san francisco ballet 2016 program 1-2

Transcription

2016 Season Music Made Visible
01 02
PROGRAMS
“We know we’re in good hands with First Republic.
They take care of our personal accounts and those of
the San Francisco Ballet with great service.”
HELGI TOMASSON
MARLENE TOMASSON
Artistic Director & Principal Choreographer
San Francisco Ballet
Former Dancer, Wife and Mother
(855) 886-4824 or visit www.firstrepublic.com New York Stock Exchange Symbol: FRC
Member FDIC and Equal Housing Lender
2016 Season
February 2016
Volume 93, No. 3
Paul Heppner
Publisher
Susan Peterson
Design & Production Director
Ana Alvira, Robin Kessler,
Shaun Swick, Stevie VanBronkhorst
Production Artists and Graphic Design
Mike Hathaway
Sales Director
Brieanna Bright, Joey Chapman,
Gwendolyn Fairbanks, Ann Manning
Seattle Area Account Executives
Marilyn Kallins, Terri Reed
San Francisco/Bay Area Account Executives
Brett Hamil
Online Editor
Jonathan Shipley
Associate Online Editor
Jonathan Shipley
Ad Services Coordinator
Carol Yip
Sales Coordinator
Paul Heppner
President
Mike Hathaway
Vice President
Marty Griswold
Director of Business & Community Development
5Greetings from the Artistic Director
& Principal Choreographer
38 San Francisco Ballet Orchestra
40 San Francisco Ballet Staff
6
History of San Francisco Ballet
42Calendar of 2016 Repertory Season
Donor Events
7Board of Trustees
Endowment Foundation Board
43 Sponsor & Donor News
8
For Your Information
46 Great Benefactors
9Explore Ballet:
2016 Adult Engagement Programs
47 Artistic Director’s Council
13Leadership
48 Season Sponsors
14Artists of the Company
Principal Dancers
Principal Character Dancers
Soloists
Corps de Ballet
50 Chairman’s Council
22Program 01
7 for Eight
Magrittomania
Pas/Parts
56San Francisco Ballet Endowment
Foundation
30Program 02
Continuum©
Fearful Symmetries World Premiere!
“Rubies”
60 Thank You to Our Volunteers
Genay Genereux
Accounting
51
Christensen Society
54 Corporate & Foundation Support
58 The Legacy Circle
63San Francisco War Memorial and
Performing Arts Center
Program Book
Vol. 23, No. 3
2016 Repertory Season
All editorial material © San Francisco Ballet, 2016
Chris Hellman Center for Dance
455 Franklin Street, San Francisco, CA 94102
Sara Keats
Marketing Coordinator
Ryan Devlin
Events / Admin Coordinator
Cover: Yuan Yuan Tan in Possokhov’s Magrittomania // © Marty Sohl
Corporate Office
425 North 85 Street Seattle, WA 98103
th
p 206.443.0445 f 206.443.1246
[email protected]
800.308.2898 x105
www.encoremediagroup.com
Encore Arts Programs is published monthly by Encore Media
Group to serve musical and theatrical events in the Puget
Sound and San Francisco Bay Areas. All rights reserved.
©2016 Encore Media Group. Reproduction
without written permission is prohibited.
FOLLOW US BEFORE AND AFTER THE PERFORMANCE!
facebook.com/sfballet
youtube.com/sfballet
sfballetblog.org
instagram.com/sfballet
twitter.com/sfballet
PROGRAMS 01 & 02
SAN FRANCISCO BALLET
3
2016 Season
FEB 19 – 28
Swan Lake
Yuan Yuan Tan // © Erik Tomasson. Fashions courtesy of Bloomingdale’s
“Beautiful, pedigreed
classical dancing…”
– San Francisco Chronicle
Helgi Tomasson’s glorious Swan Lake returns! Love, sorcery, and betrayal
are the themes in what is probably the best known and most beautiful
story ballet of all time. Sublime dancing and splendid costumes are set
against a sleek and modern set design in a production the New York Times
called “beautifully lyrical.”
2016 Season Media Sponsors
BUY TICKETS TODAY!
Online: sfballet.org
Phone: 415.865.2000, Mon–Fri, 10am–4pm
Swan Lake Media Sponsor
The 2009 world premiere of Helgi Tomasson’s
Swan Lake was made possible by Exclusive
Sponsor Mrs. Jeannik Méquet Littlefield.
The 2016 redesign of Act I was underwritten by
Denise Littlefield Sobel.
Greetings from the Artistic Director &
Principal Choreographer
Welcome to San Francisco Ballet’s 2016 Repertory Season.
I’m excited for you to see these first two triple bills which
showcase the wide range of our dancers’ talents so wonderfully.
Before Yuri Possokhov retired from the stage as a principal
dancer, he choreographed Magrittomania — a whimsical work
that hasn’t been performed by the Company in ten years. The
ballet was his first major commission, and since then, Yuri
has created numerous works for SF Ballet and many other
companies around the world. You’ll have the opportunity to see
his latest work for SF Ballet, Swimmer, which premiered last year
and is on Program 5 this season.
I’m particularly thrilled that William Forsythe has staged and
revisited his Pas/Parts for us this season. Bill collaborated
closely with the dancers in re-choreographing sections of this
ballet, originally created for the Paris Opera Ballet in 1999. It will
be the first time this work has been seen outside of Europe, and
our dancers can’t wait to share it with you.
Program 2 features the world premiere of Liam Scarlett’s
Fearful Symmetries. His first work for the Company,
Hummingbird, was met with audience and international critical
acclaim. Liam is a talented choreographer and we look forward to presenting his allnew production of Frankenstein, a co-production with The Royal Ballet, next season.
Each program that we present is accompanied by the SF Ballet Orchestra, which
is celebrating its 40th anniversary this season. The finest dance can only happen
with the support of an equally world-class orchestra. Stay tuned for some special
opportunities to celebrate this wonderful group of musicians. Thank you again for your support of SF Ballet. Your loyalty and dedication enables
us to take artistic risks that move the art form forward. It’s going to be a terrific
season, and we look forward to seeing you in the Opera House many times in the
coming months.
Sincerely,
Helgi Tomasson
Artistic Director & Principal Choreographer
PROGRAMS 01 & 02
5
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
Christensen’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 Asia.
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.
Top, L-R: SF Ballet founders Willam,
Lew, and Harold Christensen at the
1982 groundbreaking ceremony
of the SF Ballet Building, now
known as the Chris Hellman Center
for Dance; Bottom: Members of
San Francisco Ballet beneath the
Golden Gate Bridge on the eve of
their historic 1957 tour to Asia.
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, 2009); 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, Val Caniparoli
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, DC; New York City Center
and Lincoln Center’s David H. Koch Theater; the
Opéra de Paris-Palais Garnier and the Théâtre du
Châtelet 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, DC, as well as
first-time visits to Hamburg and Moscow. 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. In fall 2015, the
Company returned to China after six years for
a critically acclaimed tour with performances in
Beijing and Shanghai.
2015 marked Tomasson’s 30th anniversary as
artistic director of SF Ballet.
6
SFBALLET.ORG
San Francisco Ballet Association
Board of Trustees 2015–2016
John S. Osterweis, Chair of the Board and Executive Committee
David C. Cox, President
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
Diane B. Wilsey
Vice Chair
Jennifer J. McCall
Secretary
Susan S. Briggs
Assistant Secretary
Nancy Kukacka
Treasurer
Jola Anderson
Kristen A. Avansino
Rosemary B. Baker
Karen S. Bergman
Gary Bridge
Amy Burnett
Chaomei Chen
Christine Leong Connors
Susan P. Diekman
Suzy Kellems Dominik
Kate Duhamel
Sonia H. Evers
Jason M. Fish
Julie A. Flynn
Shelby M. Gans
Joseph C. Geagea
Dr. Richard Gibbs
Beth Grossman
Thomas E. Horn
Donald F. Houghton
Hiro Iwanaga
James C. Katzman
Yasunobu Kyogoku
Kelsey Lamond
Irv H. Lichtenwald
Marie O’Gara Lipman
Mark G. Lopez
Stephanie Marver
Alison Mauzé
Marissa Mayer
Deborah M. Messemer
Mary Mewha
Kurt C. Mobley
Christine Russell
Randee Seiger
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
Miles Archer Woodlief
Timothy C. Wu
Janice Hansen Zakin
TRUSTEES EMERITI
ASSOCIATE TRUSTEES
Michael C. Abramson
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
Robert M. Smelick
Susan A. Van Wagner
Dennis Wu
Akiko Yamazaki
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
Helgi Tomasson
Artistic Director &
Glenn McCoy*
Executive Director
San Francisco Ballet Endowment Foundation
Board of Trustees 2015–2016
James D. Marver, President
John S. Osterweis
Kim Ondreck Carim‡
President Emeritus
Chief Financial Officer
Hank J. Holland
Laura Simpson‡
Vice President
Secretary
Thomas E. Horn
Elizabeth Lani‡
Treasurer
Assistant Secretary
† Past Chair
* ex officio
Richard C. Barker
Susan S. Briggs
J. Stuart Francis
Nancy Kukacka
Hilary C. Pierce
Larissa K. Roesch
Chris Hellman
Director Emeritus
George B. James II
Director Emeritus
‡ Non-Director
PROGRAMS 01 & 02
7
For Your Information
HOW TO PURCHASE TICKETS
Order online 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 at 301 Van Ness
Avenue, at 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 performance is
reserved for business related
to that performance only.
GROUP SALES
Groups of 10 or more can save
up to 30%. For information,
visit sfballet.org/groups or call
415.865.6785.
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
intermissions, and after
weekend matinees. A Ballet
Shop pass is available at
the Box Office for non-ticket
holders who wish to purchase
merchandise. Always online 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
8
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 headsets)
are available at both coat-check
locations 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, Monday–Friday,
8:30–11:30am.
Opera glasses are available for
$5 rental at the north coatcheck 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.
SFBALLET.ORG
Patrons desiring a taxi
after a performance should
come to the Grove Street
Taxi Ramp located on the
south side of the Opera
House. Accommodations are
provided on a first come, first
served basis, and cannot be
guaranteed. Service is based
on availability of licensed taxis.
Staff will be on hand to assist.
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 coatcheck rooms.
Children of any age attending
a performance 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 not to 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. Food and drinks,
other than bottled water, are
not permitted in the theater.
Smoking is not permitted in the
Opera House.
An EMT is on duty in the Opera
House lower lounge during all
performances.
DINING
The Café at the Opera House
on 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
reservations. Patrons arriving
before front doors open will be
admitted at the North Carriage
Entrance of the Opera House.
Refreshments are available
on the lower level as well
as the Box, Orchestra, and
Dress Circle levels during all
performances. Refreshments
may not be carried beyond
the concession areas in
which they are served. No
outside food or beverages are
allowed. Drinking fountains
are located on all levels near
the elevators. No food or
beverages, except bottled
water, are permitted inside the
auditorium at any time.
For more general information,
visit sfballet.org.
Explore Ballet: Adult Engagement Programs
FREE PROGRAMS
What makes a ballet orchestra
different? Who are the new
voices in the ballet world
today? What can Swan Lake
say to us in the 21st century?
What’s a typical day in the
life of a dancer? SF Ballet’s
Explore Ballet programs
answer these questions and
more. Join us, won’t you?
Information at
sfballet.org/explore
All Adult Engagement Programs are
subject to change. The information,
views, and opinions expressed are
strictly those of the participants, and
do not necessarily represent or imply
any official position of San Francisco
Ballet Association.
MEET THE ARTIST INTERVIEWS
Fridays, 7:00–7:30pm Sundays, 1:00–1:30pm
FREE and open to all ticket holders
These FREE pre-performance interviews spotlight a work being performed and are open to all ticket
holders. Learn more at sfballet.org/mta. Enjoy podcasts of past programs at sfballet.org/podcasts.
2016 POINTES OF VIEW (POV) LECTURE SERIES
Wednesdays, 6–6:45pm FREE and open to the public
War Memorial Opera House, Orchestra Level
Use the Carriage Entrance on the north side of the building, adjacent to the courtyard
Company artists and visiting scholars offer key insights and a deeper appreciation of that evening’s
performance. But, you don’t have to buy a ticket to attend — all ballet fans are welcome! Learn more
at sfballet.org/pov. Enjoy podcasts of past programs at sfballet.org/podcasts.
Jan 27
Mar 16
Dance educator Mary Wood interviews Ballet
Master Felipe Diaz and artists from the Company
about the world premiere of Liam Scarlett’s
Fearful Symmetries (Program 2).
Mary Wood with choreographer Yuri Possokhov
and filmmaker Kate Duhamel discuss the
process of creating the rich, multi-media
environment of Swimmer (Program 5).
Feb 3 Apr 6
Mary Wood interviews Ballet Master Katita Waldo
and artists from the Company to discuss William
Forsythe’s unique approach to contemporary
ballet (Program 1).
SF Ballet 2015–2016 Resident Scholar Carrie
Gaiser Casey, PhD, places Alexei Ratmansky’s
Seven Sonatas (Program 6) within the arc
of Ratmansky’s career and discusses the
choreographic features of this ballet. Feb 24
Mary Wood interviews artists dancing in
Helgi Tomasson’s Swan Lake.
Mar 9
Director of Education and Training Andrea
Yannone, in conversation with SF Ballet
School Associate Director Patrick Armand
and Ballet Master Anita Paciotti about student
participation in SF Ballet productions including
Balanchine’s Coppélia.
Apr 13
Music Director and Principal Conductor Martin
West in conversation with dance educator
Mary Wood about the SF Ballet Orchestra’s
40th anniversary. Also to be discussed is the
work of Sufjan Stevens, who composed the
music to which Justin Peck’s new work In the
Countenance of Kings is set.
May 4
Mary Wood discusses Cranko’s Onegin with
SF Ballet School Associate Director Patrick
Armand and Ballet Master Betsy Erickson.
CONTINUED
PROGRAMS 01 & 02
9
Explore Ballet: Adult Engagement Programs
CONTINUED
SEEING BALLET
TALK ABOUT BALLET
Saturdays, 5–6pm
$25 general, per session;
$20 SF Ballet subscribers & donors
Tickets at sfballet.org/seeingballet
455 Franklin Street
$25 general; $20 SF Ballet subscribers & donors; $100 for all 5
Tickets at sfballet.org/talkaboutballet
Chris Hellman Center for Dance, 455 Franklin Street
Do you want to understand and
better appreciate specific works?
Would you like to access tools that
will help you analyze any ballet?
Then Seeing Ballet is for you. These
facilitated workshops are highly
participatory and deeply engaging.
The Road to “Rubies”: George
Balanchine’s Early Years in America
Sat, Feb 6, 5–6:30pm
From Dolls to Digitization: Ballet’s
Encounters with Technology, 1870–2015
Sat, Mar 12, 5–6:30 pm
James Steichen, a musicologist and ballet
researcher, discusses Balanchine’s efforts
to found what would become the New York
City Ballet and the School of American
Ballet during the ’30s and ’40s. Steichen
will touch on the significant role played by
SF Ballet founder Lew Christensen as a
performer and choreographer in the early
days of the new company.
SF Ballet 2015–2016 Resident Scholar
Carrie Gaiser Casey, PhD and UC Berkeley
PhD candidate Kate Mattingly discuss the
changing interface between body and
machine in ballet choreography, from
the dolls and puppets of pre-midcentury
ballets to more recent experiments with
digital choreographies. Ballets to be
discussed are Coppélia (1870, SaintLeon), Petrushka (1911, Fokine), One Flat
Thing Reproduced (2000, Forsythe), and
Swimmer (2015, Possokhov). Dances at a Gathering
Saturday, Mar 19, 2016
Seven Sonatas
Saturday, Apr 16, 2016
SWAN LAKE IN SF:
A SYMPOSIUM
Feb 20 and 21, 10am–6pm
$60 (each day) general;
$50 (each day) subscriber;
$100 for both days
Reserve at sfballet.org/
swanlakesymposium
455 Franklin Street
Swan Lake is one of the
best known full-length story
ballets. But, did you know
that its composer, Peter Ilyich
Tchaikovsky, considered his
first attempt at writing ballet
music a failure? Or that SF Ballet
presented the American premiere
of the work in 1940, when it was
largely unknown? Our two-day
symposium will bring together
noted dance historians, SF Ballet
artistic staff and principal dancers,
past and present, to discuss the
history, enduring impact and
future of this beloved work.
Symposium attendance requires
the purchase of a Swan Lake
performance ticket. Performance
tickets are sold separately.
10
SFBALLET.ORG
These lively events include a 60-minute talk and Q&A, plus a wine and
cheese reception with the speaker.
The Christensen Brothers:
American Dance Pioneers
Fri, Feb 19, 5–6:30 pm
SF Ballet’s visiting scholar Debra H.
Sowell, PhD, dance historian and author
of Christensen Brothers: An American
Dance Epic will provide insight into the
three Christensen brothers as distinct
individuals, whose diverse talents and
personalities not only kept the early
company going in times of tremendous
hardship, but also established what has
become known as one of the world’s
leading ballet companies.
Sex, Love, and Ballet
Mon, Feb 22, 6–7:30 pm
Jennifer Fisher, associate professor of
dance at UC Irvine, talks about how
choreography and movement conveys
romance, sex, and love — as compellingly
as does Tchaikovsky’s great score — in
Helgi Tomasson’s Swan Lake. Hone
your dance analysis skills and deepen
your understanding of how the steps
and characters in this beloved ballet
embody flirtation, lust, and true love. When
an interspecies romance catches our
attention for well over a century, it’s worth
discovering why.
Sense & Sensibility: Thoughts on Justin
Peck and a New Generation
Sat, Apr 9, 5–6:30pm
In the five years since Jennifer Homans
announced ballet’s demise in her
history Apollo’s Angels, we have
seen the rise of a new crop of young
choreographers, many of them American.
Chief among these artists is Justin Peck, a
dancer with New York City Ballet and now
its resident choreographer. Dance critic
Claudia La Rocco shares her thoughts on
Peck and his colleagues. BALLET 101
A San Francisco Ballet
Appreciation Course
Jan 4–Feb 8, 2016
Information at sfballet.org/ballet101
455 Franklin Street
Ballet 101 is our popular five-class program
designed for adults seeking in-depth
knowledge about the art form. Go behind
the scenes at SF Ballet, meet Company
staff and artists, and try out your own
moves at a beginning ballet class.
Registration begins each year in
November and space is limited, so
sign up for SF Ballet’s monthly E-News
and you’ll be the first to know when
registration opens.
NEW!
DANCE WITH US!
SF BALLET FAMILY WORKSHOPS
455 Franklin Street
Sun, Feb 21, 12–1pm $20 per person
Swan Lake
Choreographer: Helgi Tomasson
Sat, Mar 19, 12–1pm $20 per person
Dances at a Gathering
Choreographer: Jerome Robbins
Swimmer
Choreographer: Yuri Possokhov
New this year, SF Ballet offers two special
one-hour interactive workshops designed
to introduce young audiences to the
beauty and wonder of dance through
an exploration of choreography, music,
and characters in a ballet. No previous
dance experience is necessary. Family
Workshops are recommended for
children ages 8–12. Children must be
accompanied by an adult.
Performance tickets are sold separately
and are not required to attend a
family workshop.
Purchase tickets online at
sfballet.org/familyworkshops or call
Ticket Services at 415.865.2000,
Monday–Friday, 10am–4pm
I S C H I K O
2130 FILLMORE STREET, CA 94115
415 563 1717
I S C H I K O . C O M
ALSO AVAILABLE IN:
OSKA, MILL VALLEY / HEALDSBURG
PROGRAMS 01 & 02
11
AN IMPECCABLY WELL-DRESSED ADDRESS
Pacific Heights will soon welcome a striking nine-story addition at 2121 Webster Street. Beautifully appointed and impeccably designed, The Pacific
introduces a new standard of modern luxury to a limited collection of 76 pristine residences in one of the world’s most sought-after neighborhoods.
Residential Sales Begin Early 2016
2121 WEBSTER STREET SAN FRANCISCO, CALIFORNIA 94115 415 928 2121 THEPACIFICHEIGHTS.COM
Trumark Urban and The Pacific reserve the right to make modifications in plans, exterior designs, prices, materials, specifications, finishes, and standard features at any time without notice.
Photographs, renderings, and landscaping are illustrative and conceptual. Real Estate Consulting, Sales and Marketing by Polaris Pacific—a licensed California, Washington, Oregon, and Colorado
Broker—CA BRE #01499250. ©2015 The Pacific. Brokers must accompany their client(s) and register them on their first appointment in order to be eligible for a broker commission.
San Francisco Ballet Leadership
HELGI TOMASSON
GLENN MCCOY
Artistic Director &
Executive Director
In 2015, Helgi Tomasson celebrated
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
( Chris Hardy)
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. He 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 The Juilliard
School, and the Grand Cross Star of the Order of the Falcon,
Iceland’s most prestigious honor. Tomasson is also the
director of the San Francisco Ballet School.
(© Chris Hardy)
Glenn McCoy’s career 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, Beijing, and Washington, DC.
He 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 tapings of Lubovitch’s
Othello, Tomasson’s Nutcracker, and Neumeier’s The Little
Mermaid, which were broadcast on PBS by Thirteen/WNET New
York’s performing arts series Great Performances.
Prior to joining SF Ballet, McCoy held marketing positions at San
Francisco Opera and at the Metropolitan Opera in New York City.
MARTIN WEST
PATRICK ARMAND
Music Director & Principal Conductor
Associate Director, SF Ballet School
Martin West is acknowledged as
one of the foremost conductors of
ballet. Born in Bolton, England, he
studied math at Cambridge University
before studying at the St. Petersburg
Conservatory of Music and London’s
Royal Academy of Music.
(© Chris Hardy)
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.
In recent seasons, he has worked with many of the top
companies in North America and Europe including New York
City Ballet, National Ballet of Canada, and The Royal Ballet.
West joined SF Ballet in fall 2005, 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 and an album of suites from Delibes’ Sylvia and
Coppélia. 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.
Born in Marseille, France, Patrick Armand
studied with Rudy Bryans, his mother
Colette Armand, and at the Ecole de
Danse de Marseille. He won the Prix
de Lausanne in 1980 and continued his
studies at the School of American Ballet.
In 1981, he joined the Ballet Theatre
( Chris Hardy)
Français and was promoted to principal
dancer in 1983. The following year he joined the English National
Ballet, where he danced for six years before joining Boston Ballet
in 1990.
©
Armand has been a frequent guest teacher for schools and
companies in Amsterdam, Florence, London, Naples, Tokyo, and
Toronto. In 2006, he was appointed teacher and ballet master of
the Teatro alla Scala in Milan. In 1998 and 2009, Armand served
as a jury member of the Prix de Lausanne and since 2010, he has
been the competition’s official male coach and teacher. In 2010, he
was appointed principal of the SF Ballet School Trainee Program
and in September 2012, he assumed the position of SF Ballet
School associate director.
PROGRAMS 01 & 02
13
ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER
Helgi Tomasson
PRINCIPAL DANCERS
Dores André
Joan Boada
Frances Chung
Taras Domitro
Lorena Feijoo
Mathilde Froustey
Jaime Garcia Castilla
Tiit Helimets
Luke Ingham
Davit Karapetyan
Sofiane Sylve
Yuan Yuan Tan
John and Barbara Osterweis
Principal Dancer
Richard C. Barker
Principal Dancer
Maria Kochetkova
Herbert Family
Principal Dancer
Sarah Van Patten
Diana Dollar Knowles
Principal Dancer
Vitor Luiz
Pascal Molat
Gennadi Nedvigin
Carlos Quenedit
Joseph Walsh
Vanessa Zahorian
Diane B. Wilsey
Principal Dancer
PRINCIPAL CHARACTER DANCERS
Val Caniparoli†
Rubén Martín Cintas
Ricardo Bustamante†
Anita Paciotti†
SOLOISTS
Daniel Deivison-Oliveira†, Sasha De Sola, Carlo Di Lanno, Koto Ishihara†, James Sofranko,
Jennifer Stahl†, Lauren Strongin, Anthony Vincent†, Hansuke Yamamoto
CORPS DE BALLET
Benjamin Freemantle†
Lauren Parrott†
Jordan Hammond†
Elizabeth Powell†
Jillian Harvey
Alexander Reneff-Olson†
Esteban Hernandez
Aaron Renteria†
Ellen Rose Hummel†
Rebecca Rhodes†
Norika Matsuyama†
Julia Rowe†
Lee Alex Meyer-Lorey†
Emma Rubinowitz†
Steven Morse†
Skyla Schreter
Francisco Mungamba†
Grace Shibley
Sean Orza†
Gaetano Amico III†
Kamryn Baldwin†
Sean Bennett†
Kimberly Braylock-Olivier†
Samantha Bristow†
Kristine Butler
Max Cauthorn†
Thamires Chuvas†
Diego Cruz†
Isabella DeVivo†
Jahna Frantziskonis
Henry Sidford†
Miranda Silveira†
John-Paul Simoens†
Myles Thatcher†
Mingxuan Wang†
Wei Wang†
Lonnie Weeks
Maggie Weirich†
Ami Yuki†
WanTing Zhao†
APPRENTICES
Grace Choi†, Blake Kessler†, Anastasia Kubanda†, Chisako Oga†, Francisco Sebastião†
BALLET MASTER & ASSISTANT TO THE ARTISTIC DIRECTOR
Ricardo Bustamante†
BALLET MASTERS
Felipe Diaz†, Betsy Erickson†, Anita Paciotti†, Katita Waldo†
COMPANY TEACHERS
Helgi Tomasson, Patrick Armand, Ricardo Bustamante†, Felipe Diaz†
CHOREOGRAPHER IN RESIDENCE
Yuri Possokhov
MUSIC DIRECTOR & PRINCIPAL CONDUCTOR
Martin West
†Received training at the San Francisco Ballet School
14
SFBALLET.ORG
Principal Dancers
DORES ANDRÉ
JOAN BOADA
FRANCES CHUNG
TARAS DOMITRO
Born in Vigo, Spain, Dores
André trained with Antonio
Almenara and at Estudio de
Danza de Maria Avila. She
joined the Company in 2004,
was promoted to soloist in
2012 and to principal dancer
in 2015.
A native of Havana, Cuba,
Joan Boada trained at the
National Ballet School of
Cuba and danced with seven
companies — including Ballet
Nacional de Cuba and The
Australian Ballet — before
joining SF Ballet as a principal
dancer in 1999.
Born 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.
Born in Havana, Cuba,
Taras Domitro trained at
the National Ballet School
of Cuba. He performed as
a principal dancer with the
Ballet Nacional de Cuba
prior to joining SF Ballet as a
principal dancer in 2008.
LORENA FEIJOO
MATHILDE FROUSTEY
JAIME GARCIA CASTILLA
TIIT HELIMETS
Born in Havana, Cuba,
Lorena Feijoo trained at
the National Ballet School
of Cuba. She danced with
Ballet Nacional de Cuba and
The Joffrey Ballet prior to
joining SF Ballet as a principal
dancer in 1999.
Mathilde Froustey was born
in Bordeaux, France, and
received her training at the
Paris Opera Ballet School. At
age 17, she joined Paris Opera
Ballet, where she was a sujet.
She joined SF Ballet as a
Born in Madrid, Spain, Jaime
Garcia Castilla studied at
the Royal Conservatory of
Professional Dance. He joined
SF Ballet as an apprentice in
2002. He was promoted to
soloist in 2006 and to principal
dancer in 2008.
Born in Viljandi, Estonia,
Tiit Helimets trained at the
Tallinn Ballet School and
began his career as a soloist
(later principal dancer) with
Estonian National Ballet. He
joined SF Ballet as a principal
dancer in 2005.
LUKE INGHAM
DAVIT KARAPETYAN
MARIA KOCHETKOVA
VITOR LUIZ
From Mount Gambier, South
Australia, Luke Ingham trained
at the Australian Ballet School
and was later a soloist with
The Australian Ballet. Ingham
joined SF Ballet as a soloist
in 2012 and was promoted to
Born in Yerevan, Armenia,
Davit Karapetyan trained
at the Armenian School of
Ballet and Schweizerische
Ballettberufsschule. He joined
SF Ballet as a principal dancer
in 2005. He was appointed
John and Barbara Osterweis
Principal Dancer in 2013.
Born in Moscow, Russia,
Maria Kochetkova trained
at the Bolshoi School and
danced with The Royal
Ballet and Bolshoi Ballet
before joining SF Ballet as
a principal dancer in 2007.
She was appointed Herbert
Family Principal Dancer in
2012.
Born in Juiz de Fora, Brazil,
Vitor Luiz trained at 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.
PROGRAMS 01 & 02
15
Principal Dancers
PASCAL MOLAT
GENNADI NEDVIGIN
CARLOS QUENEDIT
SOFIANE SYLVE
A native of Paris, France,
Pascal Molat trained at Paris
Opera Ballet School and
danced with Royal Ballet of
Flanders. He joined SF Ballet
as a soloist in 2002 and was
promoted to principal dancer
in 2003.
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. He was promoted to
Born in Havana, Cuba, Carlos
Quenedit trained at Cuba’s
National Ballet School. He
has danced with Ballet
Nacional de Cuba, Miami
City Ballet, and The Joffrey
Ballet. He joined SF Ballet
in 2014.
Sofiane Sylve was born
in Nice, France. She has
danced with Dutch National
Ballet and New York City
Ballet. She joined SF Ballet
as a principal dancer and
guest of the School faculty
in 2008.
YUAN YUAN TAN
SARAH VAN PATTEN
JOSEPH WALSH
VANESSA ZAHORIAN
Yuan Yuan Tan was born in
Shanghai, and has danced
with Hamburg and Bolshoi
Ballets. She joined SF Ballet
as soloist in 1995, was
in 1997, and was appointed
Richard C. Barker Principal
Dancer in 2012.
Born in Boston, Sarah Van
Patten danced with the
Royal Danish Ballet before
joining SF Ballet as a soloist in
2002. She was promoted to
principal dancer in 2007 and
was appointed Diana Dollar
Knowles Principal Dancer
in 2013.
Born in Doylestown,
Pennsylvania, Joseph Walsh
trained at Houston Ballet II
before joining Houston Ballet
in 2007. He joined SF Ballet
promoted to principal that
same year.
Born in Allentown,
Pennsylvania, Vanessa
Zahorian trained at the
Kirov Academy. She joined
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.
Principal Character Dancers
16
RICARDO BUSTAMANTE†
VAL CANIPAROLI†
RUBÉN MARTÍN CINTAS
ANITA PACIOTTI†
Born in Medellin, Colombia
Joined in 1980
Named principal character
dancer in 2007
Born in Renton, WA
Joined in 1973
dancer in 1987
Born in Reus, Spain
Joined in 2000
dancer in 2014
Born in Oakland, CA
Joined in 1968
dancer in 1987
SFBALLET.ORG
Soloists
DANIEL DEIVISONOLIVEIRA†
SASHA DE SOLA
CARLO DI LANNO
Born in Winter Park, FL
Named apprentice in 2006
Joined in 2007
Promoted to soloist in 2012
Born in Napoli, Italy
Joined as soloist in 2014
KOTO ISHIHARA†
JAMES SOFRANKO
JENNIFER STAHL†
Born in Nagoya, Japan
Joined in 2010
Born in Marion, IN
Joined in 2000
Born in Dana Point, CA
Joined in 2006
LAUREN STRONGIN
ANTHONY VINCENT†
HANSUKE YAMAMOTO
Born in Los Gatos, CA
Joined as soloist in 2015
Born in Phoenix, AZ
Joined in 2006
Born in Chiba, Japan
Joined in 2001
Born in Rio de Janeiro, Brazil
Joined in 2005
PROGRAMS 01 & 02
17
Corps de Ballet
18
GAETANO AMICO III†
KAMRYN BALDWIN†
SEAN BENNETT†
Born in Salem, OR
Joined in 2007
Born in Honolulu, HI
Joined in 2015
Born in San Francisco, CA
Joined in 2012
SAMANTHA BRISTOW†
KRISTINE BUTLER
MAX CAUTHORN†
THAMIRES CHUVAS†
Born in Media, PA
Joined in 2015
Born in Buffalo, NY
Joined in 2015
Joined in 2014
Born in Rio de Janeiro, Brazil
Joined in 2015
DIEGO CRUZ†
ISABELLA DEVIVO†
Born in Zaragoza, Spain
Joined in 2006
Born in Great Neck, NY
Joined in 2013
JAHNA
FRANTZISKONIS
BENJAMIN
FREEMANTLE†
Born in Tucson, AZ
Joined in 2015
Born in Port Moody, BC,
Canada
Joined in 2015
SFBALLET.ORG
KIMBERLY
BRAYLOCK-OLIVIER†
Born in New York, NY
Joined in 2010
JORDAN HAMMOND†
JILLIAN HARVEY
ESTEBAN HERNANDEZ
ELLEN ROSE HUMMEL†
Born in Irvine, CA
Joined in 2012
Born in Allegheny, PA
Joined later that year
Born in Guadalajara, Mexico
Joined in 2013
Born in Greenville, SC
Joined in 2012
NORIKA MATSUYAMA†
LEE ALEX MEYER-LOREY†
STEVEN MORSE†
FRANCISCO MUNGAMBA†
Born in Chiba, Japan
Joined in 2014
Born in Zurich, Switzerland
Joined in 2004
Returned in 2013
Born in Harbor City, CA
Joined in 2009
Born in Madrid, Spain
Joined in 2011
SEAN ORZA†
LAUREN PARROTT†
ELIZABETH POWELL†
Joined in 2008
Born in Palm Harbor, FL
Joined in 2013
Born in Boston, MA
Joined in 2012
ALEXANDER
RENEFF-OLSON†
Joined in 2013
PROGRAMS 01 & 02
19
Corps de Ballet
20
AARON RENTERIA†
REBECCA RHODES†
JULIA ROWE†
EMMA RUBINOWITZ†
Born in Pasadena, CA
Joined in 2014
Born in Chicago, IL
Joined in 2009
Born in Elizabethtown, PA
Joined in 2013
Joined in 2013
SKYLA SCHRETER
GRACE SHIBLEY
HENRY SIDFORD†
MIRANDA SILVEIRA†
Born in Chappaqua, NY
Joined in 2014
Born in Portland, OR
Joined in 2013
Born in Marblehead, MA
Joined in 2012
Born in São Gonçalo, Brazil
Joined in 2014
JOHN-PAUL SIMOENS†
MYLES THATCHER†
MINGXUAN WANG†
WEI WANG†
Born in Omaha, NE
Joined in 2015
Born in Atlanta, GA
Joined in 2010
Born in Shandong, China
Joined in 2014
Born in Anshan-Liaoning, China
Joined in 2013
SFBALLET.ORG
LONNIE WEEKS
MAGGIE WEIRICH†
Born in Chicago, IL
Joined in 2010
Born in Portland, OR
Joined in 2015
AMI YUKI†
WANTING ZHAO†
Born in Saitama, Japan
Joined in 2015
Born in Anshan-Liaoning, China
Joined in 2011
THE ART OF GRILLING
MEETS THE ART OF EATING
San Mateo | San Francisco
AUTHENTIC & LOCAL
espetus.com
PROGRAMS 01 & 02
21
22
SFBALLET.ORG
01
PROGRAM
7 FOR EIGHT
Composer: Johann Sebastian Bach
Choreographer: Helgi Tomasson
Costume Design: Sandra Woodall
Lighting Design: David Finn
World Premiere: February 26, 2004
San Francisco Ballet, War Memorial Opera House;
San Francisco, California
The 2004 world premiere of 7 for Eight was
underwritten by Mr. Thomas J. Perkins and
The Edward E. Hills Fund.
MAGRITTOMANIA
Composer: Yuri Krasavin,
after Ludwig van Beethoven
Choreographer: Yuri Possokhov
Scenic and Costume Design: Thyra Hartshorn
Lighting Design: Kevin Connaughton
World Premiere: March 30, 2000
These performances of Magrittomania are made
possible by Major Sponsors Julie and Greg Flynn,
and Jennifer and Steven Walske; and Sponsors
Katherine and Gregg Crawford, Ms. Jeri Lynn Johnson,
and Dr. Jan and Mr. Jonathan Zakin.
The 2000 world premiere of Magrittomania was
underwritten in part by the Phyllis C. Wattis
New Works Fund.
PAS/PARTS
US PREMIERE; AMERICAN COMPANY PREMIERE; SF BALLET PREMIERE
Composer: Thom Willems
Choreographer: William Forsythe
Staged by: Jill Johnson and Christopher Roman
Scenic and Lighting Design: William Forsythe
Costume Design: Stephen Galloway
Technical Supervisor, Forsythe Productions:
Tanja Rühl
San Francisco Ballet in Possokhov’s Magrittomania // © Erik Tomasson
World Premiere: March 31, 1999
Paris Opera Ballet, Palais Garnier; Paris, France
North American Premiere: January 24, 2016
The North American premiere of Pas/Parts is made
possible by Major Sponsor Donald F. Houghton;
and Sponsors Jason M. Fish and Courtney Benoist,
Kathleen Grant, M.D. and Thomas Jackson, M.D., and
San Francisco Ballet Allegro Circle.
PROGRAMS 01 & 02
23
01
PROGRAM
Left: Hansuke Yamamoto in Tomasson’s
7 for Eight // © Erik Tomasson
Right: Gennadi Nedvigin and
Vanessa Zahorian in Tomasson’s
7 for Eight // © Erik Tomasson
7 FOR EIGHT
BIOGRAPHIES
PROGRAM NOTES
SANDRA WOODALL
“Bach is timeless,” says San Francisco Ballet Artistic Director
& Principal Choreographer Helgi Tomasson, referring to the
music for 7 for Eight, an elegant, black-on-black construction.
Since its 2004 premiere, 7 for Eight has been a repertory
staple, last seen in San Francisco in 2011 and in Spoleto, Italy,
in 2014.
Costume Designer
For SF Ballet, Sandra Woodall has designed scenery and
costumes for a number of works including Helgi Tomasson’s
The Fifth Season; Alexei Ratmansky’s Le Carnaval des
Animaux; and Val Caniparoli’s Lambarena. Full-length
projects include scenic and costume designs for A
Midsummer Night’s Dream for the Vienna Staatsoper and
Staatsballet, and Don Quixote for the Norwegian National
Ballet. Woodall has also worked for the Atlanta Ballet, The
Joffrey Ballet and the Scottish Ballet, among many others.
Woodall received the Isadora Duncan Award for Costume
Design in 1991, 1996, 1997, and 1999. In 1989 she received the
award for Sustained Achievement in Design.
DAVID FINN
Lighting Designer
David Finn’s career began at age 16, working for puppeteer
Burr Tillstrom and the famed Kukla, Fran and Ollie. Dance
work includes The Nutcracker and Cinderella (Birmingham),
Swan Lake (Munich), Romeo & Juliette (Paris/Milan), and
works for renowned choreographers including Paul Taylor,
Twyla Tharp, Merce Cunningham, James Kudelka, José
Limón, and Helgi Tomasson. David was resident designer for
Mikhail Baryshnikov’s White Oak Dance Project from 1993–
2000. Opera work includes projects at The Metropolitan
Opera, Santa Fe Opera, The Royal Opera, Paris Opera, La
Scala, and San Francisco Opera.
Current projects include the 2016–2017 world premiere fulllength ballet of Frankenstein for choreographer Liam Scarlett
at The Royal Ballet and SF Ballet.
24
SFBALLET.ORG
For many, including Tomasson, Johann Sebastian Bach
represents the pinnacle of baroque music; consequently,
choreographing to his music was a daunting prospect. And
George Balanchine had set the bar high in perfectly melding
dance and Bach’s music when he made Concerto Barocco
in 1941. That precedent could have intimidated Tomasson,
but instead he focused on what Balanchine once told him:
“You have to love the music — that’s half the battle.”
And Tomasson does indeed love the music for 7 for Eight,
even though “it’s so pure that it was a challenge [to work
with]; it doesn’t need anything from me,” he says. At first he
heard music that’s “very mathematical and beautiful,” he
says. “But once I got into the studio I started finding a lot
of emotion in it. You get ideas. Maybe that is a combination
of really knowing the music and having the dancers in the
studio.”
What Tomasson chose for 7 for Eight were portions of four
keyboard concertos composed between 1729 and 1741, when
“keyboard” meant the harpsichord which, until then, had not
been featured in concerto form. He substituted the more
dynamically versatile piano for the harpsichord for most of
the ballet, keeping the harpsichord for one section to “make
the connection back to the baroque. I want audiences to
hear how these concertos were played.” Acknowledging that
MAGRITTOMANIA
BIOGRAPHIES
YURI KRASAVIN
Composer
Yuri Krasavin was born in 1953 in the Ukraine.
He graduated in 1986 from the Rimsky-Korsakov
Conservatory in St Petersburg, where he studied
composition with A. Mnazakanov. SF Ballet
Choreographer in Residence Yuri Possokhov first
met Krasavin on the set of a Russian movie, for
which Krasavin composed the music and Possokhov
had an acting part. When Magrittomania was being
developed in 2000, Possokhov contacted Krasavin
who, due to a busy schedule, offered him a previously
composed film score. The music, a re-arrangement
of works by Beethoven, was reordered into eight
movements, to which Krasavin added his own
contemporary music, which includes some Jewish
folk melodies.
YURI POSSOKHOV
the piece is musically distinctive, Tomasson increased the
contrast, distinguishing it choreographically as well by making
it a male solo.
One of the dancers Tomasson worked with in creating
7 for Eight was Principal Dancer Pascal Molat. To him,
the choreography is “rounded, with volume,” he says. “It
breathes.” Given the music’s formality and precision, that’s
a quality you might not expect, but Molat says it’s there
because “Helgi uses the freedom of his dancers in a way
that makes it neoclassical. It’s always about the dancers’
interpretation, because you can make the same movement
very classic or very modern.”
In designing 7 for Eight, Costume Designer Sandra Woodall
and Lighting Designer David Finn took a similar approach,
choosing a spare but sculpted design — “a little freshness, but
also that classical look,” says Woodall. The ballet’s emotional
core led them to their black-on-black, light-and-shadow
design concept. “I think Helgi relies on a sense of the music
and what he likes about it,” Finn says. “There’s a lot about
partnership, about relationships. It’s elegant and formal, but
there’s this underlying turmoil that’s very modern.”
Program notes by Cheryl A. Ossola
7 FOR EIGHT PRODUCTION CREDITS
Music: Keyboard Concerto No. 5, BWV 1056 (2nd & 3rd movements);
Keyboard Concerto No. 4, BWV (1st & 2nd movements); Concerto for 4
Harpsichords, BWV 1065 (2nd movement) arranged for one harpsichord;
Keyboard Concerto No. 1 BWV 1052 (2nd and 1st movements). Costumes
constructed by Birgit Pfeffer, Palo Alto, California.
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 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
works for Bolshoi Ballet, Georgian National Ballet,
and The Joffrey Ballet. His most recent ballet for
SF Ballet, Swimmer, received audience and critical
acclaim when it premiered during the 2015 Repertory
Season. Swimmer will be reprised as part of the
2016 Repertory Season’s Program 5, Mar 16–22. In
July 2015, his full-length ballet A Hero of our Time,
debuted at the Bolshoi Ballet.
THYRA HARTSHORN
Scenic and Costume Designer
Thyra Hartshorn has a Master of Fine Arts degree
in production and design from the University of
California, Irvine. From 1994 to 1999, she was the
assistant stage manager at SF Ballet and returned
to design Possokhov’s Damned for the Company
in 2002. Hartshorn has also worked with American
Ballet Theatre, Lawrence Pech Dance Company, and
South Coast Repertory, among others. Hartshorn was
awarded the Bay Area Isadora Duncan Award for
Outstanding Visual Design for Magrittomania for the
2000 Repertory Season.
CONTINUED
PROGRAMS 01 & 02
25
01
PROGRAM
INSTANT
EXPERT
Who is
William
Forsythe?
MAGRITTOMANIA
BIOGRAPHIES CONTINUED
PROGRAM NOTES
KEVIN CONNAUGHTON
Magrittomania, Choreographer in Residence Yuri
Possokhov’s first commission for San Francisco Ballet, is as
imaginative and surreal as its namesake’s art, and it made
for an impressive choreographic debut. Few have entered
the realm of choreography with the imagination, wit, and
expressiveness Possokhov revealed when Magrittomania
premiered in 2000.
Lighting Designer
Kevin Connaughton served as San Francisco Ballet’s
lighting supervisor from 1998–2015. Connaughton’s
designs for SF Ballet include Vladimir Anguelov’s
Impetuous, Helgi Tomasson’s Chaconne for Piano and
Two Dancers and Bagatelles, as well as Yuri Possokhov’s
Damned. Connaughton has designed for Dance Theatre
of Harlem, Circle Repertory Theatre, Playhouse 91,
American Chamber Opera, MTV, VH-1, and The Comedy
Channel. Connaughton’s lighting design for Magrittomania
was awarded the Bay Area Isadora Duncan Award for
Outstanding Visual Design for the 2000 Repertory Season.
Connaughton’s more recent work for SF Ballet includes the
lighting design for Possokhov’s Study in Motion and Alexei
Ratmansky’s Le Carnaval des Animaux.
MAGRITTOMANIA PRODUCTION CREDITS
Music: Selections by Ludwig van Beethoven, arranged by Yuri Krasavin:
Diabelli Variations, Op. 120 (Variation No. 33); Bagatelle in A minor for Piano,
Op. 59 “Für Elise”; Piano Concerto No. 1 in C major, Op. 15 (Mvt. 3); Piano
Sonata No. 7 in D major, Op. 10/3; Piano Concerto No. 5 in E-flat major, Op.
73 “Emperor” (Mvt. 1); Symphony No. 7 in A major, Op. 92 (Mvt. 2); Symphony
No. 3 in E-flat major, Op. 55 “Eroica” (Mvt. 4); Piano Sonata No. 21 in C
major, Op. 53 “Waldstein” (Mvt. 3); Piano Sonata No. 23 in F minor, Op. 57
“Appassionata” (Mvt. 1). Yuri Krasavin: Excerpts from film scores. Costumes
constructed by Cincinnati Ballet Costume Shop, Diana Vandergriff,
Supervisor. Scenic construction and painting by San Francisco Ballet
Carpentry and Scenic Departments, at the San Francisco Opera Scenic
Studios. All photographs taken by Thyra Hartshorn, except photograph of
GUM in Moscow, Russia, taken by Damian Smith.
26
SFBALLET.ORG
Art forms other than dance often serve as inspiration for
Possokhov, whose choreographic credits extend from San
Francisco Ballet to the Bolshoi and Joffrey Ballets, Oregon
Ballet Theatre, and beyond. Those who know surrealist painter
René Magritte’s works will recognize the references the ballet
makes to specific paintings — green apples, bowler hats, doves,
lovers wearing shrouds over their heads — and those who don’t
know the artist’s work can simply enjoy the bizarre, visually
arresting world Possokhov has created. A brilliantly hued
production design sets off the fluidity and sculpting of the body
in space that Possokhov seems born to do.
Surrealism, an art movement of the 1920s and ’30s that
originated in France, frequently utilized dream imagery,
spontaneous techniques, and unconventional juxtapositions.
Belgian painter Magritte (1898–1967), according to Adrienne
Gagnon, a curatorial associate at the San Francisco Museum
of Modern Art, aimed “to expand conscious understanding
of reality by presenting utterly improbable tableaux.” Though
Possokhov presents similar improbabilities, he says the
ballet isn’t about Magritte; it expresses his feelings “about
the atmosphere in his paintings,” which are revealed through
the central male character — the only character that is real,
according to Possokhov. “When you look at a painting, you
become involved in its world,” he said in 2000. “So [the man]
becomes involved in this world, and becomes its center.”
Possokhov created the central woman’s role in Magrittomania
for Principal Dancer Yuan Yuan Tan, his frequent partner
when he was dancing. Working with Possokhov in this new
William Forsythe is one of the
most influential 20th-century ballet
choreographers due to his unique,
physics-based exploration of the body’s
movement potential. An intellectual and an
innovator, Forsythe rethought movement
in ways that forever changed the use of
line, energy, and composition in ballet.
Forsythe’s movement style is based on
counterbalance, both within an individual’s
body and in partnering. His style
expands on the classical ballet concept
of épaulement, in which a dancer’s head
and upper body move in opposition to the
rest of the body. This “twisting” creates
tension, dynamism, and beauty: think
about portraits in which the subjects look
over one shoulder — they’re more alive
and engaging than forward-facing poses
with shoulders squared. Forsythe pushes
this use of torque to an extreme, extending
the arms far behind the body and using
the hips to add rotation. In partnering, the
same principles make weight placement
and balance a shared experience
between the two dancers, and allow for
cantilevering and extreme extensions.
PAS/PARTS
BIOGRAPHIES
role — he as choreographer, she as his muse — “was the
first time I realized that he was such great artist — a partner
and also a creator,” Tan says. “When we put all the pieces
together, it blew me away. He has an amazing imagination.”
Both of Tan’s primary dances in the ballet come with
restraints: in her solo, one hand remains behind her back; in
the pas de deux she wears a shroud. (The apocryphal story
behind Magritte’s repeated use of shroud imagery is that
as a boy he saw his mother, who had committed suicide,
pulled from a river, and her dress had floated up over her
head.) Possokhov showed Magritte’s painting The Lovers
(the shrouded couple) to Tan, but he didn’t tell her what she
should think or feel, she says: “Yuri gives you the freedom
to feel it.” For Tan, the shroud means that these lovers have
“a boundary; they have worries, something between them.”
Magritte’s intent in creating the painting isn’t important; what
matters is what the dancers bring to the dance. “You use your
imagination,” she says.
These days Possokhov is known for creating choreography
that challenges his dancers, but Tan was just finding that out
during the first rehearsals for Magrittomania. The pas de
deux, she says, is “very difficult. Yuri can do it because he’s
such a wonderful partner. But it was a good time. Sometimes
we would argue, but we were allowed to have different
opinions. After all, what shows onstage is most important.”
And what shows is Possokhov’s inventiveness, which Ballet
Master Katita Waldo attributes to his willingness to take
risks. “Magrittomania is not a safe ballet, but his subsequent
ballets also haven’t been,” she says. “Yuri’s not afraid to
push beyond the expected; he’s not going to limit himself.
He wants that of his dancers too, which is wonderful — he’s
very inspiring that way.”
WILLIAM FORSYTHE
Choreographer, Scenic and Lighting Design
Raised in New York, William Forsythe danced with
The Joffrey Ballet and Stuttgart Ballet, where he was
appointed resident choreographer in 1976. Over
the next seven years, he created new works for the
Stuttgart ensemble and ballet companies in Munich,
The Hague, London, Berlin, Frankfurt, Paris, New York,
and San Francisco. In 1984, he began a 20-year tenure
as director of Frankfurt Ballet.
After the closure of Frankfurt Ballet in 2004, Forsythe
established The Forsythe Company, running the
company until 2015. Forsythe’s works from this
period were exclusively performed by the Company,
based in Dresden and Frankfurt. In 2015, the creative
directorship of The Forsythe Company was taken over
by Jacopo Godani under the new name The Dresden
Frankfurt Dance Company.
Forsythe’s earlier works are prominently featured in the
repertoire of companies around the world, including
Mariinsky Ballet, New York City Ballet, San Francisco
Ballet, National Ballet of Canada, The Royal Ballet, and
the Paris Opera Ballet.
Forsythe and his ensembles have received the New
York Dance and Performance “Bessie” Award and
London’s Laurence Olivier Award. Forsythe has been
conveyed the title of Commandeur des Arts et Lettres
(1999) by the government of France and has received
the German Distinguished Service Cross (1997) and the
Wexner Prize (2002). Forsythe is an Honorary Fellow at
the Laban Centre for Movement and Dance in London
and holds an honorary doctorate from the Juilliard
School in New York.
CONTINUED
PROGRAMS 01 & 02
27
01
PROGRAM
PAS/PARTS
William Forsythe, Maria Kochetkova, and Francisco Mungamba
rehearsing Forsythe’s Pas/Parts // © Erik Tomasson
BIOGRAPHIES CONTINUED
THOM WILLEMS
CHRISTOPHER ROMAN
Composer Thom Willems was born in 1955 in Arnhem,
the Netherlands. He studied electronic music with Jan
Boerman and Dick Raaijmakers, and composition with
Louis Andriessen from 1977 to 1982 at the Koninklijk
Conservatorium in The Hague. Since 1984, he has enjoyed
a rich partnership with choreographer William Forsythe,
creating more than 25 ballets together including LCD (1985),
New Sleep (1987), and In the Middle, Somewhat Elevated
(1987). Willems has worked with other choreographers
including Daniel Ezralow, Marcia Haydee and Kristina de
Chatel. His work is in the repertories of Frankfurt Ballet,
Paris Opera Ballet, New York City Ballet, National Ballet of
Canada, and many others.
American-born dance artist Christopher Roman began his
formal training with The School of Cleveland Ballet and
continued with The School of American Ballet in New York
City. He later danced with Pacific Northwest Ballet and was
a soloist and principal dancer with Miami City Ballet, Les
Grands Ballets Canadiens in Montreal, Frankfurt Ballet, and
The Forsythe Company.
Composer
Stager
JILL JOHNSON
Stager
Jill Johnson is currently director of dance at Harvard
University and has served on the faculties of Princeton
University, Barnard College, and The Juilliard School.
Johnson was a soloist with the National Ballet of Canada
and a principal dancer and researcher with Frankfurt Ballet,
under William Forsythe, for ten years. For the past 16 years
she has staged Forsythe’s work worldwide, including for
the Paris Opera Ballet, La Scala, American Ballet Theatre,
Batsheva Dance Company, Norwegian National Ballet,
National Ballet of Canada, and Netherlands Dance Theater.
Johnson has created several choreographic works, ten of
which for Harvard, including Degrees of Difference, Dog in a
Sweater, and dance installations RE: RE: RE:, SEESAW, and
LOOK UP.
As a ballet master, choreographic assistant, and
administrator, Roman has staged Forsythe’s work on Finnish
National Ballet, La Scala Opera Ballet, Lyon Opera Ballet,
Paris Opera Ballet, and The Juilliard School, among others.
In November 2015, he will become the artistic director and
a core dancer for DANCE ON Ensemble, a Berlin-based
company for dancers over the age of 40.
STEPHEN GALLOWAY
Costume Designer
Leaving Erie, Pennsylvania for Germany in the mid-1980s,
Galloway became principal dancer with William Forsythe’s
Frankfurt Ballet. While Galloway remained with the company
until 2004, he also collaborated as a choreographer
and performer with many other leading companies and
esteemed directors of the day including Christian Moeller,
Jan Lauwers of Needcompany, and Jan Fabre.
Galloway was appointed the Frankfurt Ballet’s head costume
designer and style coordinator in 2000. His designs have
been featured in productions by the Mariinsky Ballet,
American Ballet Theatre, Paris Opera Ballet, La Scala,
Scottish Ballet, and Finnish National Ballet. He has also
worked extensively in the world of fashion, collaborating
with Yves Saint Laurent, Versace, Issey Miyake, Calvin Klein,
and Vogue.
He was invited to act as creative consultant to Mick Jagger
in 1997, and has worked intimately with The Rolling Stones
ever since, consulting on all aspects of the band’s creativity.
28
SFBALLET.ORG
PROGRAM NOTES
For the past 15 years, Artistic Director and Principal
Choreographer Helgi Tomasson has wanted to commission
another work from William Forsythe for San Francisco Ballet.
Forsythe, who made New Sleep for the Company in 1987, was
one of the first choreographers Tomasson engaged in his
new role as artistic director. But the timing never worked out.
Forsythe had a company, Frankfurt Ballet; then another, The
Forsythe Company.
Then, in 1999, Forsythe’s Pas/Parts premiered at Paris Opera
Ballet. Tomasson wanted it. But Forsythe wanted to rework
parts of it, and he didn’t have time. Years later, no longer an
artistic director, the window was there: Forsythe could come
to San Francisco, and SF Ballet could present Pas/Parts in its
North American premiere.
As it happened, Tomasson nearly got the world premiere he’d
been lobbying for. Two stagers of Forsythe’s works, Jill Johnson
and Christopher Roman, taught most of the ballet to the dancers;
Forsythe would rework the remainder during a two-week visit.
He did that; then kept going, inspired by the dancers. By the time
he left he had rechoreographed three-quarters of the work.
For Forsythe, the wait was worth it. “I wanted to do it at San
Francisco Ballet because of this consistent musical quality I’ve
seen here for 30 years,” he says. “It’s something that Helgi
has insisted upon.” He wanted to revisit the ballet, he says,
because he thought “it should have been more classical in
some sections; it was unnecessarily modern in some respects.
It felt a little forced to me.” With the SF Ballet dancers and
their musicality, he “found new freedom in it by revisiting the
classicism,” he says.
For audiences, perhaps the most familiar aspects of Forsythe’s
works are his use of syncopation and counterpoint and the
expansive three-dimensionality of his movement, in which
épaulement (use of the head and upper body in opposition
to the rest of the body) figures large. In Pas/Parts, Forsythe
uses stylistic differences — visible in the steps, but also in the
ballet’s structure — to enhance the counterpoint. “I’m trying to
alternate between very symmetrical and perspectival classical
counterpoints and more amorphous counterpoints that flow,”
he says. It seems that creates visual rhythm, which in turn
generates tension, and curiosity on the part of the viewer.
“People are trying to predict what’s happening. If you can
satisfy that, that’s good; but you should also try to confound
people’s expectations a bit.” One way he does that is by
juxtaposing what he describes as a “very, very dispersed
counterpoint” with one that’s very static. “It will suddenly
appear somewhat historical, like you’ve jumped back 100
years. I’m making these dynamic shifts not just in the quality
of the dancing, but in the structural container that holds the
dancing. I’m trying to give it a less predictable rhythm.”
The ballet’s name suggests a series of parts, visible in the flow
of solos, duets, trios, and mercurial groupings; the entire cast
is onstage together only in the finale. “What I like,” Forsythe
says, “is that first you think it’s about a few people. Then they
diminish as others take over, and then near the end another
group takes over; people you didn’t see at the beginning.”
And not every part of the ballet “has the same structural
confinements,” he says. “Each type of structure has its own set
of rules.” For example, one pas de deux, which he describes as
baroque, is characterized by “a kind of continuous knotting,”
while another has “a much more linear, sparse kind of drawing;
not ornate at all.” Despite these stylistic differences, cohesion
comes in the form of movement motifs woven into the ballet.
Forsythe works fast, and his output is voluminous. “He can
only choreograph really quickly; his brain works that fast,” says
Principal Dancer Frances Chung. “Trying to keep up with that
for two weeks, six hours a day, was hard. I have a solo that
changed every time I worked with him on it. A lot.” She laughs,
adding that Forsythe was open to her opinions. “There was a
step I liked in version 2 out of 20, and he said, ‘Great, do it.’”
Along with keeping up with Forsythe, the dancers were asked
to radically change things they’d memorized, and to do so on
the spot. In experimenting with movement for the new finale,
Forsythe would call on a dancer to do, for example, her part in
a duet — but alone, and double time, leaving out all the repeats
and adding a cha-cha rhythm. For Soloist Jennifer Stahl, the
process was freeing. “I didn’t want to restrict myself too much
by trying to think through it,” she says. “He said he wanted a
lot of hips and twisting, wherever I could put that in. I tried to
experience the freedom of what he wanted, letting go where
your body wants to go.”
Forsythe often called on the dancers to work in this
collaborative way. “Don’t be afraid to keep offering
suggestions,” he said one day. When a section was too
slow, he turned to the dancers: “Why don’t you show me
where we can push it?” The electronic score by Forsythe’s
longtime collaborator, Thom Willems, offers no structural
guidance; it consists largely of what Forsythe describes as
ostinatos (repeated musical phrases or rhythms) “with not a
lot of information that’s defining in a structural capacity.” So
in creating a complex counterpoint, he asked the dancers to
help him build the structure. He asked them to add pauses
to a movement phrase, and try “not to stop in the most
predictable place”; also, to do the phrase backward. This
collaboration accelerated the composition process and gave
the dancers a sense of ownership. “That’s very important,”
says Forsythe. “It helps create a performing community; it’s
not just that you’ve learned the steps. These are your steps;
they were made with you, for you.”
PAS/PARTS PRODUCTION CREDITS
Music: Pas./Parts by Thom Willems, used by arrangement with
Boosey & Hawkes, Inc. publisher and copyright owner.
Costumes constructed by Christopher Read, Toronto, Canada.
PROGRAMS 01 & 02
29
30
SFBALLET.ORG
02
PROGRAM
PROGRAM SPONSOR
THE BERNARD OSHER FOUNDATION
CONTINUUM©
Composer: György Ligeti
Choreographer: Christopher Wheeldon
Lighting Design: Natasha Katz
World Premiere: April 4, 2002
These performances of Continuum©
are made possible by Lead Sponsor
Beth and Brian Grossman; Major Sponsors
Mary Jo and Dick Kovacevich, and
Mr. and Mrs. Mark Slavonia; and
Sponsor Michael and Mary Schuh.
The 2002 world premiere of Continuum©
was underwritten in part by the
Phyllis C. Wattis New Works Fund.
FEARFUL SYMMETRIES
Composer: John Adams
Choreographer: Liam Scarlett
Costume Design: Jon Morrell
Lighting Design: David Finn
WORLD PREMIERE
World Premiere: January 27, 2016
The 2016 world premiere of Fearful Symmetries
is made possible by Lead Sponsors Sonia H. Evers,
Shelby and Frederick Gans, and Alison and Michael Mauzé,
with additional support from the Osher New Work Fund
and TeRoller Fund for New Productions of the
San Francisco Ballet Endowment Foundation.
RUBIES
Composer: Igor Stravinsky
Choreographer: George Balanchine
Staged by: Elyse Borne
Costume Design: Karinska
Original “Rubies” Lighting Design:
Ronald Bates
Vanessa Zahorian and Pascal Molat in Balanchine’s Jewels // © Erik Tomasson
World Premiere (Jewels): April 13, 1967
New York City Ballet, New York State Theater;
New York, New York
These performances of “Rubies” are made possible
by Sponsor Colette V.A. Cornish, in honor of her
introduction to Balanchine ballet
San Francisco Ballet Premiere: January 30, 1987
War Memorial Opera House; San Francisco, California
PROGRAMS 01 & 02
31
02
PROGRAM
San Francisco Ballet in Wheeldon’s Continuum© // © Erik Tomasson
CONTINUUM©
BIOGRAPHIES
GYÖRGY LIGETI
NATASHA KATZ
Composer György Ligeti (1923–2006) was born in
Dicsöszentmárton, Romania. As a Jew living in Nazicontrolled Eastern Europe, he was denied university study
and instead enrolled in the Kolozsvar Conservatory in 1941.
Surviving the war, Ligeti graduated from the Budapest
Academy of Music in 1949.
Natasha Katz has worked extensively on Broadway as well as in
opera and ballet. Katz has designed for more than 40 Broadway
plays and musicals and is the winner of four Tony Awards© for
Best Lighting Design, for The Glass Menagerie (2014), Once
(2012), The Coast of Utopia (2007), and Aida (2000). Katz
also designed Cyrano de Bergerac for The Royal Opera and
the original production of The Normal Heart at the New York
Shakespeare Festival. Her film work includes Barrymore and
Mike Tyson: The Undisputed Truth. She has also lit the HBO
television specials Mambo Mouth and Side-O-Rama.
Composer
Lighting Designer
Ligeti and his wife fled their homeland during the Revolution in
1956. In 1958 Ligeti produced the influential Artikulation, one
of his first electronic works. Other important progressive works
followed, such as Apparitions (1958–1959), Atmosphères
(1961), Requiem (1963–1965), and his opera Le Grand Macabre
(1975–1977; revised 1997). Ligeti received numerous awards
and prizes, including the 1986 Grawemeyer Prize and the 1996
Music Prize of the International Music Council.
Katz designed Christopher Wheeldon’s Carnival of the Animals
for New York City Ballet, and has worked with American Ballet
Theatre, among other companies.
CHRISTOPHER WHEELDON
Choreographer
Christopher Wheeldon trained at The Royal Ballet School
and joined The Royal Ballet in 1991. In 1993, Wheeldon joined
New York City Ballet, and was promoted to soloist in 1998. He
retired from dancing in 2000 to concentrate on choreography.
He was New York City Ballet’s first artist in residence and
also resident choreographer. Wheeldon has created works
for companies around the world, including eight works
for SF Ballet. In 2006 Wheeldon formed Morphoses/The
Wheeldon Company and in 2012 he was appointed artistic
associate of The Royal Ballet. In 2014 Wheeldon directed and
choreographed the musical version of An American In Paris for
which he won a 2015 Tony Award® for Best Choreography.
32
SFBALLET.ORG
CONTINUUM© PRODUCTION CREDITS
Music: György Ligeti, works for keyboard (in order of performance): Musica
Ricercata, No. 1, Sostenuto; Etudes pour piano, Book 1, No. 2 (“Cordes a
vide”); Musica Ricercata, No. 6, Allegro molto capriccioso; Five Pieces for
Piano Four-Hands: II (Polyphonic Etude); Capriccio No. 1 (1947); Etudes
pour piano, Book 1, No. 4; “Fanfares,” “Continuum” for Harpsichord; Musica
Ricerata, No. 10, Vivace capriccioso; Musica Ricerata, No. 11, Andante
misurato e tranquillo; Etudes pour piano, Book II, No. 13; “L’escalier du
diable,” used by arrangement with European American Music Distributors
LLC, sole US and Canadian agent for Schott Musik International, Publisher
and copyright holder. Costumes constructed by Nancy Endy.
PROGRAM NOTES
Christopher Wheeldon’s Continuum© is a work of many
moods and tones — a dance visualization of music by late20th-century avant-garde composer György Ligeti. It’s also,
according to Ballet Master Anita Paciotti, who assisted the
choreographer during the ballet’s creation, “very much his
response to the four couples he worked with. It was custombuilt for them.”
Created for San Francisco Ballet in 2002 and last performed
by the Company in 2006, Continuum© is the second
of three neoclassical ballets Wheeldon set to Ligeti’s
keyboard music. The other two, Polyphonia and Morphoses,
choreographed for New York City Ballet in 2001 and 2002,
respectively, share Continuum©’s spare look and emphasis
on the couple. The rhythmically complex, often dissonant
Ligeti piano scores don’t strike the ear as inherently
danceable, but Wheeldon chose them for this triad of
dances in a deliberate move away from Romantic-era music.
“Audiences shouldn’t just be entertained,” he says. “They
should be challenged. And I believe the only way you can
push an audience is by pushing yourself.”
The ballet has lighthearted moments, particularly in two
quartets, but “there’s an oppressive quality to the piece that
I think is purposeful,” says Paciotti. When Wheeldon made
Continuum© it was not long after 9/11. Though the tragic
event wasn’t the primary influence on what Wheeldon did in
the studio, it did have an effect on him. “We all talked about
9/11; it was on everybody’s mind,” Paciotti says. “I don’t think
overall you get the idea that this is a very somber piece, but it
has serious moments and it closes on a serious moment.”
There are only two direct references to 9/11, both of them
in the central pas de deux. “When the two hands meet and
they make the world, that’s basically the two airplanes,” says
Principal Dancer Sofiane Sylve. Paciotti says the message in
those cupped hands, though Wheeldon didn’t say it explicitly,
is that the world is fragile. At one point where a red horizontal
line is on the backdrop, Sylve replicates it, sweeping her
arms along an unseen horizon. “Basically those two lines are
matching,” she says. “It’s all about the world. You’re looking
toward the future.”
Wheeldon might have been thinking about the future, but
he was also responding to the immediate world, in the form
of his eight dancers and a piano score he pronounced,
when he was a 13-year-old piano student, “the ugliest thing”
he’d ever heard. But perspectives change, and in his 30s
Wheeldon saw the music’s intricacies and surprises as worthy
of exploration. All of the music is difficult, but the final piece,
“L’escalier du diable” (“The Devil’s Staircase”), says Paciotti,
“is crazy. For the pianist too. You can’t really count it. Paciotti
says she and Wheeldon invented a formula for counting the
piece, “just to make some sense out of it. And then there
were other places where you could make no sense out of it.
It takes a long time, but when you get intuitive, experienced,
smart, musical dancers who are very in tune with one another,
it goes together very well.”
As for his dancers, Wheeldon gives them much to work
with. He makes liberal use of the floor — crawling, kneeling,
rolling — and when the dancers are on their feet they move
through intricate partnering, effervescent solos, whispers of
folk dance, elegance, athleticism, and sensuality. Wheeldon
and his lighting designer, Natasha Katz, set off the dancers
in dramatic ways, isolating them in tight pools of down light
or, when they take flight, splashing daylight across the stage.
The result is sculptural, minimalist, and evocative. “There’s
no special effects; there’s no big set,” says Sylve. Yet “there’s
another dimension created.”
PROGRAMS 01 & 02
33
02
PROGRAM
Esteban Hernandez rehearsing Scarlett’s
Fearful Symmetries // © Erik Tomasson
FEARFUL SYMMETRIES
BIOGRAPHIES
JOHN ADAMS
Composer
Composer, conductor and creative thinker John Adams was
born and raised in New England. Adams’ orchestral scores
are among the most frequently performed and influential
compositions by an American since the era of Copland and
Bernstein. Works such as Shaker Loops, Harmonielehre, Short
Ride in a Fast Machine, and his Violin Concerto are staples
of the symphonic repertoire. On the Transmigration of Souls,
commissioned by the New York Philharmonic to commemorate
the first anniversary of 9/11, was awarded the 2003 Pulitzer
Prize in Music.
JON MORRELL
His operas and oratorios including Nixon in China, The Death
of Klinghoffer, and Doctor Atomic have made a significant
impact on the course of contemporary opera and are among
the most-produced by any living composer. Adams has
received honorary doctorates from Yale, Harvard, Cambridge,
and The Juilliard School.
LIAM SCARLETT
Choreographer
Born in Ipswich, England, Liam Scarlett trained at The Royal
Ballet School. He joined The Royal Ballet in 2005, and was
promoted to first artist in 2008. As a choreographer, his first
main stage ballet, Asphodel Meadows in 2010, won Best
Classical Choreography at the Critics’ Circle National Dance
Awards in 2011. It was followed by Sweet Violets in 2012.
Scarlett was part of the creative team involved in The Royal
Ballet and The National Gallery’s Metamorphosis: Titian 2012,
in which he choreographed Diana and Actaeon, working with
Turner Prize winner Chris Ofili. He was appointed Royal Ballet
artist in residence in November 2012. Scarlett has also created
works for New York City Ballet, American Ballet Theatre,
English National Ballet, and Miami City Ballet.
Scarlett’s first work for SF Ballet, Hummingbird in 2014,
was a critical and audience success. Scarlett is currently
choreographing Frankenstein, a co-production of The Royal
Ballet and SF Ballet, which will have its Company premiere
during the 2016–2017 Season.
34
SFBALLET.ORG
Costume Designer
Jon Morrell trained at the Central School of Art and Design
in London. Designs for ballet include many collaborations
with Ashley Page at Scottish Ballet including Nightswimming
Into Day and 32 Cryptograms. For The Royal Ballet his work
includes This House Will Burn and Sawdust and Tinsel. For
San Francisco Ballet he designed Christopher Wheeldon’s
Rush© and Ashley Page’s Guide to Strange Places, and
for New York City Ballet and Houston Ballet he designed
Wheeldon’s Carnival of the Animals.
Morrell was awarded the Olivier Award for Best Costume
Design for the the musical Top Hat. Set and costume designs
for opera include Othello at the English National Opera and
Royal Swedish Opera. Morrell has also designed costumes for
San Francisco Opera, The Royal Opera, Santa Fe Opera, and
Chicago Lyric Opera.
DAVID FINN
Lighting Design
See biography, page 24
FEARFUL SYMMETRIES PRODUCTION CREDITS
Music: Fearful Symmetries by John Adams used by arrangement with
Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright
holder. Costumes constructed by Parkinson Gill, London, England.
PROGRAM NOTES
There’s an untamed intensity to Fearful Symmetries,
choreographer Liam Scarlett’s new work for San Francisco
Ballet. One reason for it is “fairies” — specifically, the fairies in A
Midsummer Night’s Dream, which Scarlett created at The Royal
New Zealand Ballet shortly before coming here to choreograph.
Fearful Symmetries is Scarlett’s second work for SF Ballet, coming
only two years after his acclaimed Hummingbird. “This is my antivenom to the fairies,” Scarlett says, laughing.
Other reasons for the ballet’s feral quality are the music, John
Adams’ Fearful Symmetries, and the poem that provided the
music’s title, William Blake’s “The Tyger”: “What immortal hand or
eye, / Could frame thy fearful symmetry?” Adams, on his website,
says the music is “an example of what I call my ‘travelling music,’
music that gives the impression of continuous movement
over a shifting landscape.” Artistic Director and Principal
Choreographer Helgi Tomasson says he’s “thrilled that we’re
using it. It’s wonderful music.” And, according to Music Director
and Principal Conductor Martin West, very difficult to play.
What Scarlett took from Blake’s poem was the idea of “a tiger
or something prowling — the music definitely has a sense of
pounce or attack,” he says. “It’s feline in that respect, the way it
has some confidence to it. The group should work together as
a pack as opposed to a group of dancers; there has to be some
synergy within them as a pack.” One way he facilitated that
mentality was by putting the women in flat shoes. “I knew the
ballet was going to be a very physical beast, and it’s sometimes
easier” to dance in flat shoes than on pointe, he says. “Also,
it provides a little bit of a challenge — there are certain things
that you can’t do on flat that you can do on pointe. For me, it’s
good.” Flat shoes for the women also help to create a ballet
that’s “gender-ambiguous,” he says. “When you do a group
piece and everyone is on the same path to begin with — there’s
no pointe shoe, no skirt — then suddenly you have a pack as
opposed to a divide.”
Returning to the Company after Hummingbird, Scarlett had
the advantage of knowing the dancers, and he wanted to do
something different with them. “On a technical level, you know
what they’re capable of. When you know them as people,
you know what makes them tick,” he says. “It’s also knowing
what their comfort zone is and pushing them outside it a little
bit.” It’s not only the dancers he pushes, though. In Scarlett’s
choreography, the phrase “everything in moderation” most
definitely does not apply; he wants to create in a way that’s
riskier, more exposed. When what he calls “an undercurrent, a
tone of simmering tension,” emerged in the ballet, he built on it,
ratcheting up the physical dynamics. “It’s tension that could be
released at any moment — that’s sometimes the more important
thing, that you build the suspense,” he says. “I want to push it as
far as I can, even if I have to rein it back [later]. There’s no point
in thinking, ‘What if we’d gotten a little bit further?’”
For Scarlett, putting himself on that choreographic edge is
as physical as it is mental. “Liam is doing every step with us,
showing us what the musicality is,” says Principal Dancer
Frances Chung. “He’s very specific, so the process is easy.”
What’s not easy, she says, laughing, “is waking up the next
morning and you can’t move, because it’s that physical. The
partnering is usually full-body encompassing; you’re using
muscles you never knew you had.”
Soloist Jennifer Stahl calls the movement “very grounded,
very athletic and physical. His musicality is phenomenal — you
can almost see the orchestra in the movement. It seems very
sensual but natural.”
Sensuality is certainly key in Fearful Symmetries, but Scarlett
plays with that definition by emphasizing the idea of imperfect
beauty as being desirable. In rehearsals he uses the example
of a classical sculpture missing an arm; though broken,
the sculpture’s lines are clear, the emotions and tensions
captured in the stone still evident. So when a dancer’s arm
gets trapped against the body in partnering or a shoulder
rises to an awkward angle, he tells the dancer to make
something of it instead of hiding or fixing it. “We’re taught a
certain aesthetic as classical-trained dancers,” Scarlett says.
“As soon as a shoulder goes up, your body goes, ‘Bad, bad,
bad, bad, bad.’ But if you realize that the rest of your body is
creating a nice curve or something, then you can take that
wrongdoing, or what you’re not necessarily used to, and
infiltrate it into the rest of the body.”
Working this way, says Principal Dancer Luke Ingham, means
“you almost have to turn your ballet brain off,” he says. “Just
because it’s not comfortable doesn’t mean it doesn’t look
the way it should.” Overall, he says, the movement is “hard,
stamina-wise, but really fun to dance.”
This pushing of classicism’s boundaries is part of Scarlett’s
visual aesthetic, but it also comes from Adams’ music. “I don’t
think the music apologizes for anything,” Scarlett says. “What
could sound like mistakes, occasionally, are intentional, and
that should follow through into choreography as well. I’ve
been telling the dancers not to apologize for anything, so that
everything is amplified and intentional. Especially with the
women, it’s like a Renaissance beauty. You look at the paintings
[from that period], and the proportions are way off. No person
would ever look like that, but there’s beauty within it.”
Scarlett returned to London last fall to begin work on the
full-length Frankenstein being co-produced by SF Ballet and
his home company, The Royal Ballet. It’s a project dear to
his heart, and he’s approaching it with the mindset he brings
to all of his work. “I’m going to do it how I would like to,” he
says. “I can create pieces that will generate good critiques; I
have done that. They are very successful, but they’re not my
favorite ones. If something like Fearful Symmetries fails, then
that’s fine — but I push myself and I enjoy the process.”
PROGRAMS 01 & 02
35
02
PROGRAM
RUBIES
BIOGRAPHIES
IGOR STRAVINSKY
KARINSKA
Igor Stravinsky (1882–1971) was a Russian, and later French
and American composer, pianist, and conductor. He is widely
acknowledged as one of the most important and influential
composers of 20th century music. Stravinsky’s compositional
career was notable for its stylistic diversity. He first achieved
international fame with three ballets commissioned by Sergei
Diaghilev and performed by Diaghilev’s Ballets Russes: The
Firebird (1910), Petrushka (1911/1947), and The Rite of Spring
(1913). The Rite of Spring transformed the way in which
subsequent composers thought about rhythmic structure, and
was largely responsible for Stravinsky’s enduring reputation as
a musical revolutionary.
Varvara Jmoudsky (1886–1983), better known as Barbara
Karinska or simply “Karinska,” was costumer of the New York
City Ballet for many years, and the first costume designer
ever to win the Capezio Dance Award. Along with Dorothy
Jeakins, she won the 1948 Academy Award® for color costume
design for Joan of Arc, and was nominated in 1952 for the
Samuel Goldwyn musical Hans Christian Andersen. She
divided her time between homes in Manhattan, Sandisfield,
Massachusetts, and Domrémy-la-Pucelle, France, the
birthplace of Joan of Arc. For the stage, she designed the
costumes for many of George Balanchine’s ballets, including
The Nutcracker and Serenade, among others.
GEORGE BALANCHINE
RONALD BATES
Composer
Costume Designer
Choreographer
Lighting Designer
Born in St. Petersburg, Russia, George Balanchine (1904–1983)
is one of ballet’s most influential and innovative contemporary
choreographers. After studying at the Imperial Ballet School,
and working as a dancer in the Mariinsky Theatre, Balanchine
became ballet master for Serge Diaghilev’s Ballets Russes
in Paris. Balanchine served as ballet master and principal
choreographer of New York City Ballet from 1948 until his
death in 1983. He created over 400 dance works, many of
which are in the repertory of SF Ballet, including Serenade
(1934), Concerto Barocco (1941), Le Palais de Cristal, later
renamed Symphony in C (1947), Agon (1957), Symphony in
Three Movements (1972), Stravinsky Violin Concerto (1972),
Ballo della Regina (1978), Jewels (1967), and many more.
Ronald Bates (1932–1986) studied scenic design at Los
Angeles City College. He worked as a stage manager while
still in college, and after two years, he moved to New York
and worked on opera productions for Lincoln Kirstein, New
York City Ballet’s co-founder. After working at the Stratford,
Connecticut, Mozart, and Shakespeare Festivals, and for the
NBC Opera Company in New York City, he joined New York
City Ballet (NYCB) and remained production stage manager
for over 20 years. Bates was resident lighting designer
for NYCB and a collaborator with George Balanchine and
Jerome Robbins.
ELYSE BORNE
Stager
Elyse Borne began her dance training in her native Los
Angeles and finished at the School of American Ballet in New
York. She performed with New York City Ballet for more than
13 years, having been promoted to soloist. She performed
numerous principal roles in ballets by Balanchine and
Robbins and shared a debut in The Nutcracker with Mikhail
Baryshnikov. She served as Ballet Mistress for Miami City
Ballet for eight years and SF Ballet for six years. Currently she
devotes herself full time to staging ballets on behalf of the
George Balanchine and Jerome Robbins Trusts, and additional
works by Hans van Manen and Helgi Tomasson.
36
SFBALLET.ORG
“RUBIES” PRODUCTION CREDITS
Music: Capriccio for Piano and Orchestra (1949 version) by Igor Stravinsky,
used by arrangement with Boosey & Hawkes, Inc., publisher and copyright
owner. Costumes constructed by Barbara Matera, Ltd., New York, New
York. Additional costumes constructed by Nancy Endy. This performance of
“Rubies,” a Balanchine Ballet©, is presented by arrangement with The George
Balanchine Trust© and has been provided in accordance with the Balanchine
Style© and Balanchine Technique© service standards established by The Trust.
Meet the Musician: David Rosenthal
Peek into the orchestra pit during a
performance and you might see San
Francisco Ballet Orchestra principal
percussionist David Rosenthal play a
snare drum, vibraphone, or xylophone — or marimba, cymbals, or tambourine.
That variety, he says, is “one of the
fun things about percussion.” In
Magrittomania, he and two other
percussionists play what amounts to a
small band: chimes, glockenspiel, wood
blocks, bongos, tom-toms, gong, and
flexatone. There’s a correlation between
the percussion in the twist-on-Beethoven
score (“the absurd part of the music, if you
will”) and the ballet’s surrealistic imagery,
Rosenthal says. “It doesn’t rain hats, and
there’s no percussion in Beethoven.”
As principal (since 1982), Rosenthal,
a graduate of California Institute of
the Arts in LA, plays the most difficult
percussion parts; he also “choreographs”
the percussionists’ movement among
instruments. He has played with
contemporary music ensembles, but his
favorite experiences are with SF Ballet
Orchestra: collaborating with composer
and fellow musician Shinji Eshima on
RAkU and Swimmer, and playing classics
like Swan Lake, where “the music fits the
action so well. That’s the miracle of ballet
and music together.”
SF BALLET
ORCHESTRA
40TH SEASON
PROGRAM NOTES
George Balanchine’s full-evening ballet Jewels has three
voices — and the middle one, “Rubies,” sings and slinks
like a jazz singer. The other two segments, “Emeralds” and
“Diamonds,” speak in formal and reserved tones, evoking
the Old World and Russian royalty. But “Rubies” is flashy and
sexy, lighting up the stage when it’s performed alone, as well
as when it’s part of a triptych.
Balanchine choreographed Jewels for New York City Ballet in
1967, turning to his longtime collaborator, Russian composer
Igor Stravinsky, for the “Rubies” score. (Stravinsky, like
Balanchine, entered the ballet world with Serge Diaghilev’s
Ballets Russes in Paris in the 1910s.) Stravinsky’s Capriccio
for Piano and Orchestra, written in 1929, adds a dissonant
edginess to Jewels’ score. “It’s an interesting title,” says Music
Director and Principal Conductor Martin West, referring to the
fact that “capriccio” derives from “capricious.” “It’s capricious
in some ways, but the second movement is more stately,
or pretending to be stately. It goes off on a whim; maybe
that’s why Stravinsky thought of it as capricious.” Typically
for Stravinsky, the piece is written for full orchestra, but he
rarely uses the orchestra all at once. Instead he features small
groups playing prominent parts, “little groups of concertante
players,” says West. “The strings especially have quite a big
feature in it, with the piano.”
Though the large-cast Jewels isn’t often seen in ballet
repertories these days, the smaller-scale “Rubies” is a popular
stand-alone piece. San Francisco Ballet first performed it in
1987, with the full-length Jewels following in 2002. “‘Rubies’
was one of my favorite ballets to dance,” says Elyse Borne,
a George Balanchine Trust stager (and former New York City
Ballet dancer) who has frequently set the work on SF Ballet.
And, she’s not alone. After she staged it in Singapore, she
says, “one of the guys wrote on Facebook that it was his
favorite. Everybody has so much fun. You get to bring your
personality to the table.”
Compared to many of Stravinsky’s works, which have
complex rhythmic structures that make learning the
choreography quite formidable, the score for “Rubies”
is easier. “You can really hear it,” Borne says. “It’s more
melodious; you can sing the counts. And the counts
aren’t quite as weird, either; there are a lot of eights and
sixes and less-scary things.” Though musically simpler,
“Rubies,” as is typical of Balanchine’s ballets, has plenty of
complex choreography and fleeting formations. Precision
is important, but problems arise if dancers get overly
conscientious about hitting their spacing marks onstage.
“Sometimes you’ve just got to go with the flow,” says Borne.
“Just dance.” She has come to understand what Balanchine
often said: “Don’t think, dear, just dance.” “He didn’t mean
not to think; he meant ‘Don’t analyze it into a hole,’ because
the dancing is so important,” Borne says. “If you’re always
looking for a mark, you can’t dance to the max. And I want
them to dance to the max.”
Like that dancer in Singapore, people worldwide claim
“Rubies” as a favorite. “I tried to count how many companies
I’ve staged it for,” says Borne. “It’s 18 or 19, and I’ve done it
multiple times at several. I’ve done it in Russia, in Asia, in
Europe all over the place, America — and you never meet
an audience who doesn’t like it. It never ages. It’s jazzy; it’s
playful. It grabs you and you get caught up in it. The people,
the dancers, the musicians — it’s everybody’s ballet.”
PROGRAMS 01 & 02
37
San Francisco Ballet Orchestra
2016 40th Anniversary Season
Martin West, Music Director & Principal Conductor
Ming Luke, Guest Conductor
VIOLIN I
VIOLA
FLUTE
SAXOPHONES
Cordula Merks
Yi Zhou
Barbara Chaffe
Dale Wolford, Soprano*
Concertmaster
Principal
Principal
Wenyi Shih**
Anna Kruger
Julie McKenzie
Acting Associate Concertmaster
Associate Principal
Beni Shinohara
Joy Fellows
Assistant Concertmaster
Assistant Principal
Heidi Wilcox
Caroline Lee
Mia Kim
Paul Ehrlich
Robin Hansen
Elizabeth Prior*
Brian Lee
Mariya Borozina
Lev Rankov*
CELLO
Eric Sung
Principal
Patricia Farrell*
PICCOLO
Julie McKenzie
OBOE
Laura Griffiths
David Henderson, Alto I*
Anothony Striplen Alto II*
Kevin Stewart Baritone*
HORN
Kevin Rivard
Principal
Keith Green
Principal
Brian McCarty
Marilyn Coyne
Associate Principal
James Moore*
William Klingelhoffer
Carla Picchi*
Jonah Kim
Associate Principal
ENGLISH HORN
TRUMPET/CORNET
VIOLIN II
Victor Fierro
Marilyn Coyne
Adam Luftman
Marianne Wagner
Assistant Principal
Principal
Principal
Thalia Moore
CLARINET
Conrad Jones**
Craig Reiss
Nora Pirquet
Natalie Parker
John Pearson*
Ruth Lane*
Andrew Sandwick
CONTRABASS
Ginger Kroft*
Steve D’Amico
BASS CLARINET
Associate Principal
Rebecca Jackson
Assistant Principal**
Patricia Van Winkle
Clifton Foster
Principal
Elbert Tsai
Shinji Eshima
Katherine Button*
Jonathan Lancelle
Julie Kim*
Scott Macomber*
TROMBONE
Jeffrey Budin
Principal
Andrew Sandwick
Hall Goff
BASSOON
BASS TROMBONE
Rufus Olivier
Scott Thornton
Principal
Principal
Associate Principal
Assistant Principal
Mark Drury
38
Principal
SFBALLET.ORG
Patrick Johnson-Whitty
music
dance
theater
Cal Performances
U N I V E R S I T Y
O F
C A L I F O R N I A ,
2015/16
S E A S O N
B E R K E L E Y
Mark Morris Dance Group
Philharmonia Baroque Orchestra and Chorale
L’Allegro, il Penseroso ed il Moderato
Music: Handel
Choreography: Mark Morris
Nicholas McGegan, conductor
TUBA
March 11–13
Peter Wahrhaftig
ZEL L ER B A C H HA L L
Principal
TIMPANI
James Gott
Principal
PERCUSSION
David Rosenthal
Principal
Todd Manley*
Trajal Harrell
The Ghost of Montpellier
Meets the Samurai
The inventive and
irreverent choreographer
Trajal Harrell explores the
human passion for art.
“Subtly brilliant”
—Village Voice
Peter Thielen*
Tyler Mack*
March 18 & 19
ZEL L ER B A C H PL AYHOUSE
HARP
Annabelle Taubl
Principal
KEYBOARDS
Natalia Feygina*
Mungunchimeg Buriad*
Brenda Vahur*
** Season substitute
* Extra player
Alvin Ailey
American Dance Theater
Robert Battle, Artistic Director
Masazumi Chaya, Associate Artistic Director
Featuring world premieres
recently seen in NYC,
plus returning favorites
including Revelations
March 29–April 3
ZEL L ER B A C H HA L L
Corporate Sponsor: Mechanics Bank
Tracy Davis
Orchestra Personnel Manager
& Music Administrator
calperformances.org
510.642.9988
Season
Sponsor:
Matthew Naughtin
Music Librarian
PROGRAMS 01 & 02
39
San Francisco Ballet Staff
Helgi Tomasson, Artistic Director & Principal Choreographer
Glenn McCoy, Executive Director
ARTISTIC
MUSIC
Ricardo Bustamante
Ballet Master & Assistant to the Artistic Director
Martin West
Music Director & Principal Conductor
Felipe Diaz, Betsy Erickson,
Anita Paciotti, Katita Waldo
Ballet Masters
Mungunchimeg Buriad, Natal’ya Feygina, Nina
Pinzarrone
Company Pianists
Yuri Possokhov
Choreographer in Residence
Tracy Davis
Orchestra Personnel Manager & Music Administrator
Caroline Giese
Artistic Administrator
Matthew Naughtin
Music Librarian
Alan Takata-Villareal
Logistics Manager
MARKETING &
COMMUNICATIONS
Mary Beth Smith
Director of Marketing & Communications
Massimo Chisessi
Associate Director, Marketing
Kyra Jablonsky
Associate Director, Communications
Valerie Megas
Senior Manager, Retail Operations
ADMINISTRATION
Mary Goto
Senior Manager, Marketing and Sales
Cecelia Beam
Human Resources Manager
Thomas Weitz
Senior Manager, Digital Marketing
OPERATIONS
Laura Simpson
Board Relations Manager
April Johnston
Marketing and Promotions Manager
Debra Bernard
General Manager
Maja Valusek
Human Resources Generalist
Nicholas Ashby
Web and Digital Platforms Manager
Abby Masters
Assistant to the Artistic Staff
Lauren Chadwick
Company Manager
DEVELOPMENT
Juliette LeBlanc
Production Analyst
Thomas W. Flynn
Director of Development
PRODUCTION
Jennifer Mewha
Associate Director of Development
Christopher Dennis
Production Director
Fermin Nasol
Senior Manager, Capital and Principal Gifts
Chad Owens
Technical Coordinator
Elizabeth Lani
Planned Giving Manager
Kate Share
Manager of Wardrobe, Wig, Make-Up,
and Costume Construction
Jim Sohm
Research Manager
Jim French
Lighting Supervisor
Jane Green
Stage Manager
Jessica Barker
Assistant Stage Manager
Nixon Bracisco
Master Carpenter
Kelly Corter Kelly
Master Electrician
Kenneth M. Ryan
Master of Properties
Kevin Kirby
Audio Engineer
John O’Donnell
Flyman
Patti Fitzpatrick
Interim Head of Women’s Wardrobe
Richard Battle
Make-Up and Wig Supervisor
Melanie Birch
Assistant Make-Up and Wig Supervisor
Sherri LeBlanc
Company Shoe Administrator
Nannette Mickle
Group Sales Representative
Rena Nishijima
Communications Associate
James Hosking
Video Producer/Editor
Erik Almlie
Media Asset Administrator
Olivia Ramsay
Social Media Producer
Pamela Sullivan
Major Gifts Officer
TICKET SERVICES
Emily Markoe
Membership Manager
Betsy Lindsey
Associate Director, Ticket and Patron Services
Ingrid Roman
Special Events Manager
Jennifer Peterian
Box Office Manager/Treasurer
Amy Drew
Corporate Giving Officer
Mark Holleman
Sales and Service Supervisor
Elisabeth Morgan
Institutional Giving Officer
Elena Ratto
Patron Services Specialist
Ari Lipsky
Christensen Society Officer
Jole Mendoza
Ticketing Database Specialist
Jonathan Levin
Development Database Coordinator
David Clark
Box Office Supervisor
Nicole Lugtu
Major Gifts Associate
Michelle Hughes, Jericho Lindsey, Jason Narin,
Nick Valasco, Patricia Pearson
Ticket Services Associates
Sarah Horowitz
Individual Gifts Associate
George Elvin
Wardrobe Manager
Carol Garnett
Interim Graphic Designer
Lynn Noonan
Principal Gifts Consultant
FINANCE
Kim Ondreck Carim
Chief Financial Officer
Natalie Quan
Controller
Valerie Ruban
Accounting Supervisor
Nicole Markovich
Senior Accountant
Carla Eckles
Payroll Manager
40
SFBALLET.ORG
Stephanie Golden
Staff Accountant
Eva Spillane
Staff Accountant
Jennifer Kovacevich
Lean Ops Project Manager
Hannah Simmonds
Temporary Staff Accountant
FACILITIES
Nathan Brito
Facilities Manager
John Velasquez
Facilities Supervisor
Adrian Rodriguez
Facilities Coordinator
Todd Martin, Stanley Wong
Facilities Assistants
Katharine Chambers, Nicole Drysdale,
Tamara de la Cruz
Receptionists
Corean Todd
Weekend Facilities Assistant
INFORMATION
TECHNOLOGY
Murray Bognovitz
Director of Information Technology
Karen Irvin
Application Administrator & Help Desk Coordinator
Ilona McHugh
Dance in Schools and Communities
Teaching Artists
Pollyana Ribeiro
Cher Anabo
Wendy Van Dyck
Trainee Program Assistant
Cynthia Pepper
Parrish Maynard
Dana Genshaft
Contemporary Dance
Henry Berg
Conditioning
Jamie Narushchen, Daniel Sullivan
Music
David Frazier
Sofiane Sylve
Principal Guest Faculty
SAN FRANCISCO BALLET SCHOOL
Helgi Tomasson
Director
Patrick Armand
Associate Director
School Faculty
Patrick Armand
Wade Peterson
Bongo Sidibe
Jacqueline Barrett, Monique Loudieres,
Yannick Boquin
2015–2016 Visiting Guest Instructors
COMPANY PHYSICIANS
Cynthia Harvey, Larisa Lezhnina
2016 Summer Session Visiting Guest Instructors
School Pianists
Jamie Narushchen
School Pianist Supervisor
Lee R. Crews Endowed Pianist
Ella Belilovskaya, Ritsuko Micky Kubo,
Daniel Sullivan, Galina Umanskaya, Billy Wolfe
School Pianists
Andrea Yannone
Director of Education and Training
EDUCATION
AND TRAINING
Zeke Nealy
Joanna Berman, Pascal Molat
Guest Faculty
Jiapeng Jiang
IT Specialist
Laurent Dela Cruz, Martin Dias, Starsky Dias,
Marialice Dockus, 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
Maura Whelehan
Dance in Schools and Communities
Accompanists
Josh Marshall
Web Administrator
Jamye Divila
House Manager
Joti Singh
Leonid Shagalov
Character Dance
EDUCATION AND TRAINING
ADMINISTRATION
FRONT OF HOUSE
Phoenicia Pettyjohn
Christina Gray Rutter
Assistant Administrative Director
Jasmine Yep Huynh
Manager of Youth Programs and Teacher Support
Katelyn Harris
Operations Manager
Richard Gibbs, M.D.
Supervising Physician
Rowan Paul, M.D.
Primary Care Sports Medicine
Kristin Wingfield, M.D.
Primary Care Sports Medicine
Frederic Bost, M.D.
On-site Orthopedist
Peter Callander, M.D., Keith Donatto, M.D.,
Jon Dickinson, M.D.
Orthopedic Advisors to the Company
Michael Leslie
Company Physical Therapist
Karl Schmetz
Consulting Physical Therapist
Active Care, Lisa Giannoni, Director
Off-site Physical Therapy & Conditioning Classes
Leonard Stein, D.C.
Chiropractic Care
Henry Berg
Rehabilitation Class Instructor
Celina Mercer
Wellness Program Manager
Elizabeth Roddy
School Programs Coordinator
Jennifer Bakane
School Registrar and Summer Session Coordinator
Cecelia Beam
Adult Education Seminar Coordinator
Tai Vogel
Administrative Associate, Education & Training
Nicole Sikora
Education Assistant
Charlie Schnitzer
School Assistant
Rob Chaitin
Residence Manager
Emily Higginbotham
Resident Assistant
Leslie Donohue, Chris Fitzsimons
School Physical Therapists
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 the San Francisco Ballet School. Special
thanks to Dr. James G. Garrick, Dr. Susan Lewis,
Dr. Jane Denton, Dr. Selina Shah, Dr. Rémy Aridizzone,
Chris Corpus, Joseph Levinson, and the Physical Therapy
Department for generously providing their services.
Damara Bennett
Kristi DeCaminada
Yuko Katsumi
Tina LeBlanc
Jeffrey Lyons
Rubén Martín Cintas
Lee R. Crews Endowed Faculty Member
PROGRAMS 01 & 02
41
Calendar of 2016 Repertory Season Donor Events
JANUARY
Listed at right are the 2016
Repertory Season events
through March for members
of the Artistic Director’s
Council (ADC), Chairman’s
Council (CHM), Christensen
Society (CS), Legacy Circle
(TLC), and Friends of San
Francisco Ballet. For April
and May events, please visit
our website at sfballet.org/
donate/donor_events. For
more information, please
contact Christensen Society
Officer Ari Lipsky at
[email protected] or
415.865.6635.
SUN
MON
TUE
WED
THU
FRI
SAT
10
11
12
13
14
15
16
21
22
23
29
30
5:30pm
CS and TLC
Season Preview
17
18
20
5pm
Opening Night
Gala Dinner
24
25
26
4pm
CHM Cast Party
27
28
5pm
CS Dinner
12:30pm
CS Tea
9:30pm
CHM Cast Party
2pm: 01
7:30pm: 01
7:30pm: 02
7:30pm: 01
8pm: 02
2pm/8pm: 01
MON
TUE
WED
THU
FRI
SAT
1
2
3
4
5
6
7:30pm: 02
7:30pm: 01
7:30pm: 02
8pm: 01
2pm/8pm: 02
9
10
11
12
13
31
2pm: 02
FEBRUARY
SUN
PROGRAM 01
7 for Eight
19
7
8
5:30pm
TLC Studio
Rehearsal
Magrittomania
Pas/Parts
14
15
16
17
18
5pm
CS Worklight
Rehearsal
PROGRAM 02
Continuum©
“Rubies”
22
2pm: 03
PROGRAM 03
28
Swan Lake
2pm: 03
PROGRAM 04
MARCH
Coppélia
SUN
20
5:30pm
CS Dinner
10:30pm
CHM Cast Party
Fearful Symmetries
World Premiere
21
19
8pm: 03
2pm/8pm: 03
26
27
23
24
25
7:30pm: 03
7:30pm: 03
7:30pm: 03
TUE
WED
THU
FRI
SAT
1
2
3
4
5
12
2pm/8pm: 03
29
MON
5:30pm
CS Studio
Rehearsal
PROGRAM 05
6
Swimmer
7
8
9
10
11
7:30pm: 04
7:30pm: 04
7:30pm: 04
8pm: 04
2pm/8pm: 04
15
16
17
18
19
1pm
Open Dress
Rehearsal,
Coppélia
PROGRAM 06
5pm
CS Dinner
Prism
Seven Sonatas
13
Rush©
14
5pm
Pointes of View
Reception
PROGRAM 07
Drink to Me Only With Thine Eyes
2pm/7pm: 04
In the Countenance of Kings
20
21
7:30pm: 05
7:30pm: 05
8pm: 05
2pm/8pm: 05
22
23
24
25
26
7:30pm: 05
8:30pm
Sensorium
Performance
29
30
Theme and Variations
2pm: 05
27
PROGRAM 08
5:30pm
TLC Studio
Rehearsal
31
3pm TLC and
CS Orchestra
Rehearsal
Onegin
42
28
5:30pm
CS Dinner
SFBALLET.ORG
Sponsor and Donor News
SF Ballet School Students // © Erik Tomasson
PROGRAM TWO SPONSOR: THE
BERNARD OSHER FOUNDATION
The Bernard Osher Foundation has been generously
supporting San Francisco Ballet for more than three decades,
helping us commission exciting new works and bring those
works to audiences around the globe. We are grateful for The
Bernard Osher Foundation’s continued support this season as
lead sponsor of Program 2, which features the world premiere
of Liam Scarlett’s new ballet Fearful Symmetries, Christopher
Wheeldon’s Continuum©, and “Rubies,” the second act of
Jewels by George Balanchine.
“We are delighted to support San Francisco Ballet and the
creativity and beauty that it contributes to the people of
Northern California and beyond.” said Mary G. F. Bitterman,
President of the Foundation.
and has helped transform the Bay Area’s museums, dance
companies, opera companies, theater companies, and
orchestras, into some of the most highly regarded in the world.
San Francisco Ballet is fortunate to call The Bernard Osher
Foundation, as well as Bernard and Barbro Osher, steadfast
supporters and dedicated friends.
The Bernard Osher Foundation, headquartered in San
Francisco, seeks to improve quality of life through support for
higher education and the arts. The Foundation is governed by
a nine-member Board of Directors which is chaired by Barbro
Osher, Honorary Consul General of Sweden in California. In
2005, the Foundation was honored as a Great Benefactor of
San Francisco Ballet in recognition of its longstanding support
of the Ballet’s artistic programs. Bernard and Barbro Osher
were the Honorary Chairs of SF Ballet’s 2016 Opening Night
Gala in January.
The Foundation’s longstanding investment in SF Ballet is
further demonstrated by its two endowment funds: the Osher
New Work Fund and the Osher Touring Fund, established
in 2015 and 2006, respectively. This lasting generosity will
enable future generations to create and perform new ballets
that perpetuate the art form and keep classical dance vibrant.
It will also ensure the Ballet continues to send our dancers on
national and international tours that bring the joy of dance to
thousands of people around the globe, continually reinforcing
SF Ballet’s reputation as one of the best ballet companies in
the world.
SF BALLET SCHOOL
SUMMER SESSION AUDITIONS,
SPONSORED BY FREED OF LONDON
The Foundation’s dedication to the arts begins with Bernard
and Barbro Osher, who believe that arts and culture are
integral to the community and provide happiness and beauty
to everyone’s life. Since its founding in 1977, the Foundation
has been investing in every corner of our Bay Area community,
Each summer young students from around the world enjoy
beautiful, cosmopolitan San Francisco while studying at the
San Francisco Ballet School. The Summer Session offers two
unique programs for intermediate students and advanced/
pre-professional students. The aspiring dancers will learn from
During January 2016, more than 1,500 young ballet students
will audition for the opportunity to spend this coming summer
training at the prestigious San Francisco Ballet School. The
School’s National Audition Tour, generously sponsored by
Freed of London, spans the breadth of the United States — from Boston to Seattle, and Chicago to Los Angeles.
PROGRAMS 01 & 02
43
Sponsor and Donor News
a world renowned faculty led by School Associate Director
Patrick Armand with guest faculty including Larisa Lezhnina
and Cynthia Harvey.
SF Ballet School students who are currently enrolled in
Levels 4 through 8 are invited to enroll for the Summer
Session without auditioning. For students who live more
than 250 miles from an audition site, video auditions will be
accepted until February 12, 2016. Please visit school.sfballet.
org for complete information on the Summer Session and
how to audition.
THE HELLMAN FAMILY SUPPORTS
FRANKENSTEIN
The longstanding support of the Hellman Family has been
integral in helping San Francisco Ballet become one of the
most highly regarded ballet companies in the world. We are
honored that the Hellman Family has chosen to continue this
tradition of exceptional generosity with their lead sponsorship
of Frankenstein, a new co-production with The Royal Ballet
in London.
Chris Hellman’s dedicated support and service to SF Ballet,
along with her late husband Warren’s, began in 1983 when she
joined SF Ballet’s Board of Trustees. In addition to her current
position as Chair Emeritus, she served as Board Chair from
1991–99. She is also a Director Emeritus of the San Francisco
Ballet Endowment Foundation. In 1999, she received the
Association’s highest honor, the Lew Christensen Medal, and in
2010 San Francisco Ballet named the ballet building the
Chris Hellman Center for Dance in her honor. The Hellman
Family and The Hellman Foundation were made Great
Benefactors of SF Ballet in 2005 and 2014, respectively.
Frankenstein will be a new full-length story ballet based on
Mary Shelley’s novel. The ballet will be choreographed by The
Royal Ballet’s Artist in Residence Liam Scarlett, and will feature
a new score by American composer Lowell Liebermann and
designs by Scottish artist John Macfarlane. Scarlett’s
Frankenstein will be a thought-provoking exploration of the
human condition. The subjects covered by the ballet will
include the intersection of science and art and how we define
humanity, themes that resonate in our high-tech world where
the role and impact of technology on society and the
emergence of artificial intelligence are increasingly relevant.
We are excited to present this ambitious new production
and are grateful for the generosity of the Hellman Family,
as well as SF Ballet Trustees Stephanie and James Marver,
which will enable us to bring Frankenstein to the War
Memorial Opera House stage. Frankenstein will premiere at
The Royal Ballet on May 4, 2016, and at SF Ballet during the
2017 Repertory Season.
44
SFBALLET.ORG
Artistic Director & Principal Choreographer Helgi Tomasson,
Trustee and Immediate Past Chair Richard Barker, and
Chair of the Board John Osterweis // © Nikki Ritcher Photography
CHRISTENSEN SOCIETY HONOREE:
RICHARD C. BARKER
At this year’s Chairman’s Council Dinner, San Francisco Ballet
was pleased to recognize Richard C. Barker, who has served
tirelessly on both the San Francisco Ballet Association Board
and the San Francisco Ballet Endowment Foundation Board for
over ten years. The Christensen Society Honoree is awarded
annually to individuals for their commitment and service to San
Francisco Ballet.
Mr. Barker first got involved with SF Ballet through his
friendship with then SF Ballet Board Chair James H. Herbert,
II. Since joining the Board of Trustees, SF Ballet has become
his great passion, and he continues to be a very active
volunteer. He has held many significant positions in the Board
leadership, including those of Board Chairman and Treasurer.
He has served on the Executive Committee, the Nominating
Committee, the Finance Committee, and the Development
Committee. His latest role is on the Capital Campaign
Committee. Mr. Barker also continues to serve as a Director of
the San Francisco Ballet Endowment Foundation.
Beyond his sage advice and valuable time, Mr. Barker is a
major contributor to SF Ballet. In 2009 he was named a Great
Benefactor, a donor whose cumulative gifts equal $1 million
or more. He was a founding member of the Artistic Director’s
Council and has joined the Legacy Circle by including San
Francisco Ballet in his estate plans. His generous support of
SF Ballet has helped to bring new works to the Company and
provide important touring support. He also established the
first endowed dancer position in the Company.
A scholarship in the San Francisco Ballet School was named
in his honor in 2012, as a way to recognize his extraordinary
patronage and leadership. We feel incredibly fortunate to have
Mr. Barker as a member of the SF Ballet Family.
SAN FRANCISCO BALLET’S
FALL TOUR TO CHINA
Last October San Francisco Ballet toured to China to present
six performances in Beijing and Shanghai. The tour marked
the second visit by SF Ballet to the People’s Republic of
China and was well received by the Chinese audiences.
Programming included Artistic Director and Principal
Choreographer Helgi Tomasson’s Giselle and two mixed
repertory programs including special Gala performances in
both cities in honor of Shanghai native Principal Dancer
Yuan Yuan Tan’s 20th Anniversary with the Company.
San Francisco Ballet extends a heartfelt thank you to the
many sponsors that made the tour to China possible: Lead
Sponsors GSR Capital and IDG Capital Partners; Major
Sponsors Richard C. Barker, and Fang and Gary Bridge;
and Sponsors Dr. Nancy Chang, China Guangfa Bank,
Olivia Hsu Decker, FICO China, Elizabeth Pang Fullerton,
Soul Htite, Keywise Capital, St. Regis Beijing,
Mr. and Mrs. James N. Sullivan, and Miles Archer Woodlief.
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
Top to bottom:
Ellen Rose Hummel in Beijing
Joseph Walsh and Lauren Strongin at the Great Wall
WanTing Zhao at the Temple of Heaven, Beijing
PROGRAMS 01 & 02
45
Great Benefactors
Since its founding in 1933,
San Francisco Ballet has
grown into one of the world’s
leading ballet companies and
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 the Ballet is
$1 million or more.
American Airlines
Maurice Kanbar
Estate of Helen Anderton
Dr. and Mrs. Jerome Ormond Kirschbaum
AT&T
Diana Dollar Knowles
Bank of America Foundation
Estate of Diana Dollar Knowles
Richard C. Barker
Koret Foundation
Bingham McCutchen LLP
Mary Jo and Dick Kovacevich
Jennifer Caldwell and John H. N. Fisher
California Arts Council
The Charles Henry Leach, II Foundation
Jennifer Jordan McCall, Foundation Trustee
The State of California
Catherine Lego
Estate of Lewis and Emily Callaghan
Paul Lego
Mrs. Daniel H. Case III
Marie and Barry Lipman
Chevron Corporation
Mrs. Jeannik Méquet Littlefield
Deloitte
The Marver Family
Suzy Kellems Dominik
Alison and Michael Mauzé
Rudolph W. Driscoll
Andrew W. Mellon Foundation
Sonia H. Evers
Nicola Miner and Robert Mailer Anderson
First Republic Bank
National Endowment for the Arts
Ford Foundation
The Bernard Osher Foundation
Diana Stark and J. Stuart Francis
John Osterweis and Barbara Ravizza
Estate of Georg L. Frierson
Pacific Gas and Electric Company
Gaia Fund
Yurie and Carl Pascarella
Stephen and Margaret Gill Family Foundation
The Thomas J. and Gerd Perkins Foundation
Richard and Rhoda Goldman Fund
Pillsbury Winthrop Shaw Pittman LLP
Grants for the Arts
Kenneth Rainin
Estate of Richard B. Gump
Mr. George R. Roberts
Evelyn & Walter Haas, Jr. Fund
Arthur and Toni Rembe Rock
Mimi Haas
Bob Ross
Colleen and Robert D. Haas
Gordon Russell
Walter & Elise Haas Fund
San Francisco Ballet Auxiliary
Estate of Katharine Hanrahan
The San Francisco Foundation
Dr. and Mrs. Jeffrey P. Hays
William Randolph Hearst Foundation
BRAVO
The Hellman Foundation
The Shubert Foundation, Inc.
The Hellman Family
The Smelick Family
The Herbert Family
Estate of Natalie H. Stotz
William and Flora Hewlett Foundation
The Swanson Foundation
The Edward E. Hills Fund
Donald F. Houghton
Ms. Susan A. Van Wagner
Estate of Dora Donner Ide
Visa Inc.
The James Irvine Foundation
Wallis Foundation
The William G. Irwin Charity Foundation
Phyllis C. Wattis
G. William Jewell
Wells Fargo
George F. Jewett Foundation
The E. L. Wiegand Foundation
George F. Jewett, Jr. 1965 Trust
Diane B. Wilsey
Lucy and Fritz Jewett
Akiko Yamazaki and Jerry Yang
Estate of Mildred Johnson
The Zellerbach Family
JPMorgan Chase & Co.
46
SFBALLET.ORG
Artistic Director’s Council
gratefully acknowledges
the members of the Artistic
Director’s Council. Their
generous annual support
of $100,000 or more has
been instrumental to the
success of SF Ballet, the
SF Ballet School, and SF
Ballet’s Education Programs.
Council members receive
customized benefits
including special access
to performances, exclusive
events, and rehearsals. For
more information, please
contact Senior Manager,
Capital and Principal
Gifts Fermin Nasol at
415.865.6622 or
[email protected].
GRAND BENEFACTORS
GIFTS OF $250,000 AND ABOVE
Richard C. Barker
Gaia Fund
Grants for the Arts
GSR Capital
IDG Capital Partners
Lucy Jewett
Mr. and Mrs. James D. Marver
Mr. and Mrs. John S. Osterweis
ARTISTIC DIRECTOR’S COUNCIL
GIFTS OF $100,000–$249,999
Fang and Gary Bridge
Chaomei Chen and Yu Wu
David and Vicki Cox
Sue and John Diekman
Sonia H. Evers
First Republic Bank
Shelby and Frederick Gans
Drs. Richard D. and Patricia Gibbs
Beth and Brian Grossman
The William and Flora Hewlett Foundation
Koret Foundation
David and Kelsey Lamond
Christa and Mark Lopez
Mr. and Mrs. Kurt C. Mobley
Osterweis Capital Management
Arthur and Toni Rembe Rock
The Seiger Family Foundation
Ms. Denise Littlefield Sobel
David H. Spencer
Judy C. Swanson
Diane B. Wilsey
VISIT THE SHOP
AT SF BALLET!
You’ll find a spectacular assortment
of SF Ballet-branded merchandise,
beautiful jewelry, and wonderful gifts.
The Shop is open one hour before
curtain time, during Intermission,
and for thirty minutes following the
performance. Always online at
sfballet.org/shop.
PROGRAMS 01 & 02
47
2015–2016 Season Sponsors
2015 Nutcracker
Lead Sponsors
The Herbert Family
PROGRAM 3
Program Sponsor
PROGRAM 7
Program Sponsors
Stephanie and James Marver
Mr. Richard C. Barker
Gaia Fund
Swan Lake
Lead Sponsors
Sponsors
The Smelick Family
Official Airline of Nutcracker
United
2016 Repertory Season
Mark and Christa Lopez
Denise Littlefield Sobel
San Francisco Ballet Auxiliary
Sponsors
Richard and Elizabeth Fullerton Family Foundation
Cecilia and Jim Herbert
Richard Thalheimer Family
In the Countenance of Kings
Lead Sponsors
Ms. Laura Clifford
Ms. Laura McCabe-Edgar
Mr. Richard C. Barker
Gaia Fund
David and Kelsey Lamond
PROGRAM 4
Theme and Variations
Major Sponsor
Sponsors
Diane B. Wilsey
Katherine and Gregg Crawford
Ms. Jeri Lynn Johnson
Dr. Jan and Mr. Jonathan Zakin
Sponsors
H. B. and Lucille Horn Foundation
Kacie and Michael Renc
Coppélia
Lead Sponsor
Julie and Greg Flynn
Jennifer and Steven Walske
Mrs. Suzy Kellems Dominik
Major Sponsors
PROGRAM 1
Magrittomania
Major Sponsors
Drink to Me Only With Thine Eyes
Major Sponsor
Nancy A. Kukacka
Sponsor
BRAVO
Sponsors
Joseph and Marianne Geagea
Mr. and Ms. Steve Vermut
Pas/Parts
Major Sponsor
PROGRAM 5
Donald F. Houghton
PROGRAM 8
Onegin
Lead Sponsor
Sponsors
Jason M. Fish and Courtney Benoist
Kathleen Grant, M.D. and Thomas Jackson, M.D.
San Francisco Ballet Allegro Circle
Sponsor
ENCORE!
Swimmer
Major Sponsors
PROGRAM 2
Program Sponsor
Athena and Timothy Blackburn
Grady and Amy Burnett
Sponsors
Continuum©
Lead Sponsor
Mr. and Mrs. Alexander Leff
Larissa Roesch and Jason Crethar
Mr. and Mrs. Alan Tai
Beth and Brian Grossman
SATURDAY NIGHT SUBSCRIPTION SERIES
Lucy and Fritz Jewett Saturday Night Series
2016 Opening Night Gala
Presenting Sponsor
Major Sponsors
Benefactor Dinner Sponsor
Mr. and Mrs. Mark Slavonia
KPMG
Sponsor
Michael and Mary Schuh
Fearful Symmetries
Lead Sponsors
PROGRAM 6
Patron Dinner Sponsor
Prism
Lead Sponsor
After Party Sponsor
David and Vicki Cox
Sonia H. Evers
Major Sponsor
Sponsors
Seven Sonatas
Major Sponsors
Mrs. Henry I. Prien
Osher New Work Fund*
TeRoller Fund for New Productions*
*Endowed Fund of the San Francisco Ballet
Endowment Foundation
Rubies
Sponsor
Rush©
Lead Sponsor
Sue and John Diekman
Colette V.A. Cornish, in honor of her introduction to
Balanchine ballet
48
Teri and Andy Goodman
David A. Kaplan and Glenn A. Ostergaard
SFBALLET.ORG
La Perla
Grand Benefactor Reception Sponsor
BVLGARI
Cocktail Reception Sponsor
Gibson, Dunn & Crutcher LLP
Performance Sponsor
Style Me New LLC
Invitation Sponsor
Pacific Union – Christie’s International Real Estate
Touring
Beijing and Shanghai, China — October 2015
Lead Sponsors
GSR Capital
Major Sponsors
Richard C. Barker
Sponsors
Dr. Nancy Chang
China Guangfa Bank
Olivia Hsu Decker
FICO China
Elizabeth Pang Fullerton
Soul Htite
Keywise Capital
St. Regis Beijing
Mr. 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
General
San Francisco Ballet’s performances are made possible in part by grants from Grants for the Arts,
The William and Flora Hewlett Foundation, the Koret Foundation, and the National Endowment for the Arts.
La Marca Prosecco® is the featured 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.
Media
Nutcracker Media Sponsors
Repertory Season Media Sponsors
Education
Co-Lead Sponsors of San Francisco Ballet’s Education Programs
Additional support is provided by Major Sponsor Wells Fargo Foundation and Sponsors Gap Foundation and the Zellerbach Family Foundation.
The Dance in Schools and Communities program is supported by Major Sponsor The Charles Henry Leach, II Fund, an advised fund of the Silicon Valley Community Foundation.
The Student Matinee Series is supported by the Gaia Fund of the San Francisco Ballet Endowment Foundation.
PROGRAMS 01 & 02
49
The Chairman’s Council
the generous support of
Chairman’s Council members,
who contributed gifts of
$15,000 or more to the
annual fund as of December
28, 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 Major Gifts Officer
Pamela Sullivan at
[email protected]
or 415.865.6634.
We are pleased to give
special recognition to donors
who have been honored
as ten-year members of
the Chairman’s Council or
Christensen Society. Their
names appear in italics in
this section. Former SF Ballet
Trustees and Associate
Trustees are noted with an
asterisk (*).
50
SFBALLET.ORG
PRESENTER’S COUNCIL
GIFTS OF $50,000-$99,999
CHAIRMAN’S COUNCIL
GIFTS OF $15,000-$24,999
Rosemary B. Baker
Karen S. Bergman
Athena and Timothy Blackburn
Grady and Amy Burnett
Mrs. Suzy Kellems Dominik
Kate and Bill Duhamel
Mr. and Mrs. Greg Flynn
Margaret and Stephen Gill
Donald F. Houghton
Mr. Hiro Iwanaga
Mr. and Mrs. James C. Katzman
Nancy A. Kukacka
Reiko and Yasunobu Kyogoku
Irv H. Lichtenwald and Stephen R. Ripple
Ms. Karla Martin*
Mr. James E. Milligan*
Mrs. Henry I. Prien
O.J.* and Gary Shansby
Mr. and Mrs. Mark Slavonia
Joyce L. Stupski
Mr. and Mrs. James N. Sullivan
Mr. Richard J. Thalheimer
Jennifer and Steven Walske
Judy and David Anderson
Brenton and Lysbeth Warren Anderson
Eleonore Aslanian
Kristen A. Avansino
Dr. Margaret Bates and Scott Johnson
Rachel Brass and Richard Foster
Ron and Susan Briggs
Mr. John G. Capo
J. and J. Chang
Robert and Laura Cory
Dr. and Mrs. Jordan Deschamps-Braly
Paula M. Elmore*
Chandler and Oliver Evans
Lynn Feintech and Tony Bernhardt
Randi and Bob Fisher
Mrs. Mortimer Fleishhacker
Tim and Amanda Garry
Nicholas and Mary Graves
James C. Gries
Brian and Elizaveta Gustafson
Mr. Isaac Hall
Brian and Rene Hollins
James C. Hormel and Michael P. Nguyen
John G. Kerns*
William and Gretchen Kimball Fund
Susan B. Levine and James W. Lauer
Patrice and Walther Lovato
Ms. Susan Marsch
Timothy Marten, M.D.
Mr. Gregg Mattner
Justin T. McBaine
Jane and Roger McCarthy
Stewart McDowell Brady and Philip Brady
Mary Mewha
Mrs. Stuart G. Moldaw
Mr. David Oldroyd and Mr. Ronnie Genotti
Roland G. Ortgies and Carmela C. Anderson-Ortgies
Mr. Kevin Osinski and Mr. Marc Sinykin
Beth Price
Leslie and Nick Podell
Alex & Maria Raitz
Dave and Judy Redo
Glenn H. Reid and Frank S. Lanier
Mr. and Mrs. Edward Roach
Christine Sherry and Lawson Fisher
The Honorable and Mrs. George P. Shultz
Mr. and Mrs. Robert M. Smelick
Michael and Susanna Steinberg
Mr. and Mrs. William R. Timken
Mr. and Mrs. Thomas Tuttle
Mr. Aaron T. Wheeler
The Whitman Family Foundation
S.B. Hadley Wilson
Ms. Patricia Wyrod
Diane and Howard Zack
SPONSOR’S COUNCIL
GIFTS OF $25,000-$49,999
Anonymous
John and Gioia Arrillaga
Courtney Benoist and Jason M. Fish
Ms. Eliza M. Brown
The Dan and Stacey* Case Family Foundation
Dr. Nancy Chang
Ms. Laura Clifford
Colette V.A. Cornish
Katherine and Gregg Crawford
Dana and Robert Emery
Carol Emory and The Wingate Foundation
Jacqueline* and Christian P. Erdman
Mr. Robert S. Fisher*
Diana Stark and J. Stuart Francis
Joseph and Marianne Geagea
Kathleen Grant, M.D. and Thomas Jackson, M.D.
Thomas E. Horn
Ms. Soul Htite
Ms. Jeri Lynn Johnson
Christine and Pierre Lamond
Mr. and Mrs. Alexander Leff
John Little and Heather Stallings Little
Peter and Melanie Maier
Ms. Laura McCabe-Edgar
Alexander R. Mehran*
Kacie and Michael Renc
Mr. George R. Roberts
Joan E. Roebuck
Larissa Roesch and Jason Crethar
Mr. Gordon Russell and Dr. Bettina McAdoo
Michael and Mary Schuh
Mr. and Mrs. Randall N. Spratt
Tom Steyer and Kat Taylor
Mr. and Mrs. William Truscott
Mr. and Ms. Steve Vermut
Mr. and Mrs. David Viniar
Dr. Jan and Mr. Jonathan Zakin
Kenneth and Anna Zankel, The Grove
The Christensen Society
the generous support
of Christensen Society
members, who contributed
gifts of $2,500 to $14,999
to the annual fund as of
December 28, 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 Christensen
Society Officer Ari Lipsky
at [email protected] or
415.865.6635.
We are pleased to give
special recognition to donors
who have been honored as
ten-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
DANCER’S COUNCIL
GIFTS OF $5,000 - $7,499
Anonymous (7)
Ms. Susan Anderson-Norby
Chris and Janet Bajorek
Mr. Christopher Bently
Ms. Martha E. Blackwell
Ms. Susan Blake
Claire and Jared Bobrow
Bruce Braden
Kelly and Samuel* Bronfman II
Mrs. Barbara Byrne
Jon B. Chaney
Antoinette Chatton
Ms. Carolyn M. Clements
Jack and Gloria Clumeck
Mr. and Mrs. Sol Coffino
Michele Beigel Corash and Laurence Corash
Jill Daly
Mr. Thomas L. Davis and Mrs. Marden N. Plant
Juanita and Manuel Del Arroz
Mr. and Mrs. Kevan Del Grande
Earl Diskin
Mr. and Mrs. David Dossetter
Ms. Paulette Doudell
Robert and Judith Duffy
Douglas and Barbara* Engmann
Mr. Frank J. Espina and Mrs. Andrea Valo-Espina
Tawna and John Farmer
Mr. and Mrs. John L. Field
Doris Fisher
Phyllis K. Friedman
Ms. Sally Garbarino
John and Marcia Goldman
James K. and Helen L. Goodwine
Ann M. Griffiths
Mr. George F. Gund
Mr. and Mrs. David M. Haskin
Robert G. Hulteng
Guyton Jinkerson
Ms. Lisa A. Keith
Ms. Micki Klearman
Mr. and Mrs. Robert J. Klett
Arlene and Steve Krieger
Maja Kristin
Captain Witold Klimenko and Dr. Darlene Lanka-Klimenko
Mark and Debra Leslie
Mark S. Litwin and Lorraine Lusted
Carol and Hal Louchheim
Sean Madnani
Lori and David F. Marquardt
Dr. Jack McElroy and Dr. Mary Ann Skidmore
Nion T. McEvoy
Marta L. Morando
Michael Moritz and Harriet Heyman
Manfred K. Mundelius
Miriam Sedman and Ralph Nyffenegger
Mr. Richard Oppenheimer
Mr. and Mrs. Michael O’Sullivan
Mr. James Parsons and Ms. Andrea Hong
Melanie and Rob Pedrick
Mr. and Mrs. Neal I. Powers
Mr. Fritz Quattlebaum
Delanie and Peter Read
Julian Robertson
Kamran and Helena Shamsavari
Mr. and Mrs. Roderick W. Shepard
Dr. and Mrs. Stephen Sherwin
Anne and Michelle Shonk
Ms. Cherida Collins Smith
Roselyne C. Swig*
Ms. Trecia Knapp and Mr. Bruno Tapolsky
Helgi and Marlene Tomasson
Mr. and Mrs. Edward Tortorici
Drs. Oldrich and Silva Vasicek
Mr. and Mrs. Alan Vidinsky
The Watkins Family
Cynthia and Edgar Whipple
Travis and Jim Wright
Mr. Tim C. Wu and Mr. Eric Murphy
Anonymous (2)
Mr. and Mrs. Greer Arthur
Marie-José and Kent Baum
Mr. and Mrs. Joachim Bechtle*
Miss Carol Benz
Lydia and Steven Bergman
Davidson Bidwell-Waite and Edwin A. Waite
Mrs. Jan Birenbaum
Mr. Charles Alden Black, Jr. and Mr. C. Grisham, Jr.
Dr. Thomas and Janice Boyce
Mr. and Mrs.* William S. Brandenburg
Dr. Odelia Braun
Cynthia and Fred Brinkmann
Ms. Barbara Brown
James R. and Melinda M. Brown
Peggy and Donald Burns
Dr. Paula Campbell
Paula and Bandel Carano
Mrs. Malkah Carothers
Mr. and Mrs. Donald Chaiken
Ms. Carolyn Chandler
Ms. Karen K. Christensen
Ms. Diana Chulick
Robert Clegg*
Dr. Charles Connor
Ms. Phyllis Cook
Ms. Phoebe Cowles
Mary B. Cranston*
Ms. Nancy Curtiss
Mr. and Mrs. James A. Davidson
Mr. Don W. DeFranco
Marvin Dennis
Samantha DuVall and Darren Bechtel
Mrs. Delia F. Ehrlich
Buck Farmer and Leida Schoggen
Brent and Sandra Fery
Ms. Katherine M. Fines and Mr. Henry Heines
Mr. and Mrs. David Fleishhacker
Mr. Dennis N. Fluet
Camille and Sean Flynn
Mr. Jean Louis Forcina
Marilyn & Robert Funari Family Foundation
Ms. Jane Gazzola
Sally L. Glaser and David Bower
Nonie H. Greene and Todd Werby
Mr. William J. Gregory
Mr. and Mrs. John and Lucie Hall
Ms. Claudia Hardin
Clarence W. Harrison
Dr. Birt Harvey
Mr. and Mrs. A. Grant Heidrich III
Mary Lou Ambinder Heine
Mr. and Mrs. John S. Hoch
Mr. and Mrs. Terry Houlihan
Ms. Kimberly M. Hughes
Mr. Basheer Janjua
Mr. and Mrs. Richard Jasen
Mr. and Mrs. Jim Kautz
Ms. Daru H. Kawalkowski
Kevin King and Meridee Moore
Ms. Dana Klamecki
Ms. Linda Kurtz
Mr. and Mrs. Jude Laspa
Mr. David Laudon and Mr. Randall Laroche
Mrs. Mona Lessing-Harroch
Ms. Betsy A. Linder
Dr. and Mrs. Herschel Loomis, Jr.
Mr. and Mrs. Allen Luniewski
Mr. and Mrs. Laurence R. Lyons
Mr. Michael Manning
Mr. and Mrs. L.W. Thomas May
Jennifer J. McCall
Joan and Robert McGrath
Mr. and Mrs. John A. McQuown
Mr. Wallace Mersereau
Byron R. Meyer*
Fred and Carole Middleton
Mrs. Toni R. Miller
Mr. and Mrs. Robert L. Newman
Ms. Carla Oakley
PROGRAMS 01 & 02
51
The Christensen Society
Mrs. Alexandra Ottesen
Ms. Mindy Owen
Patricia Sanderson Port
Mr. Gordon L. Radley
Ursula Ralph
Barbara Rambo* and Thomas A. Goossens
Drs. Garry and Kathy Rayant
Reach-A-Star Foundation
Mr. and Mrs. Todd G. Regenold
Dr. and Mrs. Robert E. Richardson
Rigg Family
Mr. and Mrs. Sanford R. Robertson
Ms. Marianne B. Robison
Mr. N. D’Arcy Roche
Mr. and Mrs. David E. Rosenkrantz
Ms. Susan Rosin and Mr. Brian Bock
Mr. and Mrs. Mark J. Ryan
Dorothy Saxe
Mr. Michael Scagliotti and Mrs. Miya R. Peard
Peter and Linda Schwarz
Dr. David Tai-Man Shen and Ms Elaine Shen
Mrs. Linda Snyder
Mr. and Mrs. George H. Sollman
The Spero Family
Mr. and Mrs. Mathew Spolin
Susanne Stevens
Ms. Fran A. Streets
The Streets Family
Mrs. Dwight V. Strong
Mr. and Mrs. Jim Swartz
Mrs. Bente Tellefsen
Mr. and Mrs. Charles V. Thornton
Mr. and Mrs. William L. Thornton
Mr. Harry Tierney
Janet Sassoon-Upton and John R. Upton, Jr.
Ms. Susan A. Van Wagner
Dr. Conrad Vial
Paul A. Violich
Ms. Susan Warble
Emily and Bob Warden
Daniel and Marie Welch
Mr. and Mrs. Wallace Wertsch
Benjamin and Mary Ann Whitten
Karen and Stephen Wiel
Marilyn Wolper
Mr. and Mrs. Michael Woodall
Mr. and Mrs. Ronald C. Wornick
Dr. Keith R. Yamamoto
Sharon and Robert Yoerg
Dr. and Mrs. Burton A. Zabin
ASSOCIATE’S COUNCIL
GIFTS OF $2,500-$4,999
Anonymous (7)
Ms. Diane K. Aaron
James Abrams and Thomas Chiang
Michael C. Abramson
Norman Abramson and David Beery
Mr. Amir Adibi
Molly and Stewart Agras
Ms. Kirsti Aho and Mr. Dale Underwood
Mr. Bruce Albert and Dr. Chady F. Wonson
Mr. Joseph W. Alegre
Jola and John M. Anderson
Dr. and Mrs. Joseph S. Andresen
Ms. Gigi Anthony
Mr. Scott Anthony and Ms. Christine DeSanze
Mr. Hiroki Asai
Asmus Family
Ms. Corine Assouline
Mr. and Mrs. Bartley B. Baer
Dr. Thomas and Julie Ballard
Mr. Stephen A. Bansak III
Mr. Stephen J. Barber
Mr. Charles Barrett
Mr. Michael Barrientos
Karen Bartholomew
Mr. and Mrs. Kevin W. Bartlett
Jeanne and William Barulich
Ms. Joan B. Bayston
52
SFBALLET.ORG
Mr. and Mrs. David W. Beach
Mr. and Mrs. Gene Becker
Dr. George Becker
Ms. Lydia Beebe
Ms. Desa C. Belyea
Ms. Helen Berggruen
Ms. Catherine Bergstrom
Mr. Phil Bettens
RADM and Mrs. John W. Bitoff
Amos and Carla Blackmon
Ms. Phyllis Blair
Mr. Noel T. Blos
Candis A. Bourdet
Ms. Carolyn J. and Mr. David W. Brady
Mr. Robert Brandt
Germaine Brennan Foundation
Mr. and Mrs. Marvin Brenner
Catherine Brown and Gerald Gwathney
Edward and Carole Brown
Mrs. Wynne Brown and Miss Parker Brown
Josephine Brownback
Mr. Peyton Bryars
Katie Budge
Betty C. Bullock and Robert Murray
Mr. and Mrs. Thomas H. Burkhart
Julie and David Burns
Mrs. John Callander
Libi Cape
Ms. Marion Carr
Nina Carroll
Ms. Linda Carson
Dr. Heidi H. Cary
Dr. and Mrs. George Cassady
Dr. and Mrs. David Joseph Martin
Charles R. Castellano and Deryl Castellano
Drs. Valerie and Devron Char
Mr. and Mrs. Allen Chozen
Mr. Paul Clifford
Douglas Clough and Erin Uesugi
Ms. Annelle Clute
Susan and Mitchell Cohen
Ms. Claudia Coleman
Ms. Robin Collins
Hannah and Kevin Comolli
Richard and Sylvia Condon
Jane A. Cook
Alice M. Corning
Joan and Victor Corsiglia
Ms. Sandi Covell
Ron and Shahla Cowan
Ms. Nora C. Cregan
Ms. Lilly Creighton
Mrs. Mary A. Culp
Mr. Stephen Danko
Ms. Susan J. Davenport
Dr. and Mrs. R.L. Davis
Ms. Bonnie De Clark
Ms. Carleen Hawn DeLay
Dr. Richard M. Delfs
Ms. Carole A. Demsky
Julie Desloge and George A. Newhall
Ms. Julie D. Dickson
Ms. Patricia Dobashi
Mr. and Mrs. Theodore S. Dobos
Mr. and Mrs. William H. Draper III
Michael E. Dreyer and Harry B. Ugol
Mr. Garrettson Dulin, Jr.
Anita C. Eblë
Michelle and Zane Edwards
Diane and Joseph Ehrman III
Ms. Lorre Erlick
Evans Fund
Rev. Richard Fabian
Mr. and Mrs. Irwin Federman
Mr. William E. Fisher
Ms. Linda Jo Fitz
Mr. Thomas W. Flynn
Ms. Mayhill Fowler
Mr. David B. Franklin
Mr. Douglas Frantz
Dr. and Mrs. A. W. Fricke
Mr. Ian Friedland
Mrs. Mary Ann Fullilove
Penny and Gregory Gallo
Ms. Joy Gim
Sandra and Yuen Gin
Nora Goldschlager
Drs. Meryl Gordon and Robert Schermer
Ms. Shelley Gordon
Mr. James Gosling
Mr. Reeve Gould
Richard L. Grant and James L. Miller
Donald W. and Patricia L. Green
Ms. Joan Green
Judy and Josh Green
Mrs. Robert M. Greenhood
Ms. Doris Grimley
Claude and Nina Gruen
Mark Grundman & Elaine Deane
Dr. Jerome Guillen
Duncan and Jeanie Gurley
Mrs. Sharon S. Gustafson
Mimi Haas
Stephen Halprin
Mr. and Mrs. Robert C. Hamer III
Alexander and Catherine Hargrave
Sara and Catherine Harkins
Dr. Elizabeth A Harrison
Mr. Christoph Hartmann
Michael and Julie Hawkins
Mr. and Mrs.* Kenneth Hecht
John F. Heil
Troy and Alysia Helming
Helts Foundation
Dr. and Mrs. I. C. Henderson
Robert Lee Henderson
Joan and Alan Henricks
Ms. Mary Herman
Ms. Kristine T. Hernandez and Mr. Michael R. Glaser
Ms. Laura Miller and Mr. Matthew Herold
Mr. and Mrs. John S. Herr, Jr.
Mrs. Cynthia Hersey
Mrs. Virginia Hodgson
Mr. Michael Hoffman
Sunny Holland and Alan Pryor
Mr. Ralph D. Holt
Ms. Kathryn Huber
Ms. Marie Louise Hurabiell
Ms. Margaret Hutchins
Mr. and Mrs. Ronald W. Hutton
Ms. Meghan Imrie
Ms. Karen J. Irvin
Mr. and Mrs. Frederick Isaac
Ms. Giovanna Jackson*
Jackson Family
Ms. Andrea Jacoby
Mrs. Barbara Johnson
Mr. Todd Jolly and Ms. Judith Murio
Ms. Toni K. Jones
Debra and Blake Jorgensen
Mr. Campbell C. Judge and Ms. Kim Ellis
Ms. Roberta Kameda
Bruce and Dasa Katz, Katz Family Foundation
Mr. Kris Kazaks
Mr. Thomas Kearney
Kristen Kelly
Rev. Keenan C. Kelsey
Drs. Douglas and Carol Kerr
Ms. Kathryn Kersey
Ms. Jennifer H. Kilpatrick
Mrs. Amanda H. Kirkwood
Mrs. Jerome Ormond Kirschbaum
Ms. Beverly P. Kivel
Mr. and Mrs. Alan F. Klein
Ms. Patricia D. Knight
Ms. Suzanne Knott and Mr. Tom Rose
Mr. and Mrs. Mark S. Koenig
Hal and Iris Korol
Mr. and Mrs. Mark Kostic
Ms. Angella Kriens
Mrs. Carla L. Labat
Mrs. Anne M. Lairmore
Sharon Lambert and Charles Cohen
Ms. Patricia Lamond
Laube Family Foundation
Patricia W. Leicher
Patricia Lekas and John Wentz
Mr. and Mrs. Christopher E. Lenzo
Mr. and Mrs. Edward M. Leonard
Mr. and Mrs. Mark R. Lepper
Mr. Robert Levenson
Mr. Roy Levin
Rhoda Levinthal
Pam G. Lewis
Claire and Herbert Lindenberger
Ms. Sandra S. Lloyd
Dr. Mary Jane W. Loda
Carol and Bill Lokke
John and Kate Lord
Mr. and Mrs. Steve Love
Mr. and Mrs. Lawrence Ludgus
Dr. and Mrs. G. Karl Ludwig, Jr.
Mr. Petros Maniatis
Ms. Joan Mann
Ms. Virginia Martin
Ms. Anita Martinez
Ms. Connie V. Martinez
Ms. Mary E. Massee
Holly and Stephen Massey
Mr. and Mrs. Joseph Maurer
Mr. Patrick McCabe
Dr. and Mrs. W. D. McCallum
Mr. Glenn McCoy
Ms. Kathleen McEligot
Ms. Janice McIntosh
Lisa and Jason McPhate
Mr. David E. Meders
Mr. Martin Melia
Dr. Beryl Mell
Mr. Steve Merlo
Mr. and Mrs. James J. Messemer
Mr. and Mrs. Lou Meylan
Hank and Bonnie Miller
Richard Miller and John Vinton
Mr. Ted E. Mitchell
Susan and Jack Molinari
Mr. and Mrs. Ken Moonie
Gary and Eileen Morgenthaler
Diane L. Morris
Mrs. Janet Morris
Ms. Alexandra Moses
Mr. Milton J. Mosk and Mr. Thomas Foutch
Kathleen Much and Stanley Peters
Peter Johnson Musto
Mr. Andrew Myrick
Mrs. Shirley Negrin
Drs. Andrew and Lynn Newman
Peggy and Willis Newton
Diana Nichols
Ms. Allison Nielsen
Patricia and Hayes Noel
Mr. Paul Nordine
Mr. Hiromichi Nozaki
Mr. and Mrs. Philip Ouyang
Drs. Lester and Anne Packer
Ms. Ann Paras
Mr. William D. Parent
Mrs. Lori Perica
The Phillips Family
Ms. Hilary Pierce
Edward and Linda Plant
Melissa and Ritchie Post
Dale and Danielle Power
Ms. Sandra Price
Mr. John Pringle
Louis Ptacek and Ying-Hui Fu
Ms. Ruth Quigley
Ms. Nancy Quintrell
Jennifer Rainin
Ms. Teresa Remillard
Jon Q. and Ann S. Reynolds
Mrs. Lisa A. Rhodes
Thomas C. Rindfleisch and A. Carlisle Scott
Ms. Kathryn Roberts
L.L. Roberts and A.R. Wilbanks
Ms. Patricia Rock and Mr. John Fetzer
Ms. Rosemary Rodd
Major and Mrs. Charles Roell
Ms. Patricia Rosenberg
Mr. and Mrs. Herbert Rosenthal
Ms. Karen Roth
Mr. Paul L. Rowe and Mr. Michael Sereno
Paul Sack and Shirley Davis
Dr. Ellen Salwen
Louise Adler Sampson
Ms. Letitia Sanders
Ms. Ellen Sandler
Donald and Terry Sarver
Gwendy and Anthony Scampavia
Kathleen Schiebold
Mr. and Mrs. Andrew Schwab
Mrs. S. D. Schwabacher
Mr. and Mrs. James D. Seltsam, Jr.
Mr. and Mrs. Gary J. Shapiro
Ms. Diane Sheardown
Mrs. Harriet J. Simpson
Marietta and Earl Singer
Dr. Dale Skeen
Karen L. Skidmore
Ms. H. Marcia Smolens
Ms. Eileen Soden
Mr. James Sokol
Mr. Scott C. Sollers
Mary Ann Somerville
Rosemary G. Southwood
Ms. Ellice Sperber and Ms. Emma Elizalde
Ruth and Alan Stein
Mr. Matthew Stepka
Lisa J. Stern-Hazlewood
Mr. Ray S. Stewart and Ms. Norma Pappas
Shelby T. Strudwick
Joseph J. Sturkey
Maureen and Craig Sullivan
Darian and Rick Swig
Ms. Lita Swiryn
Mr. and Mrs. Joseph Tan
Ms. Nadine Tang
Mr. James Teter
Judy and Harold Ticktin
Mr. Dana Tom
Lowell Tong and Alasdair Neale
Ms. Christine Z. Tooby
Ms. Amanda Topper
Patricia Unterman and Tim Savinar
Ms. Rhonda Vitanye
Mr. and Mrs. Gregg von Thaden
Mr. Richard A. Votava
Ms. Adrian Walker
Rosalie V. Weaver
Eitan Fenson and Barbara Weinstein
Mr. and Mrs. Otto Weiss
Daphne and Stuart Wells
Mr. and Mrs. Steve West
Melanie and Ronald Wilensky
David and Karima Wilner
Mr. and Mrs. Terry Winograd
Ms. Muriel Wolverton
Ms. Glenda Wong
Celeste and Darryl Woo
Laureen Woodruff
Mrs. Richard E. Zimmerman
PROGRAMS 01 & 02
53
Corporate and Foundation Support
Institutional 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 Corporate
Giving Officer Amy Drew 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
Institutional Giving Officer
Elisabeth Morgan at
[email protected] or
415.865.6626.
CORPORATE COUNCIL
GRAND BENEFACTOR’S COUNCIL
GIFTS OF $15,000–$24,999
GSR Capital
Abbot Downing
BVLGARI
Pacific Union — Christie’s International Real Estate
GIFTS OF $100,000–$249,999
First Republic Bank
GIFTS OF $50,000–$99,999
Chevron
KPMG
SPONSOR’S COUNCIL
GIFTS OF $25,000–$49,999
Bank of America
FICO China
Freed of London
Gibson, Dunn & Crutcher LLP
Keywise Capital
La Perla
Wells Fargo Foundation
BlackRock
Delta Dental of California
Denning and Company
Heart of Neiman Marcus Foundation
St. John
GIFTS OF $2,500–$4,999
GIFTS OF $15,000–$24,999
ABC7 KGO-TV
Bay Area Rapid Transit
KCBS Radio
KPIX
KQED TV
Method
Neiman Marcus Union Square
Pillsbury Winthrop Shaw Pittman LLP
San Francisco Chronicle
San Francisco magazine
San Francisco Media Company
The Fairmont San Francisco
Miette
Nob Hill Gazette
Piedmont Piano Company
SPONSOR’S COUNCIL
GIFTS OF $25,000–$49,999
Bay Area Reporter
St. Regis Beijing
United
SFBALLET.ORG
DANCER’S COUNCIL
GIFTS OF $5,000–$9,999
IN-KIND DONORS
J Riccardo Benavides
La Marca Prosecco®
McCalls Catering & Events
Bingham, Osborn & Scarborough, LLC
China Guangfa Bank
Dodge & Cox
Gap Foundation
Integnology
Mechanics Bank Wealth Management
Wells Fargo
Willis
Schiff Hardin LLP
GIFTS OF $50,000–$99,999
54
GIFTS OF $10,000–$14,999
GIFTS OF $10,000–$14,999
Coomi
Patina Catering
Sutter Securities Incorporated
GIFTS OF $2,500–$4,999
Crystal Geyser
Epi Center MedSpa
FOUNDATION AND GOVERNMENT SUPPORT
GRAND BENEFACTOR
GIFTS OF $15,000–$24,999
Gaia Fund
Grants for the Arts
Crescent Porter Hale Foundation
John Brockway Huntington Foundation
Roberts Foundation
K.A. Zankel Foundation
GIFTS OF $100,000–$249,999
Shelby and Frederick Gans Foundation
The William and Flora Hewlett Foundation
Koret Foundation
GIFTS OF $50,000–$99,999
Edward Baker Foundation
Cox Family Foundation
Flora Family Foundation
Grossman Family Foundation
The Diana Dollar Knowles Foundation
National Endowment for the Arts
The Shubert Foundation, Inc.
Wallis Foundation
SPONSOR’S COUNCIL
GIFTS OF $25,000–$49,999
Arrillaga Foundation
Dan and Stacey Case Family Foundation
The Cockayne Fund Inc.
H. B. and Lucille Horn Foundation
The William G. Irwin Charity Foundation
Lamond Family Foundation
The Charles Henry Leach, II Fund
Masud and Alex Mehran Foundation
Tang Family Foundation
The Walske Charitable Foundation
GIFTS OF $10,000–$14,999
Ryna and Melvin Cohen Family Foundation
Crankstart Foundation
G. Fredrick Charitable Foundation
John and Marcia Goldman Foundation
Guzik Foundation
Mimi and Peter Haas Fund
Heising-Simons Foundation
Sunlight Giving Foundation
The E. L. Wiegand Foundation, Reno, Nevada
The Wingate Foundation
Zellerbach Family Foundation
DANCER’S COUNCIL
GIFTS OF $5,000–$9,999
Nancy & Joachim Bechtle Foundation
Mervyn L. Brenner Foundation, Inc.
Clumeck Foundation
Fleishhacker Foundation
Marilyn & Robert Funari Family Foundation
Lisa and Douglas Goldman Fund
Walter S. Johnson Foundation
Jeanne and Sanford Robertson Fund
The Laney Thornton Foundation
The Vasicek Foundation
GIFTS OF $2,500–$4,999
Caritas Charitable Foundation
The Donald and Carole Chaiken Foundation
Dorrance Family Foundation
Lakeside Foundation
Laube Family Foundation
Post Family Foundation
Springcreek Foundation
PROGRAMS 01 & 02
55
San Francisco Ballet Endowment Foundation
Income from the assets of the
San Francisco Ballet Endowment
Foundation is an important revenue
source for SF Ballet. In fiscal year
2016, it will provide funding for
approximately 9% 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 SF Ballet’s education
programs. For more information on
endowed funds or the San Francisco
Ballet Endowment Foundation, please
contact Senior Manager, Capital
and Principal Gifts Fermin Nasol at
SF Ballet is honored to list the
following named funds that contribute
to general support. Those highlighted
with an asterisk (*) were fully or
primarily funded through bequests
and other planned gifts.
56
SFBALLET.ORG
Anonymous (8)
Michael C. Abramson Fund
Lois and David Anderson Fund
Mr. and Mrs. Walter M. Baird Fund*
Rosemary and Edward D. Baker III Foundation Fund
Richard C. Barker Fund
William Bason Fund*
Nancy and Joachim Bechtle Fund
Wendy and W. Richard Bingham Fund
Deborah and Richard A. Bocci Fund
Ron and Susan Briggs Fund
Eva Benson Buck Charitable Trusts Fund
Edith Bundy Fund*
Peter Byram Fund*
Jennifer Caldwell and John H. N. Fisher Fund
Lewis and Emily Callaghan Fund*
Christina E. Carroll Fund
Margaret Carver Fund
Dan and Stacey Case Fund
Angelina and Christopher Cohan Fund
David and Vicki Cox Fund
Timothy Dattels and Kristine Johnson Fund
Sue and John Diekman Fund
Phyllis and Bill Draper Fund
Rudolph W. Driscoll Fund
Kate and Bill Duhamel Fund
Joseph B. Durra Fund
Jacqueline and Christian P. Erdman Fund
Sonia H. Evers Fund
Concepción S. and Irwin Federman Fund
Mr. and Mrs. Elliott Felson Fund
Jason M. Fish and Courtney Benoist Fund
Ann and Robert Fisher Fund
Doris and Donald Fisher Fund
Elizabeth and Robert Fisher Fund
Kirby Ward Fitzpatrick Fund*
Diana Stark and J. Stuart Francis Fund
Frances and Theodore Geballe Fund
Margaret Stuart Graupner Fund*
Eugene H. and Stephanie Gray Fund*
James Gries Fund
Richard B. Gump Fund*
Evelyn & Walter Haas, Jr. Fund
Mimi Haas Fund
Mimi & Peter Haas Fund
Kathryn A. Hall and Thomas C. Knutsen Fund
Sally and William Hambrecht Fund
Edith Hammerslough Fund*
Katharine Hanrahan Fund*
The Lloyd Harper Patron Fund
Dr. and Mrs. Jeffrey P. Hays Fund
The Hellman Family Fund
Rosalie G. Hellman Fund
Cecilia and James Herbert Fund
Richard S. Hirsch Fund*
Hank J. Holland Fund
Brian and Rene Hollins Fund
Mr. James C. Hormel and Mr. Michael P. Nguyen Fund
Thomas E. Horn Fund
Dr. Samuel C. Hughes Fund*
Dora Donner Ide Fund*
Joan J. Jacobs Fund*
G. William Jewell Fund*
Lucy and Fritz Jewett Fund
Chris and Cheryl Johns Fund
Grace Eleanor Johnson Fund*
Mildred Maureen Johnson Fund*
Ruby Rae Pinochi-Johnson Fund*
Katzman Family Fund
Heinrich J. Killian Fund*
The Diana Dollar Knowles Fund*
Mr. and Mrs. Gorham B. Knowles Fund*
Mary Jo and Dick Kovacevich Family Foundation Fund
KPMG Fund
Richard LeBlond Fund*
Susan B. Levine and James W. Lauer Fund
The Debra Leylegian Adagio Fund
George W. Lord Fund*
Carol Lovell Fund, in memory of Kenneth Hynes*
Daniel E. Malkin Fund*
The Marver Family Fund
Alison and Michael Mauzé Fund
Russell J. Mays Fund*
Alexander Mehran Fund
Julia O. Merriman Fund*
James E. Milligan Fund
Tamra and Kurt Mobley Fund
C. Kenneth and Maureen M. More Fund*
Milton J. Mosk and Thomas Foutch Fund
Elizabeth H. and Bradford G. Murphey Fund*
Phyllis W. Nelson Fund
Melvin Novikoff Trust Fund*
John Osterweis and Barbara Ravizza Fund
John Osterweis Fund
Yurie and Carl Pascarella Fund
Greta R. Pofcher Fund
Marie-Louise and David L. Pratt Fund
Melinda and Paul Pressler Fund
Virginia and Walter Price Fund
Janet L. Pynch Fund*
Kenneth Rainin Fund
George R. Roberts Fund
Mr. and Mrs. Claude N. Rosenberg, Jr. Fund
Kate and George W. Rowe Fund
W. David Rozkuszka Fund*
Leontine Sassell Fund*
Marjorie K. Sawyer Fund*
Franca Schilt Fund*
Kathleen Scutchfield Fund
The Seiger Family Foundation Fund
O.J. and J. Gary Shansby Fund
Dr. Lawrence Loy Shrader and Hisako B. Shrader Fund*
The Honorable and Mrs. George P. Shultz Fund
Martinez / Sloan Family Fund
Gail and Robert M. Smelick Fund
Cherida Collins Smith Fund
Michael Smuin Memorial Fund
Mr. Scott C. Sollers Fund
Donald G. Speakman Fund*
Jeanette Sperry Fund*
David Stanton and Shanna McBurney Fund
Maureen and Craig Sullivan Family Fund
The Swanson Foundation Fund
Gretchen and L. Jay Tenenbaum Fund
Richard J. Thalheimer Fund
Olivia Thebus Fund*
Carmen S. Thornton Fund*
John and Anna Logan Upton Fund
Susan A. Van Wagner Fund
Mrs. S. W. Veitch Fund
Harry J. Wagner Fund*
The Lonna Wais Endowment Fund
Gene Walker Fund*
Elizabeth F. Wallace Fund*
The Walske Foundation Fund
Mr. and Mrs. Paul L. Wattis III Fund
Phyllis C. Wattis Fund*
Timothy C. Wu Fund
Kam Har Yung Fund
Janice and Jonathan Zakin Fund
CiCi and Stephen Zellerbach Fund
William Zoller Fund*
Make a
Legacy Gift
“We love San Francisco Ballet and have
been subscribing as well as volunteering
with BRAVO (Ballet Resource and Volunteer
Organization) ever since we returned to the
Bay Area in 1992. We want to assure that
the Ballet is around for future generations,
just as past audiences helped build the
company we love today through their
support. That is why we have included the
Ballet in our estate plans.”
Stephen and Karen met at Stanford in 1958, and celebrated their 54th
wedding anniversary this year. Their interest in dance began in the early
1960’s in the Los Angeles area and grew as they lived in other cities across
the US. It progressed into a deep involvement in Reno, Nevada’s local ballet
company for 15 years, which transferred to SF Ballet when they returned
to the Bay Area. Their favorite SF Ballet experience is performing as
supernumeraries in Nutcracker and occasional Repertory Season ballets.
For information about bequests and
other legacy gifts, contact Planned Giving
Manager Elizabeth Lani at 415.865.6623
or [email protected]. Patrons who
make provisions for the Ballet through
their estate plans are invited to join the
Legacy Circle and are celebrated as
essential members of the SF Ballet family.
The Legacy Circle
The 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 Planned Giving
Manager Elizabeth Lani at
58
SFBALLET.ORG
Anonymous (49)
Michael C. Abramson
Norman Abramson and David Beery
Sophie and Ted Aldrich
Anthony J. Alfidi
Cal Anderson
David and Judith Preves Anderson
Steven D. Arias
Roulhac and Tom Austin
Nancy R. Axelrod
ML Baird, in memory of Travis & Marion Baird
Rosemary B. Baker
Richard C. Barker
Valera Ferrea Barnhart
Marie Schoppe Bartee
Margaret Bates, M.D.
Richard and Kathy Beal
Dr. and Mrs. Walter E. Berger
Karen S. Bergman
Davidson Bidwell-Waite and Edwin A. Waite
Arthur Bienenstock
Patricia Ellis Bixby
Phyllis B. Blair
Aviva Shiff Boedecker
Jon Borset
Bruce Braden
Lisa K. Breakey
Rita Brenner and Leonard Schwab
Ron and Susan Briggs
Leonard Brill and Richard Sanjour
Cynthia and Frederick Brinkmann
Ms. Agnes Chen Brown
James R. and Melinda M. Brown
Marjorie and Gerald Burnett
Julie and David Burns
Adrian and Carol Byram
Patricia J. Campbell
Jack Capito
Linda Parker Cassady
Michaela Cassidy
Antoinette Chatton
Diane and William Clarke
Robert Clegg
Bette Jean Clute
Michael Q. Cohen and Carol Berman Cohen
Jane A. Cook
Mary Ellen Copner
Colette V.A. Cornish
Sandi Covell
Deborah Pearson Cowley
Kenneth and Diane Cox
Lynda Meyer Cronin
Gerald Currier
Barbara Daily
Cornelia Y. de Schepper
Martha Debs
David and Alaina DeMartini
Karel and Mark Detterman
Charles Dishman
Earl Diskin
Christine H. Dohrmann
Sam Alicia Duke
Joseph Ehrman III
Carol Emory
Ms. Frances Eubanks
Merritt and Mary Lou Fink
Richard Fitzgerald
Victoria Flavell
Frannie Fleishhacker
Mr. and Mrs. Thomas W. Foote
Mary Jo and David Francis
Douglas Frantz
Sandra and Alfred Fricke
Joseph and Antonia Friedman
Connie Marie Gaglio
John Garfinkle
Stephen and Margaret Gill
S. Bradley Gillaugh
Jane Gitschier
Meryl Gordon, M.D.
Lawrence Grauman, Jr.
Joan and Michael Green
Patricia Lindsay and Donald W. Green
Roger W. Green
James Gries
Martin C. Hamilton
Rosemary (Rosie) Hayes
Terry Hynes Helm
Linda K. Hmelo
Betty Hoener
Thomas E. Horn
Donald F. Houghton
Vija M. Hovgard
Harold D. and Jocelyn P. Hughes
Dorothy and Bradford Jeffries
Berdine Jernigan
Mrs. Barbara Johnson
Mark G. Jones
Mrs. René Jopé
Dr. Devorah Joseph in memory of Nerrissa Joseph
David A. Kaplan
Rose Adams Kelly
John Kerns
Mrs. Jerome Ormond Kirschbaum
Ms. June Kronberg
Joan Shelbourne Kwansa
Sharon Lampton
Kimun Lee
Marcia Lowell Leonhardt
Irv Lichtenwald and Stephen R. Ripple
Carol and Hal Louchheim
Barbara Lowe
James J. Ludwig
Jo Markovich
John Robert Martin
Connie V. Martinez
Mr. James D. Marver
Erika-Marie Matthes
Dosia Matthews
Gwen and Hamp Mauvais
Mrs. Alice T. May
Steven and Niko Mayer
Mrs. William L. McGee
Betsy and Ed McGuigan
James H. McMurray
Susan J. Meadows
Robert L. Merjano
Steve Merlo
Karl Meyer and Kelly Hails
J. Sanford Miller
Ms. Joyce E. Miller
Mr. Sidney F. Mobell
Nancy and Larry Mohr
Patricia Mok
Milton J. Mosk
Kathleen Much
Tom and Anne Muller
Peter Johnson Musto
Virginia Mylenki and James J. Pidgeon
Mr. and Mrs. Robert L. Newman
Tom Nicoll
Lorena Feijoo and Vitor Luiz in Tomasson’s Swan Lake // © Erik Tomasson
Norman and Hillevi Null
Peter Nye and James Marks
John S. Osterweis
Rudy Picarelli
Karen Posner
Steve and Cleo Postle
Roger and Deborah Potash
Mr. and Mrs. Albert M. Price
Jane Radcliffe
Dave and Judy Redo
Glenn H. Reid and Frank S. Lanier
M.A. Rey-Bear Trust
Mr. and Mrs. Richard D. Ringe
Pat Roberts
Elsie Robertson
Pauline and Richard Roothman
Renee and Dennis Ross
Renee Rubin
Karl Ruppenthal and Jo Maxon
Pat Sanderson
R. L. Sauer
Norman Schlossberg
Ms. Catherine Schmidt
Walter and Sharon Schneider
Al Schroeder
Harold E. Segelstad
Mr. and Mrs. Jack Self
Christine Selle
Michael and Daryl Shafran
J. Gary and O.J. Shansby Foundation
John-Luke Sheridan
Mrs. Carter Parrish Sherlin
Carol R. Sholin
Edward M. Silva
Charles G. Smith
Cleveland M. Smith
Dr. W. Byron Smith
M. Eileen Soden, Ph.D.
Scott C. Sollers
Sue Sommer
Sharon St. James
Stephen B. Steczynski
Nancy Stern
Susanne Stevens
Jane and Jay Taber
Tom Taffel and Bill Repp
Jack Eugene Teeters
Gretchen and L. Jay Tenenbaum
Sam Thal, M.D.
Suzanne and Charles Thornton
Mr. and Mrs. Howard Timoney
Michael E. Tully
Janet Sassoon-Upton and John R. Upton, Jr.
Shirley Wilson Victor
Carolyn and Terry Voet
Mrs. Katherine Wallin
Mrs. Barbara W. Wanvig
Rosalie V. Weaver
Dr. Frieda Weiner
Ingrid M. Weiss
Daphne and Stuart Wells
Benjamin and Mary Ann Whitten
Karen and Stephen Wiel
Mr. Burlington Willes
Laureen Woodruff
Dr. Robert and Sharon Yoerg
Janice Hansen Zakin
Kristine A. Zeigler
Mrs. Stephen A. Zellerbach
JOIN FRIENDS OF
FOR EXCLUSIVE MEMBERSONLY BENEFITS!
Want a behind-the-scenes experience at SF
Ballet? Become a member of Friends of San
Francisco Ballet and enjoy exclusive access
during the 2015–2016 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.
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.
PROGRAMS 01 & 02
59
Thank You to Our Volunteers
The San Francisco Ballet “family” extends beyond the stage to include a large community of dedicated and generous volunteers who are
personally involved in the Company’s success. The tireless efforts of these volunteers contribute greatly to SF Ballet’s accomplishments.
AUXILIARY
The San Francisco Ballet Auxiliary is a group of dedicated women who organize SF Ballet’s annual fundraising events including the
Opening Night Gala Dinner and Student Showcase Dinner. For more information, please visit sfballet.org/auxiliary.
Ms. Marie Louise Hurabiell, President
ACTIVE MEMBERS
Ms. Blanca Aguirre
Mrs. Judy Anderson
Ms. Donna Bachle
Mrs. Bartley B. Baer
Ms. Deborah Taylor Barrera
Mrs. Kevin W. Bartlett
Ms. Alletta Bayer
Miss Carol Benz
Mrs. Steven Bergman
Ms. Catherine Bergstrom
Ms. L’Ann Bingham
Ms. Beverley Siri Borelli
Ms. Giselle Bosc
Mrs. William S. Brandenburg
Mrs. Kent F. Brooks
Mrs. G. Steven Burrill
Mrs. Linda Rose Victoire Byers
Mrs. Kathleen Coffino
Ms. Christine Leong Connors
Ms. Rebecca Cooper
Mrs. Angelos J. Dassios
Ms. Carleen Hawn DeLay
Ms. Carole A. Demsky
Ms. Christine DeSanze
Mrs. Samara Diapoulos
Mrs. John E. Fetzer
Ms. Jane Gazzola
Mrs. Vincent Golde
Ms. Shelley Gordon
Mrs. David Grove
Ms. Lori Harmon
Mrs. Joseph Harris, Jr.
Mrs. Terrence M. Hazlewood
Mrs. Ronald R. Heckmann
Mrs. Christopher Hemphill
Ms. Kimberly Hopper
Ms. Kathryn A. Huber
Mrs. Richard Jasen
Mrs. James C. Kelly
Ms. Trecia Knapp
Mrs. Mark S. Koenig
Ms. Claire Stewart Kostic
60
Mrs. Alexander Leff
Ms. Betsy A. Linder
Ms. Sheila M. Lippman
Ms. Patricia Ferrin Loucks
Mrs. Carol Louie
Mrs. Rhonda Mahendroo
Mrs. Heather Cassady Martin
Ms. Laura V. Miller
Mrs. Elizabeth Robinson Mitchell
Ms. Margaret Mitchell
Mrs. Michael O’Sullivan
Ms. Melissa Powar
Miss Tanya Marietta Powell
Mrs. Virginia Leung Price
Ms. Maria K. Ralph
Ms. Megan Ray
Ms. Kacie Renc
Ms. René Rodman
Ms. Stephanie B. Russell
Ms. Meg Ruxton
Mrs. Christina Santelli
Ms. Marcela Casciani Schwaegler
Mrs. James D. Seltsam, Jr.
Mrs. David Selzer
Ms. V’Anne Singleton
Ms. Grace Nicolson Sorg
Shelby T. Strudwick
Mrs. Charles V. Thornton
Mrs. Andrea Valo-Espina
Mrs. Patrick Walravens
Ms. Amy Wender-Hoch
Mrs. Aimee West
Ms. Freddi Wilkinson
Mrs. Eric Wold
Mrs. Robert W. Wood
Ms. Patricia Wyrod
Miss Carla J. Wytmar
Mrs. Ronald Zaragoza
Mrs. Helgi Tomasson
Honorary Member
SFBALLET.ORG
SUSTAINING MEMBERS
Jola Anderson
Mrs. James P. Anthony
Mrs. Thomas G. Austin
Ms. Rosemary B. Baker
Ms. Katherine Banks
Ms. Harriet L. Barbanell
Mrs. Patrick V. Barber
Mrs. Kent T. Baum
Mrs. Peter Berliner
Mrs. John W. Bitoff
Mrs. Athena Blackburn
Mrs. Richard A. Bocci
Ms. Caroline Krawiec Brownstone
Mrs. Donald W. Carlson
Mrs. Walter Carpeneti
Mrs. Charles E. Clemens
Ms. Robin Collins
Mrs. Daniel P. Cronan
Ms. Gail De Martini
Mrs. Theodore S. Dobos
Mrs. David Dossetter
Mrs. Happy Dumas
Dr. DiAnn Ellis
Mrs. Douglas J. Engmann
Mrs. Christian P. Erdman
Ms. Lorre Erlick
Ms. Dixie D. Furlong
Mrs. Stephen Ghiselli
Mrs. William E. Grayson
Ms. Nonie H. Greene
Mrs. John P. Grotts
Ms. Catherine D. Hargrave
Mrs. Michael R. Haswell
Ms. Terry Hynes Helm
Mrs. James A. Henderson
Ms. Kelli Hill
Mrs. Michael F. Jackson
Ms. Daru H. Kawalkowski
Ms. Lisa A. Keith
Mrs. William N. Keller
Mrs. Robert D. Kroll
Ms. Jean Larette
Miss Elizabeth Leep
Ms. Debra A. Leylegian
Mrs. Barry R. Lipman
Mrs. John C. Lund
Mrs. Robert W. Maier
Ms. Susan A. Malecki
Ms. Sandra Mandel
Mrs. Michael L. Mauzé
Mrs. Mark A. Medearis
Mrs. James J. Messemer
Mrs. Dennis Mooradian
Ms. Alison Morr
Mrs. Jane S. Mudge
Miss Suzanne J. Muntzing
Ms. Vickie Nelson
Mrs. Robert L. Newman
Mrs. Peggy L. Newton
Ms. Carole A. Obley
Ms. Margrit Paul
Mrs. Edward Plant
Mrs. Nick Podell
Mrs. Todd G. Regenold
Ms. Lorrae Rominger
Ms. Dara C. Rosenfeld
Mrs. Jay Ryder
Ms. Isabel M. Sam-Vargas
Ms. Ellen Sandler
Mrs. Thomas Schiff
Mrs. David Tai-Man Shen
Ms. Merrill Randol Sherwin
Ms. Karen L. Skidmore
Mrs. Susan Solinsky
Mrs. Mathew Spolin
Mrs. Jerome J. Suich II
Mrs. Judy Swanson
Ms. Jody K. Thelander
Ms. Valerie D. Toler
Ms. Elizabeth W. Vobach
Mrs. Gregg von Thaden
Ms. Barbara Waldman
Mrs. Wallace Wertsch
ALLEGRO CIRCLE
BRAVO
Allegro Circle is a diverse group of donors
who contribute their professional expertise
and networks in support of the ongoing work
of the Ballet. For more information, please
contact Major Gifts Officer Pamela Sullivan at
BRAVO is an organization of community volunteers
who support SF Ballet at events and through a variety
of administrative tasks in the Ballet offices. For more
information, and to apply for membership, visit
bravo.sfballet.org, email [email protected],
or call 415.865.6750.
STEERING COMMITTEE
Stewart McDowell Brady and Patrice Lovato
Co-Chairs
Paula Elmore
Amanda Garry
Susan Marsch
Gregg Mattner
Aaron Wheeler
Patricia Wyrod
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
Christopher Correa
Vice President
Susan Lin
Secretary
Wilson Yan
Treasurer and Immediate Past President
Jane Burkhard
Immediate Past President
Lena Gikkas
Julie Hall
Vanessa Jn-Baptiste
Elizabeth Sgarrella
Sunil Sharma
Maggie Winterfeldt Clark
Patricia D. Knight, President
VOLUNTEER HOURS DURING THE 2014–2015 SEASON
250+ Hours
Corine Assouline
Joan Green
Julie Hawkins
Giovanna Jackson
Patricia Knight
Suzanne Knott
Steve Merlo
Kathryn Roberts
Eileen Soden
Steve Wong
100–249 Hours
Jenny Au-Yeung
Carolyn Balsley
Marilyn Breen
Thomas Brown
Paulette Cauthorn
Jeanette Chudnow
Roslyn Eng
Philip Fukuda
Roger Green
James Gries
Elmira Lagundi
Dosia Matthews
John Mazurski
Betsy McGuigan
Roberta McMullan
Patricia Nelson
Deric Patrick
Howard Perkins
Sue Plasai
Sara Pope
Twyla Powers
Pauline Roothman
Lacy Steffens
Daphne Wray
Jill Zerkle
55–99 Hours
Margaret Anderson
Jon Borset
Mary Davi
Martha Debs
Tariq El-Amin
Piers Greenhill
Michael Hart
Cindy James
Robin Kinoshita
David Lau
Cyndy Lee
Aldona Lidji
Pirkko Lucchesi
Linda Miyagawa
Keiko Moore
Gale Niess
Deborrah Ortego
Jazmine Paniagua
Elizabeth Price
Tracy Stoehr
Joshua Theaker
Desmond Torkornoo
Leslie Tsirkas
Karen Wiel
40–54 Hours
Edie Bazjanac
Jen Doerger
Christina Hecht
Christine Jensen
Susan Kalian
Sanae Kelly
Laura Kerepesi
Carrie Kost
Margaret McCormack Wilcox
Kathi Saage
Laura Sanders
Amy Sides
Anne Snowball
Steve Trenam
Sylvia Walker
PROGRAMS 01 & 02
61
San Francisco Ballet School
LEARN. GROW. DANCE.
Under the leadership of Associate Director Patrick Armand,
school and the official school of SF Ballet. The diverse
curriculum, grounded in classical technique, also includes
classes in contemporary dance, corps de ballet, music,
conditioning/floor barre, and character dance.
The School plays a vital role in SF Ballet’s story ballet
productions, providing students the opportunity to perform
with the Company on stage.
PRE-BALLET
FOR THE 2016–2017 SCHOOL YEAR
Ages 4–7
• Registration begins April 8, 2016
• No audition required
• Admissions are accepted on a
first come, first served basis
• Register online for a FREE trial class
on April 3.
AUDITIONS FOR CHILDREN
FOR THE 2016–2017 SCHOOL YEAR
Ages 8–11
• Sat, June 4, 2016
For complete audition information,
visit school.sfballet.org.
Questions? Call +1.415.865.6700
or email [email protected].
San Francisco Ballet School students in class // © Erik Tomasson (left) // © Chris Hardy (right)
San Francisco Ballet School is the nation’s oldest ballet
San Francisco War Memorial and
Performing Arts Center
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.
TRUSTEES
Wilkes Bashford, President
Thomas E. Horn, Vice President
Nancy H. Bechtle
Belva Davis
Gorretti Lo Lui
Mrs. George R. Moscone
MajGen J. Michael Myatt, USMC (Ret.)
Paul F. Pelosi
Charlotte Mailliard Shultz
James W. Stafford
Diane B. Wilsey
Elizabeth Murray, Managing Director
Jennifer E. Norris, Assistant Managing Director
PROGRAMS 01 & 02
63
HERMÈS BY NATURE

san francisco ballet 2016 program 1-2

Transcription

Similar documents

Coppélia

ballet folklorico quetzalcoatl examples of sponsorship benefits

Week 6 - Burklyn Ballet Theatre

adult test 2016 d1 clues

Alexei Kremnev - Los Angeles Ballet Academy

A Dancer`s Director

View 2016-17 School Programs Brochure

Balanchine, Backhaus...Meet Broad

AutTtED - DepEd Quezon City