de ballet
ALEXANDER RENEFF-OLS0N†Born in San Francisco, California Named Apprentice in 2012 Joined in 2013
AARON RENTERIA†Born in Pasadena, CaliforniaNamed Apprentice in 2013Joined in 2014
REBECCA RHODES†Born in Chicago, IllinoisNamed Apprentice in 2008Joined in 2009
JULIA ROWE†Born in Elizabethtown, Pennsylvania Joined in 2013
EMMA RUBINOWITZ†Born in San Francisco, California Named Apprentice in 2012 Joined in 2013
SHANNON MARIE RUGANI†Born in Lake Tahoe, CaliforniaNamed Apprentice in 2004Joined in 2005
SKYLA SCHRETERBorn in Chappaqua, New YorkJoined in 2014
GRACE SHIBLEYBorn in Portland, OregonJoined in 2013
HENRY SIDFORD†Born in Marblehead, MassachusettsNamed Apprentice in 2011Joined in 2012
MIRANDA SILVEIRA†Born in Sao Goncalo, BrazilNamed Apprentice in 2013Joined in 2014
BENJAMIN STEWART†Born in Austin, TexasJoined in 2006
MYLES THATCHER†Born in Atlanta, GeorgiaNamed Apprentice in 2009Joined in 2010
† Received training at the San Francisco Ballet School
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RAYMOND TILTON†Born in San Diego, CaliforniaNamed Apprentice in 2010 Joined in 2011
MINGXUAN WANG†Born in Shandong, ChinaNamed Apprentice in 2013Joined in 2014
WEI WANG†Born in Anshan-Liaoning, ChinaNamed Apprentice in 2012 Joined in 2013
LONNIE WEEKSBorn in Chicago, IlinoisJoined in 2010
†Received training at the San Francisco Ballet School
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AMI YUKI†Born in Saitama, Japan Named Apprentice in 2014 Joined in 2015
WANTING ZHAO†Born in Anshan-Liaoning, ChinaJoined in 2011
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22 S F B A L L E T.O R G
6three-act full evening
Shostakovich Trilogy Composer: Dmitri Shostakovich
Choreographer: Alexei Ratmansky
Staged by: Nancy Raffa
Scenic Designer: George Tsypin
Costume Designer: Keso Dekker
Lighting Designer: Jennifer Tipton
Symphony #9World Premiere: October 18, 2012—American Ballet Theatre, New York City Center; New York, New YorkSan Francisco Ballet Premiere: April 2, 2014—War Memorial Opera House; San Francisco, California
Chamber SymphonyWorld Premiere: May 31, 2013—American Ballet Theatre, Metropolitan Opera House; New York, New YorkSan Francisco Ballet Premiere: April 2, 2014—War Memorial Opera House, San Francisco, California
Piano Concerto #1World Premiere: May 31, 2013—American Ballet Theatre, Metropolitan Opera House; New York, New YorkSan Francisco Ballet Premiere: April 2, 2014—War Memorial Opera House; San Francisco, California
These performances of Piano Concerto #1 are made possible by Sponsor Joan E. Roebuck.
These performances of Shostakovich Trilogy are made possible by Lead Sponsor Mr. Richard C. Barker; Major Sponsors Teri and Andy Goodman, and Joyce L. Stupski; and Sponsor Karen S. Bergman.
The 2014 San Francisco Ballet premiere of Alexei Ratmansky’s Shostakovich Trilogy was made possible by New Productions Fund Lead Sponsors Mrs. Jeannik Méquet Littlefield, and Mr. and Mrs. John S. Osterweis; Major Sponsors Rudolf Nureyev Dance Foundation, and Larry and Joyce Stupski; and Sponsors Richard C. Barker, Christine H. Russell Fund of the Columbia Foundation, Suzy Kellems Dominik, Stephanie Barlage Ejabat, Gaia Fund, The William Randolph Hearst Foundation, Cecilia and Jim Herbert, Alison and Michael Mauzé, and Diane B. Wilsey.
232015 S E A S O N / P R O G R A M S 6 & 7 Davit Karapetyan in Chamber Symphony from Ratmansky’s Shostakovich Trilogy.
24 S F B A L L E T.O R G
Shostakovich Trilogy
work encompasses 39 years of scenic and costume design, largely for dance, in more than 500 productions. Recent major collaborators include choreographers Martin Schläpfer (Tanzsuite, Forellenquintett), Hans van Manen (Black Cake, Solo, and Variations for Two Couples at SF Ballet), and Alexei Ratmansky (Souvenir at Dutch National Ballet, Shostakovich Trilogy at American Ballet Theatre and SF Ballet). His current projects include Cast of Thousands, a one-hour televised celebration of painter Hieronymus Bosch.
JENNIFER TIPTON Lighting Designer Jennifer Tipton, the principal lighting designer for Paul Taylor Dance Company and an adjunct professor of design at the Yale School of Drama, has designed lighting for dance, theater, and opera. After studying lighting with Thomas Skelton, she became his assistant; her first Broadway production was Our Town in 1969. She has won two Tony Awards for Best Lighting Design for The Cherry Orchard (1977) and Jerome Robbins’ Broadway (1989), as well as two Drama Desk Awards. She has worked with Mikhail Baryshnikov, Jirí Kylián, Jerome Robbins, Twyla Tharp, Dan Wagoner, and Shen Wei. In 2001 Tipton received The Dorothy and Lillian Gish Prize.
Alexei Ratmansky on all of his work at ABT since 2009 and has staged several of his works for Dutch National Ballet and Atlanta Ballet. This production of Ratmansky’s Shostakovich Trilogy is her first work at San Francisco Ballet.
GEORGE TSYPIN Scenic Designer George Tsypin, a sculptor, an architect, and a designer for opera, film, and video, studied architecture in Moscow and theater design in New York. His designs for opera have been seen at Opéra de Bastille in Paris, Covent Garden in London, and Metropolitan Opera in New York. He has worked with renowned theatrical directors such as Julie Taymor and Peter Sellars. On Broadway, Tsypin designed The Little Mermaid and Spider-Man: Turn Off the Dark. His work also includes designs for film, television, concerts, exhibitions, and installations; recently, he designed and directed the opening ceremony of the 2014 Olympic Games in Sochi.
KESO DEKKER Costume Designer Dutch artist Keso Dekker’s career has ranged from painting to designing (spaces, graphics, and museum exhibitions) to writing (on art, design, fashion, and dance). His theatrical
BiosDMITRI SHOSTAKOVICH Composer Dmitri Shostakovich (1906–1975), born in St. Petersburg, Russia, was a pianist and influential composer. He studied piano with his mother and attended Petrograd Conservatory, then directed by Alexander Glazunov. Shostakovich’s 1925 graduation composition, Symphony No. 1, catapulted him to prominence. Influenced by Igor Stravinsky and Sergei Prokofiev, Shostakovich developed a unique style of music, favoring stylistic choices that placed him at odds with Stalin’s regime. His huge body of work (more than 40 symphonies, concertos, and chamber works, 22 piano works, plus ballets, operas, and film scores) is performed widely and frequently throughout the world.
ALEXEI RATMANSKY Choreographer Alexei Ratmansky was born in St. Petersburg, Russia, trained at the Bolshoi Ballet School in Moscow, and danced with Ukrainian National Ballet, Royal Winnipeg Ballet, and Royal Danish Ballet. He has choreographed for Paris Opera Ballet, The Royal Ballet, National Ballet of Canada, Dutch National Ballet, Kirov Ballet, Royal Danish Ballet, Royal Swedish Ballet, New York City Ballet, San Francisco Ballet, State Ballet of Georgia, and for Mikhail Baryshnikov. Ratmansky was named artistic director of Bolshoi Ballet in 2004. In 2009, he choreographed new dances for the Metropolitan Opera’s production of Aida and became American Ballet Theatre’s artist in residence.
NANCY RAFFA Répétiteur Nancy Raffa is a ballet mistress, coach, and performer at American Ballet Theatre (ABT). At age 15, she was the first American female to win the gold medal at the Prix de Lausanne. Her performance career includes principal and/or soloist positions at ABT, Ballet de Santiago, Ballet National Français de Nancy, and Miami City Ballet. Raffa has assisted
Alexei Ratmansky (left) and Ricardo Bustamante rehearse Ratmansky’s Shostakovich Trilogy.
252015 S E A S O N / P R O G R A M S 6 & 7
Program NotesThink of ballet music and it’s not likely that Dmitri Shostakovich comes to mind. Often not particularly melodic, with rapid-fire shifts in tone and tempo, his music seems more suited for concert halls and film scores than for the ballet stage. But in the hands of choreographer Alexei Ratmansky, this music is danceable indeed. Shostakovich Trilogy, a co-production of San Francisco Ballet and American Ballet Theatre (ABT), consists of three discrete ballets conceived as a full-evening work. Like George Balanchine’s Jewels, the three ballets complement one another, producing their full impact when seen together. Yet each multifaceted dance sparkles on its own.
The Bessie Award–nominated trilogy of ballets—Symphony #9, Chamber Symphony, and Piano Concerto #1—premiered in spring 2013 at ABT, where Ratmansky is artist in residence. (Symphony #9 had premiered the previous autumn.) The original plan was to create one portion of the trilogy at SF Ballet, but Ratmansky’s travel schedule precluded that. “But we were involved in it from the very beginning,” says SF Ballet Artistic Director & Principal Choreographer Helgi Tomasson. His first reaction to Ratmansky’s concept was admiration “for going with the same composer for the whole evening,” he says. “Shostakovich is not nearly as familiar to most audiences as other composers. And to use a little bit of his life story—I was very taken by that. If anybody could do it, it would be Alexei.” Certainly no other choreographer
has shown as much dedication to Shostakovich as Ratmansky, who has set at least 11 ballets to the composer’s music.
To appreciate any music, it’s best to grasp the context of the times in which the composer worked. That’s particularly true of Shostakovich. Coming of age in Stalinist Russia, he, like all artists, was under scrutiny. He gained celebrity at an early age, and political expectations followed in the form of requests for compositions that exalted the Soviet state. Often he rebelled, and several times he was denounced by the state; he walked a tightrope between survival and artistic choice. “Stalin was interested in music that celebrated everything that was great about Russia, and Shostakovich was at odds with that,” says Music Director & Principal Conductor Martin West. “He was trying to create music for all time, not just for Russia.”
Ratmansky, though, had Russia in mind when he created Shostakovich Trilogy, according to ABT ballet master Nancy Raffa. “This is an homage to Shostakovich, because of Alexei’s enormous admiration for his talent and for what he symbolizes for Russian people,” she says. “But it’s also an homage to [Ratmansky’s ] heritage. He grew up listening to and loving Shostakovich, so this was like a gift [to the composer]. And a gift to Russia.”
Raffa, who has worked closely with Ratmansky during his years at ABT, says she has “enormous admiration and
respect for Alexei; I believe he’s a genius.” (As does the MacArthur Foundation; it bestowed a “genius” award on Ratmansky in September 2013.) Raffa, who staged Shostakovich Trilogy for SF Ballet, was at the choreographer’s side during the trilogy’s birth—a process, she says, that evolved slowly. “When we started, I said, ‘Alexei, do you have any idea what you’re going to do?’ and he said, ‘I know I’m using three pieces for a Shostakovich evening, and I know this is an ambitious project. Period.’ ”
As always with Ratmansky’s work, the movement is inherently classical—that’s the default, even when a step is unquestionably contemporary. “Wherever you can use your classical training, put it there,” Raffa tells one dancer during rehearsals. She asks for a tight fifth position “so you have something solid to work against when your arms are going crazy.”
For Raffa, that melding of classical and contemporary is what’s “special about [Ratmansky’s] work,” she says. “He uses the classical vocabulary with a style that’s specific to him. There’s a freedom of the upper body, in his movement and phrasing and musicality, that’s expressive. Alexei is always saying something. You can say a million things with the same movement, [through] the energy and how you utilize the line and shape of your body. That’s the key to Alexei’s work. The vocabulary is the vocabulary; it’s how he uses it that’s so extraordinary.”
When choreographing, Ratmansky tends to avoid giving the dancers specifics about
San Francisco Ballet in Piano Concerto #1 from Ratmansky’s Shostakovich Trilogy.
26 S F B A L L E T.O R G
intent and emotion. However, in setting his works, Raffa is more forthcoming. She knows exactly what he wants and conveys his intent through imagery and approaches to movement. “The arm movement has to be a result of something moving inside you; it has to mean something,” she tells one dancer. To another: “Tension has to be there. You’re torn. Don’t make a pretty pose at the end.” A pas de deux couple needs to “be softer. She should look like lace, a ribbon wrapping around him.” To another couple: “Be really close; he wants to see you like two dolphins.”
Permeating these ballets are the most fundamental human emotions: love and euphoria, grief and despair, and deeply, pervasively, fear—of being watched or followed, or (we assume) disappeared, as so often happened to those in political disfavor during Shostakovich’s lifetime. The color red is prominent; backdrops offer hints of Stalin-era Russia. Yet all three ballets are markedly different.
Symphony #9In creating Symphony #9, Raffa says, Ratmansky considered “the time the piece was written and the emotions behind what was happening in Shostakovich’s life.” The first principal couple represents Shostakovich and his wife, supporting each other in a time of great danger; the other couple represents “the regime, the communist party, the whole Stalin mentality,” Raffa says. “He wanted them to be almost a caricature, expressing the sarcasm in parts of the score. But everything is abstract. He kept saying, ‘There’s no story, but there’s a lot of meaning.’ ”
West calls Shostakovich’s ninth symphony “so much fun—it goes by like the wind.” Fun and flashy it is, but it was also was one of the composer’s acts of rebellion. West explains: “When the war was finished, it was agreed that he would write a Beethoven’s Ninth type of thing, to celebrate the beating of the Nazis. He started writing it and scrapped it.” What he wrote instead—this funny, acerbic symphony—was interpreted as thumbing his nose at Stalin. “He was in big trouble,” West says. “They were expecting something triumphal and this is just a bit of fun. [In places] it’s like he’s mocking Stalin. I don’t know if he was, but that’s the feeling you get.”
In Ratmansky’s hands, tension underlies the fun, giving the ballet an edge of fear. The subtext is clear: no one is safe. Raffa tells one couple, “You’re running away from something. The arm is like a window—look through it.” Yet the ballet is buoyed by hope, manifested by a solo principal man Ratmansky calls the Angel. “He’s symbolic of something beyond our tangible, physical world,” Raffa says. “He’s a guide. Despite the turmoil that somebody could live [through], there’s always a way through it. That dancer is symbolic of this.” She tells the Angel dancer to “come out like you’re attacking all the evil. That means you can’t touch the ground. Come out like fire.”
There is always, Raffa says, the “guidance of your own integrity, your value system. Of hope, where there’s perhaps no hope; light where there’s only darkness.”
Chamber SymphonyChamber Symphony is as close to a narrative ballet as the trilogy gets. The lead man is
Shostakovich and the three principal women are his loves—the girl he was infatuated with but never made time for, the wife (and mother of his children) whose death undid him, and the young wife who shared his later years. The ballet takes the form of a retrospective—again with the constancy of fear, this time referencing the persecution of the Jews. (Note the Jewish theme in the music, and the fragments of folk dancing.) Loss weighs heavily in this ballet—of loved ones and what Shostakovich risked to be the artist he wanted to be.
In making this ballet, Ratmansky was responding to the well-documented fact that Shostakovich’s Chamber Symphony, an orchestration of his Quartet No. 8, was intensely personal to the composer. He quotes his own music here more than anywhere else, and each movement bears an insistent theme—his signature, “DSCH (D.Sch.),” letters in his name (written in German) that can be played as musical notes. The piece, which includes part of an old Russian prison song, was Shostakovich’s
San Francisco Ballet in Symphony #9 from Ratmansky’s Shostakovich Trilogy.
272015 S E A S O N / P R O G R A M S 6 & 7
said he wanted is a prisoner in a country—the artists who couldn’t get out. She said, ‘Imagine that you cannot go back to Brazil, and your whole family is there—your daughter, everyone—and you can’t ever talk to them again.’ And so in this moment that’s what you think. You’re trying to find a solution or a way out, and you can’t. Every movement has a meaning. Maybe that’s why you feel good afterward—because you feel like you accomplished something technically but also artistically.”
Program notes by Cheryl A. Ossola
PRODUCTION CREDITS Shostakovich TrilogyScenic construction by R.A. Reed-USA, Inc., Portland, Oregon, and Scenic Art Studios, Newburgh, New York. Costumes constructed by Artur & Tailors Ltd., New York, New York, and Euro Co. Costumes, Inc., New York, New York. Costume dyeing and digital printing by Dyenamix Inc., and Raylene Marasco, New York, New York.
Symphony #9 Music: Symphony No. 9 in E-flat Major, Op. 70 by Dmitri Shostakovich, used by arrangement with G. Schirmer, Inc., publisher and sole copyright owner. Photo image ©Estate of George Platt Lynes.
Chamber Symphony Music: Shostakovich/Barshai: Chamber Symphony (after String Quartet No. 8), Op. 110a used by arrangement with G. Schirmer, Inc., publisher and sole copyright owner. Design based on a painting by Pavel Filonov.
Piano Concerto #1 Music: Concerto No. 1 for Piano, Trumpet, and String Orchestra, Op. 35 by Dmitri Shostakovich, used by arrangement with G. Schirmer, Inc., publisher and sole copyright owner.
Shostakovich Trilogy was co-commissioned by American Ballet Theatre and San Francisco Ballet.
personal protest (the dedication reads, “In Memory of Victims of Fascism and War”), he said. Various sources claim that he said this music could serve as his epitaph.
The way Principal Dancer Mathilde Froustey sees it, “we are what Shostakovich wanted to create. There is a kind of double sense—we are the instruments of Alexei and Shostakovich. There is the choreography, and there is the music. There is the context of the creation of this music.”
There’s a moment in this ballet when the Shostakovich character raises a finger in a moment of recognition. Raffa says it’s as if he’s thinking, “Everything I’ve lived through had a purpose, a meaning. I can pass peacefully now because I’ve left something.” In the final tableau, she says, Ratmansky builds an image that pulls the viewers’ eyes up, to a single woman held high, as if to say “what he left is monumental. The scene is like a monument to Shostakovich’s thoughts and ideas, his humanness.”
Piano Concerto #1Piano Concerto #1 is the most abstract ballet in the trilogy; Ratmansky is “using the dancers as instruments, creating the music with their movement,” Raffa says. Yet there’s visible emotion. “Shostakovich is extremely emotional,” Raffa says. “You can’t work with his music and not have that quality in your choreography.”
The music, Concerto No. 1 for Piano, Trumpet, and Strings, is mercurial, whipping from one mood to another. West describes the piece as “a very good example of classic
proportions where Shostakovich was able to take off on tangents that only a great comedy genius could do. Especially the last movement—it goes nuts. Suddenly he slams on a chord out of nowhere, or he’ll make it sound like he’s going to trill into a little Mozart cadenza [embellishment] and then doesn’t.” That frantic quality in the last movement may have roots in Shostakovich’s youth, when he played piano accompaniment for silent movies. “He was able to make stuff up,” West says. “That’s almost how this concerto is—it’s a ridiculous play on everything.” Yet it has “all styles of music, very deep and serious,” he says, “and the slow movements are beautiful.”
Principal Dancer Vitor Luiz says he loves the contrast in the music, especially during a solo he dances. “The music shifts to this very energetic movement—it’s like showing off—and then it goes back to quiet. It’s theatrical. The image Nancy gave us was of looking out a window to see your future, but you don’t see any future there. That already gives you the idea why you do that solo—because you have nowhere to go,” he says. “If you do this solo right, it will touch people’s souls.”
What’s remarkable about dancing Ratmansky’s ballets, Luiz says, is that “they make you feel good.” Ratmansky shared “his knowledge and his deep attention to details. He said, ‘It’s like fine cuisine. You have to put in all these ingredients, and they are all measured in grams. You have to use all that.’
“So when Nancy put together Piano Concerto,” Luiz continues, “the image she
Instant Expert
Do choreographers tend to favor the music of one composer?It’s true—some choreographers do set many works to the music of a particular composer. That tendency isn’t widespread, but one such choreographer is Alexei Ratmansky. He has used the music of Dmitri Shostakovich for 11 of his ballets, including Concerto DSCH (for New York City Ballet) and The Bright Stream and Bolt (for Bolshoi Ballet)—and of course Shostakovich Trilogy (for American Ballet Theatre and SF Ballet). And Jerome Robbins made repeated use of the music of Frédéric Chopin during his many
years at New York City Ballet, including for Dances at a Gathering, In the Night, and The Concert.
There are also some famous pairings of choreographers and composers who were contemporaries. George Balanchine worked with Igor Stravinsky for decades, and William Forsythe has repeatedly commissioned music from Thom Willems since 1985. In the modern-dance realm, Merce Cunningham collaborated with John Cage from the 1940s until Cage’s death in 1992.
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7triple bill
Caprice Composer: Camille Saint-Saëns
Choreographer: Helgi Tomasson
Scenic Design: Alexander V. Nichols
Costume Design: Holly Hynes
Lighting Design: Christopher Dennis
World Premiere: April 4, 2014—San Francisco Ballet, War Memorial Opera House; San Francisco, California
The 2014 world premiere of Caprice was made possible by Lead Sponsors Gaia Fund, and Mr. and Mrs. John S. Osterweis, with additional support from the TeRoller Fund for New Productions of the San Francisco Ballet Endowment Foundation.
These performances of Caprice are made possible by support from the Phyllis C. Wattis Fund of the San Francisco Ballet Endowment Foundation.
Swimmer World Premiere!
Composers: Shinji Eshima, Tom Waits, Kathleen Brennan, and Gavin Bryars
Choreographer: Yuri Possokhov
Scenic Design: Alexander V. Nichols
Costume Design: Mark Zappone
Lighting Design: David Finn
Video Design: Kate Duhamel
Animation Created By: Photon SF, Inc.
World Premiere: April 10, 2015—San Francisco Ballet, War Memorial Opera House; San Francisco, California
The 2015 world premiere of Swimmer is made possible by Lead Sponsors Kate and Bill Duhamel, Gaia Fund, Yurie and Carl Pascarella, Judy C. Swanson, and Miles Archer Woodlief, with additional support from the TeRoller Fund for New Productions of the San Francisco Ballet Endowment Foundation.
The Four TemperamentsComposer: Paul Hindemith
Choreographer: George Balanchine
Staged by: Bart Cook
World Premiere: November 20, 1946—Ballet Society, Central High School of the Needles Trade; New York, New York
San Francisco Ballet Premiere: January 27, 1974—Hawaii International Center; Honolulu, Hawaii
These performances of The Four Temperaments are made possible by Larissa Roesch and Jason Crethar.
The Four Temperaments, a Balanchine© Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style© and Balanchine Technique© service standards established and provided by the Trust.
292015 S E A S O N / P R O G R A M S 6 & 7 Yuan Yuan Tan and Luke Ingham in Tomasson’s Caprice.
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BiosCAMILLE SAINT-SAËNS Composer Paris-born musician Charles-Camille Saint-Saëns (1835–1921) was a pianist, organist, composer, and conductor. He attended the Conservatoire de Paris, studying both organ and composition. A child prodigy on the piano, he wrote his first symphony at age 16. While pursuing his performing and composing careers, he taught at École Niedermeyer in Paris. An intellectual, he wrote scholarly works on acoustics, theater decoration, and ancient instruments. As a composer, Saint-Saëns is best known for his symphonic poems. Among his best-known works are Symphony No. 3, Danse macabre, Le Carnaval des animaux, Samson and Delilah, and Piano Concerto No. 2.
HELGI TOMASSONChoreographerSee bio page 12
ALEXANDER V. NICHOLS Scenic Designer Alexander V. Nichols’ designs for SF Ballet include Death of a Moth, Later, Thread, RAkU, and Trio; for Broadway, Wishful Drinking, Hugh Jackman: Back On Broadway, and Nice Work If You Can Get It; for off-Broadway, In Masks Outrageous and Austere, Horizon, Bridge and Tunnel, Taking Over, Through the Night, and In the Wake. He has been resident designer at Pennsylvania, Hartford, and American
Repertory Ballets; lighting supervisor at American Ballet Theatre; and resident visual designer at Margaret Jenkins Dance Company. His designs are in the repertories of Alvin Ailey American Dance Theater, Hubbard Street Dance Chicago, and Hong Kong Ballet, among others.
HOLLY HYNES Costume Designer Costume designer Holly Hynes has more than 170 ballets to her credit, including more than 60 at New York City Ballet, where she served as director of costumes for 21 years. Her work has been seen around the world at American Ballet Theatre, National Ballet of Canada, Mariinsky Ballet, The Royal Ballet, and many other companies, including The Suzanne Farrell Ballet, where she serves as resident costume designer. Her designs have also been seen on Broadway and at the Metropolitan Opera. The Jerome Robbins Estate and The George Balanchine Trust have designated her as the primary authority for original costume reproduction.
CHRISTOPHER DENNIS Lighting Designer Christopher Dennis served as resident lighting designer and lighting coordinator at National Ballet of Canada (NBC) for 14 seasons before joining SF Ballet as production director in 2010. His work at NBC includes lighting for Watch Her, Cinderella, A Delicate Battle, and The Comforts of Solitude; at SF Ballet, Helgi Tomasson’s Trio and Yuri Possokhov’s
Francesca da Rimini and RAkU. Dennis was lighting director at White Oak Dance Project and assistant resident lighting designer at the Metropolitan Opera. He has designed lighting for Canada’s Shaw and Stratford Festivals, and his designs are in the repertories of American Ballet Theatre, Boston Ballet, and West Australia Ballet.
Program Notes“Danceable, very danceable.” That’s what San Francisco Ballet Artistic Director & Principal Choreographer Helgi Tomasson thought when he first heard Camille Saint-Saëns’ Symphony No. 2. For his first ballet since his 2011 Trio, Tomasson chose music that’s big, exhilarating, and off the beaten choreographic track. With two adagio sections—the very brief one in Symphony No. 2, plus the generous one he added from the well-known Symphony No. 3—Tomasson ended up with a lively, varied score that allowed him to take a fresh approach to structure and scale.
Symphony No. 2 was written when Saint-Saëns was 24—for him “not that early, because he was a child prodigy,” says Music Director & Principal Conductor Martin West. “But it’s still quite young to do a symphony of any major importance. He was playing major recitals when he was five and memorized Bach’s entire Toccata and Fugue by the time he was six.” West isn’t sure why Saint-Saëns wrote such a short adagio (a slow movement that typically serves as a ballet’s centerpiece), but it does indeed flash by with no opportunity to develop an expansive pas de deux. “All that beautiful music—a great beginning, a great finale,” Tomasson says. “But it needed something else.”
He found what he calls “a beautiful adagio” in Symphony No. 3. He gave the short adagio from Symphony No. 2 to three men; for the longer adagio, he decided to forgo tradition and use not one but two principal couples: first one, then the other, then both together. “That would be different structurally,” Tomasson says. “Always constant in the back of one’s mind is to try to get out of the box; don’t do something exactly the same way all the time.” Lush and luxurious, the adagio is emotional without being romantic. “It has a sway to it, but I don’t approach it as
Caprice
Maria Kochetkova and Davit Karapetyan in Tomasson’s Caprice.
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a love pas de deux,” he says. “It’s just an interpretation of what that music means.”
Music as big and grand as Saint-Saëns’ symphony begs for a full stage, and Tomasson responded. He began with five corps de ballet couples, because he likes to work with odd numbers; but as rehearsals progressed he found that he “didn’t use the five couples the way I thought I would, structurally or musically. And particularly when we got to the final movement, I felt we needed to have more symmetry.” He added another couple because he wanted to have “a feeling of a big group out there,” he says. “The music is so wonderful; it builds and builds.”
Principal Dancer Frances Chung sees each movement as having “a different flavor,” she says. “In the first movement, you’re like pow, pow, pow! Nonstop technique. And the third movement, for us, is more playful, which I really enjoy. The fourth movement starts with the adagio couple, and then my partner and I do another adagio; it’s more mature.” She sees her role as “displaying everything you are as a dancer. My partner and I are in the first, third, fourth, and fifth movements, so there’s a lot of dancing. It’s quite difficult stamina-wise.”
Principal Dancer Mathilde Froustey says she was thrilled to be part of the creation of a neoclassical ballet. New classically based ballets aren’t done at Paris Opéra Ballet, Froustey’s previous company. “To have Helgi with me in the studio makes me feel classical ballet is still alive,” she says. “It was very emotional.”
It’s emotional for Tomasson too. In rehearsal one day, he urges the corps to enter with more abandon. “Be more daring,” he tells them. Dancers sometimes approach a classically based ballet too seriously, he says, “and I don’t look at it that way. I’m saying, ‘Just go for it. Enjoy.’ I think the music is very joyous.”
Program notes by Cheryl A. Ossola
PRODUCTION CREDITS Music: Symphony No. 2 in A Minor, Op. 55 & Adagio from Symphony No. 3 in C Minor, Op. 78 by Camille Saint-Saëns. Costumes constructed by Cygnet Studios, New York, New York. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments at the San Francisco Opera Scenic Studios.
Bios SHINJI ESHIMAComposerBerkeley-born Shinji Eshima, a graduate of Stanford University and The Juilliard School, is a double-bassist in the SF Ballet Orchestra (SFBO) and San Francisco Opera Orchestra. A faculty member at San Francisco State University and San Francisco Conservatory of Music, he has composed for theater, film, chamber music, and opera, as well as Buddhist hymns. His first commission for SF Ballet, Yuri Possokhov’s RAkU, was recorded by SFBO at Skywalker Sound and released on CD and iTunes. The city of Berkeley designated December 6, 2011, as “Shinji Eshima Day” in honor of his contributions to the arts.
TOM WAITSSinger/SongwriterTom Waits is an American composer and singer-songwriter known for his distinctive voice. An eclectic mix of blues, folk, and jazz characterized the first portion of his career, while later he experimented with innovative orchestrations. Some of his songs have been covered by more commercial artists, such as “Jersey Girl,” recorded by Bruce Springsteen, “Ol’ 55,” by the Eagles, and “Downtown Train,” by Rod Stewart. Waits has been nominated for major music awards and won Grammy Awards for his albums Bone Machine and Mule Variations. He was inducted into the Rock and Roll Hall of Fame in 2011.
KATHLEEN BRENNANComposerKathleen Brennan is a musician and song-writer. She is married to singer and song-writer Tom Waits, with whom she has collab-orated on many projects, including the original soundtrack for Francis Ford Coppola’s film One from the Heart. Brennan is also known for her work in Fight Club, Night on Earth, and The Last Castle.
GAVIN BRYARSComposer British composer Gavin Bryars worked in the early ’60s as a jazz bassist with improvisers Derek Bailey and Tony Oxley, abandoning improvisation in 1966 to work in the U.S. with John Cage. Bryars’ first major composition was The Sinking of the Titanic (1969); his Jesus’ Blood Never Failed Me Yet (1971), based on a song fragment improvised by a homeless man, was re-recorded in 1993 with Tom Waits singing along with the original recording. Bryars has composed prolifically for theater, dance, and the concert hall. He has written three full-length operas: Medea, Doctor Ox’s Experiment, and G.
YURI POSSOKHOV Choreographer After training at Moscow Ballet Academy, Yuri Possokhov danced with Bolshoi Ballet for 10 years, where he was promoted to principal dancer. In 1992 he joined Royal Danish Ballet as a principal dancer; two years later he joined SF Ballet, also as
Swimmer
Maria Kochetkova and Tiit Helimets rehearse Possokhov’s Swimmer.
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a principal dancer. He retired from the stage in 2006 and was named SF Ballet’s choreographer in residence that same year. In addition to the 14 ballets he has created for SF Ballet, Possokhov has choreographed full-length and shorter works for Bolshoi Ballet, Georgian National Ballet, Joffrey Ballet, and Oregon Ballet Theatre.
ALEXANDER V. NICHOLSScenic DesignSee bio page 30
MARK ZAPPONECostume DesignMark Zappone was costume designer, shop supervisor, and wardrobe master at Pacific Northwest Ballet (PNB) from 1983 to 1988. Later he managed costume shops for Les Ballets de Monte-Carlo, Le Cabaret de Monte-Carlo, and Holiday on Ice. He has collaborated with such renowned choreographers and designers as Twyla Tharp, Lucinda Childs, Dominique Dumais, Kent Stowell, Christopher Stowell, Kevin O’Day, James Kudelka, Maurice Sendak, and Martin Pakledinaz. In addition to his work at PNB, he has designed for SF Ballet, Peter Boal Solos, Pennsylvania Ballet, Pittsburgh Ballet Theatre, Les Ballets de Monte-Carlo, Oregon Ballet Theatre, and Alberta Ballet.
DAVID FINNLighting DesignerDavid Finn began his career with puppeteer Burr Tillstrom, working on Kukla, Fran and Ollie. Finn has designed The Nutcracker and Cinderella (Birmingham), Swan Lake (Munich), Romeo & Juliette (Paris/Milan), and works by choreographers Paul Taylor, Twyla Tharp, Merce Cunningham, Sasha Waltz, James Kudelka, José Limón, and Helgi Tomasson. Finn was resident designer for White Oak Dance Project from 1993 to 2000. His opera credits include La Scala, the Salzburg Festival, and the Metropolitan, Santa Fe, Royal, Paris, Stuttgart, Canadian, and San Francisco Operas. His film work includes Scorsese’s The Age of Innocence. He designed Cirque de Soleil’s ZED in Tokyo in 2008.
KATE DUHAMELVideo DesignKate Duhamel is a San Francisco-based
producer and director of narrative and documentary films. In recent years, through her production company, Fountain 3 Films, she has focused on dance and movement, working with renowned ballet, tap, and hip-hop dancers. Her numerous films, shown in festivals and on television, have won accolades and have been licensed for commercial use around the world. Her current project is a large-scale public art installation involving dance on film, as well as a web platform centered on dance. She serves on the boards of SF Ballet, Alonzo King LINES Ballet, and SF JAZZ.
Program NotesChoreographer in Residence Yuri Possokhov has an enviable memory, often a source of artistic inspiration for him. For Swimmer, his latest work for the Company, works of iconic American art that he discovered as a young man, long before he came to the United States, flesh out a ballet inspired by John Cheever’s short story “The Swimmer.” Literature, film, fine art, and music intersect in a ballet that’s about American culture, memory, and, most of all, beauty.
Possokhov is a great consumer of culture; the works that he chose to provide content and subtext in Swimmer are things that “stuck [with me] so many years, I can’t get out from them,” he says. “I don’t know why, but they hooked me.” Cheever, Jack London, J.D. Salinger, Vladimir Nabokov, Edward Hopper, and Mike Nichols—all of them, by virtue of their art, have a presence in Swimmer. The ballet, Possokhov says, presents his images of these works, linked by the concepts embodied in Cheever’s story and an orchestral score that incorporates four songs performed by Tom Waits.
“The Swimmer” is a surrealistic story of a man who “swims home” through his neighbors’ pools, only to find his own home—and the life he thought he had—long gone. Although it provides a framework for the ballet, Possokhov does not tell Cheever’s story. “I took the idea, swimming through the swimming pools of the neighbors,” he says. “And each pool shows highlights of my vision of American art.” The associations he makes are not literal: “It’s not how it’s supposed to be; it’s what I feel and what I see.”
Within the context of this idea—a man “swimming home”—Possokhov weaves together references, images, moments, and settings from Salinger’s Catcher in the Rye, London’s Martin Eden, Hopper’s painting Nighthawks, Nichols’ film The Graduate, and Nabokov’s Lolita. (Why Lolita, when Nabokov was Russian? Because it was set in the United States and written in English.) Combined, these works highlight what Possokhov loves most about American culture, from a non-American point of view. “It’s the eyes of Soviet Union guy; it’s not eyes of an American,” he says.
Cheever (who, ironically, has been dubbed “the Chekhov of the suburbs”) wrote “The Swimmer” in 1964; the movie of the same name (starring Burt Lancaster) was released four years later. And it’s that ’60s setting that Possokhov chooses to evoke. Though he was a child then, his memory has a long reach, into very early years of life inaccessible to many of us. “[The] ’60s for me was the most mesmerizing, beautiful time,” he says. “I think in the whole world, [the] ’60s was the happiest. Like in childhood, you’re looking forward, like life is always going to be good.”
This ballet has been on Possokhov’s “shelf” of choreographic ideas for decades. It was a difficult concept to bring to fruition; one stumbling block for many years was finding suitable music. Once introduced to the songs of Tom Waits, though, Possokhov knew immediately that the singer’s growled poetry matched his concept. Waits makes “images in his songs, so that you live in these songs,” Possokhov says. “You’re not just listening, you’re participating in his songs. This was my image.” While the ballet does not literally depict the lyrics in Waits’ songs, Possokhov needed something to link those songs and all of his images, and for that he turned to his collaborator on RAkU, Shinji Eshima. “I think he brought it together beautifully,” Possokhov says.
Eshima’s music sets the ’60s tone early on, moving from lounge-y smoothness to an upbeat bop. Then he plunges the Swimmer—and the audience—into the water, creating a vivid sense of place as
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this lone man moves through a series of vistas. Scene changes happen with the aid of film sequences, a technique that reflects Possokhov’s love of the art form and gives a nod to Hollywood, another iconic aspect of America.
For Eshima, the ballet’s concept, structure, and enmeshing of the Waits songs gave him direction as well as limits—and pushed him into uncharted territory. “I’ve never written pop tunes; I’ve never written for a drum set,” he says. And he’d never used a kitchen sink as an instrument before. “When Yuri threw all this at me, it was like it had everything in it, from Hollywood to Hopper,” Eshima says. The idea came from the joke—everything but the kitchen sink—but he discovered that he likes the sound a kitchen utensil makes against the stainless steel, and he uses it to help set the scene in the Swimmer’s home.
The motion of swimming influenced Eshima too. “Swimming has a certain pace, a certain rhythm, a certain regularity,” he says. “And it feels good; Cheever talks about that. Swimming is sometimes just an opportunity to gulp in a warm summer day; it’s that pleasure of experiencing life.” To parallel that feeling of comfort, in composing the swimming motif he used “a series of notes
that felt good. I tried to create a pattern using notes that would fit my hand, so that the musical gesture then became ergonomic.”
In the score Eshima quotes other composers: a theme from Marvin Hamlisch’s film score for The Swimmer inspires the swimming sequences, and a fragment of the “Dies Irae” (“Day of Wrath,” or judgment day) from Berlioz’s Symphonie Fantastique appears in the last movement. And Eshima quotes himself, using a snippet of RAkU “as an introduction to a Tom Waits song,” he says. “It was a fun way to throw my own thing in there.”
A solo trumpet begins the ballet, “to represent the soul of one person,” Eshima says. “It’s both solo and a personal identity.” And it evokes “Taps”—a foreshadowing, because it’s London’s Martin Eden, which ends in death, that provides the ballet’s ending. “The crystalline moment is: ‘And at the instant he knew, he ceased to know,’ ” Eshima says. “I had to figure out what death sounded like in a way that’s beautiful. I think in all these things Yuri finds beautiful, there’s a moment that, as in dance, encapsulates what he wants to give.” If there’s beauty in death, it might be in the idea of redemption, seen in Possokhov’s reference to Catcher in the Rye, when Holden
Caulfield imagines saving children from falling off a cliff to their deaths.
In the ballet’s last movement, we see the Swimmer multiplied in 15 men: “It’s him, all of them,” Possokhov says—one man’s emotions, magnified. The men dance with the fluidity and suspension and weightlessness that come with immersion in water, yet there’s fierceness in them too, “like horses stampeding,” Eshima says. Then they are washed away, leaving only the Swimmer onstage. “It’s like a kind of confession,” Possokhov says. That mad dance is a “last song, last scream, last swim,” he says. “It’s our scream.”
Program notes by Cheryl A. Ossola
PRODUCTION CREDITS Music: Swimmer original music composed by Shinji Eshima. “Green Grass” by Tom Waits and Kathleen Brennan; “If I Have to Go” by Tom Waits and Kathleen Brennan; “The Ocean Doesn’t Want Me Today” by Tom Waits © Jalma Music (ASCAP). Used by permission. All rights reserved. “Jesus’ Blood Never Failed Me Yet” by Gavin Bryars used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music Ltd., London, publisher and copyright owner. Costumes constructed by Mark Zappone & Co., Seattle, Washington. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments.
San Francisco Ballet rehearses Possokhov’s Swimmer.
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Bios
BART COOKRépétiteurBart Cook trained under Willam Christensen in Salt Lake City, Utah, and at the School of American Ballet. He joined New York City Ballet (NYCB) in 1971, at the invitation of George Balanchine. Cook became a principal dancer in 1979, dancing many of Balanchine’s “black-and-white” ballets such
as Agon, Symphony in Three Movements, Stravinsky Violin Concerto, and Melancholic in The Four Temperaments. Also at NYCB, in 1980, he was appointed assistant ballet master to Jerome Robbins. Since 1987, Cook has been a répétiteur for The George Balanchine Trust and has taught and coached Balanchine ballets at companies around the world.
Bios PAUL HINDEMITHComposerPaul Hindemith (1895–1963), born in Hanau, Germany, was a notable composer, violist, violinist, teacher, conductor, and music theorist. He studied violin under Adolf Rebner and conducting and composition with Arnold Mendelssohn and Bernhard Sekles at Frankfurt’s Hoch’sche Konservatorium. Hindemith was concertmaster of the Frankfurt Opera Orchestra and later taught at Berlin Academy of Music; in Ankara, Turkey; at Yale University; and at the University of Zurich. He is one of the most significant German composers of his time, advocating a return to tonality while developing a new harmonic sound. He was awarded the Balzan Prize in 1962.
GEORGE BALANCHINEChoreographerBorn in St. Petersburg, Russia, George Balanchine (1904–1983) is one of ballet’s most influential and innovative choreographers. After studying at the Imperial Ballet School and dancing at the Mariinsky Theatre, he became ballet master for Serge Diaghilev’s Ballets Russes in Paris. He arrived in the U.S. in 1933 at the request of Lincoln Kirstein, with whom he founded the School of American Ballet and later, in 1948, New York City Ballet (preceded by two short-lived companies, American Ballet and Ballet Society). Balanchine created more than 400 neoclassical ballets, including Serenade, Symphony in C, Agon, Stravinsky Violin Concerto, Ballo della Regina, and Jewels.
The Four Temperaments
Sarah Van Patten and Tiit Helimets in Balanchine’s The Four Temperaments.(Choreography by George Balanchine © The Balanchine Trust)
San Francisco Ballet in Balanchine’s The Four Temperaments. (Choreography by George Balanchine © The Balanchine Trust)
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Program NotesIn the 1940s George Balanchine was hard at work changing the face of ballet in America. His now-iconic “black-and-white” ballets, costumed in simple practice clothes so that simplicity and clarity enhance the lines and formations, first appeared in 1946, at the premiere of The Four Temperaments. A landmark ballet, this abstract work was the first to depict classical technique without the decorative trappings that had dominated ballet since the 1800s.
The Four Temperaments is as striking and contemporary today as it was nearly 70 years ago. It’s hard to imagine what it was like with its original costumes—body-obscuring garb commissioned from artist Kurt Seligmann—or what its future might have been had Balanchine not rejected those adornments for a more streamlined look.
The ballet is set to music for piano and string orchestra by German composer Paul Hindemith (1895–1963), which Balanchine, a talented pianist, commissioned in 1940 for his personal use. Six years later he decided to use Hindemith’s score, The Four Temperaments: Theme with Four Variations for String Orchestra and Piano, for a new dance he was making for his fledgling troupe Ballet Society, the precursor to New York City Ballet.
The music’s theme reflects the ancient concept of balance in the body as a prerequisite for good health. The structures of both score and ballet are based on the idea that different personality traits are associated with the body’s four humors—black bile, blood, phlegm, and yellow bile. Balanchine took this idea—that body and being are connected—a step further: in his ballet, physicality and emotion are one. The three themes, and their variations, convey and explore four contrasting emotional tones.
With those expressive variations as a structure, Balanchine took classical steps to unfamiliar extremes. Jutting hips, turned-in legs, stabbing pointes, hieroglyphic arms—all now familiar in neoclassical ballets—were groundbreaking in 1946. The Four Temperaments “is definitely a pivotal stylistic landmark,” says Bart Cook, a répétiteur with The George Balanchine Trust who staged the ballet for the 2012 and 2015 Repertory Seasons.
Along with “the turning in, the hips out, the thrust, the use of the tombé [a ‘falling’ step from one leg to the other],” Cook says this ballet was innovative in its use of “the theme and variations idea. This is a grand example of that.” He points out that Time magazine chose The Four Temperaments as the single dance work in its “Best of the Century” recognition in December 1999.
Cook describes his job as “waking the artists up to what they’re doing.” Technical proficiency is a given; his main thrust, he says, “is the music, because I think that’s where all the ideas for the movement came from. I like to make sure they’re interpreting the music exactly how I saw that Balanchine wanted it. I try to pass on how he illuminated it for me.”
In the studio last summer, Cook eemphasized timing—”there’s strength in community,” he says—and propulsion. “Get your hips going,” he says to the dancers. “It’s almost menacing. There’s beauty, but it has to be menacing too.”
Though it’s not a large-scale ballet, The Four Temperaments leaves a big imprint. The finale (revised in the 1970s when the ballet was filmed for Dance in America, and still called the “new finale”) “looks monumental,” says Cook. “The architecture, the use of the groupings, is fantastic.” Unison movement, dramatic angles, and high-flying lifts add to its impact. To the dancers, Cook says, “it has to be so unified and plugged in, it’s like a sacred ritual. It’s a wonderful moment, and you have to let it happen. Let the music propel you, and you will fly.”
Program notes by Cheryl A. Ossola
PRODUCTION CREDITS Music: The Four Temperaments: Theme with Four Variations for String Orchestra and Piano used by arrangement with European American Music Distributors LLC, sole US and Canadian agent for Schott Music, publisher and copyright owner. Costumes constructed by Ann Beck Dance and Specialty Costumes, San Francisco, California.
The Four Temperaments, a Balanchine© Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style© and Balanchine Technique© service standards established and provided by the Trust.
Instant Expert
What’s a “black- and-white” ballet?The phrase “black-and-white ballet” is often used to describe works by George Balanchine that are costumed with simple leotards and tights, usually in a black-and-white palette. The first of these was The Four Temperaments, created in 1946. Originally this ballet had elaborate costumes by artist Kurt Seligmann; though imaginative and striking, they obscured the dancers’ bodies and made it difficult for them to move.
Balanchine chose to forgo Seligmann’s costumes for practice clothes, a streamlined look that suited the contemporary nature of the choreography. This simple approach to costuming emphasizes the body, making its lines and movements more visible and making the choreography’s relationship to the music a focal point. Balanchine chose this style of costuming for many of his ballets, including Agon, Stravinsky Violin Concerto, and Symphony in Three Movements (with the principal women in various shades of pink).
Sarah Van Patten and Tiit Helimets in Balanchine’s The Four Temperaments.(Choreography by George Balanchine © The Balanchine Trust)
36 S F B A L L E T.O R G
MUSIC DIRECTOR & PRINCIPAL CONDUCTORMartin West
GUEST CONDUCTORDavid LaMarche
VIOLIN ILaurence Jackson, Guest ConcertmasterJanice McIntosh, Associate ConcertmasterBeni Shinohara, Assistant ConcertmasterHeidi WilcoxMia KimRobin HansenBrian LeeMariya BorozinaLev Rankov *Carla Picchi *
VIOLIN IIMarianne Wagner, PrincipalCraig Reiss, Associate PrincipalJeanelle Meyer, Assistant PrincipalPatricia Van WinkleClifton FosterElbert TsaiWenyi Shih *Katherine Button *
VIOLAAnna Kruger, Acting PrincipalJoy Fellows, Acting Associate PrincipalCaroline Lee, Acting Assistant PrincipalElizabeth Prior **Paul EhrlichKatherine Johnk *
san francisco ballet orchestra 2014-15 Programs 6 & 7
CELLOEric Sung, PrincipalJonah Kim, Associate PrincipalVictor Fierro, Assistant PrincipalThalia MooreNora PirquetRuth Lane *
CONTRABASSSteve D’Amico, PrincipalShinji Eshima, Associate PrincipalJonathan Lancelle, Assistant PrincipalMark Drury
FLUTEBarbara Chaffe, Principal Julie McKenziePatricia Farrell *
PICCOLOJulie McKenzie
OBOELaura Griffiths, Principal Marilyn CoyneJames Moore *
ENGLISH HORNMarilyn Coyne
CLARINETNatalie Parker, PrincipalGinger KroftAnthony Striplen **
BASS CLARINETAnthony Striplen **
BASSOONRufus Olivier, PrincipalRufus David Olivier *Patrick Johnson-Whitty
ContrabassoonPatrick Johnson-Whitty
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TRUMPETAdam Luftman, PrincipalRalph WagnerJohn Pearson *
TROMBONEJeffrey Budin, PrincipalHall Goff
BASS TROMBONEScott Thornton, Principal
TubaPeter Wahrhaftig, Principal
TIMPANIJames Gott, Principal
PERCUSSIONDavid Rosenthal, PrincipalTodd Manley *Peter Thielen *Thomas Duckworth *
HARPAnnabelle Taubl, Principal
PIANONatal’ya Feygina
ORCHESTRA PERSONNEL MANAGER & MUSIC ADMINISTRATORTracy Davis
MUSIC LIBRARIANMatthew Naughtin
* Extra Musician** Season Substitute
2015 SF Ballet LOOK BOOK New this year!
The LOOK BOOK is a souvenir collector’s item featuring gorgeous full-color images of our dancers, photographed exclusively by our Company Photographer Erik Tomasson. It also includes interesting articles and beautiful photos of our artists at work in the studio and on stage at the War Memorial Opera House.
The LOOK BOOK is a must-have for every
fan of SF Ballet!
Purchase your copy of the LOOK BOOK
at the The Shop at SF Ballet today!
For more information visit sfballet.org/lookbook
38 S F B A L L E T.O R G
san francisco ballet staffHELGI TOMASSON, Artistic Director & Principal Choreographer GLENN MCCOY, Executive Director
ARTISTICRicardo Bustamante, Christopher Stowell, Ballet Masters and Assistants to the Artistic DirectorFelipe Diaz, Betsy Erickson, Anita Paciotti, Katita Waldo, Ballet MastersYuri Possokhov, Choreographer in ResidenceCaroline Giese, Artistic AdministratorAlan Takata-Villareal, Logistics ManagerAbby Masters, Assistant to the Artistic Staff
OPERATIONSDebra Bernard, General ManagerLauren Chadwick, Company ManagerJuliette LeBlanc, Production Analyst
PRODUCTIONChristopher Dennis, Production DirectorChad Owens, Technical Coordinator Kate Share, Manager of Wardrobe, Wig, Make-up, and Costume Construction Jim French, Lighting Supervisor Jane Green, Stage ManagerJessica Barker, Assistant Stage ManagerNixon Bracisco, Master CarpenterKelly Corter Kelly, Master ElectricianKenneth M. Ryan, Master of PropertiesKevin Kirby, Audio EngineerJohn O’Donnell, FlymanGeorge Elvin, Wardrobe ManagerAndrea Pelous, Head of Women’s WardrobeRichard Battle, Make-Up and Wig SupervisorMelanie Birch, Wig and Hair StylistSherri LeBlanc, Company Shoe Administrator
MUSICMartin West, Music Director and Principal ConductorMungunchimeg Buriad, Nina Pinzarrone, Natal ’ya Feygina, Company PianistsTracy Davis, Orchestra Personnel Manager and Music AdministratorMatthew Naughtin, Music Librarian
ADMINISTRATIONCecelia Beam, Human Resources ManagerLaura Simpson, Board Relations ManagerMaja Valusek, Human Resources and Benefits CoordinatorBonnie Fisk, Assistant to Senior Executive Staff
DEVELOPMENTThomas W. Flynn, Director of DevelopmentJennifer Mewha, Associate Director of DevelopmentFermin Nasol, Principal Gifts OfficerSarah Malashock, Christensen Society and Membership ManagerJulia Nottebohm, Special Events ManagerElizabeth Lani, Planned Giving ManagerJim Sohm, Research ManagerPamela Sullivan, Major Gifts OfficerElisabeth Morgan, Institutional Giving Officer Emily Markoe, Membership ManagerAmy Crowson, Corporate Giving OfficerJasmine Yep Huynh, Christensen Society OfficerIngrid Roman, Special Events AssociateJonathan Levin, Development Database CoordinatorNicole Lugtu, Major Gifts AssistantSarah Horowitz, Individual Gifts AssistantLynn Noonan, Principal Gifts Consultant
MARKETING & COMMUNICATIONSMary Beth Smith, Director of Marketing and CommunicationsBetsy Lindsey, Associate Director, Ticket and Patron ServicesKyra Jablonsky, Associate Director, CommunicationsValerie Megas, Senior Manager, Retail OperationsMary Goto, Senior Manager, Marketing and SalesThomas Weitz, Senior Manager, Digital MarketingApril Johnston, Marketing and Promotions Manager
Andrew Delaney, Web and Digital Platforms ManagerRobert Hold, Graphic DesignerNannette Mickle, Group Sales RepresentativeJames Hosking, Video Producer/EditorErik Almlie, Media Asset AdministratorOlivia Ramsay, Social Media ProducerDeidre Kirk, Marketing and Communications Coordinator
TICKET SERVICESJennifer Peterian, Box Office Manager/TreasurerMark Holleman, Sales and Service SupervisorElena Ratto, Patron Services SpecialistDavid Clark, Box Office SupervisorMichelle Hughes, Jericho Lindsey, Jason Narin, Nick Valasco, Patricia Pearson, Ticket Services Associates
FINANCEKim Ondreck Carim, Chief Financial OfficerNatalie Quan, ControllerValerie Ruban, Accounting SupervisorStephanie Golden, Staff AccountantCasey Trujillo, Staff Accountant
FACILITIESNathan Brito, Facilities ManagerAdrian Rodriguez, Facilities CoordinatorRalph Baysac, LaeCharles T. Lawrence Jr., Todd Martin, Stanley Wong, Facilities Assistants Katharine Chambers, Nicole Drysdale, Tamara de la Cruz, Receptionists
INFORMATION TECHNOLOGYMurray Bognovitz, Director of Information TechnologyEsther del Rosario, IT Operations and Project ManagerKaren Irvin, Application Administrator and Help Desk CoordinatorJosh Marshall, Web AdministratorJiapeng Jiang, IT Specialist
392015 S E A S O N / P R O G R A M S 6 & 7
FRONT OF HOUSEEric Colby, House ManagerGeorge Windstrup, Head UsherLaurent Dela Cruz, Martin Dias, Starsky Dias, Marialice Dockus, Karen Horvath, Elaine Kawasaki, Eileen Keremitsis, Bill Laschuk, Sharon Lee, Lenore Long, Doug Luyendyk, Dale Nedelco, Wayne Noel, Beth Norris, Jan Padover, Julie Peck, Robert Remple, Bill Repp, Rilla Reynolds, Joe Savin, Kelly Smith, Tom Taffel, Richard Wagner, Steve Weiss, JoAnne Westfall, Ushers
COMPANY PHYSICIANSRichard Gibbs, M.D., Medical SupervisorRowan Paul, M.D, Primary Care Sports MedicinePeter Callander, M.D., Keith Donatto, M.D., Supervising OrthopedistsFrederic Bost, M.D., Jon Dickinson, M.D., John Belzer, M.D., Orthopedic Advisors to the CompanyMichael Leslie, Company Physical TherapistKarl Schmetz, Consulting Physical Therapist Active Care, Lisa Giannone, Director, Physical TherapistsLeonard Stein, D.C., Chiropractic CareHenry Berg, Rehabilitation Class InstructorMichelle Zimmerman, Wellness Program Manager
sf ballet schoolHelgi Tomasson, DirectorPatrick Armand, Associate Director
FACULTYPatrick Armand Damara Bennett Kristi DeCaminada Yuko Katsumi Tina LeBlanc Jeffrey Lyons Rubén Martín Cintas, Lee R. Crews Endowed Faculty MemberParrish Maynard
Pollyana RibeiroSofiane Sylve, Principal Guest Faculty Joanna Berman, Guest FacultyPascal Molat, Guest FacultyBrian Fisher, Contemporary DanceLeonid Shagalov, Character DanceHenry Berg, ConditioningJamie Narushchen, MusicDaniel Sullivan, Music
2014–15 VISITING GUEST INSTRUCTORSJacquelin Barrett, Yannick Boquin, Monique Loudieres
PIANISTS Ella Belilovskaya Ritsuko Micky Kubo Jamie NarushchenDaniel Sullivan Galina UmanskayaBilly Wolfe Emily Adams, Olga Blednova, Julia Ganina, Lucy Hudson, Eleanora Shevkhod, Sky Tan,Jamie Narushchen, School Pianist Supervisor, Lee R. Crews Endowed Pianist
SCHOOL ADMINISTRATION Andrea Yannone, Administrative Manager Christina Gray Rutter, Student Services Coordinator and Registrar Katelyn Harris, Administrative Coordinator Wendy Van Dyck, Trainee Program Coordinator Elizabeth Roddy, Administrative Assistant Tai Vogel, Temporary School Media LibrarianRob Chaitin, Residence Manager Erin Kelly, Resident AssistantLauren Hamilton, Residence Desk Staff Chris Fitzsimons, School Physical TherapistLeslie Donohue, School Physical Therapist
center for dance educationAndrea Yannone, Interim Director of EducationDina D. Toy, Education Office Manager
Cecelia Beam, Adult Education CoordinatorCynthia Pepper, Interim Dance in Schools and Communities Supervisor
DANCE IN SCHOOLS AND COMMUNITIES TEACHING ARTISTSAlisa ClaytonMelanie MitchellPhoenicia PettyjohnJoti SinghMaura Whelehan
DANCE IN SCHOOLS AND COMMUNITIES ACCOMPANISTSDavid FrazierZeke NealyWade PetersonBongo Sidibe
The artists employed by San Francisco Ballet are members of the American Guild of Musical Artists, AFL-CIO, the Union of professional dancers, singers and staging personnel in the United States.
The San Francisco Ballet Association is a member of Dance/USA; American Arts Alliance; the Greater San Francisco Chamber of Commerce; and the San Francisco Convention and Visitors Bureau.
Legal Services provided by Adler & Colvin; Fallon Bixby Cheng & Lee; Fettmann Ginsburg, PC; Epstein Becker & Green, PC; Littler Mendelson, PC; Miller Law Group; and Pillsbury Winthrop Shaw Pittman LLP. Audit services provided by Grant Thornton LLP. Insurance brokerage services provided by DeWitt Stern Group.
The Centers for Sports and Dance Medicine at Saint Francis Memorial Hospital are the official health care providers for San Francisco Ballet School. Special thanks to Dr. James G. Garrick, Dr. Susan Lewis, Dr. Jane Denton, Dr. Selina Shah, Dr. Rémy Ardizzone, and Chris Corpus for generously providing their services.
40 S F B A L L E T.O R G
calendar of 2015 repertory season donor events
Listed at right are the 2015 Repertory Season events through May for members of the Artistic Director’s Council (ADC), Chairman’s Council (CHM), Christensen Society (CS), The Legacy Circle (TLC), and Friends of San Francisco Ballet. Contact Christensen Society and Membership Manager Sarah Malashock at [email protected] or 415.865.6624 with any questions.
PROGRAM 6 Shostakovich Trilogy Back by popular demand!
PROGRAM 7CapriceSwimmer Yuri Possokhov World Premiere! The Four Temperaments
PROGRAM 8Romeo & Juliet
2015 STUDENT SHOWCASE
A P R I LSUN MON TUE WED THU FRI SAT
1
211amFashion Show
3
4
5Easter
6 7 8 1pm Open Dress Rehearsal
9 105:30pm CS Dinner 10:00pm CHM Cast Party
11
7:30pm: 6 8pm: 6 8pm: 7 2pm/8pm: 6
12 13 145:30pmCS Dinner
15 16
17 1811am Company Class
2pm: 7 8pm: 6 7:30pm: 7 8pm: 7 8pm: 6 2pm/8pm: 7
19 20ADC Trainee Rehearsal with Helgi Tomasson
21 22 235:30pm CS Studio Rehearsal
24 25
2pm: 6 8pm: 7
26 275:30pmTrainee Event
28 29 30
M A YSUN MON TUE WED THU FRI SAT
1 2
8pm: 8 2pm/8pm: 8
312pm Friends Brunch
46pmRomeo & Juliet Dinner
5 65pm Pointes of View Reception
7 8 9
2pm: 8 8pm: 8 7:30pm: 8 8pm: 8 8pm: 810 11 12 13 14 15 16
2pm: 8
17 18 19 207:30pm Student Showcase Performance
216pm Student Showcase Dinner and Performance
227:30pm Student Showcase Performance
23
24 25 26 27 28 29 30
An Invitation to Dance: San Francisco Ballet School 2015 Student ShowcaseHonoring Helgi Tomasson’s 30th Season
GALA DINNER Benefitting SF Ballet School Scholarship Fund
Four Seasons Hotel San Francisco
THU, MAY 21 Dinner follows the performance.
SHOWCASE DINNER HOSTED BY THE SF BALLET AUXILIARYCarol Benz2015 Student Showcase Dinner ChairMs. Marie Louise HurabiellSan Francisco Ballet Auxiliary President
TICKETS AND INFORMATION Visit sfballet.org/studentshowcase
PERFORMANCES Yerba Buena Center for the Arts Theater
WED, MAY 20, 7:30PMTHU, MAY 21 , 6PM FRI, MAY 22, 7:30PM
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sponsor and donor news
The James Irvine Foundation Funds Arts InnovationSan Francisco Ballet is grateful to The James Irvine Foundation for the generous multi-year $900,000 Arts Innovation Fund grant it awarded to the Ballet in 2011. Through the Arts Innovation Fund, The James Irvine Foundation enables organiza-tions to respond to technological advances, shifting consumer behaviors, and demographic changes, by seeding innovative ideas, projects, and directions that will constitute significant advancements for the organization, as well as potential leader-ship opportunities. The Arts Innovation Fund focuses on funding innovations in three priority areas: artistic capacity, constituency engagement, and organizational management.
Over the past three years, the Arts Innovation Fund grant has enabled San Francisco Ballet to leverage changes in digital engagement to broaden artistic and audience development efforts through innovative collaborations and communications initiatives. Thanks to the support of The James Irvine Founda-tion, the Ballet was able to expand its social and digital media programs; launch a new mobile site; explore social ticketing via Facebook; develop the popular Nutcracker Interactive Storybook app; and expand video- related projects. In the final year of the grant, SF Ballet began a systematic redesign of its website; slated to launch in fall 2015, it will be much more than an online brochure and ticket purchase platform. The new site will be a place where users can explore the world of classical ballet, learn more about the art form—its history and its future—prepare for and process their perfor-mance experiences, and engage with the Company and a global community of ballet fans.
The James Irvine Foundation has been one of SF Ballet’s most generously consistent and thoughtful supporters. The Foundation’s recent grant has funded a broad array of artistic and institutional priorities, and this program has been incredibly relevant to SF Ballet’s mission and plans for the future. The Ballet thanks The James Irvine Foundation for the opportunity to participate in the Arts Innovation Fund program.
On Pointe with Freed of LondonSan Francisco Ballet has enjoyed a long partnership with Freed of London, which has sponsored the San Francisco Ballet School’s Summer Session Audition Tour for 12 consecutive years. The Summer Session offers two unique and challenging programs for intermediate- and advanced-level ballet students. Auditions are held in 10 cities across the United States and are open to male and female students ages 14 to 18. It is only by participating
in the Summer Session program that students can be admitted to the School’s prestigious year-round program.
Freed of London is the world’s leading designer and manufacturer of professional dance shoes. With humble beginnings in London’s West End, the company revolutionized the dance shoe industry by tailoring shoes to a dancer’s individual needs.
At SF Ballet, three-quarters of the female dancers wear Freed of London pointe shoes, including Principal Dancers Yuan Yuan Tan and Mathilde Froustey. Each dancer is provided with 12 pairs of pointe shoes per month—that is nearly 6,000 pointe shoes each season!
Why are Freed of London shoes so popular among professional dancers? According to SF Ballet’s Company shoe adminis-trator Sherri LeBlanc, they are “highly regarded because of their pliability and natural fit to the shape of the foot.”
Friends of San Francisco Ballet Enjoy Special AccessFriends of San Francisco Ballet is a group of dedicated individuals who support the Ballet through gifts to the Annual Fund. Joining this group offers benefits designed to enrich your SF Ballet experience and give you an insider’s perspective, such as special publications and invitations to exclusive events throughout the Repertory Season.
Inside SF Ballet’s shoe room.
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Joining Friends of SF Ballet is easy. You can join online at sfballet.org/donate; or, for more information, please contact Membership Manager Emily Markoe at 415.865.6628 or [email protected]. There is no better way to meet like-minded fans of ballet than to join the Friends community!
Donors to the Artists’ Reserve FundThe Artists’ Reserve Fund benefits dozens of San Francisco Ballet dancers each year in the form of grants to be used for educational purposes. The Fund enables a dancer to be prepared for their future after their dancing career. It is supported in three ways: each season, dancers contribute the salary of one performance on the Opera House stage; the Ballet matches the dancers’ contributions; and SF Ballet patrons also make contributions. These are added to the existing invested Fund to create a pool of money to be distributed in that year. Donations are fully tax-deductible but do not count toward membership in the Friends of SF Ballet or the Christensen Society.
In the past year, approximately 30 dancers took advantage of these grants to support their continuing education. The application process is overseen by the Artists’ Reserve Fund Committee, which includes two Company dancers, a SF Ballet Trustee, members of the senior staff of the SF Ballet Association, and a representative from the American Guild of Musical Artists (AGMA) union.
To apply, dancers submit a cover letter, an application form, and an education or career plan. Grants are awarded based on a point system: the dancers earn one point for each year they perform with the Company, plus one extra point for the first year they apply and one for their last year with the Company. Retired dancers may apply annually for the number of years equal to their tenure with the Company. The grants, which range from $500 to $4,000, are used to support college tuition or other education-related expenses.
On behalf of the Company dancers, SF Ballet thanks the donors to the Artists’ Reserve Fund who have made gifts between December 2013 and March 2015 (listed below). You can donate online at sfballet.org/arf (enter code ARF when prompted) or by contacting Development Database Coordinator Jonathan Levin at 415.865.6631.
AnonymousJola and John Anderson Barbara BaxterCarol BenzVera Carpeneti Roger W. GreenEstate of Lloyd N. HarperMarie and Barry Lipman Alison and Michael Mauzé Lynn McGowinEdward and Linda Plant Ellen SandlerDenise Littlefield Sobel Arlene H. SullivanIan E. StockdaleJoshua Vigil and Sara Martinez
All Friends who donate $75 or more receive SF Ballet’s newsmagazine, Backstage, which provides insight into the Company, School, and education programs with features on individual artists, tours, and other unique projects. Donors also receive a complimentary Season Guide, an informative book that helps them get the most out of each production. To ensure that they get the best seats available for SF Ballet performances, donors who make gifts of at least $200 receive priority notice about available tickets for Nutcracker and the Repertory Season.
Friends of SF Ballet receive invitations to several members-only events. Recently Friends enjoyed a fascinating lecture by dance scholar Joanna Das (Mellon Post-Doctoral Fellow in Dance Studies at Stanford University), who discussed the African American influence on neoclassical ballet. The talk explored the impact of Cabin in the Sky, George Balanchine’s 1940 collab-oration with Katherine Dunham, on Balanchine’s neoclassical style—a style that to this day represents a distinctly American approach to ballet. Coming up, we will host a reception in conjunc-tion with an exciting Pointes of View lecture on sword-fighting in Romeo & Juliet on May 6, 2015—an event exclusive to donors at the Contributor level and above ($200 annual donation).
Gennadi Nedvigin and Daniel Deivison-Oliveira in Tomasson’s Romeo & Juliet.
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Donors at the Supporter level and above ($500 annual donation) have access to an open dress rehearsal and an oppor-tunity to watch Company class in the War Memorial Opera House; in addition, they are given annual recognition in a San Francisco Ballet publication. The next Company class and reception event for donors of this level and above will be held on April 18, 2015. This is one of the most fascinating behind-the-scenes opportunities for ballet fans, offering insight into the artistry and effort that is required of SF Ballet dancers.
For Patron donations of $1,000 to $2,499, benefits also include an invitation to an exclusive Patron-level-only brunch with artists of the Company, scheduled for May 3, 2015, as well as an additional open dress rehearsal. This year Patrons enjoyed a rehearsal of Alexei Ratmansky’s Shostakovich Trilogy.
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great benefactorsSince its founding in 1933, San Francisco Ballet has grown into one of the world’s leading ballet companies and ballet schools. This evolution has been made possible through the steadfast and generous support of patrons in the Bay Area and throughout the world. In 2005, SF Ballet created the honor of Great Benefactor to recognize donors whose cumulative giving to SF Ballet is $1 million or more.
American AirlinesEstate of Helen AndertonAT&TBank of America FoundationRichard C. BarkerBingham McCutchen LLPBRAVOJennifer Caldwell and John H. N. FisherCalifornia Arts CouncilThe State of CaliforniaEstate of Lewis and Emily CallaghanMrs. Daniel H. Case IIIChevron CorporationDeloitteSuzy Kellems DominikRudolph W. DriscollSonia H. EversFirst Republic BankFord FoundationDiana Stark and J. Stuart FrancisEstate of Georg L. FriersonGaia FundStephen and Margaret Gill Family FoundationRichard and Rhoda Goldman FundGrants for the ArtsEstate of Richard B. GumpEvelyn & Walter Haas, Jr. FundMimi HaasColleen and Robert D. HaasWalter & Elise Haas FundEstate of Katharine HanrahanDr. and Mrs. Jeffrey P. HaysWilliam Randolph Hearst FoundationThe Hellman FamilyThe Hellman FoundationThe Herbert FamilyWilliam and Flora Hewlett FoundationThe Edward E. Hills FundDonald F. HoughtonEstate of Dora Donner IdeThe James Irvine FoundationThe William G. Irwin Charity FoundationG. William JewellGeorge F. Jewett, Jr. 1965 Trust Lucy and Fritz JewettEstate of Mildred Johnson
JPMorgan Chase & Co.Maurice KanbarDr. and Mrs. Jerome Ormond KirschbaumDiana Dollar KnowlesEstate of Diana Dollar KnowlesKoret FoundationMary Jo and Dick Kovacevich The Charles Henry Leach, II Foundation facilitated by Jennifer Jordan McCall, Trustee Catherine LegoPaul LegoMrs. Jeannik Méquet LittlefieldThe Marver Family Alison and Michael MauzéAndrew W. Mellon FoundationNicola Miner and Robert Mailer AndersonNational Endowment for the ArtsThe Bernard Osher FoundationJohn Osterweis and Barbara RavizzaPacific Gas and Electric CompanyYurie and Carl PascarellaThe Thomas J. and Gerd Perkins FoundationPillsbury Winthrop Shaw Pittman LLPKenneth RaininMr. George R. RobertsArthur and Toni Rembe RockBob RossGordon RussellSan Francisco Ballet AuxiliaryThe San Francisco FoundationKathleen ScutchfieldShubert Foundation, Inc.The Smelick FamilyEstate of Natalie H. StotzThe Swanson FoundationRichard J. ThalheimerMs. Susan A. Van WagnerVisa Inc.Phyllis C. WattisWells FargoThe E. L. Wiegand FoundationDiane B. WilseyAkiko Yamazaki and Jerry YangThe Zellerbach Family
452015 S E A S O N / P R O G R A M S 6 & 7
artistic director’s councilSan Francisco Ballet gratefully acknowledges the members of the Artistic Director’s Council. Their generous annual support of $100,000 or more has been instrumental to the success of San Francisco Ballet, the San Francisco Ballet School, and the San Francisco Ballet Center for Dance Education. Members of the Artistic Director’s Council receive customized benefits, including special access to performances, exclusive events, and rehearsals. For more information, please contact Fermin Nasol, principal gifts officer, at [email protected] or 415.865.6622.
Grand BenefactorsGIFTS OF $250,000 AND ABOVEThe Hellman FoundationLucy Jewett Artistic Director’s CouncilGIFTS OF $100,000-$249,999Richard C. BarkerFang and Gary BridgeJennifer Caldwell and John H. N. FisherElizabeth Pang Fullerton and Richard Fullerton
Gaia FundShelby and Frederick GansCecilia and Jim HerbertMr. and Mrs. John S. OsterweisYurie and Carl PascarellaArthur and Toni Rembe RockBob Ross FoundationThe Seiger Family FoundationMr. and Mrs. James N. SullivanDiane B. WilseyMiles Archer Woodlief
Want a behind-the-scenes experience at SF Ballet? Become a member of Friends of San Francisco Ballet and enjoy exclusive access during the 2015 Season! Even better, your support ensures an innovative future at SF Ballet by helping the Ballet attract the best dancers to the Company, train emerging artists in the School, and reach the entire community with its impressive artistry.
Join Friends of San Francisco Ballet for exclusive members-only benefits!
Visit our website at sfballet.org/donate or call 415.865.6628 to make your gift and receive exclusive benefits designed to enhance your ballet experience
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san francisco ballet season sponsors2014 NutcrackerLead Sponsors The Herbert Family The Swanson Foundation Sponsors Yurie and Carl Pascarella Kathleen Scutchfield The Smelick Family
2015 Repertory SeasonPROGRAM 1 Serenade Major Sponsors Sonia H. Evers Catherine and Mark Slavonia Sponsor BRAVO
RAkU Major Sponsors David and Vicki Cox Stephen and Margaret Gill Family Foundation Mr. and Mrs. Robert M. Smelick Sponsors Chaomei Chen and Yu Wu Mr. and Mrs. Alan Tai
Lambarena Major Sponsors Rosemary B. Baker Grady and Amy Burnett Irv H. Lichtenwald and Stephen R. Ripple Sponsor ENCORE!
PROGRAM 2 Giselle Lead Sponsor Diane B. Wilsey Sponsors Katherine and Gregg Crawford Dr. Janice and Mr. Jonathan Zakin
PROGRAM 3 The Vertiginous Thrill of Exactitude Lead Sponsor Jennifer Caldwell and John H. N. FisherMajor Sponsor O.J. and J. Gary Shansby Sponsors Courtney Benoist and Jason M. Fish Kathleen Grant, M.D. and Thomas Jackson, M.D. Kacie and Michael Renc San Francisco Ballet Allegro Circle
Variations for Two Couples Lead Sponsor Jennifer Caldwell and John H. N. FisherMajor Sponsor O.J. and J. Gary Shansby Sponsors Courtney Benoist and Jason M. Fish Kathleen Grant, M.D. and Thomas Jackson, M.D. Kacie and Michael Renc San Francisco Ballet Allegro Circle
Manifesto World PremiereLead Sponsors Shelby and Frederick Gans Alison and Michael Mauzé Bob Ross Foundation The Seiger Family Foundation
“The Kingdom of the Shades” from La Bayadère, Act II Major SponsorsMary Jo and Dick Kovacevich Marie and Barry Lipman Sponsor Mr. and Mrs. Alexander R. Mehran
PROGRAM 4 Program Sponsor The Bernard Osher Foundation Dances at a Gathering Major Sponsor Donald F. Houghton
Hummingbird Major Sponsors Mrs. Suzy Kellems Dominik Beth and Brian Grossman Sponsor John Little and Heather Stallings Little
PROGRAM 5 Don Quixote Lead Sponsor Mr. and Mrs. James N. SullivanMajor Sponsors Sue and John Diekman Julie and Greg Flynn Mrs. Henry I. Prien Sponsor The Thalheimer Family PROGRAM 6 Shostakovich Trilogy Lead Sponsor Richard C. Barker Major Sponsors Teri and Andy Goodman Joyce L. Stupski Sponsor Karen S. Bergman
Piano Concerto #1 Sponsor Joan E. Roebuck
PROGRAM 7 Swimmer World PremiereLead Sponsors Kate and Bill Duhamel Gaia Fund Yurie and Carl Pascarella Judy C. Swanson Miles Archer Woodlief
The Four Temperaments Sponsor Larissa Roesch and Jason Crethar
PROGRAM 8 Romeo & Juliet Lead Sponsors Cecilia and Jim Herbert Diane B. Wilsey San Francisco Ballet Auxiliary Major Sponsors Reiko and Yasunobu Kyogoku Mr. and Mrs. James D. Marver Mr. and Mrs. Kurt C.Mobley Sponsors Skip and Kristen Avansino Colette Cornish, in loving memory of Roy Ballard H. B. and Lucille Horn Foundation Mr. and Mrs. Randall N. Spratt
2015 Opening Night GalaPresenting SponsorOsterweis Capital ManagementBenefactor Dinner SponsorKPMGPatron Dinner SponsorJPMorgan Chase & Co.After Party SponsorHSBC Private Bank Cocktail Reception SponsorGibson, Dunn & Crutcher LLPGrand Benefactor Reception SponsorIntegnologyPerformance SponsorDonald F. Houghton Premieres SponsorDenise Littlefield SobelProsecco Promenade SponsorBurberryInvitation SponsorPacific Union - Christie’s International Real EstateGrand Benefactor Dinner Media SponsorNob Hill GazettePerformance and After Party Media Sponsor7x7
472015 S E A S O N / P R O G R A M S 6 & 7
SATURDAY NIGHT SUBSCRIPTION SERIES Lucy and Fritz Jewett Saturday Night Series 2014-2015 Touring Les Étés de la Danse at the Théâtre du Châtelet, Paris, France—July 2014Major Sponsors Donald F. Houghton Lucy Jewett Bob Ross Foundation The Seiger Family Foundation Miles Archer Woodlief Sponsors Elizabeth Pang Fullerton and Richard Fullerton Teri and Andy GoodmanDenise Littlefield SobelMr. and Mrs. James N. Sullivan
The following funds of the San Francisco Ballet Endowment Foundation provide permanent support for touring by San Francisco Ballet: Lead Underwriters Osher Touring Fund G. William Jewell Touring Fund The Hellman Family Touring Fund Major Underwriters Frannie and Mort Fleishhacker Touring Fund Stephen and Margaret Gill Family Foundation Touring Fund Teri and Andy Goodman Touring Fund Pamela J. Joyner and Alfred J. Giuffrida Touring Fund Bob Ross Foundation Touring Fund Akiko Yamazaki and Jerry Yang Touring Fund Underwriters Davidson Bidwell-Waite and Edwin A. Waite Touring Fund Glenn McCoy Touring Fund Phyllis W. Nelson Touring Fund Anne and Michelle Shonk Touring Fund
San Francisco Ballet’s performances are made possible in part by grants from Grants for the Arts, The William and Flora Hewlett Foundation, The James Irvine Foundation, Koret Foundation, and the National Endowment for the Arts.
William Hill Estate Winery® and La Marca Prosecco® are the featured wine and sparkling wine of San Francisco Ballet.
Yamaha Pianos are the performance and rehearsal pianos of San Francisco Ballet and the School, and are provided by Piedmont Piano Company.
Co-Lead Sponsors of the San Francisco Ballet Center for Dance Education.
Major support for the Center for Dance Education is provided by the Wells Fargo Foundation. Generous support is provided by the Gap Foundation and the Zellerbach Family Foundation.
Major Support for Dance in Schools and Communities is provided by The Charles Henry Leach, II Foundation.
Nutcracker Media SponsorRepertory Season Media Sponsors
48 S F B A L L E T.O R G
chairman’s councilSan Francisco Ballet gratefully acknowledges the generous support of Chairman’s Council members, who contributed gifts of $15,000 or more to the annual fund as of February 25, 2015. In addition to receiving Christensen Society benefits, members of the Chairman’s Council receive benefits tailored to their individual interests, such as the opportunity to sponsor a ballet or enjoy an exclusive viewing of a ballet rehearsal. If you would like more information about the Chairman’s Council, please contact Pamela Sullivan, major gifts officer, at [email protected] or 415.865.6634.
We are pleased to give special recognition to donors who have been honored as 10-year members of the Chairman’s Council or Christensen Society. Their names appear in italics in this section. Former SF Ballet Trustees and Associate Trustees are noted with an asterisk.
PRESENTER’S COUNCIL Gifts of $50,000-$99,999 John and Gioia ArrillagaRosemary B. BakerAthena and Timothy BlackburnGrady and Amy BurnettChaomei Chen and Yu WuDavid and Vicki CoxSue and John DiekmanMrs. Suzy Kellems DominikKate and Bill DuhamelSonia H. EversMr. and Mrs. Greg FlynnDiana Stark and J. Stuart FrancisDrs. Richard D. and Patricia GibbsMargaret and Stephen GillTeri and Andy GoodmanBeth and Brian GrossmanAlicia and Philip HammarskjoldDonald F. HoughtonMr. and Mrs. James C. KatzmanMary Jo and Dick KovacevichNancy A. KukackaReiko and Yasunobu KyogokuIrv H. Lichtenwald and Stephen R. RippleMarie and Barry LipmanMr. and Mrs. James D. MarverAlison and Michael MauzéMarissa Mayer and Zachary BogueMr. James MilliganMr. and Mrs. Kurt MobleyMrs. Henry I. Prien O.J. and Gary ShansbyMr. and Mrs. Mark SlavoniaMr. and Mrs. Robert M. SmelickMs. Denise Littlefield SobelKaren and William SonnebornJoyce L. StupskiJudy C. SwansonJennifer and Steven Walske
SPONSOR’S COUNCIL Gifts of $25,000-$49,999 Anonymous (1)Courtney Benoist and Jason M. FishKaren S. BergmanMrs. Malkah CarothersThe Dan and Stacey* Case Family Foundation Ms. Colette V. A. Cornish Katherine and Gregg Crawford Carol Emory and The Wingate FoundationJacqueline and Christian P. ErdmanMr. Robert S. Fisher*Kathleen Grant, M.D. and Thomas Jackson, M.D.Thomas E. HornChristine and Pierre LamondDavid and Kelsey LamondMs. Patricia LamondJohn Little and Heather Stallings LittleMs. Laura McCabe-EdgarAlexander R. Mehran*Delanie and Peter ReadKacie and Michael RencMr. George R. RobertsJoan E. RoebuckLarissa Roesch and Jason CretharMr. Gordon Russell and Dr. Bettina McAdooMichael and Mary SchuhMr. and Mrs. Randall N. SprattTom Steyer and Kat TaylorMr. and Mrs. Alan TaiMr. Richard J. ThalheimerMr. and Mrs. William TruscottMr. and Mrs. David ViniarDr. Janice and Mr. Jonathan ZakinKenneth and Anna Zankel, The Grove CHAIRMAN’S COUNCIL Gifts of $15,000-$24,999 Anonymous (1)Brenton and Lysbeth Warren AndersonKristen A. AvansinoDr. Margaret Bates and Scott JohnsonRachel Brass and Richard FosterRon and Susan BriggsMs. Eliza M. BrownMr. John G. CapoPaula and Bandel CaranoDr. Carolyn Chang and Mr. Patrick King Ms. Laura CliffordMr. and Mrs. Kent Colwell
Jordan Deschamps-Braly, M.D. and Maya AlexandrovaPaula M. Elmore*Dana and Robert EmeryMrs. Mortimer FleishhackerTim and Amanda GarryNicholas and Mary GravesJames C. GriesBrian and Elizaveta GustafsonKathryn A. Hall* and Thomas C. KnutsenMr. Kenneth HitzBrian and Rene HollinsJames C. Hormel and Michael P. NguyenMr. Hiro IwanagaMr. Basheer JanjuaMs. Jeri Lynn JohnsonJoseph and Teresa Kadow John G. Kerns*William and Gretchen Kimball FundSusan B. Levine and James W. LauerChrista and Mark LopezPatrice and Walther LovatoPeter and Melanie MaierMs. Susan MarschTimothy Marten, M.D.Mr. and Mrs. Gregg MattnerJane and Roger McCarthyStewart McDowell Brady and Philip BradyMr. and Mrs. James J. MessemerDr. Maya MeuxMary MewhaMrs. Stuart G. MoldawMrs. Jane S. MudgeRoland G. Ortgies and Carmela C. Anderson-OrtgiesBeth PriceAlex & Maria RaitzDave and Judy RedoGlenn H. Reid and Frank S. LanierMr. and Mrs. Edward RoachChristine Sherry and Lawson FisherThe Honorable and Mrs. George P. ShultzMr. David H. SpencerMichael and Susanna SteinbergRoselyne C. Swig*Mr. and Mrs. William R. TimkenMr. and Mrs. Thomas TuttleMr. Aaron T. Wheeler The Whitman Family FoundationMs. Patricia WyrodDiane and Howard Zack
Under the leadership of Associate Director Patrick Armand, San Francisco Ballet School is the nation’s oldest ballet school and the official school of SF Ballet. The diverse curriculum, grounded in classical technique, also includes classes in contempo-
rary dance, corps de ballet, music, conditioning, and character dance.
The School’s studios are located in the same building as SF Ballet, giving students daily opportunities to observe Company classes and rehearsals. The School plays a vital role in SF Ballet’s story ballet productions, providing students the once-in-a-life-time opportunity to perform in such productions as Nutcracker, Giselle, and Romeo & Juliet.
ALL PHOTOS SAN FRANCISCO BALLET SCHOOL (© ERIK TOMASSON)
LEARN. GROW. DANCE. San Francisco Ballet School
San Francisco Ballet School is the official school of San Francisco Ballet. For more information call +1.415.865.6700 or email [email protected]. Freed of London is the Official Sponsor of San Francisco Ballet School’s 2015 Audition Tour.
For complete audition information and to register visit: school.sfballet.org
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AGES 4–7 ( for 2015-16 school year)• Registration begins April 1, 2015• No audition required• Admissions are accepted on a first come, first served basis• Register online for a FREE trial class on March 29.
auditions for children AGES 8–11 ( for 2015-16 school year)• Sat, May 30, 2015
50 S F B A L L E T.O R G
christensen societySan Francisco Ballet gratefully acknowledges the generous support of Christensen Society members, who contributed gifts of $2,500 to $14,999 to the annual fund as of February 25, 2015. The Christensen Society is named for American dance pioneers Harold, Willam, and Lew Christensen, three brothers who were instrumental in the founding and development of SF Ballet. This group of donors helps SF Ballet maintain its artistic excellence, and receives exclusive benefits including behind-the-scenes access. For more information about the Christensen Society please contact Sarah Malashock, Christensen Society and membership manager, at [email protected] or 415.865.6624.
We are pleased to give special recognition to donors who have been honored as 10-year members of the Christensen Society. Their names appear in italics in this section. Former SF Ballet Trustees and Associate Trustees are noted with an asterisk.
CHOREOGRAPHER’S COUNCIL Gifts of $7,500-$14,999 Anonymous (5)Deborah K. Alton-MatthewsMs. Susan Anderson-NorbyEleonore and Edward AslanianChris and Janet BajorekJoseph Bernstein, M.D.Nordin and Donna BlackerMs. Martha E. Blackwell and Mr. Peter J. LevineMs. Susan BlakeClaire and Jared BobrowBruce BradenKelly and Samuel* Bronfman IIMr. and Mrs. G. Steven BurrillJon B. ChaneyDrs. Valerie and Devron CharAntoinette ChattonMs. Carolyn M. ClementsJack and Gloria ClumeckMichele Beigel Corash and Laurence CorashRobert and Laura CoryMs. Phoebe CowlesJill DalyMr. Thomas L. Davis and Mrs. Marden N.PlantJuanita and Manuel Del ArrozMr. and Mrs. Kevan del GrandeEarl DiskinMs. Paulette DoudellRobert and Judith DuffyMr.* and Mrs. Peter E. Engel Douglas and Barbara* EngmannLynn Feintech and Tony BernhardtMr. and Mrs. John L. FieldDoris FisherSally L. Glaser and David BowerJohn and Marcia GoldmanNonie H. Greene and Todd WerbyMr. and Mrs. Terry HoulihanRobert G. Hulteng
Dorothy and Bradford JeffriesGuyton JinkersonMr. and Mrs. Christopher P. JohnsMs. Lisa A. KeithMs. Micki KlearmanMr. and Mrs. Robert J. KlettArlene and Steve KriegerCaptain Witold Klimenko and Dr. Darlene Lanka-KlimenkoMark and Debra LeslieCarol and Hal LouchheimSean MadnaniLori and David F. MarquardtDr. Jack McElroy and Dr. Mary Ann SkidmoreNion T. McEvoyMarta L. MorandoMichael Moritz and Harriet HeymanManfred K. MundeliusMr. Richard OppenheimerMr. and Mrs. Michael O’SullivanMr. James Parsons and Ms. Andrea HongMelanie and Rob PedrickLeslie and Nick PodellTanya Marietta PowellMr. Fritz QuattlebaumJulian RobertsonMr. and Mrs. Sanford R. RobertsonKathleen ScutchfieldKamran and Helena ShamsavariMr. and Mrs. Roderick W. ShepardAnne and Michelle ShonkPeggy SkorniaMs. Cherida Collins SmithMr. and Mrs. Charles V. ThorntonHelgi and Marlene TomassonMs. Susan A. Van WagnerThe Watkins FamilyCynthia and Edgar WhippleTravis and Jim WrightMr. Timothy C. WuMs. Rhonda Zygocki DANCER’S COUNCIL Gifts of $5,000 - $7,499 Anonymous (3)Ms. Diane K. AaronJola and John M. Anderson
Mr. and Mrs. David AndersonMr. and Mrs. Greer ArthurMr. and Mrs. Joachim Bechtle*Mr. Christopher BentlyLydia and Steven BergmanDavidson Bidwell-Waite and Edwin A. WaiteMrs. Jan BirenbaumMr. Charles Alden Black, Jr. and Mr. C. Grisham, Jr.Dr. Thomas and Janice BoyceMr. and Mrs.* William S. BrandenburgDr. Odelia BraunCynthia and Fred BrinkmannPeggy and Donald BurnsMrs. Barbara ByrneDr. Heidi H. CaryMr. and Mrs. Donald ChaikenMs. Karen K. ChristensenRobert Clegg*Mr. and Mrs. Sol CoffinoDr. Charles ConnorMs. Phyllis CookMr. George H. CoronaMary B. CranstonMs. Nancy CurtissMr. and Mrs. James A. Davidson Mr. Don W. DeFrancoMarvin DennisMr. and Mrs. David DossetterMrs. Delia F. EhrlichMr. Frank J. Espina and Mrs. Andrea Valo-EspinaBuck Farmer and Leida SchoggenTawna and John FarmerMr. and Mrs. Irwin FedermanBrent and Sandra FeryMs. Katherine M. Fines and Mr. Henry HeinesMr. and Mrs. David FleishhackerMr. Dennis N. FluetCamille and Sean FlynnPhyllis K. FriedmanMarilyn & Robert Funarl Family FoundationMs. Sally GarbarinoMs. Jane L. GazzolaMr. Matthew W. GoldmanJames K. and Helen L. GoodwineAnn M. Griffiths
512015 S E A S O N / P R O G R A M S 6 & 7
Linda GroahMr. and Mrs. William J. GurleyMr. and Mrs. John and Lucie HallClarence W. HarrisonMr. and Mrs. A. Grant Heidrich IIIMary Lou Ambinder HeineMr. and Mrs. John S. HochMs. Kimberly M. HughesMr. and Mrs. Jim KautzMs. Daru H. KawalkowskiBonnie N. and George L. Kennedy Kevin King and Meridee MooreMaja KristinMs. Linda KurtzMs. Gladys KwongMr. and Mrs. Jude LaspaMs. Miko LaubeMr. David Laudon and Mr. Randall LarocheMr. and Mrs. Yakov J. LevinMs. Betsy A. LinderMark S. Litwin and Lorraine LustedMr. and Mrs. Allen LuniewskiMr. and Mrs. Laurence R. LyonsMr. Michael ManningMr. and Mrs. L.W. Thomas MayDr. and Mrs. W. D. McCallumDan McDaniel, M.D.Joan and Robert McGrathMr. and Mrs. John A. McQuownMr. Wallace MersereauByron R. Meyer*Fred and Carole MiddletonHank and Bonnie MillerMrs. Toni R. Miller Nancy and Larry MohrMs. Alexandra MosesRobert* and Berit MuhTom and Anne MullerMr. and Mrs. Robert L. NewmanMiriam Sedman and Ralph NyffeneggerMs. Carla OakleyMr. Kevin Osinski and Mr. Marc SinykinMrs. Alexandra OttesenMs. Mindy OwenMr. Gordon L. RadleyMrs. Albert G. RaischBarbara Rambo* and Thomas A. GoossensDrs. Garry and Kathy RayantReach-A-Star FoundationMr. and Mrs. Todd G. RegenoldDr. and Mrs. Robert E. RichardsonRigg FamilyThomas C. Rindfleisch and A. Carlisle ScottMs. Marianne B. RobisonMr. N. D’Arcy Roche and Ms. Stephanie Twomey Roche
Mr. and Mrs. Mark J. RyanPaul Sack and Shirley DavisDorothy SaxeMr. Michael Scagliotti and Mrs. Miya R. PeardPeter and Linda SchwarzDr. and Mrs. Stephen SherwinMs. H. Marcia SmolensMr. and Mrs. George H. SollmanMr. and Mrs. Mathew SpolinSusanne StevensMs. Fran A. StreetsThe Streets FamilyMr. and Mrs. Jim SwartzMr. and Mrs. William L. ThorntonMr. Harry TierneyMr. and Mrs. Edward TortoriciJanet Sassoon-Upton and John R. Upton, Jr.Drs. Oldrich and Silva VasicekDr. Conrad VialPaul A. ViolichDr. and Mrs. Jon WackMs. Susan WarbleEmily and Bob WardenMr. and Mrs. Wallace WertschBenjamin and Mary Ann WhittenKaren and Stephen WielMarilyn WolperMr. and Mrs. Ronald C. WornickDr. Keith R. YamamotoSharon and Robert YoergDr. and Mrs. Burton A. Zabin ASSOCIATE’S COUNCIL Gifts of $2,500-$4,999 Anonymous (7)Michael C. Abramson Norman Abramson and David BeeryMr. Amir AdibiMolly and Stewart AgrasMs. Kirsti Aho and Mr. Dale UnderwoodDr. and Mrs. Arnie AigenMr. Bruce Albert and Dr. Chady F. WonsonMr. Joseph W. AlegreDr. and Mrs. Joseph S. AndresenMs. Gigi AnthonyMr. Hiroki AsaiMs. Corine AssoulineDavid M. Atcheson*Mr. and Mrs. Bartley B. BaerDr. Thomas and Julie BallardMr. Stephen A. Bansak IIIMr. Stephen J. BarberMr. Charles BarrettKaren BartholomewMr. and Mrs. Kevin BartlettJeanne and William Barulich
Susan BatesMarie-José and Kent BaumMr. and Mrs. David W. BeachMr. and Mrs. Gene BeckerMs. Desa C. BelyeaMiss Carol L. BenzMs. Helen BerggruenMiss Catherine BergstromMr. and Mrs. Andrew and Nina BermanMs. Sandra Moore BerreyMr. Phil BettensArthur and Roslyn BienenstockRADM and Mrs. John W. BitoffAmos and Carla BlackmonMs. Phyllis BlairMr. Noel T. BlosBon Air CenterMs. Candis A. BourdetMs. Carolyn J. and Mr. David W. BradyGermaine Brennan FoundationMr. and Mrs. Marvin BrennerMs. Barbara BrownCatherine Brown and Gerald GwathneyEdward and Carole BrownMr. and Mrs. James R. Brown Mrs. Wynne Brown and Miss Parker Brown Josephine Brownback Mr. Peyton BryarsKatie BudgeBetty C. Bullock and Robert MurrayMr. and Mrs. Thomas H. BurkhartJulie and David BurnsThe Barbara and John Callander Family FundDr. Paula CampbellDr. and Mrs. Ronald E. CapeJohn and Carol CarlsonMs. Linda CarsonDr. and Mrs. George CassadyDr. and Mrs. David Joseph MartinCharles R. Castellano and Deryl CastellanoDavid and Karin ChamberlainMs. Annag Rose Chandler and Mr. Victor VitlinJulia and Leo ChengMr. and Mrs. Allen ChozenMs. Diana ChulickMr. Paul CliffordDouglas Clough and Erin UesugiSusan and Mitchell CohenMs. Claudia ColemanMs. Robin CollinsRichard and Sylvia CondonJane A. CookIn Memory of Joan CooneyAlice M. CorningJoan and Victor CorsigliaMs. Sandi Covell
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Ron and Shahla CowanMs. Nora C. CreganMrs. Mary A. CulpJuliet and Roggie Dankmeyer Ms. Susan J. DavenportDr. and Mrs. R.L. DavisMs. Bonnie De ClarkDr. Richard M. DelfsMs. Carole A. DemskyJulie Desloge and George A. NewhallMs. Patricia DobashiMr. and Mrs. Theodore S. DobosMr. and Mrs. Christopher B. DolanMichael E. Dreyer and Harry B. UgolMrs. Christine DukeyMr. Garrettson Dulin, Jr.Mr. Timothy C. DuranMs. Anita C. EblëMichelle and Zane EdwardsDiane and Joseph Ehrman IIIEvans FundRev. Richard FabianMr. William E. FisherMs. Linda Jo FitzRussell and Lee FlynnMr. Thomas W. FlynnMr. Douglas FrantzDr. and Mrs. A. W. FrickeMr. Ian FriedlandMrs. Mary Ann FullilovePenny and Gregory GalloNora L. Gibson and William L. HudsonMs. Joy GimSandra and Yuen GinNora GoldschlagerDrs. Meryl Gordon and Robert SchermerMs. Shelley GordonMr. James GoslingPhyllis and Gene GottfriedMr. Reeve GouldRichard L. Grant and James L. MillerDonald W. and Patricia L. GreenMs. Joan GreenJudy and Josh GreenMrs. Robert M. Greenhood William J. GregoryGrey Ghost Car ServiceMs. Doris GrimleyClaude and Nina GruenMark Grundman & Elaine DeaneDuncan and Jeanie GurleyMimi HaasStephen and Diana HalprinMr. and Mrs. Robert C. Hamer IIIAlexander and Catherine HargraveSara and Catherine Harkins
christensen societyMr. Christoph HartmannDr. Birt HarveyMr. and Mrs. David M. HaskinMichael and Julie HawkinsMs. Carleen HawnJohn F. Heil Miranda Heller and Mark SalkindDr. and Mrs. I. C. HendersonMr. Bernardo HernándezMs. Kristine T. Hernandez and Mr. Michael R. GlaserMr. Matthew Herold and Ms. Laura MillerMr. and Mrs. John S. Herr, Jr.Ms. Christine HerronSharon and Dale HilpertSunny Holland and Alan PryorMs. Carol Ann HolleyMr. Larry HortonMs. Kathryn HuberEugene and Nancy HughesMs. Margaret HutchinsMr. and Mrs. Ronald W. HuttonMs. Karen J. IrvinMs. Giovanna Jackson*Jackson FamilyMs. Andrea JacobyMr. and Mrs. Richard JasenMs. Barbara JohnsonMr. Todd Jolly and Ms. Judith MurioDr. Henry Jones III and Margaret D. Turnbull Debra and Blake JorgensenMr. Peter JoshuaMr. Campbell C. Judge and Ms. Kim EllisMr. David KadarauchMs. Roberta KamedaBruce and Dasa Katz, Katz Family FoundationMr. Kris KazaksRev. Keenan C. KelseyDrs. Douglas and Carol KerrMs. Kathryn KerseyMs. Jennifer H. KilpatrickMrs. Jerome Ormond KirschbaumMs. Beverly P. KivelMr. and Mrs. Alan F. KleinMs. Trecia Knapp TapolskyMs. Patricia D. KnightMs. Suzanne Knott and Mr. Tom RoseMr. and Mrs. Mark S. KoenigMr. and Mrs. Martin M. KoffelHal and Iris KorolMr. Jordan KramerMs. Angella KriensSharon Lambert and Charles CohenPatricia W. LeicherPatricia Lekas and John Wentz
Mr. and Mrs. Edward M. LeonardMr. and Mrs. David R. LeonettiMr. and Mrs. Mark R. LepperMrs. Mona Lessing-HarrochMr. Robert LevensonMs. Gayla Sue LevinMr. Roy LevinPam LewisClaire and Herbert LindenbergerCarol and Bill LokkeDr. and Mrs. Herschel Loomis, Jr.John and Kate LordMr. and Mrs. Kevin LouieMr. and Mrs. Steve LoveDr. and Mrs. G. Karl Ludwig, Jr.Mr. and Mrs. James J. LudwigMiss Jennifer Coslett MacCreadyMr. Christian ManiMs. Joan MannEllen M. Martin and Philip L. SchaadtMrs. John MartinMs. Anita MartinezMs. Connie V. MartinezMs. Mary E. MasseeHolly and Stephen MasseyMr. and Mrs. Joseph MaurerMr. Patrick McCabeJennifer J. McCallDr. Sean McCarthy and Mr. Bert SalygaMr. and Mrs. George McCownMr. Glenn McCoyMs. Kathleen McEligotRuth Gates McGlashanLisa and Jason McPhateMr. David E. MedersMr. Martin MeliaDr. Beryl MellMr. Steve MerloMr. Charles MetzgerMr. and Mrs. Lou MeylanRichard Miller and John VintonMs. Margaret MitchellMr. Ted E. MitchellSusan and Jack MolinariMr. and Mrs. Ken MoonieGary and Eileen MorgenthalerMrs. Janet MorrisMr. Milton J. Mosk and Mr. Thomas FoutchMs. Christine MotleyKathleen Much and Stanley PetersPeter Johnson MustoMr. and Mrs. David A. NegrinDr. Alex Nellas Drs. Andrew and Lynn NewmanJeanne NewmanPeggy and Willis Newton
532015 S E A S O N / P R O G R A M S 6 & 7
Mr. and Ms. C.T. NicholasMs. Allison NielsenPatricia and Hayes NoelMr. Paul NordineMs. Louise NoroianMr. William D. ParentMr. Deric PatrickMr. Neil PeringThe Phillips FamilyDr. Ben M. PicettiMs. Hilary PierceEdward and Linda PlantPatricia Sanderson PortMelissa and Ritchie PostMs. Melissa PowarMr.* and Mrs. John F. PowersMs. Sandra PriceVirginia Leung Price and Walter C. Price, Jr.Mr. John PringleLouis Ptacek and Ying-Hui FuRuth H. Quigley In memory of Mr. and Mrs. John B. Quigley and Miss Joan QuigleyJennifer RaininMs. Ursula RalphMs. Deborah RamJon Q. and Ann S. ReynoldsMs. Kathryn RobertsL.L. Roberts and A.R. WilbanksMs. Carole J. RobinsonMs. Patricia Rock and Mr. John FetzerMs. Jeanne RoseMr. Tom RoseMs. Patricia RosenbergMr. and Mrs. David E. RosenkrantzMr. and Mrs. Herbert RosenthalMs. Susan Rosin and Mr. Brian BockMs. Karen RothKate RoweMr. Paul L. Rowe and Mr. Michael SerenoDr. Ellen SalwenLouise Adler SampsonMs. Ellen SandlerDonald and Terry SarverGwendy and Anthony ScampaviaKathleen SchieboldMr. and Mrs. Andrew SchwabMrs. S. D. SchwabacherMs. Marilyn Sefchovich Mrs. Jack SelfJoan and Lynn SeppalaMr. and Mrs. Gary J. ShapiroDr. and Mrs. David Tai-Man ShenMs. Maryann SheridanSheri and Paul SiegelMrs. Harriet J. SimpsonMarietta and Earl SingerDr. Dale Skeen
Karen L. SkidmoreMr. and Mrs. Bruce SmithMs. Linda SnyderMr. Scott C. SollersMr. and Mrs. Robert SolomonMary Ann Somerville Rosemary G. SouthwoodMs. Ellice Sperber and Mr. Dale Van FossanThe Spero FamilyMs. Marla StarkRuth and Alan SteinLisa J. Stern-HazlewoodMr. Ray S. Stewart and Ms. Norma PappasMrs. Dwight V. StrongJoseph J. SturkeyMaureen and Craig SullivanMr. Peter SullivanKimberly and Philip SummeDarian and Rick SwigDr. Edmund TaiMr. and Mrs. Joseph TanMs. Nadine Tang Ms. Deborah TaylorMrs. Bente TellefsenMr. James TeterMr. Dana TomLowell Tong and Alasdair NealeMs. Christine Z. ToobyMs. Amanda TopperMs. Elizabeth W. VobachMr. Alexei V. Vyssotski Tricia Weaver Moss* and Charles MossMs. Rosalie WeaverEitan Fenson and Barbara WeinsteinMr. and Mrs. Otto WeissDaniel and Marie WelchDaphne and Stuart WellsMelanie and Ronald WilenskyMr. Robert WilliamsDavid and Karima WilnerMr. Craig WilsonMs. Muriel WolvertonMr. Steve WongCeleste and Darryl WooSharon* and Dr. Russell WooMr. Brendan WoodLaureen Woodruff Ms. Jacqueline Yeh and Mr. Jerry ChangMr. Timothy H. Young and Ms. Elizabeth Mansfield
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corporate and foundation support of san francisco balletInstitutional gifts provide valuable support to SF Ballet’s artistic, touring, education, and outreach activities. Corporate and foundation grants of all sizes, in-kind gifts, and matching gifts enable the Ballet to train and perform at the highest standard of artistry.
Corporate partnership with SF Ballet delivers a wealth of valuable benefits such as public recognition as a supporter, hospitality opportunities for clients and executives, and discounts on tickets for employees. To learn more, please contact Amy Crowson, corporate giving officer, at [email protected] or 415.865.6616. Foundation giving to SF Ballet is an investment in the cultural life of the Bay Area. To learn more, contact Jennifer Mewha, associate director of development, at [email protected] or 415.865.6617.
Corporate Council ARTISTIC DIRECTOR’S COUNCIL Gifts of $100,000–$249,999 First Republic Bank Osterweis Capital Management
PRESENTER’S COUNCIL Gifts of $50,000–$99,999 Chevron KPMG Pacific Gas and Electric Company SPONSOR’S COUNCIL Gifts of $25,000–$49,999 Abbot Downing Bank of America Freed of London Gibson, Dunn & Crutcher LLP HSBC Private Bank Integnology JPMorgan Chase & Co. Wells Fargo Foundation CHAIRMAN’S COUNCIL Gifts of $15,000–$24,999 Burberry DeBartolo Corporation Nespresso USA Pacific Union–Christie’s International Real Estate St. John Willis
CHOREOGRAPHER’S COUNCIL Gifts of $10,000–$14,999 Bingham, Osborn & Scarborough, LLC Dodge & Cox Gap Foundation Mechanics Bank Wealth Management Men’s Wearhouse DANCER’S COUNCIL Gifts of $5,000–$9,999 Bingham McCutchen LLP BlackRock Delta Dental of California Ghurka
In-Kind Gifts ARTISTIC DIRECTOR’S COUNCIL Gifts of $100,000–$249,999 ABC7 | KGO-TV Bay Area Rapid Transit KCBS Radio KPIX KQED TV La Marca Prosecco® Method Neiman Marcus Union Square Pillsbury Winthrop Shaw Pittman LLP San Francisco magazine San Francisco Media Company William Hill Estate Winery®
PRESENTER’S COUNCIL Gifts of $50,000–$99,999 7x7 JRiccardoBenavides event styling McCalls Catering & Events SPONSOR’S COUNCIL Gifts of $25,000–$49,999 Bay Area Reporter CHAIRMAN’S COUNCIL Gifts of $15,000–$24,999 Immersive Miette Nob Hill Gazette Piedmont Piano Company Sutter Securities Incorporated
CHOREOGRAPHER’S COUNCIL Gifts of $10,000–$14,999 Academy of Art University Carmen Marc Valvo Patina Catering ASSOCIATE’S COUNCIL Gifts of $2,500–$4,999 Crystal Geyser Fairmont San Francisco FXIV Chapter LLC
552015 S E A S O N / P R O G R A M S 6 & 7
In-Kind Gifts ARTISTIC DIRECTOR’S COUNCIL Gifts of $100,000–$249,999 ABC7 | KGO-TV Bay Area Rapid Transit KCBS Radio KPIX KQED TV La Marca Prosecco® Method Neiman Marcus Union Square Pillsbury Winthrop Shaw Pittman LLP San Francisco magazine San Francisco Media Company William Hill Estate Winery®
PRESENTER’S COUNCIL Gifts of $50,000–$99,999 7x7 JRiccardoBenavides event styling McCalls Catering & Events SPONSOR’S COUNCIL Gifts of $25,000–$49,999 Bay Area Reporter CHAIRMAN’S COUNCIL Gifts of $15,000–$24,999 Immersive Miette Nob Hill Gazette Piedmont Piano Company Sutter Securities Incorporated
CHOREOGRAPHER’S COUNCIL Gifts of $10,000–$14,999 Academy of Art University Carmen Marc Valvo Patina Catering ASSOCIATE’S COUNCIL Gifts of $2,500–$4,999 Crystal Geyser Fairmont San Francisco FXIV Chapter LLC
Raffles Le Royal Monceau Paris-Fairmont Raffles Hotels International
Foundation and Government Support GRAND BENEFACTOR Gifts of $250,000 and above Grants for the Arts The Hellman Foundation The James Irvine Foundation
ARTISTIC DIRECTOR’S COUNCIL Gifts of $100,000–$249,999 Caldwell-Fisher Charitable FoundationRichard and Elizabeth Fullerton Family Foundation Gaia Fund Shelby and Frederick Gans FoundationThe William and Flora Hewlett Foundation George F. Jewett Foundation Koret Foundation Rudolf Nureyev Dance Foundation The Bernard Osher Foundation Bob Ross Foundation The Seiger Family Foundation
PRESENTER’S COUNCIL Gifts of $50,000–$99,999 Edward Baker Foundation Cox Family FoundationFlora Family Foundation Stephen and Margaret Gill Family FoundationNational Endowment for the Arts The Shubert Foundation, Inc. Wallis Foundation The Walske Charitable Foundation
SPONSOR’S COUNCIL Gifts of $25,000–$49,999Arrillaga Foundation Dan and Stacey Case Family Foundation The William G. Irwin Charity Foundation Lamond Family FoundationThe Charles Henry Leach, II Foundation Masud and Alex Mehran Foundation
CHAIRMAN’S COUNCIL Gifts of $15,000–$24,999 The Cockayne Fund Inc. Robert and Dana Emery Family FoundationMimi and Peter Haas FundRoberts Foundation The Wingate Foundation K.A. Zankel Foundation
CHOREOGRAPHER’S COUNCIL Gifts of $10,000–$14,999 Lisa and Douglas Goldman Fund John and Marcia Goldman FoundationGuzik Foundation Walter & Elise Haas FundHeising-Simons Foundation William and Gretchen Kimball FundZellerbach Family Foundation
DANCER’S COUNCIL Gifts of $5,000–$9,999 Nancy & Joachim Bechtle Foundation RBSL Bergman Foundation Mervyn L. Brenner Foundation, Inc. Sam And Kelly Bronfman Family Foundation Caritas Charitable FoundationClumeck Foundation Fleishhacker Foundation Crankstart Foundation Marilyn & Robert Funari Family Foundation Walter S. Johnson Foundation Laube Family FoundationJeanne and Sanford Robertson Fund Storm Castle FoundationThe Laney Thornton Foundation Uplands Foundation The Vasicek Foundation
ASSOCIATE’S COUNCIL Gifts of $2,500–$4,999 The Donald and Carole Chaiken Foundation Dorrance Family Foundation Lakeside Foundation Post Family Foundation Springcreek Foundation Whitman Family Foundation
56 S F B A L L E T.O R G
san francisco ballet endowment foundationIncome from the assets of the San Francisco Ballet Endowment Foundation is an important revenue source for San Francisco Ballet. In FY2015, it will provide funding for approximately 10% of the Ballet’s operating expenses.
All donors who make gifts totaling $25,000 or more to the endowment have a fund created in their name. Named funds can provide general support or support designated for specific uses at SF Ballet, the San Francisco Ballet School, and the San Francisco Ballet Center for Dance Education.
For more information on endowed funds or the San Francisco Ballet Endowment Foundation, please contact Thomas W. Flynn, director of development, at [email protected] or 415.865.6615.
SF Ballet is honored to list the following named funds that contribute support for San Francisco Ballet School and School Scholarships. Those highlighted with an asterisk (*) were fully or primarily funded through bequests and other estates gifts.
ENDOWED FUNDS FOR SAN FRANCISCO BALLET SCHOOL Philip P. Berelson Scholarship Fund*The Bertelsen Family FundChristopher Boatwright Memorial Endowed Scholarship FundS. E. Bush, Jr. School Fund*Dr. and Mrs. George Cassady Student Scholarship FundHarold and Ruby Christensen Scholarship FundLee R. Crews School Fund*Sonia H. Evers School FundThe Fifth Age of Man Foundation Scholarship FundRita A. Gustafson Scholarship Fund*Philip and Alicia Hammarskjold FundThe William Randolph Hearst Foundation Scholarship FundChris and Warren Hellman Endowed Scholarship FundEric Hellman Scholarship FundRosalie G. Hellman Memorial Scholarship FundHurlbut-Johnson Charitable Trusts Introduction to Ballet Scholarship Fund*
The James Family Endowed Scholarship FundDorothy and Bradford Jeffries Scholarship FundG. William Jewell Dance in Schools Endowed Scholarship Fund*Dr. and Mrs. Jerome Ormond Kirschbaum Trainee Fellowship FundNatalie Lauterstein Miller Memorial FundPhyllis W. Nelson Scholarship Fund*Shirley Black Palmer Scholarship FundYurie and Carl Pascarella FundBob Ross Scholarship FundDelores M. Schweizer Fund*K. Hart Smith Fund*Natalie H. Stotz Fund*Charlotte and Harry A. Turner DISC Family FundMarion Ury Fund*Keith White Scholarship Fund
San Francisco Ballet School students perform student demonstrations. (© ERIK TOMASSON)
The Legacy Circle
What will your legacy be?
For information about bequests, charitable gift annuities, and other estate gift options, contact Elizabeth Lani in SF Ballet’s planned giving office at 415.865.6623 or [email protected]. Patrons who include the Ballet in their will or other estate plans are welcomed to membership in The Legacy Circle and celebrated as essential members of the Ballet family.
© D
avid
Alle
n
“We are proud to support the future of San Francisco Ballet through our estate plans. We feel fortunate to have such a wonderful ballet company right here in our city. The grace and artistry of the dancers has given us great pleasure over the years, and we are happy that we can offer something in return.” Tom Foutch and Milton Mosk are performing arts enthusiasts whose estate support
will help ensure that SF Ballet dancers can continue to excel in their field and beyond.
The Legacy Circle
What will your legacy be?
For information about bequests, charitable gift annuities, and other estate gift options, contact Elizabeth Lani in SF Ballet’s planned giving office at 415.865.6623 or [email protected]. Patrons who include the Ballet in their will or other estate plans are welcomed to membership in The Legacy Circle and celebrated as essential members of the Ballet family.
© David
Allen
“We are proud to support the future of San Francisco Ballet through our estate plans. We feel fortunate to have such a wonderful ballet company right here in our city. The grace and artistry of the dancers has given us great pleasure over the years, and we are happy that we can offer something in return.” Tom Foutch and Milton Mosk are performing arts enthusiasts whose estate support
will help ensure that SF Ballet dancers can continue to excel in their field and beyond.
The Legacy CircleWhat will your legacy be?
For information about bequests, charitable gift annuities, and other estate gift options, contact Elizabeth Lani in SF Ballet’s planned giving office at 415.865.6623 or [email protected]. Patrons who include the Ballet in their will or other estate plans are welcomed to membership in The Legacy Circle and celebrated as essential members of the Ballet family.
© David
Allen
“We are proud to support the future of San Francisco Ballet through our estate plans. We feel fortunate to have such a wonderful ballet company right here in our city. The grace and artistry of the dancers has given us great pleasure over the years, and we are happy that we can offer something in return.” Tom Foutch and Milton Mosk are performing arts enthusiasts whose estate support
will help ensure that SF Ballet dancers can continue to excel in their field and beyond.
Th
e L
eg
ac
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What will your legacy be?
For information about bequests, charitable gift annuities, and other estate gift options, contact Elizabeth Lani in SF Ballet’s planned giving office at 415.865.6623 or [email protected]. Patrons who include the Ballet in their will or other estate plans are welcomed to membership in The Legacy Circle and celebrated as essential members of the Ballet family.
© D
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“We are proud to support the future of San Francisco Ballet through our estate plans. We feel fortunate to have such a wonderful ballet company right here in our city. The grace and artistry of the dancers has given us great pleasure over the years, and we are happy that we can offer something in return.” Tom Foutch and Milton Mosk are performing arts enthusiasts whose estate support
will help ensure that SF Ballet dancers can continue to excel in their field and beyond.
The Legacy Circle
What will your legacy be?
For information about bequests, charitable gift annuities, and other estate gift options, contact Elizabeth Lani in SF Ballet’s planned giving office at 415.865.6623 or [email protected]. Patrons who include the Ballet in their will or other estate plans are welcomed to membership in The Legacy Circle and celebrated as essential members of the Ballet family.
© D
avid
Alle
n
“We are proud to support the future of San Francisco Ballet through our estate plans. We feel fortunate to have such a wonderful ballet company right here in our city. The grace and artistry of the dancers has given us great pleasure over the years, and we are happy that we can offer something in return.” Tom Foutch and Milton Mosk are performing arts enthusiasts whose estate support
will help ensure that SF Ballet dancers can continue to excel in their field and beyond.
The Legacy Circle
What will your legacy be?
For information about bequests, charitable gift annuities, and other estate gift options, contact Elizabeth Lani in SF Ballet’s planned giving office at 415.865.6623 or [email protected]. Patrons who include the Ballet in their will or other estate plans are welcomed to membership in The Legacy Circle and celebrated as essential members of the Ballet family.
© Da
vid Al
len
“We are proud to support the future of San Francisco Ballet through our estate plans. We feel fortunate to have such a wonderful ballet company right here in our city. The grace and artistry of the dancers has given us great pleasure over the years, and we are happy that we can offer something in return.” Tom Foutch and Milton Mosk are performing arts enthusiasts whose estate support
will help ensure that SF Ballet dancers can continue to excel in their field and beyond.T
he
Le
ga
cy
Circ
le
What will your legacy be?
For information about bequests, charitable gift annuities, and other estate gift options, contact Elizabeth Lani in SF Ballet’s planned giving office at 415.865.6623 or [email protected]. Patrons who include the Ballet in their will or other estate plans are welcomed to membership in The Legacy Circle and celebrated as essential members of the Ballet family.
© D
av
id A
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n
“We are proud to support the future of San Francisco Ballet through our estate plans. We feel fortunate to have such a wonderful ballet company right here in our city. The grace and artistry of the dancers has given us great pleasure over the years, and we are happy that we can offer something in return.” Tom Foutch and Milton Mosk are performing arts enthusiasts whose estate support
will help ensure that SF Ballet dancers can continue to excel in their field and beyond.The Legacy Circle
What will your legacy be?
For information about bequests, charitable gift annuities, and other estate gift options, contact Elizabeth Lani in SF Ballet’s planned giving office at 415.865.6623 or [email protected]. Patrons who include the Ballet in their will or other estate plans are welcomed to membership in The Legacy Circle and celebrated as essential members of the Ballet family.
© D
avid
Alle
n
“We are proud to support the future of San Francisco Ballet through our estate plans. We feel fortunate to have such a wonderful ballet company right here in our city. The grace and artistry of the dancers has given us great pleasure over the years, and we are happy that we can offer something in return.” Tom Foutch and Milton Mosk are performing arts enthusiasts whose estate support
will help ensure that SF Ballet dancers can continue to excel in their field and beyond.
The Legacy Circle
What will your legacy be?
For information about bequests, charitable gift annuities, and other estate gift options, contact Elizabeth Lani in SF Ballet’s planned giving office at 415.865.6623 or [email protected]. Patrons who include the Ballet in their will or other estate plans are welcomed to membership in The Legacy Circle and celebrated as essential members of the Ballet family.
© Da
vid Al
len
“We are proud to support the future of San Francisco Ballet through our estate plans. We feel fortunate to have such a wonderful ballet company right here in our city. The grace and artistry of the dancers has given us great pleasure over the years, and we are happy that we can offer something in return.” Tom Foutch and Milton Mosk are performing arts enthusiasts whose estate support
will help ensure that SF Ballet dancers can continue to excel in their field and beyond.
58 S F B A L L E T.O R G
the legacy circleThe Legacy Circle recognizes and thanks individuals who, as a part of their own legacy, make an investment in the future of San Francisco Ballet. Legacy gifts come in all sizes and include gifts from wills and living trusts; gifts that return lifetime income, such as charitable gift annuities, our pooled income fund; and other planned gifts. The Legacy Circle is pleased to publicly acknowledge its members. For information about Legacy Circle membership and estate gift options, please contact Elizabeth Lani, planned giving manager, at [email protected] or 415.865.6623.
Anonymous (51)Michael C. Abramson Norman and David Beery AbramsonSophie and Ted AldrichAnthony J. AlfidiCal AndersonDavid and Judith Preves AndersonSteven D. AriasRoulhac and Tom AustinNancy R. AxelrodML Baird, in memory of Travis & Marion BairdRosemary B. BakerRichard C. BarkerValera Ferrea BarnhartMarie Schoppe BarteeMargaret Bates, M.D.Richard and Kathy BealNorman Abramson and David BeeryDr. and Mrs. Walter E. BergerKaren S. BergmanDavidson Bidwell-Waite and Edwin A. WaitePatricia Ellis BixbyPhyllis B. BlairEileen BobrowAviva Shiff BoedeckerJon BorsetBruce BradenLisa K. BreakeyRita Brenner and Leonard SchwabRon and Susan BriggsLeonard Brill and Richard SanjourCynthia and Frederick BrinkmannJames R. and Melinda M. BrownMarjorie and Gerald BurnettJulie and David BurnsAdrian and Carol ByramPatricia J. CampbellJack CapitoLinda Parker CassadyMichaela CassidyAnnag Rose ChandlerAntoinette ChattonDiane and William ClarkeRobert CleggBette Jean CluteMichael Q. Cohen and Carol Berman CohenJane A. CookMary Ellen CopnerColette V.A. CornishSandi CovellKenneth and Diane CoxLynda Meyer CroninGerald Currier
Barbara Daily Martha DebsCornelia Y. de SchepperDavid and Alaina DeMartiniKarel and Mark DettermanCharles DishmanEarl DiskinSam Alicia DukeJoseph Ehrman IIICarol EmoryMs. Frances EubanksMerritt and Mary Lou FinkRichard FitzgeraldVictoria FlavellFrannie FleishhackerMr. and Mrs. Thomas W. FooteMary Jo and David FrancisDouglas FrantzSandra and Alfred FrickeJoseph and Antonia FriedmanConnie Marie GaglioShelby and Frederick GansJohn GarfinkleStephen and Margaret GillS. Bradley GillaughTeri and Andy GoodmanMeryl Gordon, M.D.Lawrence Grauman, Jr.Patricia Lindsay and Donald W. GreenRoger W. GreenJames GriesMartin C. HamiltonRosemary (Rosie) HayesTerry Hynes HelmMrs. Louis E. HendricksCecilia and Jim HerbertLinda K. HmeloBetty HoenerThomas E. HornDonald F. HoughtonVija M. HovgardHarold D. and Jocelyn P. HughesDorothy and Bradford JeffriesBerdine JerniganMark G. JonesMrs. René JopéDr. Devorah Joseph in memory of Nerrissa JosephDavid A. KaplanRose Adams KellyJohn KernsMrs. Jerome Ormond KirschbaumMs. June KronbergJoan Shelbourne Kwansa
Sharon LamptonKimun LeeMarcia Lowell LeonhardtJohn E. LeveenIrv Lichtenwald and Stephen R. RippleCarol and Hal LouchheimJames J. LudwigJo MarkovichJohn Robert MartinConnie V. MartinezErika-Marie MatthesGwen and Hamp MauvaisMrs. Alice T. MaySteven and Niko MayerMrs. William L. McGeeBetsy and Ed McGuiganJames H. McMurraySusan J. MeadowsRobert L. MerjanoSteve MerloKarl Meyer and Kelly HailsJ. Sanford MillerMs. Joyce E. MillerMr. Sidney F. MobellNancy and Larry MohrPatricia MokMilton J. MoskKathleen MuchTom and Anne MullerPeter Johnson MustoVirginia Mylenki and James J. PidgeonMr. and Mrs. Robert L. NewmanTom NicollNorman and Hillevi NullPeter Nye and James MarksJohn S. OsterweisRudy PicarelliKaren PosnerSteve and Cleo PostleRoger and Deborah PotashMr. and Mrs. Albert M. PriceJessica M. PutneyJane RadcliffeDave and Judy RedoGlenn H. Reid and Frank S. LanierM.A. Rey-Bear TrustMr. and Mrs. Richard D. RingePat RobertsElsie RobertsonPauline and Richard RoothmanRenee and Dennis RossRenee RubinKarl Ruppenthal and Jo Maxon
592015 S E A S O N / P R O G R A M S 6 & 7
R. L. SauerNorman SchlossbergMs. Catherine SchmidtWalter and Sharon SchneiderAl SchroederHarold E. SegelstadMr. and Mrs. Jack SelfChristine SelleMichael and Daryl ShafranJ. Gary and O.J. Shansby FoundationJohn-Luke SheridanMrs. Carter Parrish SherlinCarol R. SholinEdward M. Silva Charles G. SmithCleveland M. SmithDr. W. Byron SmithM. Eileen Soden, Ph.D.Scott C. SollersSue SommerSharon St. JamesStephen B. SteczynskiNancy SternSusanne StevensMrs. Dwight V. StrongJane and Jay TaberMr. and Mrs. Alan TaiJack Eugene TeetersMrs. L. Jay TenenbaumSam Thal, M.D.Richard J. ThalheimerSuzanne and Charles ThorntonMr. and Mrs. Howard TimoneyMichael E. TullyJanet Sassoon-Upton and John R. Upton, Jr.Shirley Wilson VictorCarolyn and Terry VoetMrs. Katherine WallinMrs. Barbara W. WanvigRosalie V. WeaverDr. Frieda WeinerIngrid M. Weiss Daphne and Stuart WellsBenjamin and Mary Ann WhittenKaren and Stephen WielMr. Burlington WillesMiles Archer WoodliefLaureen WoodruffDr. Robert and Sharon YoergJanice Hansen ZakinKristine A. ZeiglerMrs. Stephen A. Zellerbach
estate giftsSan Francisco Ballet gratefully recognizes the following patrons whose contributions to SF Ballet through their estates have provided meaningful support since July 1, 2011. The Ballet is honored by their generosity and vision for the future of the institution. Bequests and other estate gifts, both large and small, are an integral part of the Ballet’s financial well-being. To learn how to include the Ballet in your own plans, please contact Elizabeth Lani, planned giving manager, at [email protected] or 415.865.6623.
Gifts of $1,000,000 and aboveRichard B. Gump Diana Dollar KnowlesNatalie H. Stotz
Gifts of $500,000 to $999,999Lee R. CrewsMilan Milton HoldorfErnest N. LuttonMary Jo Pace
Gifts of $100,000 to $499,999S. E. Bush, Jr.Nancy CroleyWilliam K. DickSarah C. Evans Lloyd N. HarperGeorge W. LordMs. Vera M. LongPhyllis W. NelsonDelores M. Schweizer Olivia Thebus
Gifts of $50,000 to $99,999Ms. Edith HammersloughDr. Florence R. OaksHarry William RedellS. Grace Williams
Gifts up to $50,000Anonymous (5)Fritzi BeneschMs. Margaret M. CroninPhilip M. EisenbergPaul E. FeyMr. Mark HamiltonRuth Caron JacobsKeith Joseph IsaacsonMargaret M. KostourosRuth MorseLee J. MosleyKarl RuppenthalMarion and Willis SlusserL. Jay Tenenbaum
60 S F B A L L E T.O R G
thank you to our volunteersThe San Francisco Ballet “family” extends beyond the stage to include a large community of dedicated and generous volunteers who are personally involved with the success of the Company. The tireless efforts of these volunteers contribute greatly to SF Ballet’s accomplishments.
Auxiliary The San Francisco Ballet Auxiliary is a group of dedicated women who organize SF Ballet’s annual Opening Night Gala Dinner, Fashion Show, and Student Showcase Dinner fundraising events. For more information, please visit sfballet.org/auxiliary.
Ms. Marie Louise Hurabiell President
ACTIVE MEMBERS Ms. Blanca Aguirre Ms. Judy Anderson Ms. Donna Bachle Mrs. Bartley B. Baer Mrs. Kevin W. BartlettMs. Alletta BayerMiss Carol Benz Mrs. Steven Bergman Ms. Catherine BergstromMs. L’Ann Bingham Ms. Beverley Siri BorelliMs. Giselle Bosc Mrs. William S. BrandenburgMrs. Kent F. BrooksMrs. G. Steven Burrill Mrs. David J. ByersCarolyn C. Chang, MDMrs. Kathleen Coffino Ms. Christine Leong ConnorsMs. Rebecca Cooper Mrs. Angelos J. Dassios Ms. Carleen Hawn DeLayMs. Carole A. Demsky Ms. Christine DeSanzeMrs. William Diapoulos Mrs. John E. FetzerMs. Jane GazzolaMrs. James R. Gillette Mrs. Vincent Golde Mrs. James M. Goodman Ms. Shelley Gordon Mrs. David Grove Mrs. Joseph Harris, Jr.Mrs. Terrence M. Hazlewood Mrs. Ronald R. Heckmann Mrs. Christopher HemphillMs. Kimberly HopperMs. Kathryn A. Huber
Mrs. Richard JasenMrs. James C. Kelly Mrs. Mark S. Koenig Ms. Claire Stewart KosticMrs. Alexander Leff Ms. Betsy A. Linder Ms. Sheila M. LippmanMs. Patricia Ferrin LoucksMrs. Carol LouieMs. Rhonda Mahendroo Mrs. David Joseph MartinMs. Laura Miller Ms. Margaret Mitchell Mrs. Timothy Michael MonahanMrs. Michael O’Sullivan Ms. Melissa PowarMiss Tanya Marietta Powell Mrs. Michael PriorMs. Maria K. Ralph Ms. Megan Ray Ms. Kacie RencMs. Michelle Renee Ms. René E. Rodman Ms. Stephanie B. Russell Ms. Meg Ruxton Mrs. James D. Seltsam, Jr.Mrs. David Selzer Ms. V’Anne Singleton Ms. Grace Nicolson SorgShelby T. Strudwick Mrs. Trecia Knapp TapolskyMs. Deborah Taylor Mrs. Charles V. Thornton Mrs. Andrea Valo-EspinaMs. Amy Wender-Hoch Mrs. Aimee WestMs. Freddi WilkinsonMrs. Robert W. Wood Ms. Patricia Wyrod Miss Carla J. Wytmar Mrs. Ronald Zaragoza Mrs. Helgi Tomasson Honorary Member
SUSTAINING MEMBERSJola AndersonMrs. James P. AnthonyMrs. Thomas G. AustinMs. Rosemary B. BakerMs. Katherine BanksMs. Harriet L. Barbanell
Mrs. Patrick V. BarberMrs. Kent T. BaumMrs. Peter BerlinerMrs. John W. BitoffMrs. Athena BlackburnMrs. Richard A. BocciMs. Caroline Krawiec BrownstoneMrs. Donald W. CarlsonMrs. Walter CarpenetiMrs. Charles E. ClemensMrs. Daniel P. CronanMs. Gail De MartiniMrs. Theodore S. DobosMrs. David DossetterMrs. Happy DumasMrs. Paul Robert DuryeaDr. DiAnn EllisMrs. Douglas J. EngmannMrs. Christian P. ErdmanMs. Lorre ErlickMs. Dixie D. FurlongMrs. Stephen GhiselliMs. Nonie H. GreeneMrs. John P. GrottsMs. Catherine D. HargraveMrs. Michael R. HaswellMs. Terry Hynes Helm Ms. Mindy HendersonMs. Kelli Hill Ms. Allison K. HuegelMrs. Michael F. JacksonMs. Daru H. KawalkowskiMs. Lisa A. KeithMrs. Robert KlineMrs. Robert D. KrollMs. Jean LaretteMiss Elizabeth LeepMrs. Barry R. LipmanMrs. John C. LundDr. Katalin Kádár LynnMs. Susan A. MaleckiMs. Sandra MandelMrs. Michael L. MauzéMrs. Mark A. MedearisMrs. James J. MessemerMrs. Dennis MooradianMs. Alison MorrMrs. Jane S. MudgeMs. Vickie NelsonMrs. Robert L. NewmanMrs. Willis H. Newton, Jr.
612015 S E A S O N / P R O G R A M S 6 & 7
Ms. Carole A. ObleyMrs. Edward PlantMrs. Nick PodellMrs. Todd G. RegenoldMs. Lorrae RomingerMs. Dara C. RosenfeldMs. Isabel M. Sam-VargasMs. Ellen SandlerMrs. Thomas SchiffMrs. David Tai-Man ShenMs. Merrill Randol SherwinMs. Karen L. SkidmoreMrs. Mathew SpolinMrs. Jerome J. Suich IIMrs. Judy SwansonMs. Jody K. ThelanderMs. Elizabeth W. VobachMrs. Gregg von ThadenMs. Barbara WaldmanMrs. Jerome M. WeissMrs. Wallace Wertsch
Allegro Circle Allegro Circle is a diverse group of donors who contribute their professional expertise and networks in support of the ongoing excellence of SF Ballet. For more information, please contact Pamela Sullivan, major gifts officer, at [email protected] or 415.865.6634.
STEERING COMMITTEE Stewart McDowell Brady and Patrice Lovato, Co-Chairs Philip Brady Paula Elmore Tim and Amanda Link Walther Lovato Gregg and Kelly Mattner David H. Spencer Patricia Wyrod
BRAVO BRAVO is an organization of community volunteers who support San Francisco Ballet through a variety of administrative tasks and activities in the Ballet offices and at events. For more information and to apply for membership, visit bravo.sfballet.org, e-mail [email protected] or call 415.865.6750.
Patricia D. Knight President
Volunteer Hours During the 2013-2014 Season 250+ HOURS Corine Assouline Julie Hawkins Giovanna Jackson Patricia D. Knight Suzanne Knott Steve Merlo Deric Patrick Kathryn Roberts Steve Wong 100-249 HOURS Marilyn Breen Paulette Cauthorn Philip Fukuda Joan Green Roger Green James Gries Elmira Lagundi Aldona Lidji Dosia Matthews Betsy McGuigan Roberta McMullan Patricia A. Nelson Jazmine Paniagua Howard L. Perkins Sara Pope Twyla Powers Pauline Roothman Eileen Soden Karen Wiel 55-99 HOURS Jeanette Chudnow Mary Davi Inna Edwards Angela Friday Ditas Fuentes Lydie Hammack Michael Hart Sanae Kelly Robin Kinoshita David Lau Cyndy Lee Steve Loving Pirkko Lucchesi Linda Miyagawa Keiko Moore Sue Plasai Elizabeth Price Dara Seng-Sourinho Tracy Stoehr Joshua Theaker Desmond Torkornoo Leslie Tsirkas Sylvia Walker
40-54 HOURS
Ricardo Aisenberg
Edie Bazjanac
Matilda Belo-Aisenberg
Jon Borset
Monique Brown
Janet Gamble
Bettina Graf
Piers Greenhill
Kimberly Hall
Diane Hourany
Christine Jensen
Susan Kalian
Gale Niess
Kathi Saage
Anne Snowball
Nancy Tam
Steve Trenam
Mary Ann Whitten
Stephen Wiel
Daphne Wray
Jill Zerkle
Adam Zhang
ENCORE! ENCORE! is a group of young Bay Area
men and women supporting SF Ballet
through performance attendance, volunteer
involvement, and financial support.
For more information on ENCORE!, please
email [email protected].
LEADERSHIP
Emily Hu
President
Alyson Blume
Vice President
Susan Lin
Secretary
Wilson Yan
Treasurer and Immediate
Past President
Jane Burkhard
Immediate Past President
Justin Bank
Christopher Correa
Bridget Dixon Nguyen
Lena Gikkas
Greer Goings
Jimmy Ho
Vanessa Jn-Baptiste
Ishara Kotagama
Sunil Sharma
Alka Tandan
S. B. Hadley Wilson
62 S F B A L L E T.O R G
san francisco war memorial and performing arts center
TrusteesWilkes Bashford, PresidentThomas E. Horn, Vice President
Nancy H. BechtleBelva DavisGorretti Lo LuiMrs. George R. MosconeMajGen J. Michael Myatt, USMC (Ret.)
Paul F. PelosiCharlotte Mailliard ShultzJames W. StaffordDiane B. Wilsey
Elizabeth Murray, Managing DirectorJennifer E. Norris, Assistant Managing Director
War Memorial Opera House is owned and operated by the city and county of San Francisco through the board of trustees of the War Memorial of San Francisco, The Honorable Edwin M. Lee, Mayor.
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