SF Ballet 2016 Repertory Season

SF Ballet 2016 Repertory Season
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7 F O R EIGH T / MAGR IT TOMAN IA / PAS/PARTS
Triple Bill • Jan 24–Feb 5
Principal 8 and 5 Series
The SF Chronicle called Tomasson’s 7 for Eight “stunning” when it premiered in 2004, and went
on to say that it “overflowed with spare and resonant poetry.” Yuri Possokhov’s Magrittomania (pictured)
is a clever and colorful homage to the surrealist painter, René Magritte. The program closes with
the North American premiere of William Forsythe’s superbly crafted Pas/Parts, a daring display
of technique for 15 dancers. Created for Paris Opéra Ballet in 1999, Pas/Parts has never been
danced by another company—until now.
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C O N T I N U U M © / L I A M S CA R L E T T World Premiere! / RUBIES
Triple Bill • Jan 27–Feb 6
Principal 8 and 5 Series
Set to a mysterious score by György Ligeti, Continuum© is, according to choreographer
Christopher Wheeldon, an exercise in “using the movement to break the code” of the music.
Next is a brand new work by young ballet wunderkind Liam Scarlett whose first piece for
SF Ballet, Hummingbird, was both a critical success and an audience favorite. Set to a driving,
jazzy score by Igor Stravinsky, “Rubies” (pictured), typically the second work in Balanchine’s
three-act abstract ballet, Jewels, sparkles. By turns athletic, passionate, and humorous, the
choreography is an homage to the composer—Balanchine’s life-long friend and muse.
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S WA N L A K E
Full-length Story • Feb 19–28
Principal 8 and 5 Series
Called “striking” and “a runaway box office hit” by the SF Chronicle when it first premiered,
Helgi Tomasson’s glorious Swan Lake returns to the War Memorial Opera House stage
for the first time since 2010. 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.”
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COPPÉLIA
Full-length Story • Mar 8–13
Principal 8 and 3 Series
Many of you asked when we planned to reprise Balanchine’s Coppélia…well, the wait is over!
Upon its 2011 debut, the SF Chronicle said, “Coppélia radiates a freshness and charm that will
enhance any season.” The fantastic story of a mysterious inventor, his life-sized doll, and the
havoc they wreak on a young couple is all frothy fun—and this spun sugar, candy-colored
production is perfect for the entire family. Set to an infectious score by Léo Delibes, Coppélia
will bring your inner child out to play!
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DA N C E S AT A GAT H E R I N G / S W I M M E R
Double Bill • Mar 16–22
Principal 8 and 3 Series
The SF Chronicle dubbed Dances at a Gathering an “unambiguous, take no prisoners
triumph” when it returned to the SF Ballet repertory last season. A glorious celebration of community
and humanity, Dances at a Gathering, set to Frédéric Chopin, is the quintessential piano ballet.
Yuri Possokhov’s Swimmer (pictured) is a multi-media meditation on 1960s Americana; “a stunning
video dance that’s youthful, quirky and visually arresting” according to the San Jose Mercury News.
With a score by SF Ballet orchestra member Shinji Eshima that incorporates music by Tom Waits,
Swimmer was the must-see ballet of the 2015 Season.
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P R I S M / S E V E N S O N ATAS / R U S H ©
Triple Bill • Apr 5–16
Principal 8 and 5 Series
Prism (pictured) was Helgi Tomasson’s second work for New York City Ballet. Set to Ludwig van
Beethoven, the SF Chronicle called it, “classical perfection, a vision of pure joy surrounded by
waves of affection.” New to SF Ballet, Ratmansky’s Seven Sonatas, hailed as “spellbinding”,
“timeless,” and “miraculous” by the New York Times, is a multi-faceted conversation between
couples. The program closer is Christopher Wheeldon’s Rush©. Set to the spirited Sinfonietta
La Jolla by Czech composer Bohuslav Martinů, whose inspiration was the California sea and sky,
Rush© premiered at Scotland’s Edinburgh Festival and was last seen in 2010.
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D R I NK TO ME ON LY W IT H T H IN E EYES /
J U S T IN PECK Wo rld P remiere! / T H EME AN D VAR IATIO NS
Triple Bill • Apr 7–17 Principal 8 and 3 Seriess
Mark Morris’ Drink to Me Only With Thine Eyes (pictured), is a work the New York Times called,
“rich and complex—a ballet that keeps the eye and mind alert.” Next up is SF Ballet’s first new work by
celebrated young choreographer Justin Peck. The subject of the new documentary film, Ballet 422,
Peck is New York City Ballet’s resident choreographer. Closing the evening is Balanchine’s glittering
Theme and Variations which, in the choreographer’s own words, was meant “to evoke that great
period in classical dancing when Russian ballet flourished with the aid of Tchaikovsky’s music.”
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ONEGIN
Full-length Story • Apr 30–May 8
Principal 8 and 5 Series
When SF Ballet premiered Onegin in 2012, the SF Chronicle proclaimed, “Now, that is a ballet…”
and went on to note, “Cranko’s masterpiece still has the power to transport and astonish the
audience.” Based on Pushkin’s classic novel of unrequited love, Onegin is both thrillingly theatrical
and astonishingly human. Though cynical, citified Onegin is the title character, it is the naïve
Tatiana who steals our hearts, blossoming into a woman of intelligence, strength, and depth.
Cranko’s gorgeous choreography and masterful storytelling, along with sets and costumes by
Tony® Award-winner Santo Loquasto and lighting by James F. Ingalls, bring us all the color
and drama of Imperial Russia in a story that feels remarkably fresh even today.
FROM TOP: Yuan Yuan Tan in Possokhov’s Magrittomania; San Francisco Ballet in Balanchine’s “Rubies” (Choreography by George Balanchine© The Balanchine Trust); San Francisco Ballet
in Tomasson’s Swan Lake; San Francisco Ballet in Balanchine’s Coppélia (Choreography by George Balanchine© The Balanchine Trust);San Francisco Ballet in Possokhov’s Swimmer;
San Francisco Ballet in Tomasson’s Prism; San Francisco Ballet in Morris’ Drink To Me Only With Thine Eyes; Gennadi Nedvigin in Cranko’s Onegin. (ALL © ERIK TOMASSON)
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